THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MEREDITH WILLSON LIBRARY STANLEY RING COLLECTION MUSIC LIBRARY The Standard Concert Guide Uniform With This Volume THE STANDARD OPERAS: Their Plots, their Music, and their Composers. By GEORGE P. UPTON. New Edition (in its fourth printing), en- larged and revised. Profusely illustrated, 516 pages, indexed. #1.75. A. C. McCLURG & CO., Publishers JOHAXK SEBASTIAN BACH THE STANDARD CONCERT GUIDE A Handbook Of the Standard Symphonies, Oratorios Cantatas, and Symphonic Poems For the Concert Goer BY GEORGE P. UPTON Author of " The Standard Operas," " Life of Theodore Thomas " " Woman in Music," etc., etc. PROFUSELY ILLUSTRATED CHICAGO A. C. McCLURG & CO. 1912 COPYRIGHT A. C. MCCLURG & Co. 1908 ENTERED AT STATIONERS' HALL, LONDON, ENGLAND Published August 15, 1908 Music Library 1C LI V PREFACE IT is not the purpose of the author of "The Standard Concert Guide" to substitute it for the "Standard Oratorios," "Standard Symphonies," and " Standard Can- tatas" which have been so long at the service of musical students and music lovers, but rather to combine these works in a single volume for more convenient use and thus make it of value both for concert and library pur- poses. To this end the analytical text of the older works has been condensed sufficiently to admit of its presenta- tion in one convenient volume, and some new matter has been added to bring it down to date, including notices of works by Bruckner, Cowen, Dvorak, Elgar, Franck, Mackenzie, Parker, Parry, Sinding, Richard Strauss, and Tchaikovsky. The new volume is also enriched with portraits of the composers whose works are described in it. In brief, the author has sought to present a compact and handy concert guide to the public through the realm of the symphony, symphonic poem, oratorio, and cantata. The text has been made as untechnical as possible, so as to be intelligible to those unacquainted with the science of music, and the work is offered to the public with the hope that it may prove useful for general reference and satisfactory as a " Standard Concert Guide." G. P. U. CHICAGO, July i, igo8. 1450410 BACH PAGE CHRISTMAS ORATORIO i SAINT MATTHEW PASSION 3 MAGNIFICAT IN D 7 ICH HATTE VIEL BEKtJMMERNISS 8 GOTTES ZEIT 9 FESTA ASCENSIONIS CHRISTI 10 EIN' FESTE BURG n BEETHOVEN THE MOUNT OF OLIVES 13 THE RUINS OF ATHENS 15 THE GLORIOUS MOMENT 17 SYMPHONY, No. i, C MAJOR 18 SYMPHONY, No. 2, D 26 SYMPHONY, No. 3 (" EROICA "), E FLAT 32 SYMPHONY, No. 4, B FLAT 39 SYMPHONY, No. 5, C MINOR 45 SYMPHONY, No. 6 (" PASTORAL "), F 51 SYMPHONY, No. 7, A MAJOR 55 SYMPHONY, No. 8, F 61 SYMPHONY, No. 9 ("CHORAL"), D MINOR 66 CHORAL FANTASIE, C MINOR 75 BENEDICT SAINT CECILIA 77 BENNETT THE WOMAN OF SAMARIA 79 THE MAY QUBEN 82 viii CONTENTS BERLIOZ PAGE THE REQUIEM 84 ROMEO AND JULIET 86 THE DAMNATION OF FAUST 88 " SYMPHONIE FANTASTIQUE 91 HAROLD IN ITALY 93 BRAHMS THE GERMAN REQUIEM 96 TRIUMPHLIED 97 SYMPHONY, No. i, C MINOR 98 SYMPHONY, No. 2, D MAJOR 102 SYMPHONY, No. 3, F MAJOR 103 SYMPHONY, No. 4, E MINOR 105 BRUCH FRITHJOF 107 FAIR ELLEN 109 ODYSSEUS no BRUCKNER SYMPHONY, No. 2, C MINOR 115 SYMPHONY, No. 4 (" ROMANTIC "), E FLAT 116 SYMPHONY, No. 7, E MAJOR 117 SYMPHONY, No. 9 (UNFINISHED), D MINOR . . . . 118 BUCK DON MUNIO 1 20 THE GOLDEN LEGEND 122 THE VOYAGE OF COLUMBUS 124 THE LIGHT OF ASIA 126 CORDER THE BRIDAL OF TRIERMAIN 130 COSTA ELI 132 COWEN THE SLEEPING BEAUTY 136 RUTH 138 SYMPHONY, No. 3 (" SCANDINAVIAN "), C MINOR . . . 140 CONTENTS ix DVORAK PAGE THE SPECTRE'S BRIDE 143 STABAT MATER 145 SAINT LUDMILA 147 SYMPHONY, No. 2, D MINOR 149 SYMPHONY, No. 3, D MAJOR 150 SYMPHONY, No. 5 (" FROM THE NEW WORLD"), E MINOR 152 ELGAR THE LIGHT OF LIFE 154 THE DREAM OF GERONTIUS 155 THE APOSTLES 157 THE KINGDOM 160 FOOTE HIAWATHA 163 FRANCK THE BEATITUDES 165 SYMPHONY IN D MINOR 168 LES EOLIDES 169 GADE COMALA 171 SPRING FANTASIE 172 THE ERL KING'S DAUGHTER 173 THE CRUSADERS 174 SYMPHONY, No. i, C MINOR 176 SYMPHONY, No. 4, B FLAT 178 GOETZ SYMPHONY, No. i, F MINOR 180 GOLDMARK LAENDLICHK HOCHZEIT (COUNTRY WEDDING) SYM- PHONY 182 GOUNOD THE REDEMPTION 185 MORS ET VITA 189 HANDEL Acis AND GALATEA 194 ALEXANDER'S FEAST 196 x CONTENTS PAGE L'ALLEGRO / 196 ISRAEL IN EGYPT 199 SAUL 204 SAMSON 208 T^re MESSIAH 212 JUDAS MACCABEUS 217 DETTINGEN TE DEUM 221 HATTON ROBIN HOOD 223 HAYDN ARIADNE 225 THE SEVEN WORDS 226 THE CREATION 227 THE SEASONS 231 SYMPHONY, No. i, E FLAT 235 SYMPHONY, No. 2, D MAJOR 238 SYMPHONY, No. 6 (" SURPRISE "), G MAJOR .... 240 SYMPHONY, No. 9, C MINOR 242 SYMPHONY, No. u ("MILITARY"), G MAJOR .... 244 SYMPHONY, No. 12, B FLAT . 246 HOFMANN MELUSINA 249 FRITHJOF SYMPHONY 251 LESLIE HOLYROOD 254 LISZT THE BELLS OF STRASBURG 257 THE LEGEND OF THE HOLY ELIZABETH 258 LES PRELUDES 263 PROMETHEUS 267 TASSO 269 FESTKLANGK 270 MAZEPPA 271 HUNNENSCHLACHT 273 THE FAUST SYMPHONY 274 A SYMPHONY TO DANTE'S "DIVINA COMMEDIA" . . 277 XI MACFARREN PACK SAINT JOHN THE BAPTIST 279 CHRISTMAS 281 MACKENZIE THE STORY OF SAYID 283 THE ROSE OF SHARON 285 BETHLEHEM 289 MASSENET MARY MAGDALEN 291 MENDELSSOHN THE WALPURGIS NIGHT 294 ANTIGONE 295 CEDIPUS AT COLONOS 297 As THE HART PANTS 299 LAUDA SION 300 Music TO " A MIDSUMMER NIGHT'S DREAM " . . . . 300 SYMPHONY, No. 3 ("SCOTCH"), A MINOR 303 SYMPHONY, No. 4 (" ITALIAN "), A 305 REFORMATION SYMPHONY, No. 5 307 SAINT PAUL 309 HYMN OF PRAISE 312 ELIJAH 314 MOZART REQUIEM 320 SYMPHONY, No. 543 (KOCHEL), E FLAT 323 SYMPHONY, No. 550 (KOCHEL), G MINOR 326 Jupif ER' SYMPHONY, No. 551 (KOCHEL), C 328 PAINE CEDIPUS TYRANNUS 333 THE NATIVITY 335 THE REALM OF FANCY 336 " PHOEBUS, ARISE " 337 SAINT PETER 337 THE TEMPEST 341 SYMPHONY, No. 2 ("SPRING"), A 341 xii CONTENTS PARKER, H. W. PAGE KING TROJAN 344 HORA NOVISSIMA 346 PARKER, J. C. D. REDEMPTION HYMN 348 PARRY THE VISION OF LIFE 349 RAFF SYMPHONY, No. 3 (" IM WALDE "), F MAJOR .... 351 SYMPHONY, No. 5 ("LENORE") 353 SYMPHONY, No. 8 (" FRIJHLINGSKLANGE "), A .... 355 RANDEGGER FRIDOLIN 358 RHEINBERGER TOGGENBURG 361 WALLENSTEIN, TONE POEM 362 ROMBERG LAY OF THE BELL 365 ROSSINI STABAT^MATER 368 RUBINSTEIN THE TOWER OF BABEL 370 PARADISE LOST 373 SYMPHONY, No. 2 (" OCEAN "), C MAJOR ' 374 SYMPHONY, No. 4 (" DRAMATIC"), .D MINOR .... 377 SAINT-SAENS CHRISTMAS ORATORIO 380 ROUET D'OMPHALE 381 PHAETON 381 DANSE MACABRE 382 SYMPHONY, No. 3, A MINOR 383 SYMPHONY, No. 5, C MINOR 384 CONTENTS xiii SCHUBERT PAGE MIRIAM'S WAR SONG 387 SYMPHONY, No. 8 (UNFINISHED), B MINOR 388 SYMPHONY, No. 9, C MAJOR 389 SCHUMANN ADVENT HYMN 392 THE PILGRIMAGE OF THE ROSE 393 THE MINSTREL'S CURSE 393 PARADISE AND THE PERI 394 SYMPHONY, No. i, B FLAT 398 SYMPHONY, No. 2, C MAJOR 400 SYMPHONY, No. 3 (" RHENISH"), E FLAT 402 SYMPHONY, No. 4, D MINOR 404 SINDING SYMPHONY IN D MINOR 407 SMART THE BRIDE OF DUNKERRON 409 KING RENE'S DAUGHTER 410 SPOHR THE LAST JUDGMENT 412 SYMPHONY, No. 4 (" CONSECRATION OF SOUND "), F . 4^4 STANFORD SYMPHONY, No. 3 ("IRISH"), F MINOR 416 STRAUSS DON JUAN 418 MACBETH 419 TOD UND VERKLARUNG 420 TILL EULENSPIEGEL 420 THUS SPAKE ZARATHUSTRA 421 DON QUIXOTE 422 EIN HEI.DENI.EBEN 423 SlNFONIA DOMESTICA 424 SULLIVAN ON SHORE AND SEA 425 THE GOLDEN LEGEND 426 xiv CONTENTS PAGE THE PRODIGAL SON 428 THE LIGHT OF THE WORLD 429 SYMPHONY, No. i, E MINOR 433 TCHAIKOVSKY SYMPHONY, No. 2, C MINOR 435 SYMPHONY, No. 4, F MINOR 436 SYMPHONY, No. 5, E MINOR 438 SYMPHONY, No. 6 (" PATHETIQUE"), B MTNOR . . . 439 SYMPHONIC POEM, AFTER BYRON'S "MANFRED" . . 441 VERDI THE MANZONI REQUIEM 443 VOLKMANN SYMPHONY, No. i, D MINOR 446 WAGNER LOVE FEAST OF THE APOSTLES 448 WEBER JUBILEE CANTATA 450 APPENDIX THE ORCHESTRA 453 PROMINENT MUSICAL ORGANIZATIONS 458 INDEX 465 INDEX OF PRINCIPAL NUMBERS 475 PORTRAITS PAGE PORTRAIT OF JOHANN SEBASTIAN BACH .... Frontispiece PORTRAIT OF LUDWIG VAN BEETHOVEN 14 PORTRAIT OF SIR JULIUS BENEDICT 77 PORTRAIT OF WILLIAM STERNDALE BENNETT 80 PORTRAIT OF HECTOR BERLIOZ 86 PORTRAIT OF JOHANNES BRAHMS 98 PORTRAIT OF MAX BRUCH 108 PORTRAIT OF ANTON BRUCKNER 116 PORTRAIT OF DUDLEY BUCK 124 PORTRAIT OF FREDERICK CORDER 130 PORTRAIT OF SIR MICHAEL COSTA 134 PORTRAIT OF FREDERIC H. COWEN 138 PORTRAIT OF ANTONIN DVORAK 146 PORTRAIT OF SIR EDWARD ELGAR 156 PORTRAIT OF ARTHUR FOOTE 163 PORTRAIT OF CESAR AUGUSTE FRANCK 168 PORTRAIT OF NIELS WILHELM GADE 174 PORTRAIT OF HERMANN GOETZ 180 PORTRAIT OF ROBERT VOLKMANN 180 PORTRAIT OF ANDREAS ROMBERG 180 PORTRAIT OF KARL GOLDMARK 183 PORTRAIT OF CHARLES FRANC.OIS GOUNOD 190 PORTRAIT OF GEORGE FREDERICK HANDEL 202 PORTRAIT OF MADAME NOVELLO 208 PORTRAIT OF MADAME MARA 214 PORTRAIT OF JOSEF HAYDN 226 PORTRAIT OF MR. EDWARD LLOYD 232 xvi PORTRAITS PAGE PORTRAIT OF HEINRICH HOFMANN 250 PORTRAIT OF H. D. LESLIE 255 PORTRAIT OF FRANZ LISZT 266 PORTRAIT OF SIR GEORGE ALEXANDER MACFARREN . . 280 PORTRAIT OF SIR ALEXANDER MACKENZIE 286 PORTRAIT OF JULES MASSENET 292 PORTRAIT OF MADAME NOVELLO 300 PORTRAIT OF FELIX MENDELSSOHN BARTHOLDY .... 308 PORTRAIT OF WOLFGANG MOZART 322 PORTRAIT OF JOHN K. PAINE 336 PORTRAIT OF HORATIO W. PARKER 344 PORTRAIT OF JAMES C. D. PARKER 348 PORTRAIT OF SIR CHARLES H. H. PARRY 350 PORTRAIT OF JOACHIM RAFF 354 PORTRAIT OF ALBERTO RANDEGGER 358 PORTRAIT OF JOSEPH RHEINBERGER 362 PORTRAIT OF GIOACHINO ROSSINI 368 PORTRAIT OF ANTON RUBINSTEIN 374 PORTRAIT OF CAMILLE SAINT-SAENS . 382 PORTRAIT OF FRANZ SCHUBERT 388 PORTRAIT OF ROBERT SCHUMANN 398 PORTRAIT OF CHRISTIAN SINDING 407 PORTRAIT OF SIR GEORGE T. SMART 410 PORTRAIT OF Louis SPOHR 414 PORTRAIT OF CHARLES V. STANFORD 416 PORTRAIT OF RICHARD STRAUSS 420 PORTRAIT OF SIR ARTHUR SULLIVAN 426 PORTRAIT OF PETER TCHAIKOVSKY 436 PORTRAIT OF GIUSEPPE VERDI 444 PORTRAIT OF RICHARD WAGNER 448 PORTRAIT OF CARL WEBER 450 THE STANDARD CONCERT GUIDE BACH 1685-1750 THE CHRISTMAS ORATORIO THE " Christmas Oratorio " was written by Bach in 1734, the subject being taken from texts in Luke and Matthew pertaining to the Nativity. It is not, as its name would suggest, a work to be performed at a single hearing, but a composition divided into six parts of divine service, arranged for the three days of Christmas, New Year's Day, New Year's Sunday and the Epiphany, each part being a complete cantata for each day, and all linked together by chorales which give it unity of subject and design. It is not an oratorio in the modern sense ; but the justification of its appellation as such is to be found in Bach's own title, " Oratorium tempore nativitatis Christi." As the entire six parts are very rarely given, a general review of their character will better suit the reader's pur- pose than a detailed review of each. The entire vocal score embraces no less than sixty-four numbers. In the first three parts, the connecting narratives, recited by the Evangelist, are assigned to tenor and bass, and declare the events associated with the birth of our Lord, the journey to Bethlehem, the birth in the manger, the joy of Mary, and the thanksgiving over the advent of the Lord, the choral parts being sung by the shepherds. The fourth part relates the naming of Jesus, and outlines His i 2 STANDARD CONCERT GUIDE career in a grand expression of faith and hope. The fifth illustrates the visit of the three kings, the anxiety of Herod when he hears of the advent of the Lord, and the assurances given him to allay his fears. In the sixth, the visitors depart to frustrate Herod's designs, and choruses of rejoicing over the triumph of the Lord close the work., The first two parts are the only ones which need spe- cial notice for the purposes of the concert-goer. The first opens with a brilliant prelude, introduced by the drum, which Bach, like Beethoven, sometimes treated as a solo instrument. It preludes the narrative bidding Zion prepare to meet her Lord, a simple, touching melody, followed by the chorale (" How shall I fitly meet Thee and give Thee welcome due?"), set to the old Passion- hymn ("O Haupt voll Blut und Wunden"), a solemn and even mournful melody, which at first appears incon- gruous in the midst of so much jubilation. It is the same melody which Bach frequently uses in different harmonic forms in his " St. Matthew Passion," and is introduced here in the midst of the Christmas festivity for a special purpose. The composer's evident intention was to im- press the hearer with the fact that the object of the divine advent on earth was the Passion of our Lord. At the close of the work the same chorale appears, but with another meaning. It is there an exultant expression of Christ's victory over sin and death. As the chorale dies away, the narrative is resumed, leading up to another cho- rale ("For us to earth He cometh poor"), combined with an orchestral symphony and bass recitative. The next number is a bass aria with trumpet accompaniment ("Lord Almighty, King all glorious") and is followed by a chorale set to the words of Luther's Christmas hymn, which also occurs in other parts of the work, differently harmonized to suit the nature of the situation, and with which the first part closes. BACH 3 The second part opens with one of the most delightful instances of Bach's orchestration, a pastoral symphony, with which the Theodore Thomas Orchestra has made audiences familiar in this country. Like the symphony of the same style in Handel's " Messiah," it is simple, grace- ful, and idyllic in character, and pictures the shepherds watching their flocks by night on the plains of Bethlehem. At its conclusion the Evangelist resumes his narrative, fol- lowed by the chorale (" Break forth, O beauteous, heav- enly light"), preluding the announcement of the angel ("Behold, I bring you good tidings"). It is followed by the bass recitative ("What God to Abraham revealed, He to the shepherds doth accord to see fulfilled"), and a brilliant aria for tenor ("Haste, ye shepherds, haste to meet Him"). The Evangelist gives them the sign, fol- lowed by the chorale which closed the first part, in another form ("Within yon gloomy manger lies"). The bass recitative ("O haste ye then") preludes the exquisite cradle-song for alto ("Sleep, my beloved, and take thy repose"), a number which can hardly be excelled in the sweetness and purity of its melody or in the exquisite- ness of its instrumentation. This lovely song brings us to the close, which is an exultant shout from the multitude of the heavenly host, singing "Glory to God in the highest." THE SAINT MATTHEW PASSION Bach wrote five Passions, the " St. John," probably written in 1723, and first performed in the following year; another, which has been lost, in 1725; the " St. Matthew," in 1729 ; the "St. Mark," in 1731 ; and the "St. Luke," in 1734. Of these only two are now known, the "St. John " and " St. Matthew " of which the latter is incom- parably the greatest. It was produced for the first time at the afternoon service on Good Friday, 1729, but was not 4 STANDARD CONCERT GUIDE heard again until the young Mendelssohn revived it in Berlin, March 12, 1829. The Passion is written in two parts, between which the sermon intervened in olden times. It includes portions of chapters xxvi. and xxvii. of the Gospel according to Saint Matthew, the remainder of the text being composed of hymns furnished to Bach by Christian Friedrich Henrici, who was assisted in the compilation by the composer him- self. The dramatis persona are Jesus, Judas, Peter, Pilate, the Apostles, and the People, or Turbee, and the narrative is interpreted by reflections addressed to Jesus, forming two choruses (" The daughter of Zion " and " The faithful "). They are sometimes given by the chorus, and sometimes by single voices. The chorales are selected from those which were in common use in the Lutheran Church. The Gospel text is in recitative form throughout, the part of the Evangelist, or narrator, being assigned to a tenor voice, while those of the persons incidentally intro- duced are given to other singers. In the dialogue, where- ever the words of Jesus occur, the accompaniment is furnished by a string quartette, which serves to distinguish them from the others, and invests them with a peculiar gentleness and grace. The incidental choruses, sung by the people and the Apostles, are short and vivacious in character, many of them being in madrigal form. The chorales, fifteen in number, as has already been said, were taken from the Lutheran service. One of them, which Bach also liberally used in his "Christmas Oratorio," be- ginning "Acknowledge me, my keeper," appears five times in the progress of the work, forming the keynote of the church sentiment, and differently harmonized on each occasion. Another ("O blessed Jesus") is twice used, once where the Saviour announces that he will be crucified after the Feast of the Passover, when the whole congrega- tion sings it, and again in the scene at Gethsemane, sung BACH 5 by select choirs. The whole work is written for double chorus, the two choruses singing the harmony of the chor- ales, accompanied by the instruments, while the congre- gation sing the tune in unison. Each chorus has its own orchestra and its own organ accompaniment. The double orchestra is composed of oboes, flutes, and stringed instru- ments. Drums and brass instruments are not used, the sentiment of the work, in Bach's estimation, not being fitted for them, sweetness and expressiveness of tone rather than power being required. The first part opens with a reflection sung by double chorus ("Come, ye daughters, weep for anguish"), the first exhorting believers to weep over the sinful world, the second responding with brief interrogations, and at last taking part in the sorrowful strains of the first. Interwoven with these is an independent instrumental melody, the whole crowned with a chorale sung by the sopranos (" O Lamb of God all blameless ! "), followed by still another ("Say, sweetest Jesus"), which reappears in other parts of the work variously harmonized. The double chorus and chorales form the introduction, and are followed by rec- itative and a chorale ("Thou dear Redeemer") and a pathetic aria for contralto ("Grief and pain"), relating the incident of the woman anointing the feet of Jesus. The next number is an aria for soprano ("Only bleed, Thou dearest heart"), which follows the acceptance by Judas of the thirty pieces of silver, and which serves to intensify the grief in the aria preceding it. The scene of the Last Supper ensues, and to this number Bach has given a character of sweetness and gentleness, though its color- ing is sad. As the disciples ask " Lord, is it I ? " another chorale is sung (" 'T is I ! my sins betray me "). Recita- tive of very impressive character, conveying the divine injunctions, leads up to a graceful and tender aria for so- prano ("Never will my heart refuse Thee"), one of the 6 STANDARD CONCERT GUIDE simplest and clearest, and yet one of the richest and most expressive melodies ever conceived. After further recita- tive and the chorale (" I will stay here beside Thee "), we are introduced to the scene in the Garden of Gethsemane, which is characterized by a number of extraordinary beauty and strength in its construction. It is introduced by a short instrumental prelude, Zion, represented by the tenor voice, and the Believers by the chorus, coming in after a few bars and alternating with extraordinary vocal effect. It fitly prepares the way for the two great movements which close the first part, an aria for soprano and alto (" Alas ! my Jesus now is taken") and a double chorus ("Ye lightnings, ye thunders ! "). The two solo voices join in a lament of a most touching nature, accompanied by the chorus exclaiming in short, hurried phrases, " Let Him go ! Hold ! Bind Him not ! " until at last the double chorus bursts in like a tempest, accompanied with the full power of the instruments, expressing the world's indignation at the deed which is to be committed. The first part concludes with the chorale " O man, bewail thy great sin ! " The second part opens with an aria for contralto, full of the deepest feeling ("Alas ! now is my Jesus gone"). The trial scene before Caiaphas and the threefold denial of Peter follow, leading up to the expressive aria for alto, with violin obligato (" Oh, pardon me, my God ! "). The work now rapidly progresses to its beautiful finale. The soprano recitative in response to Pilate's question (" He hath done only good to all "), the aria for soprano (" From love unbounded "), the powerful contralto recita- tive (" Look down, O God ! "), the chorale (" O Head, all bruised and wounded !"), the contralto aria with chorus ("Look where Jesus beckoning stands"), and the peace- ful, soothing recitative for bass (" At eventide, cool hour of rest") are the principal numbers that occur as we BACH 7 approach the last sad but beautiful double chorus of the Apostles (" Around Thy tomb here sit we weeping"), a close as peaceful as the setting of the sun ; for the tomb is but the couch on which Jesus is reposing, and the music dies away in a slumber-song of most exalted beauty. THE MAGNIFICAT IN D The Magnificat in D, known as the "Great Magnifi- cat," to distinguish it from the smaller, is considered one of the grandest illustrations of Bach's genius. It was composed for Christmas Day, 1723. For the occasion of this festival Bach expanded the Biblical text into four vocal numbers; but in describing the work it is only necessary to give it as it is now generally sung. The work is written for a five-part chorus, with organ and orchestral accompaniment. After a concerted intro- duction, foreshadowing the general character of the musk, it opens with the chorus ("Magnificat anima mea"), in fugal form, worked up with that wonderful power of con- struction for which Bach is so renowned among all com- posers. It is followed by an aria for second soprano (" Et exultavit Spiritus meus : in Deo salutari meo"), which is in the same key and has the same general feeling as the opening chorus, that of Christmas rejoicing, and in turn is followed by an aria for first soprano (" Quia respexit hu- militatem ancillae suae "), leading directly to the chorus which takes up the unfinished words of the soprano ("Omnes generationes "), each part overlaying the other as it enters, and closing in canon form in grave and co- lossal harmony. Its next number is an aria for bass (" Quia fecit mihi magna "), of a simple and joyous char- acter, followed by a melodious duet for alto and tenor ("Et misericordia"), with violin and flute accompani- ment, setting forth the mercy of God, in contrast with which the powerful and energetic chorus (" Fecit poten- tiam") which succeeds it is very striking in its effect. Two beautiful arias for tenor (" Deposuit, potentes de sede") and alto ("Esurientes implevit bonis") follow, the latter being exquisitely tender in its expression, and lead to the terzetto (" Suscepit Israel puerum suum : re- cordatus misericordise suse "), arranged in chorale form, and very plaintive and even melancholy in style. A stupen- dous five-part fugue (" Sicut locutus est") follows it and leads to the triumphant "Gloria," closing the work, a chorus of extraordinary majesty and power. ICH HATTE VTJEL BEKUMMERNISS The cantata with the above title, best known in Eng- lish 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. It was composed for the third Sunday after Trinity, June 17, and consists of eleven numbers, an instrumental prelude, four choruses, three arias, a duet, and two recitatives. The prelude, which is brief and quiet in character, introduces the opening chorus ("Deep within my heart was sorrowing and great affliction "), which in turn leads to the first aria (" Sighing, mourning, sorrow, tears waste away my troubled heart "), a tender and beautiful number for soprano, with oboe and string accompaniment. It is followed by the tenor recitative and aria ("Why hast Thou, O my God, in my sore need so turned Thy face from me?"), in which the feeling of sorrow is intensified in utterance. The chorus ("Why, my soul, art thou vexed?"), a very pathetic number, closes the mournful but beautiful first part of the cantata. The second part is more tranquil and hopeful. It opens with a duet for soprano and bass, the two parts BACH 9 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 flow- ing accompaniment (" Rejoice, O my soul, change weep- ing to smiling ") follows and leads to the final number, which is based on the same subject as that of the " Halle- lujah " 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 " Hal- lelujah," which closes the work in a burst of tremendous power, by voices and instruments. GOTTES ZEIT During the first half of the period in which Bach resided at Weimar, occupying the position of court and chamber musician to Duke Wilhelm Ernst, he wrote three cantatas in the old church form which are notable as the most perfect of that kind extant. 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." The introduction to the work is a quiet, tender move- ment in sonata form, 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 ") is very descriptive in character, beginning 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," and accompa- nied by the flutes, leads into a mournful aria for the bass, io STANDARD CONCERT GUIDE which forms the second part of the tenor solo (" Set in order thine house, for thou shalt die and not live"). The choir resumes with a new theme (" It is the old decree, man, thou art mortal ") in which the lower voices carry a double fugue, the soprano sings alone (" Yea, come, Lord Jesus "), and the instruments have the melody of the old hymn, "I have cast all my care on God." The alto voice follows with the words spoken on the cross (" Into Thy hands my spirit I commend "), to which the bass replies in an arioso (" Thou shalt be with Me to-day in Paradise "). The next number is a chorale (" In joy and peace I pass away whenever God willeth") sung by the alto, the bass continuing its solo at the same time through a portion of the chorale. The final chorus is the so-called fifth Gloria (" All glory, praise, and majesty"). FESTA ASCENSIONIS CHRISTI The cantata beginning with the words " Wer da glaubet und getauftwird" ("Whoso believeth and is baptised"), 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 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 for- ever"). Another brief prelude prepares the way for the brilliant tenor aria (" Of love, faith is the pledge and to- ken "), which leads up to the chorale (" Lord God, my Father, holy One "), based upon the old chorale, " Wie schon leucht uns der Morgenstern " (" How brightly shines the morning star "). The next number is a short recita- tive for the bass voice ("Ye mortals, hear, all ye who BACH ii 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 con- gregation, thus forming an effective devotional climax to the work. EIN' FESTE BURG " A safe stronghold our God is still, A trusty shield and weapon ; He '11 help us clear from all the ill That hath us now o'ertaken. The ancient Prince of Hell Hath risen with purpose fell ; Strong mail of craft and power He weareth in this hour. On Earth is not his fellow. " And were this world all devils o'er, And watching to devour us, We lay it not to heart so sore, Not they can overpower us. And let the Prince of 111 Look grim as e'er he will, He harms us not a whit ; For why ? His doom is writ, A word shall quickly slay him." There is now but little question that Martin Luther not only wrote the words, but the music of the grand old hymn, the first and third stanzas of which, taken from Carlyle's free and rugged translation, are given above. 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. It matters little, however, the exact year in which the sturdy old reformer wrote the hymn which has stirred the human heart more than iz STANDARD CONCERT GUIDE any other. It is indissolubly connected with his name, and every line of it is a reflex of his indomitable and God- fearing nature. It has frequently served an important pur- pose in music. Bach and other composers of his time arranged it. Mendelssohn uses it with powerful effect in his Reformation Symphony. Nicolai employs it in his Fest Overture. Meyerbeer more than once puts it in the mouth of Marcel the Huguenot, when dangers gather about his master, though the Huguenots were not Luther- ans but Calvinists ; and Wagner introduces it with over- whelming power in his triumphal Kaiser March. 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, who pre- pared the text. The third and fourth numbers are a bass recitative and soprano aria, the words also by Franck, leading up to the second great chorale set to the words of the third stanza of the hymn, "And were the world all devils o'er." 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 through- out by the stirring spirit and bold, vigorous feeling of the Reformation days whose memories it celebrated. BEETHOVEN 1770-1827 MOUNT OF OLIVES BEETHOVEN wrote but one oratorio, "Christus am Oelberge" ("Christ on the Mount of Olives"). It was begun in 1800 and finished during the following year. The text is by Huber, and was written, with Beethoven's assistance, in fourteen days. That more time and atten- tion were not given to the words was probably regretted by both poet and composer many times afterwards. The first performance of the work in its entirety took place at Vienna, April 5, 1803, at the Theater an der Wien. It was received with enthusiasm, and was repeated three times during that year. The libretto is unquestionably defective in the most salient qualities which should characterize the text of an oratorio, even to the degree of extravagance and sensa- tionalism. It fails to reflect the sorrowful character of the scene it depicts, and the dramatic requirements which it imposes are often strained, and sometimes border on the grotesque. The oratorio is written for three solo voices, Jesus, Peter, and a Seraph, and chorus and orchestra. The narrative opens with the agony in the garden, followed by the chant of a Seraph reciting the divine goodness and foretelling the salvation of the righteous. In the next scene Jesus learns His fate from the Seraph, yields Him- self to approaching death, and welcomes it. The soldiers enter in pursuit, and a tumult ensues as the Apostles find themselves surrounded. Peter draws his sword and gives vent to his indignation ; but is rebuked both by Jesus and i 4 STANDARD CONCERT GUIDE the Seraph, and together they conjure him to be silent and endure whatever may happen. The soldiers, discov- ering Jesus, rush upon Him and bind Him. The disci- ples express their apprehension that they too will suffer : but Jesus uncomplainingly surrenders Himself, and a chorus of rejoicing completes the work. From this brief sketch the artificial and distorted manner of treating the solemn subject will be evident. The score opens with an adagio introduction for instru- ments which is of a very dramatic character, and, unlike nearly all of the sacred music of that time, is noticeable for the absence of the fugue. The first number is a reci- tative and aria for tenor, sung by Jesus ("All my soul within Me shudders"), which, notwithstanding the anom- aly of such a scene in such surroundings, is simple and touching in expression. The Seraph follows with a scene and aria ("Praise the Redeemer's goodness"), conclud- ing with a brilliant and jubilant obligate with chorus (" O triumph, all ye ransomed!"). The next number is an elaborate duet between Jesus and the Seraph ("On Me then fall Thy heavy judgment "), which is still more anoma- lous than the scene and aria with which Jesus opens the work. In a short recitative passage, Jesus welcomes death ; and then ensues one of the most powerful numbers in the work, the chorus of soldiers in march time (" We surely here shall find Him"), interspersed with the cries of the people demanding His death, and the lamentations of the Apostles. At the conclusion of the tumult a dialogue ensues between Jesus and Peter (" Not unchastised shall this audacious band "), which leads up to the crown- ing anomaly of the work, a trio between Jesus, Peter, and the Seraph', with chorus (" O, sons of men, with gladness"). The closing number, a chorus of angels ("Hallelujah, God's almighty Son"), is introduced with a short but massive symphony leading to a jubilant burst of LUDWIG VAN BEETHOVEN BEETHOVEN 17 the scenes, a triumphal march and chorus (" Twine ye a garland ") is introduced. The seventh number is a reci- tative 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 GLORIOUS MOMENT In September, 1814, the same year in which the Allies entered Paris, the Vienna Congress met to adjust the rela- tions of the various European States. It was an occasion of great moment in the ancient city, and the magistracy prepared to celebrate it with befitting pomp and cere- mony. 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 cantata itself, while not one of the most conspicu- ous of the composer's works, still is very effective in its choruses. The detailed parts do not need special descrip- tion ; they are six in number, as follows: No. i, chorus (" Europa steht"); No. 2, recitative and chorus ("O, seht sie nah und naher treten") ; No. 3, grand scena, so- prano, with violin obligato and chorus ("O Himmel, welch' Entziicken"); No. 4, soprano solo and chorus (" Das Auge schaut ") ; No. 5, recitative and quartette for two sopranos, tenor, and bass (" Der den Bund im Sturme festgehalten ") ; No. 6, chorus and fugue (" Es treten her- vor die Scharen der Frauen "), closing with a stirring trib- ute (" 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 ,8 STANDARD CONCERT GUIDE Tonkunst" ("Praise of Music"), in which form it was better adapted for general performance. SYMPHONY No. i, IN C MAJOR. OP. 21 1. ADAGIO MOLTO. ALLEGRO CON BRIO. 2. ANDANTE CANTABILE CON MOTO. 3. MENUETTO E TRIO. 4. ADAGIO. ALLEGRO MOLTO E VIVACK. The date of Beethoven's First Symphony has not been definitely ascertained. Sketches of its finale are found as early as 1795, though the work was not performed until April 2, 1800, at a concert in Vienna, conducted by the composer. It was probably completed in 1799, as shortly after that time he offered the manuscript to the music pub- lishers, Hofmeister and Peters, of Leipsic, for what seems now the ridiculously small sum of twenty ducats ($50). With the first bar Beethoven puts himself on record, saying : " Please do not forget that, although I have studied under Albrechtsberger, and have feasted on the fruits of Haydn's and Mozart's genius, I mean to introduce myself." The symphony, in the key of C major, does not begin with the common chord of C, but with a seventh chord on C, resolving into F major, at that time an un- heard-of proceeding : Adaeio molto. BEETHOVEN 1 9 This short introduction, in which Beethoven also gives us a foretaste of his inherent predilection for the extraordi- nary use of dynamics (sudden changes from forte to piano) leads us in twelve measures to the first movement, Allegro con brio, with this principal theme Violin. The flutes take up the cadence and lead through C and C sharp into a repetition of the theme one step higher in D minor, bringing it the third time in a slightly altered form on the dominant chord of G and leading back into the principal key of C. The second theme Flute. a 20 STANDARD CONCERT GUIDE includes in its melody another of Beethoven's idiosyncra- sies, namely, the syncopations at a, while the broken chords in the staccato accompaniment foreshadow his preference for decided figures in his basses. This application of a melodious bass we find a few measures farther on in the following passage : Violin. 4 i t Oboe. itj U U '* t t i The second part opens with the principal theme in A major, which after some modulations is reiterated fortis- simo and in unison by the whole orchestra. The chro- matic step C, C sharp, for the winds, which we found in the beginning, leading into a repetition in D minor, is now extended to a quasi chromatic scale, running through an octave and a half, and leading in a steady crescendo into the dominant and thus back to the second theme, which appears now in the original key of C. Near the close of the movement, Beethoven very ingeniously gives us a re- minder of his opening chords and their resolution by using the principal theme in part, thus : BEETHOVEN 21 Flute. Violin.L etc., overlaying it in the winds with a seventh chord. The con- necting figures and phrases remind one of Mozart, and the treatment throughout is simple and clear. The Andante cantabile con moto, f time, in the key of F, opens with the following melody : Violin II. answered in canon by the violas and 'cellos. The opening step C to F, enlarged to a sixth, G to E, makes the second phrase of the movement a natural sequence of the first. In the last eight measures of the first part, Beethoven again steps out of the beaten track of using the kettle-drum only as a kind of metronome, by giving it the following rhyth- mic phrase accompanying a triplet figure in the violins : Violin. Timpani. 22 STANDARD CONCERT GUIDE The step C to F, in connection with the pulsating beat of the drum, furnishes the composer the material for the opening of the second part of the Andante, which is worked out with the utmost delicacy and closes with one of those dynamic contrasts of which Beethoven was so fond. The Minuet, Allegro molto vivace, f time, in C major, was the composer's most serious attempt to impress his individuality upon a form which had been so strongly de- fined by his predecessors, and which, as the representative of the dance Minuet, seemed to have been almost ex- hausted by Haydn and Mozart. Beethoven, recognizing the fitness of a bright and sprightly movement between the Andante and the last movement of the sonata form, aimed at once to break through the form of the Minuet proper and create the Scherzo and Trio, which he afterward de- veloped so successfully. The movement under considera- tion, although entitled " Minuet," is really a Scherzo. Its beginning reveals those characteristics of the composer which further study of his works forces us to admire the most in him, simplicity and strength. Look at the opening : Its tonal design appears to be nothing but the scale of G major, but what does it become under the hands of the young master? BEETHOVEN 23 The second part of the Minuet is remarkable for its modulation, and there is something infinitely humorous in the measures which follow this tour de force : Violin. - 1 | [ TV _ -^-J M -M -T-J M h-Vpi 9 i -*- 9 9 17* * Q9 ' Fagotto and Oboe. lx^~~ 1 s* % J wa> ^Z& L r * S* S* N* N* '^r^ ^ ^ ^^* 1 1 Basses. 7L i - i 1 ffn^kg t m \\ i- J J ? ^M-'S S h 2 S S b 2 m m ' s* v [7* 55 cz* >j s* i : C_x> ^ V k^ 7 until their pianissimo comments are cut short by the state- ment of the opening scale fortissimo. Referring to the syncopations : etc, t r r we have before us most of those qualities which elevated the composer above all his rivals in his after life. The Trio is very simple and chiefly based on the interchange of the wind and string choirs, and the Minuet, da capo, closes the movement. The Finale opens with a few bars of Adagio. After a hold on G, the first violins daintily explore the ground in this fashion : 24 STANDARD CONCERT GUIDE but no sooner have they reached the last lookout and made sure that the ground is clear, than they rush off in their mad dance, Allegro molto vivace : The duenna of the party puts in her word of caution : but it is taken up in mockery by the basses, and the whole company are off again. It goes without saying that this movement reminds us of Haydn. Why ? Chiefly because the composer, in inventing his theme, suffered himself to be influenced entirely by the characteristics of the in- struments, a method which he discarded as he grew stronger. The opening phrase of the Allegro is a violin figure, pure and simple, and the scale runs of the second part are but threads compared with the scale which we found overlaying the harmonic structure of the opening of the Minuet. The second theme of the Finale is the following : BEETHOVEN coquettishly set off against the steady basses and entirely in keeping with the spirit of the whole. In the First symphony Beethoven still clings to the ac- cepted musical forms. He has not yet emancipated him- self from the domination of the instruments, nor risen to bid them keep silence until he needs them for his indi- vidual expression; hence the occasional phrases which remind us of Haydn and Mozart. And yet the symphony shows us in embryo all those qualities which made Bee- thoven the greatest symphonic writer the world has thus far produced. As music the work is charming. It is not heroic in the Allegro, nor oppressively sad in the Andante, but delightful from beginning to end. It is not without intricacies and occasional discords, yet everything is clear, bright, and grateful to the ear. 26 STANDARD CONCERT GUIDE SYMPHONY No. 2, IN D. OP. 36 1. ADAGIO MOLTO. ALLEGRO CON BRIO. 2. LARGHETTO. 3. SCHERZO AND TRIO. ALLEGRO. 4. ALLEGRO MOLTO. Beethoven's Second Symphony was completed in the year 1802, the composer then being in the thirty-second year of his age. The first sketches for this symphony were found in his note-book, which was edited and published by Nottebohm some years since. When finished, it was dedicated to Prince Lichnowski, who was also honored with the dedication of the exquisite " Sonate Pathe" tique." The symphony was first heard at the Theater an der Wien, Vienna, April 5, 1803. The Second Symphony, although laid out on a some- what larger scale than the First, shows us the composer in the normal condition of a man at peace with himself and the world, happy in his art, and not yet stirred to his very soul by the sorrows of life. It begins, like the First, with an introductory Adagio, although of much greater length. The sturdy opening on a hold on D, in unison by the whole orchestra, is at once followed by an exquisite phrase for the oboes and bassoons. Similar contrasts pre- vail until the opening of the Allegro con brio, time. The theme is given out by the 'cellos, and in the repeat - etc., ^^^^^H"~~^ ^^^^^^^""~~^ 'Cello. the basses softly join them. The last part of the motive is somewhat emphasized by repeating the step of a third on the quarter notes at a, to a connecting melody in the winds, until the strings take up the first part of the theme BEETHOVEN 27 given above, and carrying it up into the seventh, enlarge the scope for a sweeping violin figure, which with a pro- nounced staccato phrase serves as a connection with the second theme : Oar. L* This theme is scarcely inferior in its jubilant expression to any similar outburst in Beethoven's later works. The finale of the Fifth symphony may have a more impetuous rush, but we have here the same joyous spirit, exulting in its youth and strength. This feeling is intensified in the re- peat by a trill-like figure in the violins, apparently trembling with excitement to break into the fortissimo of the second half of the theme, which now runs into this motive : Violin. until after a number of abrupt chords fortissimo the full orchestra stops on a diminished seventh chord (G#, B, D, F) , followed by three-quarters rest, during which the question naturally arises in the mind of the hearer, " What 28 STANDARD CONCERT GUIDE next ? " We are in expectation of some crashing resolution, when a soft murmur strikes the ear from the strings : Violin. etc., and not until after a crescendo of eight measures are we gratified with a satisfactory closing. The second part deals chiefly with the same material, a new feature being added by the counter-movement of a broken scale against the theme : Violin. and the constant tossing about of the motive : BEETHOVEN 29 The second half of the second theme furnishes the com- poser the material for the following exquisite phrase : Flutes. Oboe. Violin." Fagotti. Basses. The close is exceeding bold, the basses rising in a slow chromatic scale throughout an octave from D to D, the violins trying to counterbalance it by the other extreme of gigantic strides, thus : / tf tf The movement ends with a feeling of exultant joy and happiness. The Larghetto in A major, | time, is one of the loveliest slow movements Beethoven ever wrote, and is a special favorite in the concert-room. The opening theme given out by the strings and repeated by the winds, is a flowing cantilena of exceeding beauty, uninterrupted by 3 o STANDARD CONCERT GUIDE any staccato or even any well-marked incision in the phrasing. Even the syncopations on E in the violins have a coaxing character rather than the spirit of stub- bornness. The second phrase with its endearing half-step, only intensifies the general feeling expressed in the first. A long dialogue follows between two lovers, which hardly needs musical quotation to be thoroughly understood by the attentive listener. It is one of those graceful feats of genius that captivates the casual hearer as much by its perfect beauty as it delights the student who investigates the means by which such perfect expression of a lovely sentiment is obtained. The Scherzo here appears under its own name and is in the key of D, \ time. It is built up on the short motive Allegro. of three notes repeated over and over again, first by the basses, then by the violins, and again by the horns, after which the oboes bring it reversed, at one time fortissimo and again piano, but ever tripping along staccato until the violins in the second part indulge in a temporary sweep of descending scale, followed by a reminder of the leading figure of the first Allegro : BEETHOVEN The three-note motive, however, soon stops such va- garies, and barring a short chromatic phrase carries the day. The Trio begins with a short phrase for oboes and fagottos played twice and ending in D. The violins, as if vexed by the liberty the winds have taken, in appropri- ating sixteen measures to themselves, follow with a deter- mined stroke on the third (F sharp) ; and as if bent on destroying any pleasant impression that the winds might have left, turn the note into the tonic of the chord of F sharp : etc, eventually quieted down on the same F sharp, thus pre- paring the way for a more social feeling among all the members of the orchestra during the rest of the Trio. The Finale, Allegro molto, D major, expresses the same happy mood that characterizes the preceding move- ments. The opening motive is thoroughly characteristic of Beethoven, and for piquancy has few rivals among the composer's works : Violin. tr Then follows a longer period, in which the winds carry the melody while the strings furnish an apparently monotonous staccato accompaniment. In the further working up, that part of the motive containing the trill is also more 32 STANDARD CONCERT GUIDE extensively employed, but the peculiarity of the appoggia- tura during a fortissimo phrase of sixteen measures shows us Beethoven at his best. Right here we have also an instance where the composer exchanges humor for down- right fun. Imagine the beginning of the following quo- tation : ff Violin. etc., fortissimo, supported by the whole orchestra, closing at a with a sforzando crash, followed by the weazened little gasp of the first violin pianissimo, then by a pause and a repetition of this whimpering appoggiatura, finally after a second pause the whole orchestra breaking in at b with the opening motive, forte. The close is worked out into a Coda of considerable length, starting from two succes- sive holds with a new rhythmic figure, which, however, soon merges into the general whirl of joyous mirth per- vading the whole movement. SYMPHONY No. 3, IN E FLAT (EROICA). OP. 55 [Heroic symphony, composed to celebrate the memory of a great man. Dedicated to his serene highness, Prince Lobkowitz.] 1. ALLEGRO CON BRIO. 2. MARCIA FUNEBRE. ADAGIO ASSAI. 3. SCHERZO AND TRIO. ALLEGRO VIVACE. 4. FINALE. ALLEGRO MOLTO. Beethoven first projected the Third symphony in 1802 and finished it in 1804. "Eroica" is likely to mislead the hearer if he supposes the music to be of a martial BEETHOVEN 33 character, and we therefore add the complete title of the work as it first appeared in print. It was : " Synfonia Eroica, composta per pesteggiare il sowenire di un grand' Uomo, dedicata," etc. ; that is, " Composed to celebrate the memory of a great man," namely, the heros in its widest sense. The first manuscript copy, however, bore the following inscription : Sinfonia grande, NAPOLEON BUONAPARTE, 1804 in August: del Sigr; Louis VAN BEETHOVEN. Sinfonia 3. Op. 55. And the fly-leaf of the copy, which the composer retained, had the words " Luigi van Beethoven " at the top, and "Buonaparte" at the bottom. It is known that Bee- thoven watched with deep interest the great revolution in France, hoping that the freedom he imagined and desired would rise above the sans-ctilotte 's libertf and enlighten the world. One man attracted his attention and kindled his enthusiasm. Napoleon Bonaparte had appeared like a sun above the sea of confusion and mediocrity, rising rapidly but steadily until it seemed he would be the fore- most hero of the republic. For Beethoven the i8th Bru- maire had no forebodings of an i8th Mai; and when he first heard of the " Vive F Empereur " he took the score of his " Eroica," tore its titlepage in two, and threw the work on the floor. His idol was shattered. The copy which had been prepared for the French legation at Vienna was withdrawn, and the symphony was finally published in memory of " un grand' Uomo." Such, in brief, are the facts relating to its origin. As biographical data, they will be received with the interest usually attached to such information, but in their bearing on the composition they become of far greater interest and 3 34 STANDARD CONCERT GUIDE importance. Had Beethoven written the first two move- ments only and called the work " Napoleon, a Symphonic Poem," a running text could easily have been supplied, and, although there might be different versions, the funda- mental idea would have been the same in all. But he was still in the bondage of the symphonic form as it then ex- isted, or at any rate chose to adhere to the four classical movements, thereby sorely puzzling the enthusiastic critics who were to dissect his work and explain to the admiring listener the intention and meaning of every phrase ; for that he had a very decided meaning and purpose in writ- ing this work we may well believe. The "Eroica" was not thrown off in ten days nor ten months. Beethoven had for years been gathering the material and crystallizing the different musical thoughts which go to make up this mighty drama, and when he called the symphony " Na- poleon Bonaparte," we are bound to believe that he in his way had sung the paean of the hero, as he then sup- posed him to be. Admitting in the first movement the strife, the battle, whether of warring races or of one man fighting against fate and fortune, and in the " Marcia Funebre," the grand- est dirge ever sung, whom do we follow to the grave amid those solemn sounds, the hero of the drama, Napoleon ? Then what of the third and fourth movements ? The biog- raphy ends with the grave, and the character of the Scherzo and Finale will not admit the explanation of a resume or commentary on the life just closed. Marx conceives that the symphony is a battle-piece. In the Scherzo he sees the busy life of the camp the day after the strife ; in the Finale the joys and festivities of peace. Wagner finds no military hero, but literally "a great man," whose qualities are described in the text. Overpowering force leading to a tragic result characterize the first two movements. In the Scherzo all is serene. In the Finale the "grand' BEETHOVEN 35 Uorao" is harmoniously developed, freed from passion, and conquered by the power of love. Berlioz compares the Scherzo to the solemn rites which the warriors of the Iliad celebrated at the grave of their leader, con- tinued in the Finale, and closing with a hymn of victory. But every hearer may exercise his ingenuity and fancy upon this problem, and most will probably arrive at the conclusion that the music of these two movements was written for music's sake, rather than to portray any phases of a hero's career. The first movement, Allegro con brio, in E flat, I time, has a number of themes in the highest degree characteristic, showing Beethoven's power in terse and precise expression of musical ideas. The main theme is given out at the very beginning by the 'cellos in a quiet manner, but after twenty- four measures we encounter the syncopations which play so decided a part in this great picture of strife and at times change the rhythm practically to J time, although the movement is written in triple time. A tender episode for the winds, repeated by the strings, interrupts the turmoil, but after a short repose a rapid crescendo leads again to the clashing syncopations. A similar treatment is adopted in the second part, the whole forming one of the most re- markable pieces of orchestral writing ever accomplished. The Adagio assai appeals more directly to the listener, with its sad melody in C minor and its heartfelt tones of melancholy. This solemn dirge, designated by the com- poser " Marcia Funebre," is followed by the Scherzo, Al- legro vivace. The contrast in the heading of the two movements would naturally suggest startling incongruities in the music ; but it is one of the greatest achievements of Beethoven's genius that he surmounts the difficulty in a way which does not admit of an idea of unfitness. The Scherzo begins with a pianissimo staccato, which has something mysterious in its character, moving four 36 STANDARD CONCERT GUIDE measures in the step of a secunda only, and that on the lower notes of the violins. Not until the fifth measure does the melody rise into the higher octave, and only in the ninth measure do we find a hint of the lighter character of the Scherzo in a short group of connected descending notes. Even the second part moves in a similar manner of steps and half-steps always pianissimo. It is not until the middle of this part that it breaks forth with a sudden fortissimo, and not even then without a reminiscence of the syncopations of the first Allegro. A change from | into alia breve * during four measures, and back again into | time, is a conspicuous example of Beethoven's masterly ap- plication of rhythm as a means of expression. The Trio, with its horn passage, finally dispels the gloomy character of all that precedes, and calls up more peaceful visions. The last movement, Allegro molto, begins with a domi- nant seventh chord in the form of a cadenza, after which the theme enters pizzicato. This melody, in its intervals, is really a fundumental bass, and is worked up in the form of variations, ever and anon interrupted by a hold on the dominant chord, until a new theme appears, happier and brighter than any, dominating the last part of the move- ment It gives room to a severe treatment of the first theme in strict counterpoint, only to reappear in a Poco andante of some length, which without warning breaks into the final Presto fortissimo that brings the work to a close. The principal theme of the first movement is given out by the 'cellos as quoted at a : Oboe. Clarinet. Flute. Violin. BEETHOVEN 37 The second subject at b is in fine contrast with the first, and is thrown about from instrument to instrument. The episode given out by the winds, as mentioned above, is indicated at c : Flute. Oboe. Clarinet Jjljj^ffe H 1 1 H f- f- F * I fTT Fagotti d J !*J^ B x tr f Basses, pizz. ' Another prominent theme starts in about the middle of the second part, as at d: Oboe. # J J J i r J r followed by that remarkable passage in the basses at e. The melody of the Adagio we give at / with 38 STANDARD CONCERT GUIDE its counterphrase at g. The main theme of the Finale is a subject chosen from an air in Beethoven's music to " Prometheus," the present Finale adopting the bass at a for a melody, and only bringing in the original melody at &, at the third variation. We give them here condensed, one above the other : ^_ T K r u v -1 inY * \f * IT 1 *^\) 1 I t) a /^A t k 1 [CA 7 ^ ^ *! ^* ] J *5 ^ 52 \* fcq_^ - ' S. J I *^ * ^ BEETHOVEN 39 SYMPHONY No. 4, IN B FLAT. ALLEGRO VIVACE. OP. 60 1. ADAGIO. 2. ADAGIO. 3. MENUETTE. ALLEGRO. A. ALLEGRO MA NON TROPPO. ALLEGRO VIVACE. TRIO, UN POCO MEMO The Fourth symphony, as the original manuscript shows, was written in 1806, and dedicated to Count Obersdorf, one of Beethoven's Viennese patrons. It was first per- formed at a subscription concert for the composer's bene- fit in the Spring of 1807, and was subsequently given at a charitable concert on the fifteenth of November of the same year, which may be called its first public perform- ance. It lies like a gleam of sunlight between the heroic Third and majestic Fifth. Although written at a time when Beethoven was harassed by intrigues and cabals growing out of the production of his opera "Fidelio," then known by its original title of " Leonore," it is the happiest and most serene of all his symphonies. With the exception of the introduction, which bears traces of anxious uncertainty, if not of sadness, there is scarcely a measure in the work which is not bright, peaceful, and happy. The symphony begins with the customary slow introduc- tion, an Adagio in * time, in the key of B flat, which opens in this mysterious manner to a long-held B flat in the wind instruments : Flute. 40 STANDARD CONCERT GUIDE It is not the mystery of dreadful adventure, for the tip- toeing figure in the seventh and eighth measures assures us that there is roguery abroad. This tripping around in the dark is kept up through thirty-six measures, and then the light is turned upon the masqueraders suddenly and in full force with a seventh chord on F fortissimo, which, after exposing the entire company in the opening meas- ures of the Allegro vivace, hurries them on at an acceler- ated pace : ~y i e "3 ' U* U D /Her M "* - M^ 1 i L i i -F I f 1 t(n ]J \ U \ t fF / A u etc. y i '-1 l\ f X. b ! C3 *rt A "1 *1 . rr\ p ! J J 1 f n While the violins are indulging in mysterious whisper- ings, the bassoon, as the clown of the company, skips around as nimbly as Figaro, until it is silenced by a cres- cendo of four measures, and the rush of the opening of the Allegro is repeated. A mocking syncopated phrase now occurs, followed by a little small talk between the bassoon, oboes, flutes, and violins, until a unison figure for the strings, of a peculiarly buoyant character in its har- monic design and well calculated for a fine crescendo Violin. s etc., brings us to a little canon BEETHOVEN Clarinet. Fagotto. A h 1 ,-' J J ^1 V ' J 4* j /L 7 c? 1 Ct) I . 1 ff ff a simple enough proceeding for Beethoven, but in its very simplicity admirably in keeping with the general character of the music. A mysterious tremolo pianissimo for the violins is followed by the boisterous laugh of the whole company, and after repeating this little by-play a synco- pated figure in the violins forces the repetition of the first part. The second part, though dealing essentially with the same thematic material, is exceedingly rich in har- monic changes and transpositions, to follow which would lead us too far ; but the listener should note the exqui- sitely roguish humor that pervades a phrase in which the kettle-drum takes part individually in the general fun. This part also contains an unaccompanied, unbroken scale, started by the first violins on G sharp above the staff and carried down into the basses to E sharp below the bass staff, always pianissimo, breaking into an upward sweep through a diminished seventh chord and landing again within four measures on a high D in the flutes. This freak sets the kettle-drum to growling, and while it keeps up its rumbling for twenty-six measures the scattered forces are called back one by one until they unite in the open- ing theme fortissimo. Thus the first movement, though abounding in fine effects and wonderful modulations, flows 42 STANDARD CONCERT GUIDE along in an unbroken and perfectly spontaneous manner, nowhere showing an effort of serious labor. The Adagio in E flat, | time, is less liable to very widely different interpretation, and would well fit into a love poem. The following measure, given out by the second violins, Adagio is used by the composer as the chief and characteristic design for his accompaniment throughout. A lovely air Cantabile. enters at the second measure, marked " cantabile," sung by the violins, and closes in its eighth measure on the fifth of the chord, producing an effect of vagueness, " as if its loveliness might go on forever." It is then repeated by the wind instruments, to which is also given the greater part of the second phrase. In its workmanship this Adagio is remarkable for what the Italians call "fioriture," but in this case more strictly "decorative accompaniment," which at times reminds us of delicate carving and again wreathes itself around the melody, while in the repeat it is BEETHOVEN 43 even woven into the melody itself. Just at the close the opening motive claims its right for the first time as a solo for the kettle-drum, the use of which no one but a master could have withstood the temptation to employ many times before. The Minuet, Allegro vivace, in B flat, differs in its form somewhat from any of Beethoven's former third move- ments, inasmuch as it is divided into five sections instead of three, by repeating both the Minuet and the Trio and returning again to the Minuet. The principal motive shows what care Beethoven bestowed upon these movements. The jostling, pushing effect of the first part of the opening phrase, offset by the sweeping legato answer, which sounds like a kindly remonstrance, is all he needed for the Min- uet proper ; but how wonderfully these means are employed when we come to look at their distribution, as far as har- mony and color (that is, the use of different instruments) are concerned ! The Trio, un poco meno allegro, consists of a short phrase for the wind instruments, interrupted by a playful remark of the violins, Oboes. etc., Horns. repeated on three ascending steps, with a short trill toward the end imparting a peculiar elegance to the dainty dia- logue. The final repeat of the Minuet proper winds up with the following : Horns. Tutti. -J- J J J. 4. 5 r/w h i 1 i LP'l " i J J ^| A ^ ^ LWh * N an d boldly carry the day. The second part of the Scherzo, in the key of C major, which represents the Trio, opens with a strong and boisterous passage for the 'cellos and basses, gradually reenforced by the violins, and carried to a joyful climax, from which a gradual decrescendo leads back into the first part. After the hold the now victorious triple beat starts pianissimo in the clarinets and changes from instrument to instrument, but always pianissimo, as if intended thor- oughly to repress any premature exultation. The kettle- drum finally takes up the beat, and for forty-eight measures persistently furnishes the rhythm. The violins take cour- age and begin an upward sweep, always pianissimo and in ever-widening intervals, until it reaches the dominant sev- enth chord, when the footing for a triumphant onslaught 4 50 STANDARD CONCERT GUIDE seems secured, and with a short crescendo we rush into the jubilant march of the last Allegro, in the key of C major, common time : AUtgro. This is joy unbounded, not without manly dignity in the first four measures, but soon giving way to an aban- don of exultation. The upward sweep from the sixth measure, ending twice on the octave, is in its third repeti- tion carried a third higher, as if breaking all bounds, and naturally flows into a dotted rhythmic figure which only increases the excitement. The tender element, the loving figure, be it woman or angel, that breathed its consolation in the second movement, is recognized in the following short episode : r TJ bat is soon drawn into the general hymn of joy. After a perfect whirl on the dominant chord of G for twenty BEETHOVEN 51 measures, the violins having a tarantelle-like figure in trip- lets, the movement is suddenly interrupted by an episode of fifty-four measures in triple time, recalling the Scherzo in its rhythm, but in reality only a prolongation of the dominant chord, which was cut short at its climax so as to make a more deliberate change at the repetition of the grand march of joy. In conclusion, we quote only the principal phrase of the middle section of this movement : Oboes. ff.1: m t -F I I * i t F t -*- ^ Fagotti. | SYMPHONY No. 6, IN F (PASTORAL). OP. 68 1. ALLEGRO MA NON TROPPO. (The Cheerful Impressions ex- cited on arriving in the Country.) 2. ANDANTE MOLTO MOTO. (By the Brook.) 3. ALLEGRO. (Peasants' Merrymaking.) 4. ALLEGRO. (Thunder-storm.) 5. ALLEGRETTO. (The Shepherd's Song ; Glad and Thankful Feelings after the Storm.) The Pastoral symphony was composed by Beethoven in 1808, and was first performed at a concert given in Vienna, December 22 of the same year. No doubt can attach to the meaning of this symphony, as the composer has left his own explanation prefixed to each movement. It is absolute programme-music, and yet both in the sketches as well as in the autograph of the completed work a caution is conveyed to the effect that it is not an actual representation of the rural scenes that form the motive of the work. In the sketches it is entitled "Sinfonie caracteristica. Die Erinnerungen von der Landleben " (" Symphony Characteristic. Memories of 52 STANDARD CONCERT GUIDE Country Life"), and the following note is appended: " Man iiberlasst dem Zuhorer sich selbst die Situationen auszufinden" ("The hearer must find out the situations for himself"). When the symphony was completed, how- ever, Beethoven changed his intentions, and in the pro- gramme of its first performance, as well as in the printed score, gave explicit descriptions of the meaning of each movement, prefaced, however, with the significant cau- tion : " Mehr Ausdruck der Empfindung als Malerei " ("Rather expressive of sensations than painting,") or actual description. This symphony, in fact, reveals Beethoven as the lyric poet. It is by no means the sentimental strain of the conventional spring poet, but the masterly expression of that happy and contented feeling which the lover of Na- ture experiences during a ramble through a lovely coun- try. The motives employed are apparently of the simplest kind, but demonstrate the evolution of intense thought. They cannot be altered by a note without the sacrifice of their meaning. They are short and close in design, and to a great extent lean on the tones of the hunting horn. Their force rather lies in the fact that by their continuous repetition they produce that train of thought in the hearer which causes him to recognize the music at once as pas- toral. We quote a few of the motives that will attract the hearer's attention : BEETHOVEN ^ d 53 The first movement, of which the above are the themes, is an Allegro ma non troppo in F major, \ time, and is in keeping with the general description we have given of the music. The Andante molto moto in B flat, y time, gives voice to the listless dreaming of the wayfarer who is resting at the banks of the brook. The monotonous accompani- ment, sustained through nearly the entire movement by the strings, is of a flowing figure, containing a gentle rise and return to its level. The first violins give out the principal melodic theme, while the wind instruments re- spond with the second phrase. Short figures abound, flitting about among the different instruments, sometimes in imitation, again in euphonious thirds or sixths, and at times a brief trill or the short snapping of pizzicato notes. Its effect is that of the evening air alive with songs of birds and the buzz of insects. In the last twelve meas- ures of this movement, the composer even introduces the bird-songs, a proceeding which has been pronounced childish and utterly unworthy of Beethoven, but which to the unprejudiced listener seems to belong in its connec- tion. When we consider that its use by Beethoven cannot possibly have sprung from a desire to write catchpenny claptrap, it would perhaps be well to accept the intention of the composer. 54 STANDARD CONCERT GUIDE The third movement, Allegro, in F major, | time, rep- resenting the Minuet, introduces the purely human ele- ment. The first eight measures usher in the good country people tripping briskly along, but what a woful failure th.e clumsy peasants make at the end of the phrase ! In the next phrase, however, we approach the dance proper with its " band accompaniment." The whole movement shows how perfectly, as the Merry Andrew has it in the prelude to " Faust," Beethoven could grasp the exhaustless " life that all men live," not disdaining even to include the pleasures of the lowly peasantry in his inimitable tone- picture. The minuet-like movement is interrupted by a short Tempo d'allegro, |, which seems like the change to another dance, though being rather more boisterous it comes to a close by two short pauses, as if to give the dancers a chance to catch their breaths before re- turning to the triple time of the Minuet closing the movement. The next movement, an Allegro in A flat, is entitled " Thunder-storm," and brings before us the lowering sky, the distant rumbling of thunder, the sultry air, and the cumulus clouds as they rise higher and higher above the horizon until we are almost in darkness, and the storm breaks forth in all its fury. It soon passes over, however, the clouds break, and sunshine illuminates the refreshed landscape. Without interruption, the closing measure leads into the last movement, the shepherd's song of joy, and his feeling of relief from the dangers of the tempest. The motives are formed from the representative intervals of the instruments chiefly used by shepherds, and move in the steps of the chord rather than in the successive notes of the scale, although the middle section of the movement brings the violins to the front with just such runs as were excluded from the first part, which more strictly represent the song of the shepherd. The movement closes with BEETHOVEN 55 one of those dynamic contrasts in which Beethoven de- lighted. After the horn once more sings the principal theme, Horn. Con sordino. softly, con sordino, and while the violins are twining around it in a descending figure, the whole orchestra breaks in suddenly and without any preparation on the closing chord fortissimo, as indicated above. SYMPHONY No. 7, IN A MAJOR. OP. 92 1. POCO SOSTENUTO. VlVACE. 2. ALLEGRETTO. 3. PRESTO. PRESTO MENO ASSAI. 4. FINALE. ALLEGRO CON BRIO. The Seventh symphony, which vies in popularity with the Fifth, was finished in the year 1812, and was first per- formed December 8, 1813, at a concert in Vienna for the benefit of the Austrian and Bavarian soldiers wounded at the battle of Hanau. The symphony was also played November 29, 1814, before the allied sovereigns at the meeting of the Congress of Vienna, and made a great impression. Of all the Beethoven symphonies, the Seventh is the most romantic, as well as the most happy. The composer left no clew to its meaning, though we know from his let- ters that he esteemed it as one of his best works. Modern critics, however, have busied themselves trying to interpret the story it tells. Berlioz and Ambros call it a rustic wed- ding ; Marx, Moorish knighthood ; Oulibicheff, a masked 56 STANDARD CONCERT GUIDE ball; and Bischoff. a sequel to the Pastoral symphony. Richard Wagner, with his keen insight into the subjectivity of music, declares that it is the apotheosis of the Hafm t the ideal embodiment in tones of the bodily movement, a definition which admirably applies to the symphony, as nearly all its motives are ideally perfect dance rhythms. The introduction, a Poco sostenuto in the key of A major, is almost a movement in itself, and contains one of the happiest and most delicate phrases to be found any- where in Beethoven's music, as follows : N K e. *_ This episode occurs twice, preceded and followed by as- cending scales running through two octaves, which are significant for the very staccato manner in which they are given. The last part of the above quotation, occurring as it does in the repeat on the chord of F major, is reiterated during a short crescendo, and suddenly resolves into the note E, given out by all the instruments fortissimo and repeated during the remaining ten measures of the intro- duction and the first four bars of the following Vivace, in various rhythms. At the entrance of the new movement it has the dotted rhythm of the quail-call, which is the predominating feature of the whole movement : BEETHOVEN 57 In these quotations the musician will be able to detect the germ in one form or another of nearly every measure of the first movement. The skipping rhythm and the melo- dic structure, not only as a whole but also in the smaller sections, are so pregnant that they are sufficient for the magician who in the working out brings all his art and devices into play. The opening suggests the dancing along of a bevy of happy girls, but when Beethoven feels in that mood it is impossible to trace him step by step. The giggling of the girls, the boisterous fun of the boys, the Homeric laughter of the elders, an attempt at dignity followed by a reckless plunge into hilarity, sudden pianis- simos followed by fortissimos, harmonic changes for which there is no time to prepare in the general rush, now a coaxingly gentle phrase, now a war of words short but em- phatic, these are the characteristics of the first part. The ill-tempered outbreak at the end of this part is repeated at the beginning of the second, only the flutes scream a third higher than before ; then a pause, and the violins move off again pianissimo 1 , while the basses come in with a long scale in the same rhythm, as if they were ashamed of having been led into loud words and were now trying to reestablish good feeling. The Coda contains one of those phrases which by their monotonous repeats partake somewhat of the nature of a pedal point ; and on the other hand remind us of the peculiarity of Slavonic music, in which this everlasting and monotonous repeat of one figure plays so characteristic a part. The basses support a steady crescendo from pianissimo to for- tissimo during twenty-two measures with this figure : The Allegretto, which takes the place of the slow movement, is in A minor, | time, and is built up on 58 STANDARD CONCERT GUIDE the following rhythmic figure : | J ^ | j J I . The melody of the first part moves within the interval of a third, and is of the simplest construction. The move- ment itself is constructed on a long crescendo as gradual as it is persistent, and irresistible in its natural strength. The production of such colossal effects by such simple means is one of the glories of Beethoven's genius. The second part, in A major, opens with this lovely melody : Clarinet. n If * v *. ,XL I* m 9 r f. t accompanied in triplets by the violins, with the steady dactylus | J ^ | as a support in the basses. A short interlude of staccato scales brings us back to the first theme, which is now worked up in the accompaniment in the style of a variation. Then the A major episode is re- peated. The Coda, in A minor, after a few sudden dynamic transitions, falls back on the original theme and dies away in a pianissimo, in the last six measures, how- ever, rising pho3nix-like in this most original manner : BEETHOVEN 59 The Scherzo, marked " Presto," in F major, opens with the simple device of moving through the intervals of the chord of F, but stamped by the master's hand with the form at a : followed by a descending scale motive, b. The third mo- tive, growing out of c, furnishes by the repetition of the half-steps the principal material for the middle section of the second part. The last four measures of the Presto dwell on a prolonged A held by all the instruments, bring- ing in some part of the orchestra throughout the whole Trio, which changes into the key of D major, Assai meno presto. This A, suspended in mid-air as it were, with only an occasional pulsation into the G sharp below, sheds an air of serenity over the whole which greatly enhances the restfulness of the melodic theme : -r p i -s-y- -P- -*- -F -*-X- J5 60 STANDARD CONCERT GUIDE The second part contains a most peculiar effect for the second horn, which on a low A and G sharp in different rhythms for twenty-six measures leads to a fortissimo re- peat of the main theme, the trumpets ringing out the sustained A, supported by the kettle-drums, a phrase which is almost without parallel for the expression of ex- alted, noble, and serene sentiment. An interlude, piano and diminuendo, changing between the chords of D and A, with a sudden drop into the seventh chord on C, leads back to the Presto. The Trio is then played again, fol- lowed by another repeat of the Presto and a short Coda, reminding one of the Scherzo in the Fourth symphony. The last movement, Allegro con brio, in A major, | time, takes up the joyous strain of the first movement and opens with the following whirling figure in the violins : etc., which is supplemented by etc., accompanied by full short strokes of the string instru- ments. The following two motives complete the material for this movement : f P f BEETHOVEN 61 The lightness and grace of the theme at a and the dance- like rhythm at b, with the mazurka accentuation of the second quarter, the use of dotted groups in the connecting phrases, the almost martial tread produced by the frequent employment of full chords, abruptly and forcibly marking the beats, the frequent changes of key, etc., all these factors impart to the movement an exuberant spirit which stamps it and the whole symphony as one of the most complete expressions of whole-souled enjoyment of life our musical literature contains. SYMPHONY No. 8, IN F. OP. 93 1. ALLEGRO VIVACE E CON BRIO. 2. ALLEGRETTO SCHERZANDO. 3. MENUETTO E TRIO. 4. FINALE. ALLEGRO VIVACE. The Eighth symphony was written in 1812 at Linz, whither Beethoven had repaired upon the advice of his physician for the benefit of his health. It was composed at a sad period of his life, for besides his sufferings from shattered health he was engaged in a most unpleasant law- suit forced upon him by his unworthy sister-in-law and undertaken in the interest of a graceless nephew. Not- withstanding these depressing events the symphony is one of the brightest, most cheerful, and most humorous works that he ever conceived. He speaks of it himself in a let- ter to Salomon as the " Kleine Sinfonie in F," not that it was little, but to distinguish it from the " Grosse Sinfonie in A" (the Seventh) composed in the same year. We know from Beethoven's sketch-book that this symphony had occupied his mind for a long time, but its actual pro- duction must have been the spontaneous expression of a very happy mood of the composer, when he felt inclined to banter jokes and give free play to that humor which, as 62 STANDARD CONCERT GUIDE we know by his letters, occasionally seized him in spite of his great and growing misfortune. As if serious preparation were unnecessary he plunges at once into the work and opens the first Allegro vivace con brio in F major with the main theme : -ft An intermediate phrase, closing with b f f db "fix"'' 1X1 ^ leads into the second theme, ^^^ which, containing a short ritardando, is then repeated by the wind instruments, and after a series of modulations runs into this motive for the full orchestra : The first part closes with the following skipping figure . e. BEETHOVEN which is in reality only an extension into the octave of the motive of b. The latter is frequently utilized during the second part in connection with the motive from the open- ing phrase, which is employed with all the art of the con- trapuntist either in imitations or enlarged into longer phrases for the basses, which during seventy-six measures really dominate the melody and finally rest on the octave skip at e. Then follows a pianissimo passage, which ap- propriates the tetrachord at the close of the first theme a marked *, and in canon form leads through a crescendo to a hold, after which a Coda commencing with brings the first movement to a close, in its jocular way reminding us forcibly of the closing of the Minuet in Mozart's G minor symphony. The slow movement is again supplanted by an Allegretto scherzando in B flat, | time. It is the well-known Oboes. ^"^^ ^^^i j 9 Violin. etc., which depends on its staccato character and fine instru- mentation for its daintiness, and has only one legato phrase in the whole movement : Oboe. * ^h^ '\-LJf toF*-imH*-+- - etc. \ nv>. Violin. 64 STANDARD CONCERT GUIDE The Minuet, in F, appears this time in its own true character, and develops the stately dance with its gliding figures to a perfection only found in the best efforts of Haydn and Mozart. The third part, or Trio, has this opening for the horns, etc., anticipating a vein of which Schubert frequently availed himself. The Minuet is then repeated. The last part, Allegro vivace, in F major, opens with this tremulous figure for the violins, pianissimo : I As we have had occasion several times to mention Bee- thoven's sketch-books, we copy this motive as he jotted it down at its first inception : BEETHOVEN 65 The reader can form some idea from this how conscien- tiously and diligently Beethoven matured these fundamen- tal ideas before he established the forms in which we now have them, and which, as we have said before, cannot be altered in any degree without destroying them. The second theme is the following cantilena : After a jubilant fortissimo about the middle of the move- ment, the music is interrupted by frequent rests, the triplet figure gliding past like a spider across his web, stopping short, then rushing on again to a second hold, after which a new design is introduced in a descending scale in the strings, and is opposed in the wind instruments by a simi- lar scale, ascending. These scales move quietly and pian- issimo in semibreves, while the triplet figure is flitting about here and there until the scale motive is brought in, fortissimo. The marvellous skill of the composer which is brought into play in this movement could only be pointed out at great length, and is of secondary importance to the listener. To the ear all is joyous excitement. Surprise chases surprise. Fortissimos are relieved by sudden pian- issimos, the close figure of the opening theme by the octave jumps in the basses, and the tremulous double trip- let by crashing syncopations, running at last into a most boisterous phrase with a sforzando on every other note, an apparently reckless performance, but produced and subordinated by scientific devices. The main themes are once more hastily touched, and the movement exhausts it- self in a long repetition of the final chord, as if trying to reach the longed-for rest. The joyous, happy spirit pervading the whole compo- sition, with its intermezzos of fun and quiet humor, will 5 66 STANDARD CONCERT GUIDE not fail to impress any hearer. When compared with the works of the later romanticists, Schubert, Mendelssohn, and Schumann, it seems to contain many ideas foreshadowing those which they developed to such perfection, though to Beethoven's more serious cast of mind these sportive fan- cies were only incidental. Listen to the motives at a, b, and e ; the pizzicato closing of the first movement ; the airy, perfectly magic opening of the Allegretto ; and last, but not least, to the peculiar buzzing character of the double triplet in the last movement when employed pianissimo. These phrases only need an intentional intepretation to suggest the best samples of elfin music from Mendelssohn's " A Midsummer Night's Dream," or Berlioz's " Queen Mab." SYMPHONY No. 9, IN D MINOR (CHORAL). OP. 125 I. INSTRUMENTAL. 1. ALLEGRO MA NON TROPPO, UN POCO MAESTOSO. 2. SCHERZO, MOLTO VIVACE; TRIO, PRESTO. 3. ADAGIO MOLTO E CANTABILE. 4. RECITATIVE, PRESTO; ALLEGRO MA NON TROPPO, ETC. 5. ALLEGRO ASSAI. II. VOCAL. 1. RECITATIVE. 2. QUARTETTE AND CHORUS: ALLEGRO ASSAI. 3. TENOR SOLO AND CHORUS: ALLEGRO ASSAI VIVACE; ALLA MARCIA. 4. CHORUS : ANDANTE MAESTOSO. 5. CHORUS : ALLEGRO ENERGICO, SEMPRE BEN MARCATO. 6. QUARTETTE AND CHORUS: ALLEGRO MA NON TANTO. 7. CHORUS: PRESTISSIMO. The Ninth, or "Choral," symphony, written in 1823, the last of the immortal group, stands prominently out among all other works of its class by its combination of voices and instruments. Before its composition, Bee- thoven had been preparing the way for such a union. In BEETHOVEN the Choral Fantasie, written in 1808, he advanced upon the idea by employing a chorus in the Finale ; but in the Choral symphony he made a still bolder advance, and in- troduced a chorus with variations on a colossal scale. There is a striking resemblance between the two in the choral parts, and Beethoven himself describes the sym- phony as being " in the style of the Pianoforte Choral Fantasie, but on a far larger scale." Schiller's " An die Freude," the " Ode to Joy," was selected by Beethoven for the Finale. Thirty years before the composition was really begun he had had this poem in mind as a fitting subject for musical treatment, as is shown by a letter written to Schiller's sister in 1 793, and the symphony was not per- formed until 1824. In 1811 an attempt to set the words is found in sketches of the Seventh and Eighth symphonies. The first of these sketches is given as follows, by Thayer : Ouverture, " SCHILLER." jx-x- xx Freu - de scho - ner Got - ter Fun - ken E^ Tbch - ter li After various attempts, as indicated by his sketch-books, Beethoven adopted an entirely new melody, which was finally evolved into the present setting. The progress and performance of the symphony come next in order. On the sixth of April, 1822, Beethoven wrote to his friend and pupil Ferdinand Ries, then in Lon- don, asking what the Philharmonic Society would be likely to pay him for a symphony. Ries brought the matter to the attention of the Society, and it authorized him to offer Beethoven $250 for a manuscript symphony. On the 68 STANDARD CONCERT GUIDE twentieth of December he accepted the commission. He concluded his labors in 1824, and sent the manuscript to London, though it was first given in Vienna at the Karnth- nerthor Theatre, May 7 of that year. The manuscript copy in the possession of the London Philharmonic Society bears the following inscription in Beethoven's handwriting : Grosse Sinfonie, geschrieben fur die Philharmonische Gesellschaft in London, von Ludwig van Beethoven. Erster Sat/. The symphony is without introduction proper. There is a prologue introducing the first subject, " always pianis- simo," in which the instruments seem to be feeling their way. It begins with an incomplete chord, 'cello, second violin, and horns, the first violins following sotto voce : Sempre. SottO VOCe. |S vi l in ! ~r- pp Violin II. F-.f ? H H ) *i^= 4 m 'Cello. >Lr* i N ny 5n . J - *- . m ' . m ' Viola. *T BEETHOVEN 69 After a repetition the real work begins. Against the back- ground of the second violins and 'cellos, strengthened by the sustained tones of the horns, clarinets, and flutes, the violins, tenors, and contrabasses appear in broken phrases. T^ien the wind instalments come in one by one, and at lasTwith a mighty cfe'Sc'endo the whole orchestra in unison sweeps into the first subject : The great crescendo dies away, but the titanic crash is re- newed again and again whenever the theme occurs. It is a struggle full of hopelessness and melancholy, a many- colored picture of the feelings and moods which must have possessed the mind of the composer. The second subject Clarinet. > etc., 7 o STANDARD CONCERT GUIDE is in striking contrast with the first, being tranquil and gentle in its inception. At its conclusion, the violins an- nounce another energetic phrase, and the strife is resumed, at last reaching an episode from which is developed a brief but very melodious passage followed by a second episode for the strings in unison, that leads on to the close of the first part of the movement, ending fortissimo and in uni- son. This division is not repeated. In its place Bee- thoven proceeds with the working out of his materials with a vigor and majesty that have never been surpassed, the orchestral parts moving independently of each other and frequently opposed, yet forming well-developed parts of a grand whole, until the Coda is reached, into which he seems to have thrown not only all his skill but all of his own conflicting moods and restless, agitated spirit ; for this symphony was written during a period of his life filled with deep, brooding melancholy. The old subjects and epi- sodes are worked up with profound skill ; but before he closes, a new and darker subject appears in the strings, companion to a threnody sung by the reeds, the strings repeating a chromatic passage through and above which is heard the wail of the oboes, until the movement closes with a powerful outburst, as if the soul were seeking to free itself from the menaces of destiny. After twelve bars of prelude the orchestra is fairly launched into the Scherzo, as follows : Molto vivace. BEETHOVEN Viol ft. i r~ / . \ . 1 i ~f n f \ 11_U ^^* hj m FR-" 1 - "~T ^ 1~ 1 />/ 1 I/ . . rt 1 /Hrv 7 D y * I H T* I , etc., 1 M * 1* J \i>L/ r 1 c ello. -f- -f- U ' jn which all thi> jiytrnmcnts successively join with spirited and brilliant effect. The wind instruments follow with a second theme, accompanied by the strings, which, after repetition, leads up to still other tuneful motives given out by the winds. The Scherzo closes pianissimo, but at fast the horns and trombones joyfully announce the Trio with its charming pastoral opening : Oboes and Clarinet. n*t - J ^- "*" - J y * r 1 V P I xT ^ - i r P VT7 l^ i p . Bass Trombone. 1 f 2 - ^ *- -f- - i . fe)5 ' 1 r ^ 1 1 m 1 F V HJ j*j * r S2. tt 1 ' * Q 2 f Fagotto. ^=^r ^ A vivacious subject for violas and 'cellos follows the first, and then the horns fairly revel in the principal theme until the Coda is reached, in which the whole orchestra joins with the utmost joyousness. STANDARD CONCERT GUIDE From the storm and stress of the Allegro and the geni- ality and hilarity of the Scherzo, the third movement, Adagio, changes to celestial rest and serenity, and is among the noblest, purest, and most grandly beautiful hymns of joy the great master has written. It is made up oj^Jwo distinct subjects differing in every musical respect, which are alternately developed until the second disappears. The first, Adagio molto e cantabile, is in B flat, and for delicious repose and ethereal sweetness can hardly be ex- celled in the whole realm of musical art. It is taken by the quartette of strings with interludes by the clarinets and horns, as follows : Adagio molto e cantabile. Aftetlhe_5trings_have-fiBishe.d the gart of jthe movement comes to a close, the time changes as well as the key, and the second violins arid terf6i?~ah- nounce the following subject in unison, which In" its quiet, graceful, and smoothly flowing measures almost rivals its companion : BEETHOVEN Andante moderate. Con expressione. 73 transition from, thfe gej^np mnvpmpnt tn the Finale is a sfrjrtlin^ nne. The wind instruments and drums, re- inforced by the double-bassoon, break out in a most clamorous fanfare, which is interrupted by a recitative passage for the double-basses, as if expostulating against the uproar. It is to little purpose, however, for the clamor is renewed even more boisterously. Again the recita- tive is heard, and again the, clamor; hut at last therejg, an_instant's hush. The, opening bars of, the JirsL .three alternating with recitative, but these apppar, evidently are not wanted. 4t, I* 5 * thgjjnaj^theme is fore- shadowed, quietly and almost timidly, until the 'cellos and basses vigorously and unmistakably give it out in the set- ting of the " Hymn of Joy " : Allegro assai. *^>-t. t rlr rr ire f) 'Cello* and Basses. -& F- si : r rfircrrrircrrrirNH cres to " rrrn f rrrir i^rnri 74 STANDARD CONCERT GUIDE Not the violas and 'cellos take the theme, then the first orchestra in fulr-force. its variation, the ominous clamor which introduced the Presto is heard again. This time it is not interrupted by the basses, bat by the solo barytone intoning the recitative (" O Brothers, these tones no longer ! Rather let us join to sing in cheerful measures a song of joyful- ness ") . The same voice sings the Hymn, accompanied by the oboes and clarinets, and is followed by the chorus, at first without the sopranos, and alternating with the solo quartette (** Hail thee, Joy, from Heaven descending, daughter from Elysium ! "). N. A.I.A .,-.'- - .^4~ i __ * B i . _-a ' QW- toff ffrCDfSLEil EC^^MftttS WHO mflTTl^ which the percussion instilments are used with powerful effect, introducing the tenor solo, with chorus, in a varia- tion of~the theme, "Joytul lite herlsons so glorious. " TEcTnexTnumber is also for chorus, and its solemnity and religions sentiment finely contrast with the martial clang of its predecessor. It is at Jusfr-given-^q^by the male voices, the female voices following (" Millions, loving, I enibraoe~you "). Eoilowing this spiriywith a lively accompaniment, based upon the two related~themes tHat have been^mpjoyed ("HaH thee, Joy, trom Heaven descending, daughter from Elysium," etc.). The solo quartette again intones the Hymn, alter- nating with chorus (" Hail thee, daughter from Elysium, thine enchantments bind together"). The time is gradu- ally accelerated to a Prestissimo, and voices and orches- tra in mil volume dose the work with the triumphant shout: " Mfllions, loving, I embrace TOO, All the world this kiss I send,*' etc BEETHOVEN 75 CHORAL FANTASIE IN C MINOR. OP. 80 [FOR PIANO, ORCHESTRA, AND CHORUS] 1. ADAGIO (Piano). 2. FINALE, ALLEGRO. a. ALLEGRO (Orchestra). b. MENO ALLEGRO (Piano and Orchestra). c. ALLEGRETTO, MA NON TROPPO (Chorus). Beethoven's sketch-book shows that some of the mate- rials for the Choral Fantasie were collected as early as 1800, though it was not given until December 22, 1808, when Beethoven himself produced it. It is written in two general sections : an Adagio and Allegro, for piano solo, orchestra, solo quartette, and chorus. While the work is very beautiful and effective in itself, it derives special interest from its being the prototype of the Choral sym- phony. In a letter written to Probst, March 10, 1824, the composer mentions the Finale of the symphony as " in the same style as the Fantasie, but more extended." A striking resemblance indeed will be found between the two Finales, not only in their general form of variations, but in the consecutive character of the notes and the melody of the themes themselves, the one clearly antici- pating the other in many respects. The Fantasie was first published in 1811, under the title of " Fantasie fur das Pianoforte, mit Begleitung des ganzen Orchesters und Chor " (" Fantasie for pianoforte with accompaniment of full orchestra and chorus"), and was dedicated to Maxi- milian Joseph, king of Bavaria. The poem which forms the subject of the Finale was written by Kuffner, and is devoted to the praise of music. The Adagio with which the work opens is a fantasie for piano alone, after which the Finale begins with an Allegro in C minor, the opening theme of which is given out 76 STANDARD CONCERT GUIDE pianissimo by the basses in a very grave and dignified manner and subsequently developed in canon form by the violins. The oboes and horns now introduce a new theme which is taken up by the piano with accompaniment of the horns, the melody being adapted from one of Bee- thoven's songs ("Seufzer eines Ungeliebten"), written in 1795: Dolce. First the piano and then the other instruments repeat this theme with variations, after which the entire orchestra brings it to a close in firm and stately style. A short phrase by the piano preludes a development of the first section of the melody through an Allegro, an Adagio, and a march tempo, at the end of which the piano introduces a new phrase closing with an arpeggio. A genuine con- test ensues between the piano and the basses, which comes to an end as the wind instruments give out the leading theme, which is first taken up by the solo voices with piano accompaniment and then by full chorus and orchestra, bringing the work to a brilliant and powerful close. SIR JDLJCS BENEDICT BENEDICT 1804-1885 SAINT CECILIA THE cantata of "Saint Cecilia" was composed for the Norwich (Eng.) Festival of 1866. It contains thirteen numbers, and the solos are assigned as follows : Cecilia, soprano ; Valerianus, tenor ; Prefect of Rome, bass ; a Christian woman, alto. The remaining numbers are given to choruses of Roman citizens, Christians, and angels. A tender and sorrowful prelude, foreshadowing the tragedy, introduces a bright and joyous wedding chorus ("Let the lutes play their loudest"), which in its middle part is divided between male and female choir, returning to four-part harmony in the close. The next number is an ecstatic love-song for Valerianus ("The love too deep for words to speak "), which leads up to a scena and duet for Valerianus and Cecilia (" O my Lord, if I must grieve you"), which is dramatic in its texture. The conversion music, including an obligato soprano solo with chorus of angels ("Praise the Lord "), recitative and air for tenor with choral responses (" Cease not, I pray you"), and an animated chorus of angels ("From our home"), follows and closes the first part. The second part opens with the curse of the Prefect, a 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 quartette with full choral accompani- ment ("God is our hope and strength"), is one of the 78 STANDARD CONCERT GUIDE 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 fare- well ; the former is borne away, and Cecilia sings her dying song ("Those whom the Highest One befriends") amid the triumphant hallelujahs of the angels. BENNETT 1816-1875 THE WOMAN OF SAMARIA " x I ^HE Woman of Samaria," a short, one-part oratorio, A styled by its composer a " sacred cantata," was first produced at the Birmingham Festival, August 27, 1867 ; though one of his biographers affirms that as early as 1843 he was shown a chorus for six voices, treated anti- phonally, which Bennett himself informed him was to be introduced in an oratorio he was then contemplating, and that this chorus, if not identical with " Therefore they shall come," in " The Woman of Samaria," is at least the foundation of it. The work is written for four solo voices, chorus, and orchestra. The soprano takes the part of the Woman of Samaria, the other parts being impersonal. The music for the contralto is mainly declamatory. The tenor has a single aria, while the bass, with one exception, has the part of Narrator, the words of our Saviour being attributed to him and invariably introduced in the third personal form, which is a striking proof of the devotional spirit of the composer, as in all other instances, after the an- nouncement by the Narrator, the Woman sings her own words. The chorus, as in the Passion-music of Bach, has the reflective numbers and moralizes on the various situations as they occur, except in one number (" Now we believe"), where it declaims the words as a part of the narrative itself. The text for chorus is selected from appropriate parts of the Scriptures which are in 8o STANDARD CONCERT GUIDE keeping with the events forming the groundwork of its reflections. The story is taken from the fourth chapter of the Gos- pel according to Saint John, and follows literally the nar- rative of the journey of the Saviour into Samaria, His rest at Jacob's well, His meeting with the woman who came thither to draw water, and the conversation which followed ; the only interruptions being the reflections, not only by the chorus, but also by the contralto and tenor, these episodes being taken mostly from the Prophecies and Psalms. The oratorio opens with a brief instrumental introduc- tion and chorale ("Ye Christian people, now rejoice") for sopranos alone, the melody of which first appeared in the " Geistliche Lieder," issued at Wittenberg in 1535. The words are a translation of the old hymn, " Nun freut euch, lie ben Christen G'mein," to which the tune was formerly sung in Germany. The treatment of this chorale, by combining it with the instrumental movement in op- posing rhythms, shows the powerful influence which the composer's close study of Bach had upon him. It dies away in slow and gentle numbers, and then follows the opening recitative of the oratorio proper (" Then cometh Jesus to a city of Samaria " ), sung by the contralto, and leading up to an arioso chorus ( " Blessed be the Lord God of Israel "), the words taken from the Gospel of Saint Luke. The next number is a graceful and artistic com- bination, opening with recitative for contralto, bass, and soprano, leading to an adagio solo for bass ( " If thou knewest the gift of God"), and ending with a closely harmonized chorus in the same rhythm (" For with Thee is the Well of Life"), the words from the Psalms. The dialogue between Jesus and the Woman is then re- sumed, leading to a solo by the latter (" Art Thou greater than our Father Jacob?"). The question is sung and WILLIAM STERNDALE BENNETT BENNETT 81 repeated in declamatory tones constantly increasing in power and expressive of defiance. The next number, the reply of Jesus (" Whosoever drinketh " ), sung, as usual, by the bass voice, is in striking contrast with the question. Instead of full orchestra, it has the accompaniment of the strings and first and second horns only, reminding one of Bach's method of accompanying the part assigned to Jesus in his "Saint Matthew Passion." This number is followed by a spirited fortissimo chorus ("Therefore with joy shall ye draw water "), sung to the full strength of voice and orchestra. After the dialogue in which Jesus acquaints the Woman with the incidents of her past life, the contralto voice has an exquisite solo ("O Lord, Thou hast searched me out "), full of tenderness and expression, in which the opening phrase is repeated in the Finale and gains intensity by a change of harmony. The dialogue, in which the divine character of Jesus becomes apparent to the Woman, is resumed, and leads to a beautifully con- structed chorus in six parts ("Therefore they shall come and sing"), followed by an impressive and deeply devo- tional quartette for the principals, unaccompanied (" God is a spirit "). A few bars of recitative lead to a chorus in close, solid harmony (" Who is the image of the invisi- ble God "), with organ accompaniment only, which in turn, after a few more bars of recitative for contralto and soprano, is followed by the chorus ("Come, O Israel"), sung pianissimo and accompanied by entire orchestra. The next number, as the oratorio is now performed, is one which has been introduced. It is a soprano aria (" I will love Thee, O Lord "), which was found among the composer's manuscripts after his death. The introduc- tion of this air gives more importance to the soprano part and relieves the succession of choral movements in the close of the work. The remaining numbers are the beau- tiful chorale (" Abide with me, fast falls the eventide ") ; 6 82 STANDARD CONCERT GUIDE the chorus (" Now we believe "), one of the most finished in the whole work ; a short tenor solo ( " His salvation is nigh them that fear Him ") , die only one in the oratorio for that voice ; die chores ( " I will call upon the Lord"); and the final imposing fugue (* Blessed be the Lord God of Israel " ). The last number is a fitting close to a work which is not only highly descriptive of its subject throughout, but also rail of feeling and devotional THE MAT QOEDT "The May Queen," pastoral cantata, die libretto by Henry F. Choriey, was first ptifanagd at die Leeds Festi- val of 1858. The solo parts are written for die May Queen, soprano; die Queen, contralto; die Lover, tenor; and die Captain of die Foresters, as Robin Hood, bass. The opening scene pictures die dressing of die tree for die spring festivity on die banks of die Thames, and die preparations for die reception of die May Queen. A despondent lover enters and sings his melancholy plight as he reflects upon die fickleness of the May Queen, interrupted at intervals by die merry shouts of die chorus ("With a laugh as we go round "). The lover continues his dokfol lamenting, which is at last interrupted by die entrance of die May Queen her- self, who chides him for his complaints and argues her right to coquet on such a day. As dieir interview closes a band of foresters enter with, dieir greenwood king, 3. song, makes open love to die May Queen. The enraged lover resents his impertinence, and at last strikes him a blow, which by die laws exposes him to die loss of his hand. Before be can make his escape there is a flourish of trumpets, and die Queen enters and demands die reason for die brawL The revellers inform her diat die BENNETT 83 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, and the May Queen is ordered to wed her lover on the coming morn. The music of the cantata is divided into ten numbers, which are characterized by exquisite refinement and artistic taste. The solos, particularly No. 2, for tenor (" O meadow, clad in early green "), No. 4, the obligato soprano ("With the carol in the tree "), and No. 6, the forester's lusty greenwood song (" 'Tis jolly to hunt in the bright moonlight "), are very melodious and well adapted to the individual characters. The concerted music is written in the most scholarly manner, the choruses are full of life and spirit, and the instrumentation is always effec- tive. 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, how- ever, 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. BERLIOZ 1803-1869 THE REQUIEM IN 1836 Berlioz was requested by M. de Gasparin, French Minister of the Interior, to write a requiem commemorating the victims of the July Revolution ; but the work was not given to the public until 1837, when it was sung at the Invalides in memory of General Damre- mont and the soldiers killed at the siege of Constantina. It embraces ten numbers : I, Requiem and Kyrie (" Re- quiem aeternam dona eis ") ; II, III, IV, V, and VI, in- cluding different motives taken from the hymn, " Dies Irse ; " VII, " Offertorium ; " VIII, " Hostias et Preces ; " IX, " Sanctus ; " X, " Agnus Dei." It will be observed that the composer has not followed the formal sequences of the Mass, and that he has not only omitted some of the parts, but has also frequently taken license with those which he uses. After a brief but majestic instrumental introduction, the voices enter upon the " Requiem " a beautiful and sol- emn strain. The movement is built upon three melodies set to the words "Requiem seternam," " Tu decet Hym- nus," and the " Kyrie," the accompaniment of which is very descriptive and characteristic. The " Kyrie " is specially impressive, the chant of the sopranos being an- swered by the tenors and basses in unison, the whole closing with a dirge-like movement by the orchestra. The " Dies Irae " is the most spirited as well as im- pressive number of the work. It is intensely dramatic in its effects ; indeed it might be called theatrical. Berlioz BERLIOZ 85 seems to have almost exhausted the resources of instru- ments to produce the feeling of awful sublimity and over- whelming power, even to the verge of the most daring eccentricity. The first part of the " Dies Irae " will always be remarkable for the orchestral arrangement. After the climax of the motive, " Quantus tremor est futurus," there is a pause which is significant by its very silence ; it is the hush before the storm. Suddenly from either angle of the stage or hall, in addition to the principal orchestra in front, four smaller bands of trombones, trumpets, and tubas crash in with overwhelming power in the announcement of the terrors of the day of judgment. At its culmination the bass voices enter in unison upon the words " Tuba mirum," in the midst of another orchestral storm, which is still further heightened by an unusual number of kettle- drums. From the beginning to the close, v this part of the " Dies Irae " is simply cyclopean. It is a relief when the storm has passed over, and we come to the next verse ("Quid sum miser"), for the basses and tenors, though mostly for the first tenors. It is a breathing spell of quiet delight. It is given in the softest tone, and is marked in the score to be sung with " an expression of humility and awe." It leads to the andante number (" Rex tremendae majestatis"), which is sung fortissimo throughout, and accompanied with another tremendous outburst of harmo- nious thunder in crashing chords, which continues up to the last eight bars, when the voices drop suddenly from the furious fortissimo to an almost inaudible pianissimo on the words "Salve me." The next verse ("Quaerens me ") is an unaccompanied six-part chorus in imitative style, of very close harmony. The " Dies Irae " ends with the " Lachrymosa," the longest and most interesting number in the work. It is thoroughly melodic, and is peculiarly strengthened by a pathetic and sentimental accompani- ment, which, taken in connection with the choral part 86 STANDARD CONCERT GUIDE against which it is set, presents an almost inexhaustible variety of rhythms and an originality of technical effects which are astonishing. Its general character is broad and solemn, and it closes with a return to the " Dies Irse," with full chorus and all the orchestras. This finishes the " Dies Irae " section of the work. The next number is the " Offertorium," in which the voices are limited to a simple phrase of two notes, A alter- nating with B flat, which is not changed throughout the somewhat long movement. It never becomes monoto- nous, however, so rich and varied is the instrumentation. The " Hostias et Preces," assigned to the tenors and basses, displays another of Berlioz's eccentricities, the ac- companiment at the close of the first phrase being fur- nished by three flutes and eight tenor trombones. The " Sanctus," a tenor solo with responses by the sopranos and altos, is full of poetical, almost sensuous beauty, and is the most popular number in the work. It closes with a fugue on the words " Hosanna in Excelsis." The final number is the " Agnus Dei," a chorus for male voices, in which the composer once more employs the peculiar com- bination of flutes and tenor trombones. In this number he also returns to the music of the opening number, "Requiem seternam," and closes it with an "Amen," softly dying away. ROMEO AND JULIET " Dramatic symphony, with choruses, solos, chant, and prologue in choral recitative," the title which Berlioz gives to his " Romeo and Juliet," was written in 1839. The work opens with a fiery introduction representing the com- bats and tumults of the two rival houses of Capulet and Montague, and the intervention of the Prince. It is fol- lowed by a choral recitative for four altos, tenors, and HECTOR BERLIOZ BERLIOZ 87 basses ("Long smouldering hatreds "), with which is in- terwoven a contralto solo ("Romeo too is there"), the number closing with a passionate chorus ("The revels now are o'er"). A beautiful effect is made at this point by assigning to the alto voice two couplets ("Joys of first love ") which are serious in style but very rich in melody. A brief bit of choral recitative and a few measures for tenor Mercutio's raillery lead up to a dainty scher- zetto for tenor solo and small chorus (" Mab ! bright elf of dreamland "), and a short choral passage brings this scene to a close. The second scene, which is for orchestra only, an im- pressive declamatory phrase developing into a tender melody, representing the sadness of Romeo, set in tones against the brilliant dance music in the distance accom- panying the revel of the Capulets, is one of the most strik- ing effects Berlioz has accomplished, and illustrates his astonishing command of instrumentation. The third scene represents Capulet's garden in the still- ness of night, the young Capulets passing through it, bid- ding each other adieu and repeating snatches of the dance music. As their strains die away in the distance the bal- cony scene between Romeo and Juliet is given by the orchestra alone in a genuine love-poem full of passion and sensuousness. 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 rapid in its movement and almost ethe- real in its dainty, graceful rhythm. The instrumentation is full of subtle effects, particularly in the romantic pas- sages for the horns. In the fifth scene we pass from the tripping music of the fairies to the notes of woe. It describes the funeral procession of Juliet, beginning with a solemn march in fugue style, at first instrumental, with occasional entrances 88 STANDARD CONCERT GUIDE of the voices in monotone, and then vocal (" O mourn, O mourn, strew choicest flowers"), the monotone being as- signed to the instruments. It preludes a powerful or- chestral scene representing Romeo's invocation, Juliet's awakening, and the despair and death of the lovers. The Finale is mainly for double chorus, representing the quarrel between the Montagues and Capulets in the ceme- tery and the final reconciliation through the intercession of Friar Laurence, whose declamatory solos are very strik- ing, particularly the air, " Poor children mine, let me mourn you." THE DAMNATION OF FAUST The " Damnation of Faust, dramatic legend," as Berlioz calls it, was written in 1846. It is divided into 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 the United States February 12, 1880, when Dr. Leopold Damrosch brought it out with the assistance of the New York Symphony, Oratorio, and Arion Societies. The opening scene introduces Faust alone on the Hun- garian plains at sunrise. He gives expression to his de- light in a tender, placid strain (" The winter has departed, spring is here"). It is followed by an instrumental pre- lude 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 acceler- ating 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 Rakbczy march. BERLIOZ 89 The second part (Scene IV) opens in north Germany and discloses Faust alone in his chamber. He sings a soliloquy, setting forth his discontent with worldly happi- ness, 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 con- tinues 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 rollick- ing drinking-song (" Oh, what delight when storm is crash- ing "). 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 im- provise 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 tied, " 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 Faust disappears, and is next found in the flowery meadows of the Elbe, where Mephistopheles sings a most enchanting melody (" In this fair bower "). Faust is lulled to slumber, and in his vision hears the chorus of the gnomes and sylphs (" Sleep, happy Faust "), a number of extraordinary beauty and fascinating charm. Its effect is still further heightened by the sylphs' ballet in waltz time. As they gradually disappear, Faust wakes and relates to Mephistopheles his vision of the " angel in human form." The latter promises to conduct him to her chamber, and they join a party of soldiers and students who will pass " before thy Beauty's dwelling." The Finale 9 o STANDARD CONCERT GUIDE of the scene is composed of a stirring soldiers' chorus (" Stoutly-walled cities we fain would win ") and a charac- teristic students' song in Latin ("Jam nox stellata"), at first sung separately and then combined with great skill. The third part begins with a brief instrumental prelude, in which the drums and trumpets sound the tattoo, intro- ducing a scene in Marguerite's chamber where Faust sings a passionate love-song ("Thou sweet twilight, be wel- come "). At its close Mephistopheles warns him of the approach of Marguerite and conceals him behind a cur- tain. 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 bal- lad "There was a king in Thule." As its pathetic strains come to a close, the music suddenly changes and Mephis- topheles in a characteristic strain summons the will-o'-the- wisps to bewilder the maiden. It is followed by their lovely and graceful minuet, in which Berlioz again displays his wonderful command of orchestral realism. This is fol- lowed by Mephistopheles 1 serenade (" Why dost thou wait at the door of thy lover? "), with a choral accompaniment by the will-o'-the-wisps, interspersed with demoniac laugh- ter. The last number is a trio ("Angel adored") for Marguerite, Faust, and Mephistopheles, wonderfully ex- pressive in its utterances of passion, and closing with a chorus of mockery which indicates the coming tragedy. The fourth part opens with a very touching romance ("My heart with grief is heavy"), the familiar " Meine Ruh' ist hin " of Goethe, sung by Marguerite, and the scene closes with the songs of the soldiers and students heard in the distance. In the next scene Faust sings a sombre and powerful invocation to Nature (" O boundless Nature, spirit sublime ! "). Mephistopheles is seen scaling the rocks, and in agitated recitative tells his companion the story of Marguerite's crime and imprisonment. He bids BERLIOZ 91 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, mighty dissonances, and su- pernatural effects in the accompaniment. A brief epilogue (" On Earth ") follows, in which Faust's doom is told, suc- ceeded 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. SYMPHONIE FANTASTIQUE. OP. 14 1. ADAGIO. ALLEGRO AGITATO. (Reveries and Passions.) 2. LE BAL. (The Ball.) 3. SCENE AUX CHAMPS. (Scene in the Fields.) 4. MARCHE DU SUPPLICE. (Journey to Execution.) 5. SONGE D'UN NUIT DE SABBAT. (Dream in a Witches' Sab- bath Night.) The " Symphonic Fantastique," also entitled by its com- poser " Episode in the Life of an Artist," was written by Berlioz in 1829, while he was still a pupil at the Paris Conservatory, and will always be noteworthy as his first attempt at programme- music. Every movement of this strange work is prefaced by a regular programme and accompanied by notes which call the hearer's attention beforehand to the scenes which the music is intended to describe. Nothing is left to conjecture. To describe the symphony it is hardly necessary to do more than to tell 92 STANDARD CONCERT GUIDE the bizarre story of this episode in the life of an artist, which is a very nightmare of passion. In the opening movement he introduces a young musi- cian madly in love with a woman of ideal perfection, rep- resented by a musical figure which he calls the " ide fixe." Like a Wagner motive this melody binds the various sec- tions of the symphony together, and appears sometimes clear and sometimes distorted in every changing phase of the artist's gloomy experiences. The whole movement is based upon this "fixed idea," representing the vague longings of love, its melancholy, ecstatic, jealous, and fren- zied moods. The theme haunts the music as the vision of the ideal woman haunts the artist. The second movement introduces us to a ball, but even in the midst of the festivity, and listening to the sensual strains of the waltz, the face of the loved one haunts the artist. From a technical point of view this movement shows the great skill of the composer in the symphonic treatment of a waltz rhythm, but the brilliant dance music is ever and anon interrupted as the melody which belongs to the loved one asserts itself through the bewitching strains. The third movement, "Scene aux Champs," is one of quiet pastoral beauty, though it gathers gloom as it pro- ceeds and closes in ominous darkness and silence. The lover is in the fields at evening and hears the shepherds' answering songs, sung by the oboe and horn. The charm of the spot, its peaceful repose, the gentle approach of evening, and the rustic chants call up the vision of the loved one and inspire him with hope, which soon clouds over again as darkness comes on. One of the shepherds repeats his song, but the other does not answer. The low rumble of a storm is heard in the distance, and the despair- ing lover gives way to melancholy. In the fourth movement, " Marche du Supplice," per- suaded that his affection is not reciprocated, the frenzied BERLIOZ 93 lover takes poison with the intention of suicide, but the drug instead of killing him only produces a stupor filled with wild hallucinations. He imagines that he has killed his mistress and is the witness of his own execution. The march to the scaffold begins amid the chanting of the " Dies Irae," the tolling of bells, and the mournful roll of muffled drums. Even the rush of the multitude and the tramp of their feet are heard in this realistic music. The fatal melody, however, does not leave him even here. It is constantly heard in the gloom until it is cleft in twain by the sharp stroke of the headsman's axe. The last movement, which is really a continuation of the fourth, pictures the lover in the midst of the witches and demons who have gathered to witness his burial, which takes place accompanied by a wild orgy reminding one of the chorus of demons in " The Damnation of Faust." HAROLD IN ITALY. OP. 16 1. HAROLD AUX MONTAGNES. SCENES DE MELANCOLIE, DK BONHEUR, ET DE JOIE. (Harold in the Mountains. Scenes of Melancholy, Happiness, and Joy.) 2. MARCHE DE PELERINS, CHANTANT LA PRIERE DU SOIR. (March of Pilgrims, singing the Evening Prayer.) 3. SERENADE D'UN MONTAGNARD DES ABBRUZES 1 SA MA!- TRKSSE. (Serenade of a Mountaineer of the Abruzzi to his Mistress.) 4. ORGIE DBS BRIGANDS. SOUVENIRS DES SCENES PRECE- DENTES. (Orgy of Brigands. Souvenirs of preceding Scenes.) "Harold in Italy" was written in 1834, and first pro- duced at the Paris Conservatory, November 23 of the same year. The story of the symphony is the story of what Harold witnesses in his wanderings. The restless, melancholy exile beholds Nature in her loveliest as well as her most majestic aspects, but they fail to cheer him. He is in the midst of a band of happy and devoted pil- grims journeying along to worship at some shrine, but 94 STANDARD CONCERT GUIDE religion no more than Nature can calm his troubled spirit. He witnesses a mountaineer serenading his mistress be- neath her window, but the simple love-scene has no charm for him. In despair he joins the bandits, and rushes into one of their orgies, where at last all his better thoughts and nobler feelings are lost in a vortex of dissipation and frenzy. The first movement (" In the mountains ") is divided into two sections, an Adagio expressive of Harold's mel- ancholy, and a strongly contrasting Allegro signifying his transient feeling of happiness and joy. The Adagio opens with a characteristic phrase for the basses and 'cellos, to which the bassoon adds a theme in chromatic progression. This is relieved by a second theme, at first taken by the wood winds and then developed by the viola, typifying the reflective character of Harold, as it does throughout the rest of the work. The harps and clarinets accom- pany the monologue as, it moves on toward the second section of the movement. Four times the viola seeks to make the change, and at last seizes the joyous melody of the Allegro, and the music flows on to the close brightly and gracefully, richly colored, and always original and characteristic. The second movement ("March of the pilgrims") is one of the most charming numbers Berlioz has written. The march themes are very simple, but the composer has invested them with a peculiar charm by their sweetness and grace as well as by the richness of the instrumenta- tion. The music is also very descriptive, and a pleasing effect is made by crescendo and diminuendo as the pil- grims approach, file past, and slowly disappear in the dis- tance. The pretty scene closes with an evening prayer, in which Berlioz shows his skill in treating simple religious song. The third movement ("The serenade") is a fit sequel BERLIOZ 95 to the second in its general character. It opens in genu- ine pastoral style, the horn and oboe giving a Tyrolean effect to the music and leading up to a quaint and very refined serenade in slower time. But even in the sere- nade of the mountaineer, as in the march of the pilgrims, the unrestful and sad plaint of the viola is heard. In the last movement ("The orgy") Berlioz gives free rein to his audacity and love of the horrible, and ends the career of Harold, like that of the artist in the "Sym- phonic Fantastique," in a wild and crashing hurly-burly of sound intended to picture a foul and frenzied orgy. The movement opens with reminiscences of preceding themes, woven together with great skill. Among them is the Harold theme, announcing his presence, and the march of the pilgrims taken by two violins and 'cellos in the wings, indicating their passage in the distance. As if Harold had turned for a moment and longingly listened to the beautiful melody, wishing that he were with them, the viola replies to it. It is only a snatch, however, for at once the furious orgy begins which drowns every reminis- cence, and goes on with constantly increasing din and volume to the end, as if all the demons of the under- world had been let loose. BRAHMS 1833-1897 THE GERMAN REQUIEM THE " German Requiem," so called, is not a requiem in its sentiment, nor in any sense, a religious service. It might with more propriety be called a " sacred cantata." The poem is full of consolation for the mourner, of assur- ances of joy hereafter, of warnings against the pomps and vanities of the world, and closes with the victory of the saints over death and the grave. The work has seven numbers, two barytone solos and chorus, soprano solo and chorus, and four separate choruses. It was first per- formed at Bremen on Good Friday, 1868, and was first heard in England in 1873. It was also given at the Cincinnati Festival of 1884, under Theodore Thomas's direction. The opening chorus (" Blessed are they that go mourn- ing") is particularly noticeable for the richness of its accompaniment. In the Funeral March, which follows, a very graphic resemblance to the measured tread of the cortege is accomplished by the use of triple time. In this, as well as in numerous other instances, the composer cuts loose from ordinary methods, and in pure classical form and by the use of legitimate musical processes, achieves what others seek to effect by sensuous or purely imitative music. The third number (" Lord, make me to know the measure of my days on earth") opens with a barytone solo, followed by two choral fugues, which are solidly constructed. They are extremely difficult to sing, and call for a chorus of unusual discipline and intelligence. BRAHMS 97 The fourth, for chorus (" How lovely is Thy dwelling- place, O Lord of Hosts"), is in striking contrast with its predecessor, being a slow movement, and very melodious in style. The fifth (" Ye now are sorrowful, grieve not "), for soprano solo and chorus, shows the composer's unusual power as a song-writer, as well as his melodious attractive- ness when melody answers his purpose. In the next num- ber, set for chorus with barytone solo responses (" Here on earth we have no continuing place, we seek now a heavenly one "), the character of the music changes again, and the resurrection of the dead is pictured in fugal pas- sages of tremendous power and difficulty. After the storm comes the calm again in the Finale (" Blessed are the faithful who in the Lord are sleeping"), which contains a reminiscence of the opening number, and closes the work in a gentle, but deeply serious strain. It was the " Ger- man Requiem " which first made Brahms famous ; it con- firmed all that Schumann had said of him. Its great difficulties require an extraordinary chorus and orchestra ; but when these can be had, the power and beauty of the work will always be conceded. TRIUMPHLIED " Triumphlied " ("Song of Triumph ") was written by Brahms in commemoration of the victories of German arms and the reestablishment of the Empire, and is dedi- cated 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. The scriptural selections are divided into three move- ments, 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 7 98 STANDARD CONCERT GUIDE measures of which both choirs unite in jubilant shouts of " Hallelujah ! praise the Lord ! " The theme of the movement is the stirring old German national hymn " Heil dir im Siegerkranz," which is worked up with consummate skill. The first part closes with a climax of power and contrapuntal effect hardly to be found elsewhere outside the choruses of Handel. The second movement (" Glory be to God ! ") is of the same general character as the first. After the opening ascription, a short fugue intervenes, leading to a fresh melody alternately sung by both choruses. The third movement, after a very brief but spirited or- chestral 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 ex- treme difficulty, as the two choirs are treated independ- ently, and their harmonies are complicated, though blended in general effect. SYMPHONY No. i, IN C MINOR. OP. 68 1. UN POCO SOSTENUTO. ALLEGRO. 2. ANDANTE SOSTENUTO. 3. UN POCO ALLEGRETTO E GRAZIOSO. 4. ADAGIO, PIU ANDANTE. ALLEGRO MODERATO MA CON BRIO. Brahms waited until he was forty-nine years of age before he produced his first symphony. Rumors of its coming preceded it many years, but when the composer JOHANNES BRAHMS BRAHMS 99 was questioned about them he only remarked that there had been one C minor (Beethoven's Fifth), and there was no need of another. In the Autumn of 1876, however, it made its appearance, and was performed successively at Stutt- gart, Carlsruhe, Mannheim, and in the Gewandhaus at Leipsic, as well as at Cambridge, England, everywhere creating an enthusiasm which found its most flattering expression in Von Billow's remark : " We have at last a Tenth symphony." The symphony opens with a short introduction, Un poco sostenuto, espressivo e legato, of an agitated and somewhat melancholy but harmonious character and based upon the two themes of the Allegro, from which it is sepa- rated by four measures of prelude. It is in reality a clear, general statement of the movement, the principal theme of which is given out by the violins, accompanied by a chromatic phrase for the 'cello and bassoon, which ap- pears again with a phrase derived from the first theme for its accompaniment, thus admirably preserving the unity of the movement. The second subject, full of hopeful aspiration, is taken by the oboes, clarinets, bassoons, and horns, treated as we have already indicated, and supple- mented by a new melody for the oboes, supported by a sustained passage for bassoons, violas, and 'cellos, one measure of which is used in imitation between the clari- net, horn, flute, and bassoon, producing a quieter and more restful feeling. A new figure for the strings, how- ever, soon recalls the old unrest, and thus the first section of the Allegro closes. After the repeat and in the work- ing out of the movement a fine effect is made by a long decrescendo, leading up to a passage which begins almost in a whisper and is developed by degrees to a tremendous fortissimo. The movement closes with a Coda in the same time and general character as the opening, developed with constantly increasing power. ioo STANDARD CONCERT GUIDE The second movement, Andante sostenuto, opens with an exquisitely melodious theme in | time for the strings, followed by an intensely passionate second theme, also for strings, accompanied by a phrase from the opening melody, a form of treatment already observed in the Allegro movement. After this the first theme returns, this time, however, for the oboe, with response by the clarinet and an accompaniment of staccato chords for the violins and violas. In the close of the movement the first melody is divided as a solo between the violin and flute, with a charming accompaniment, and characterized by genuine romantic sentiment. The third movement, Un poco allegretto e grazioso, is introduced with a sweet and graceful melody for the clari- net, followed by an equally graceful subject for clarinet and flute. The third melody is also announced by the clarinet and finished by the flute and oboe with string accompaniment. The Trio is in f time, strongly con- trasting with the opening of the movement. At its close the first section is not repeated, as is customary in a Scherzo, whose place the movement occupies, but its themes are developed with charming grace and skill in a Coda. The Finale is the most powerful and dramatic section of the work, and is evidently intended as a summary of the whole symphony. It is composed of an Introduction, Adagio, piu andante, and an Allegro. The Introduction opens with three descending bass notes of highly tragic expression, gradually increasing in power, which are sub- sequently utilized for accompaniment in the Allegro ; and the violins give out a very dramatic phrase, which also forms the opening theme of that movement. All through this majestic Adagio, which seems to be an alternation between hope and fate, there is a spirit of restlessness and mystery ; and this is intensified when with an acceleration BRAHMS 101 of the time and change of key to C major the horns and trombones are introduced, the former uttering a most passionate theme and the latter filling in a solid back- ground of mysterious harmony. The opening theme of the Allegro recalls the choral melody of Beethoven's Ninth symphony, as will be seen : ^tf * a ^ I I J J /= It is introduced by the strings, assisted by the horn and bassoons, and is then repeated by the wind instru- ments accompanied pizzicato by the strings. Its effect is magical. To the preceding gloom, mystery, and passion succeeds a spirit of joyousness and healthy contentment. The work concludes with reminiscences of the preceding themes. 102 STANDARD CONCERT GUIDE SYMPHONY No. 2, IN D MAJOR. OP. 73 1. ALLEGRO MA NON TROPPO. 3. ALLEGRETTO GRAZIOSO. 2. ADAGIO MA NON TROPPO. 4. ALLEGRO CON SPIRITO. The Second symphony of Brahms was finished in 1877. Only a year had intervened since his ddbut in this impor- tant field of music, but the second work is widely different from the first in its general character. It is distinguished by cheerfulness, repose, and almost pastoral simplicity, and betokens peaceful existence. Less dignified perhaps in its purpose, certainly less pedagogic, if we may so call it, in its structure and working out, it is none the less interest- ing for the beauty of its themes, the strength of its con- trasts, the sustained character of the various movements, and the unity of the work, secured by that contrapuntal skill which Brahms so often displays in his compositions. The first movement, Allegro ma non troppo, suggests pastoral simplicity and repose. The opening subject is beautifully set for the wind instruments, and is thoroughly melodious, the horns fairly giving out festive strains. The second theme, in F sharp minor, sings itself most sweetly and gracefully on the 'cellos and viola. In the working out, however, a more passionate key is struck and the idyllic character of the movement is disturbed. Then follows a succession of passages which are almost stormy in their effect, so strong are the brasses and blaring even to dissonance; but the angry waters are calmed again when the first theme returns, this time on the oboes, and the movement glides peacefully along to the Coda, in which the horn is used with fascinating effect, and a peculiar tone-color is given by the quaint pizzicato string accompaniment that follows. The second movement is somewhat sphinx-like as to its real purport. The themes are less clearly stated. The BRAHMS 103 form is more unique, but the workmanship shows the same consummate perfection that characterizes all this com- poser's work. Unquestionably there is a deep meaning underlying it, both in the form itself and in its expression, which we may leave to the hearer to interpret. This criticism does not apply, however, to the third movement, Allegretto grazioso, for here everything is clear and full of cheerfulness, even to the verge of frolicsome gayety. It is made up of two sections, an Allegretto and a Presto. In beauty and vivacity it resembles the opening movement and strongly partakes of the Haydn spirit. It begins with an exquisite pastoral melody for the reeds, which is most deliciously treated and full of charming variety. It then rushes on to the Presto, which is a merry rustic dance in itself, abounding with sparkling humor and even boisterous gayety. Then comes a repetition of the Allegretto, which brings the happy scene to its close. The Finale, Allegro con spirito, is full of reminiscences of preceding themes which are handled with great skill. After treating them in variations and with constantly chang- ing shades of tone-color, sustaining them with all the strength of a master, he seems to give a free rein to his powers, and the movement rushes on with constantly increasing vigor and spirit to a brilliant and sonorous close. SYMPHONY No. 3, IN F MAJOR. OP. 90 1. ALLEGRO CON BRIO. 3. Poco ALLEGRETTO. 2. ANDANTE CON MOTO. 4. ALLEGRO. Brahms's Third symphony, first performed at one of the concerts of the Vienna Philharmonic Society, Decem- ber 2, 1883, is undoubtedly the most popular of the series for the reason that it is clearer in its general con- struction than the others. At the same time, while less io 4 STANDARD CONCERT GUIDE complicated and elaborate in its development, it is not lacking in ideas of a thoroughly poetical kind and in great variety of color. Indeed, in this work, much more clearly than in the other two, the picture in the composer's mind may be traced. The first movement, Allegro con brio, opens with a short prelude of powerful chords by the wind instruments, intro- ducing the first theme, a majestic melody, which is given out by the violins, accompanied by the violas and "cellos, and supported by the trombones. The theme, which is peculiarly brilliant and even heroic in its style, is treated with masterly skill as it progresses from a steady and peace- ful flow to the highest point of vigor and majesty. In the transition to the second theme, however, announced by the clarinets, occurs a more restful period ; and the theme itself, which is very graceful and pastoral in style, imparts a serious, earnest character to the movement, which is still further enforced by the skilfully constructed Coda. The second movement, Andante con moto, might almost be termed a rhapsody, as it is very short and is not elabo- rated after the customary manner. The greater part of the movement indeed rests upon and grows out of the opening theme, which is a simple but very graceful and joyous melody, breathing the spirit of inward happiness and contentment, and in strong contrast with the epic character of the work. This theme is taken alternately by the wind instruments, violas, and 'cellos, and is freely treated in variations, which give beautiful tone-color to it. It has a brief rest while the clarinets and bassoons give out a resonant, stirring phrase as if foreshadowing what is to come. It is hardly pronounced enough, however, to be called a second theme. The first subject at once returns and goes on to the end in a series of delightfully contrasted effects. The third movement, Poco allegretto, which takes the BRAHMS 105 place of the ordinary Scherzo, is mostly serious in its style, and really fixes the general character of the symphony. Its principal theme, a genuine sample of the Lied, is given out by the 'cellos, at first fanciful, tender, and full of sim- ple grace, then reminiscent and contemplative, and at last dreamy ; to which succeeds a passage for the wind instru- ments, soothing and almost suppliant, as if deprecating the struggle that must come. There is nothing of the Scherzo character in this movement. To have given it that form would have seriously conflicted with the ideas that uphold the structure of the symphony, and would have introduced a foreign spirit and color. The Allegretto dies away in soft chords which lead to the Finale, a passionate, agitated, and sombre move- ment, yet heroic, elevated, and strong in its style. The theme with which it opens rushes past with all the haste and mystery of a vision in a dream, and then reappears in a new harmonic form, only to grow more sorrowful and gloomy with the entrance of the trombones preluding a new phrase, for now the sentiment changes and we have in its place a passionate conflict. Through the fierce and determined phrases of the violins, however, is heard the steady, jubilant song of the 'cellos. As they announce the victory the gloom disappears, and gives place to peace and rest once more, dignified and ennobled by the heroic theme of the first movement. SYMPHONY No. 4, IN E MINOR. OP. 98 1. ALLEGRO NON ASSAI. 2. ANDANTE MODERATO. 3. PRESTO GIOCOSO. 4. ALLEGRO ENERGICO E PATETICO. The Fourth symphony is. universally recognized as the most individual of all Brahms's works of this class. It was first performed at Meiningen under the direction of 106 STANDARD CONCERT GUIDE Von Biilow and Brahms himself. In the simplicity and originality of its themes, and in the subjective character of its ideas, as well as in its development, it bears the unmis- takable impress of its composer. The same organic unity which characterizes the other three symphonies in such marked degree is also found in this, though the various movements illustrate different ideas. The first movement, Allegro non assai, opens with a melodious theme of unusual length which is treated in a masterly but intricate style. It is a wayward fancy, now cheerful, and again serious, but coming to a sombre close as the second theme enters in the same general manner. As the movement draws to an end its melodious character grows more joyous, strong, and dramatic, and the develop- ment leaves little to desire in the way of pleasing variety and artistic effect. The second movement, Andante moderato, is almost akin to the Lied in the gracefulness and sweetness of its melody, its warmth of tone, and its refined and spirituelk character ; and the third, Allegro giocoso, in rondo form, is full of animation and good humor, and yet is dignified in style and strong in expression, as befits the serious purpose of the composer, who always has a lofty object in view. The Finale, Allegro energico e patetico, a development of the Passacaglia form, is a model of earnest, serious, artistic workmanship, every measure of it revealing the con- scientious and scientific scholar. It opens with a succes- sion of massive chords introducing a stately first theme which frequently reappears. A melodious flute solo inter- venes, and then the development begins, in which the subjects are given out in a broad and restful manner and treated with a richness of color and refinement of style, as well as a perfection in workmanship, which have rarely been excelled. BRUCH 1838- FRITHJOF THE story of the old Norse Viking, Frithjof, is told with exceeding spirit and beauty in the " Frithjofs Saga " of Esaias Tegne"r, Bishop of Wexib, Sweden. It was from this Saga that Bruch derived the incidents of his mu- sical setting of this stirring Norse theme. To make the description of the cantata clearly intelligible, the incidents leading up to it must be briefly told. Frithjof was the son of Thorstein, a friend of King Bele, 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, where- upon 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 made love to Ingeborg, with whom he exchanged rings. Helge and Halfdan were defeated by Ring, and as part of the indemnity he demanded Inge- borg's hand. Finding upon their return that Frithjof had been there without their permission, they required him as a penalty to go to the Orkneys and collect the tribute which the islanders had neglected to pay since the death io8 STANDARD CONCERT GUIDE of Bele. Frithjof sailed away in " Ellida." Meanwhile the brothers resorted to witchcraft to raise a storm that should destroy his vessel, burned his barrow, and married the lamenting Ingeborg to Ring. It is at this point that the text of the cantata begins. The first scene pictures the return of Frithjof and his joy at the prospect of seeing Ingeborg, whose hand the false brothers had promised him if he were successful. Learn- ing 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. The cantata opens with an animated instrumental in- troduction (" 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 de- light when the land far appeareth"). The second scene is preluded with a wedding march, whose blithe measures are in marked contrast with the bridal chorus ("Sadly the skald walks before the train"), and Ingeborg's song ("My heart with sorrow overflowing"), describing her grief over her unhappy destiny. The third scene (" Frith- jof s revenge"), for barytone, chorus, and orchestra, is one of great power in its dramatic and descriptive char- acter, 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 inter- rupted by Frithjofs 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 MAX BRUCH BRUCH 109 (" Woe ! he tugs with all his might at the ring "). The choral finale of this scene, with its effective instrumenta- tion, is a masterpiece of dramatic music. 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 quartette for male voices ("Sun in the sky now mounteth high"), of exquisite harmony, leading up to and accompanying a barytone solo remarkable for the tender beauty of its melody and the majestic sonority of its style. The fifth scene is Ingeborg's lament for her lost lover ("Storms wildly roar"), a soprano solo, which, if not so 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. FAIR ELLEN The heroic defence of Lucknow by its British garrison in 1857, during the Sepoy rebellion, is one of the most memorable events in the English administration of India. The world is familiar with the story of the disaffection of the native troops, the failure of Sir Henry Lawrence, who was in command, to overcome the mutiny, the stubborn defence which the brave little garrison made against the repeated assaults of the native troops, their temporary as- sistance from Outram and Havelock, who cut their way no STANDARD CONCERT GUIDE 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 im- pression as the fanciful story of the Scotch girl who heard the slqgan of the MacGregors far away and knew the Highlanders were coming to their rescue. It is this incident which Bruch has used as the theme of his cantata " Schbn Ellen " (" Fair Ellen "). The story is identical with the one so often told in prose and poetry, but the dramatis persona differ. Instead of General Law- rence we have Lord Edward, and instead of familiar Jessie Brown we have " Fair Ellen." The text of the libretto, however, is weak and spiritless as compared with that of the poetical versions, but the strong, vigorous 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 strong point is made in the climax by the interweaving of the familiar air, "The Campbells are coming," with the or- chestral 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 audiences. ODYSSEUS The cantata of " Odysseus," like that of " Frithjof," is made up of detached scenes, in this case selected from the Odyssey and arranged by William Paul Graff. The work was first produced in 1872, and has met with great success in Germany, England, and the United States. It is divided into two parts, the first containing four, and the second six scenes. The characters are as numerous as those of a BRUCH in grand opera, and include Odysseus, barytone ; Penelope, alto ; Alcinous, King of the Phoceans, bass ; Arete, his consort, alto ; Nausicaa, their daughter, soprano ; the Helmsman, bass ; Pallas Athene, soprano ; Leucothea, so- prano ; Spirit of Tiresias, bass ; Spirit of Anticleia, Odys- seus' mother, alto j and Hermes, tenor. In the first scene Odysseus is discovered on Calypso's enchanted island longing for home. Hermes, the messen- ger of the gods, appears to him and announces that the Immortals, touched by his sorrow, will rescue him and re- store him to Penelope. In the next scene the wanderer has reached the abysses of Erebus, where 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 Anticleia his mother bids him hasten to Penelope. In the third scene he passes the isles of the Sirens, and escapes their wiles through the firmness of his companions. The fourth scene describes the storm at sea, and Odysseus' rescue by Leucothea, who gives him the veil the Immortals have woven, and bids the Ocean- ides 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 Phocea. 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. 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 enam- oured of the handsome stranger, conceals her passion and expedites his departure. The eighth scene gives us a sketch of Penelope weaving the garment, the ruse by ii2 STANDARD CONCERT GUIDE which she kept her suitors aloof. The ninth scene opens with the arrival of Odysseus at Ithaca. The sleeping wanderer is borne ashore by his comrades, and upon awaking from his slumbers fails to recognize his own coun- try until Pallas Athene appears to him. The goddess con- vinces 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. She also exposes their conspiracy for his destruction, from which she promises to protect him. The final scene de- scribes the glad acclamations of the people as they rec- ognize Odysseus, and the joy of Penelope as she welcomes him home once more. The orchestral introduction is free and flowing in char- acter, and its themes are taken from the duet of Odys- seus 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 hate- ful "), at first tender in its character, then changing to pas- sionate 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 re- markable effects in tone-color as the orchestra describes "the thundering of the flood Cocytus" and "the surging aloft of the shadows of the departed." It is followed by semi-choruses of the shades, and closes with a very spirited and dramatic male chorus (" Dread on dread ! "). The third scene opens with a fresh and characteristic male BRUCH 113 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 en- tirely 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 instrumen- tal description of the tempest, and the closing number for full chorus (" Yonder beckons the wood-crested harbor"), which in its tenderness and joyousness forms a striking contrast to the earlier part of the scene. The second part is introduced with a dignified and sombre recitative (" Thou far-darting sun "), followed by an aria of the same character (" Oh ! Atritone ") in which Penelope bewails the absence of Odysseus. In the next scene the music changes to a bright and tripping strain, the chorus of Nausicaa's maidens (" On the flowery mead, girt by the dimpling tide"). After Odysseus' fervent appeal (" Hark to me ! Queen, or heaven-dwelling God- dess ") the banquet scene occurs. It begins with an ani- mated chorus of the Phoceans (" Be welcome, stranger, to Phocea's land "), followed by an exquisite unison chorus of the Rhapsodes (" Ten years now are past since Troy in the dust was laid "), set to an accompaniment of harps. A sim- ple 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 re- venge 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 8 n 4 STANDARD CONCERT GUIDE 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 (" No- where abides such delight"), closes with a fine fugued passage (" Slayer of darkness "). BRUCKNER 1824-1896 SYMPHONY No. 2, IN C MINOR 1. MODERATO. 2. ANDANTE, FEIERLICH ETWAS BEWEGT. 3. SCHERZO. 4. FINALE. THE first movement of Bruckner's Second symphony is in the ordinary sonata form, opening with a tremolo of violins and violas, accompanying the introduction and the first theme which is given out by the violoncellos, with responses from the horns. The theme is repeated by 'cellos and double basses to a more vigorous accompaniment, and leads to a climax. At its close the 'cellos give out the second theme, followed by a motive for the strings in unison which dominates the movement through the first part. Then follows the free fantasie with reentries of the themes, stated in much the same manner as in the begin- ning of the movement, after which, and a short passage in slow time, an elaborate coda brings the movement to a close. The second movement, in A flat major, is constructed upon two themes in rondo form, the first given out by the first violins with accompaniment of the other strings, and the second, or minor one, by the horn with pizzicato string accompaniment. These two themes are developed in a very skilful manner, especially the principal one by the wind instruments in the close, just before the coda. n6 STANDARD CONCERT GUIDE The third movement, in C minor (Scherzo), opens with a somewhat dignified and consequential theme for a Scherzo, which is at first stated in unison by the strings, wood winds, and horns, and afterwards is richly developed and leads up to a most resonant climax. The trio is in waltz time, the theme being given out by the violas with a violin tremolo, and at its conclusion the opening of the move- ment is repeated and followed by a coda. The fourth movement, in C minor, is built up on three themes which are worked out at great length in succession and with most painstaking elaboration, the movement closing with a tremendous climax. This symphony, like all of Bruckner's, is a masterpiece of musical mechanics and mathematics, greatly beloved of musicians but " caviare to the general." SYMPHONY No. 4, IN E FLAT. ("ROMANTIC") 1. ALLEGRO MOLTO MODERATO. 3. SCHERZO. 2. ANDANTE. 4. FINALE. The Fourth of Briickner's symphonies was first produced in Vienna in 1881 and was performed for the first time in America by the Theodore Thomas Orchestra in Chicago, January 22, 1897. Like all of this composer's sympho- nies, it is so elaborately constructed and full of musical complications that it is only possible, in a volume of this kind, to present a bare sketch. An exhaustive analysis of Bruckner's symphonies, indeed, would require a volume of itself. The first movement opens with a passage for the horns accompanied by the strings, which, several times repeated, prepares the way for the introduction of the first and second principal subjects, both of which present two themes. These, with their working up and the treatment of subsidiary ideas, constitute the learned structure of the movement which closes with a return to the horn passage of the opening. ANTON BRUCKNER BRUCKNER 117 The Andante is impressive and sombre in character, opening with a funeral march with characteristic refrains, followed by a melody for violas with string pizzicato ac- companiment. After the development of this melody the march theme is restated most impressively and the move- ment closes with drum taps as the second theme dies away. The Scherzo is a hunting movement, built up on two lively and graceful themes, after which is a country dance which furnishes the material for the trio. The movement closes with a repetition of the hunting scene music. The Finale, Wagner fashion, introduces all the principal ideas of the other three movements, which are worked up and combined with the utmost skill. It is in reality a resume of the whole symphony. Old forms are restated, and new forms growing out of them are presented. The workmanship is solid and the learning of the composer is everywhere apparent. The result is interesting even to the layman who may not be able to follow the ideas and purpose of the composer, while to the musical scholar it presents a fascinating problem in Wagnerism applied to the symphonic form. SYMPHONY No. 7, IN E MAJOR 1. ALLEGRO MODERATO. 2. ADAGIO : SEHR FEIERLICH UNO LANGSAM. 3. SCHERZO : ALLEGRO. 4. FINALE : BEWEGT, DOCH NICHT SCHNELL. Bruckner's Seventh symphony was first performed in Leipsic, December 30, 1884, and was played for the first time in America in New York, July 29, 1886, under Theodore Thomas' direction. The opening theme of the first movement is stated by the 'cellos, supported by the violas and clarinets. It is then repeated by the violins and wood winds, and leads up to the second theme, given out by oboe and clarinet. In the fantasia, both themes are worked up most skilfully, and are followed by the Finale, which is complicated though regular in form, and closes with an impressive climax. The second movement, an Adagio, is based upon a most impressive theme most nobly worked out, and of a nature to appeal even to the uneducated hearer. Though treated most elaborately, the contents of the Adagio are very emo- tional, and the coloring so beautiful as to appeal to every one. The Scherzo is in regular form, and the opening is full of spirit and vivacity. The first violins give out the theme of the trio, and the movement closes with a repe- tition of the first part. The last movement is in rondo form, the violins giving out a brilliant theme, worked up in a fascinating manner, and leading into a second theme of a more solid nature, also stated by the first violins. The movement closes with a powerful climax, in which the opening theme of the first movement is heard again. SYMPHONY No. 9, IN D MINOR (UNFINISHED) 1. FEIERLICH. 2. SCHERZO. 3. ADAGIO. Bruckner's Ninth and last symphony was written 1891- 1894, and was first heard in Vienna, February n, 1894. Its first performance in America was given at Chicago, February 19, 1904, by the Theodore Thomas Orchestra. Bruckner had designed closing the symphony with a choral movement in the manner of Beethoven's Ninth, but his death intervened and left the work unfinished. The opening movement is so elaborate in its construc- tion as to render it impossible to convey any intelligent BRUCKNER 119 description of it in the condensed shape required by this volume. It contains four principal themes, each leading up to powerful climaxes. The movement, indeed, might be called a series of climaxes, for after the reconsideration of each theme and its fresh development, the move- ment closes with a new climax, which only the word " tremendous " can fitly describe. The Scherzo is a relief after the tempests of the open- ing movement, being in dance rhythm, followed by the Trio, and a repetition of the first part. The Adagio move- ment consists mainly of the complicated development of two principal themes leading to another powerful climax, but closing pianissimo. The symphony is mostly inter- esting to musical scholars. The layman is apt to be thankful the work was left unfinished, though it would have been interesting to have had Bruckner's choral ideas. BUCK 1839- DON MUNIO N MUNIO," 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 condi- tion, 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 de- parture he is ordered by the King to join in the expe- dition to Palestine. In one of the encounters of this crusade he is killed by Abadil, who does not recognize his former benefactor with his visor closed. His death is greatly mourned in Spain, but Roderigo, a messenger from Palestine, arrives and brings consolation, telling them that one evening while strolling near the Holy Sepulchre he saw seventy Christian knights riding in ghostly proces- sion, with the late Don Munio at their head. After the orchestral introduction follows a spirited hunting-song for male chorus. The next scene opens in BUCK 121 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 and begins with a prelude closing with full orchestra and organ, and leading to barytone solo and chorus, and a short ex- hortation to prayer by Escobedo. The next number is an Ave Maria for full chorus, which is beautifully har- monized. In the next scene we encounter Don Munio in the forest, and are treated to the conventional hunting- song. The next number hints at the approach of the Moors, which is soon disclosed by a pretty three-part chorus of " the females of the Moorish cavalcade as they journey." The eighth scene contains some powerful chorus work, divided between the furious Spaniards and the fright- ened women, and set to a vigorous accompaniment. After the tumult ends, Abadil melodiously appeals to Don Munio, followed by a brief arioso in which the latter makes his terms, and a spirited chorus of gratitude to the Don, which close the first part. After a short prelude, the second part opens with a tenor aria for Abadil (" O thou my star! "), refined in sentiment, which is followed by the chorale (" Jesu, dulcis memoria"), sung by the chapel choir. A duet en- sues between the two lovers on the castle terrace, which is quite 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 charm- ing bolero for orchestra. These lead to an unaccompa- nied quartette 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 122 STANDARD CONCERT .GUIDE contrast with the preceding. Mr. Buck has rarely written anything better in his sacred music than this beautiful re- quiem. In the next two numbers the messenger describes the manner of Don Munio's death, and the ghostly vision at the sepulchre, and at the close of his message the re- quiem changes to a chorus of gratitude (" In thankful hymns ascending ") . THE GOLDEN LEGEND "The Golden Legend" was written in competition for the prize 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 Dr. Leopold Damrosch. Their award was made to "The Golden Legend," and it was first performed at the festival of 1880, with Miss Annie B. Norton as Elsie, Mr. Frederick Harvey as Prince Henry, Mr. J. F. Rudolphsen as Lucifer, and Mr. M. D. Whitney as Friar Paul. The text of the cantata is composed of a prologue, epi- logue, and twelve scenes taken from Longfellow's episode in " Christus " by the same name. The mediaeval story is a 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 BUCK 123 bursts open the door, with the aid of his followers, and res- cues 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. After a spirited prelude, the prologue begins with the fruitless attempt of Lucifer to pull down the cross on the spire of Strasburg Cathedral, the protests of the spirits of the air first and second sopranos, the defiance of the bells male chorus, as each attempt fails, and the final disappearance of the spirits amid the chanting of the ma- jestic 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. 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, which closes with an in- genious 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 vis- ions wave and hover"). The fourth scene is an unac- companied quartette (" 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 quartette. In the next number, the orchestra is utilized to carry on the action, and in march tempo describes the pilgrimage to Salerno with stately intervals, in which is i2 4 STANDARD CONCERT GUIDE heard the sacred song, " Urbs coelestis, Urbs beata," sup- posed to be sung by the pilgrims. 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." The next number is for orchestra only, and once more the instruments are used for a continuance of the action by a description of the carousal of the monks in a characteristic allegro bac- chanale, the abbot testifying his indignation through the medium of the trombone and the use of the Gregorian melody. 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 interpola- tion, and is only connected with the movement of the story by a thin thread. 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 dra- matic throughout. It is followed by a tender love-duet for Elsie and the Prince on the terrace of the castle of Vauts- berg, which leads to the epilogue ("O beauty of holiness"), for full chorus and orchestra, in which the composer is at his best both in the construction of the vocal parts and the elaborately worked-up accompaniments. THE VOYAGE OF COLUMBUS "The Voyage of Columbus" was written in 1885, and first published in Germany. The text of the libretto was prepared by the composer himself, extracts from Washing- ton Irving's " Columbus " forming the theme of each of DUDLEY BUCK BUCK 125 the six scenes, all of which are supposed to transpire at evening, and are therefore styled by the composer " night- scenes." 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 "), 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 re- sponse, the last time with joy and animation as the flag of Castile is raised and they bid farewell to the shores of Spain. A short allegro brings the scene to a close. The second scene is a bass aria for Columbus (" Eigh- teen 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 Colum- bus intervenes in brief solos of great dignity, to which the chorus responds, the scene closing with the re- newal of allegiance, a stirring bass solo with choral accompaniment. The fifth scene is a tenor recitative and love-song of a most graceful character, and one which will become a favorite when it is well known (" In Andalusia the night- ingale "). The final scene is elaborate in its construction, 126 STANDARD CONCERT GUIDE and brings the work to a sonorous and stately close. It opens with dramatic recitative by Columbus (" The night is dark "), 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 " Hallelujah," which is fairly majestic in its progression, reaching its close in full, broad harmony, with the accompanying strains of trumpets. THE LIGHT OF ASIA Mr. Buck's 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 com- pensation for the privilege of using Mr. Edwin Arnold's beautiful poem by a graceful dedication of the work to him. It is divided into four parts, Prologue, the Re- nunciation and Temptation, the Return, and Epilogue and Finale. The first part has nine numbers. A brief prelude leads to the fugued chorus (" Below the highest sphere four regents sit") opened by the basses. It is simple in its construction but stately in theme and dignified through- out, and is followed by a bass solo of descriptive character (" The King gave order that his town should keep high festival"). This closes with a few choral measures, so tto voce, relating that the King had ordered a festival in honor of the advent of Buddha, and how a venerable saint, Asita, recognized the divinity of the child and "the sacred primal signs," and foretold his mission. The third num- ber is the description of the young Sidclartha, set in BUCK 127 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, pictur- ing " the thickets rustling with small life," the rippling waters among the palms, the blue doves' cooings, the jun- gles 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. The King orders the festi- val, and in the next number a march and animated three-part chorus for female voices, Kapilavastu's maid- ens flock to the gate. Then comes the recognition, briefly told in soprano recitative. Yasodhara passes, and " at sudden sight of her he changed." A beautiful love-duet for soprano and tenor (" And their eyes mixed, and from the look sprang love ") closes the scene. The next num- ber is a bass solo narrating the triumph of Siddartha over all other suitors, leading to a jubilant and graceful wedding chorus ("Enter, thrice-happy! enter, thrice-desired 1 "), the words of which are taken from the " Indian Song of Songs." The second part opens with a soprano solo describing his pleasure with Yasodhara, in the midst of which comes the warning of the Devas ("We are the voices of the wandering wind"). This number is a semi-chorus, set for female voices, interspersed with brief phrases for tenor, and after a bass solo, relating the King's dream and the hermit's interpretation, which induces him to doubly guard Siddartha's pleasure-house, leads up to a 128 STANDARD CONCERT GUIDE beautiful chorus, divided between two sopranos, alto, two tenors, and two basses (" Softly the Indian night sunk o'er the plain "). The next scene opens with a soprano solo ("Within the bower of inmost splendor"), in which Yasodhara relates her dream of the voice crying " The time is nigh," to Siddartha, and closes with a tender duet for soprano and tenor. The next number is a brief chorus ("Then in her tears she slept"), followed by the tenor solo (" I will depart "), in which Siddartha pro- claims his resolve " to seek deliverance and the unknown light," and leading to a richly colored and majestic chorus ("There came a wind which lulled each sense aswoon"). A tenor solo describes the six long years of wandering, followed by a characteristic chorus of voices of earth and air bidding him pass to the tree under whose leaves it was foretold that truth should come to him for the saving of the world. A short bass recitative leads to a vigorous descriptive chorus relating the temptations of Siddartha, in which the orchestra is used with masterly effect. A brief soprano solo, the apparition of Yasodhara among the wanton shapes floating about the tree, imploring him to return, and the tenor response, bidding the shadow depart, intervene ; and then the chorus resumes with increased vigor, reaching a furious climax as the legions of hell tempt him, but dying away in the close to phrases of tender beauty (" Radiant, rejoicing, strong, Buddha arose "). The third part (the Return) opens with a soprano solo of a slow and mournful character, relating the sorrow of Yasodhara and the visit of her damsels, who announce the arrival of merchants with tidings of Siddartha. They are summoned, and tell their story in a short chorus, which is followed by a brief soprano solo ("Uprose Yasodhara with joy"), an exultant chorus ("While the town rang with music"), and another brief phrase for BUCK 129 soprano, leading to a fine choral outburst (" T is he ! Siddartha, who was lost "). The next number, a bass solo describing the King's wrath when he learns that Siddartha has returned as a yellow-robed hermit instead of with " shining spears and tramp of horse and foot," is sonorous as well as dramatic, and is followed by a tenor and bass dialogue developing into a trio of great beauty ("Thus passed the three into the way of peace"). The final number is a masterpiece of choral work both in the elaborateness of its construction and the majesty of its effect, and brings the cantata to a close with the mystic words, " The dew is on the lotus ! Rise, great Sun ! " CORDER 1852- THE BRIDAL OF TRIERMAIN " >"T"" V HE Bridal of Triermain" was written for the Wol- JL verhampton (England) Festival of 1886. The sub- ject is taken from Sir 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 pre- served. 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 ; the magic wrought by Merlin in the valley to delude Roland and thwart his effort to rescue Gyneth ; his daring entrance into the palace grounds ; the discovery of the Princess in the enchanted hall, and her final rescue are the themes which the composer has treated. 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 dramatic dialogue for soprano and tenor, gives us the conversation between Arthur and Gy- neth, and leads to a full, energetic chorus with descriptive FREDERICK CORDER CORDER 131 accompaniment, picturing the bloody tourney and its sudden interruption by the appearance of Merlin, the enchanter. The first part closes with a charming num- ber ("'Madmen,' he cried, 'your strife forbear'") ar- ranged for bass solo, quartette, and chorus, in which is described the spell which Merlin casts upon Gyneth. The second part, after a short allegro movement for or- chestra, opens with a contralto solo (" Of wasted fields and plundered flocks ") which prepares the way for a con- certed number for solos and chorus (" And now the moon her orb has hid"), describing the magical arts which Merlin employed to thwart the Baron. A succession of bass, tenor, and contralto recitatives ("Wroth waxed the warrior") leads to another powerful chorus ("Rash ad- venturer, 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 expres- sion. A tenor recitative (" While yet the distant echoes roll") leads up to a graceful, sensuous soprano solo and female chorus ("Gentle knight, a while delay"). Its counterpart is found in the tenor recitative and spirited, dignified male chorus (" Son of honor, theme of story "). The denouement now begins. A contralto solo, declama- tory 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 quartette and chorus worked up to an imposing climax. COSTA 1808-1884 Eu THE oratorio of " Eli," the text taken from the first book of Samuel, and adapted by William Bartholo- mew, was first performed at the Birmingham Festival, Au- gust, 1855, under Costa's own direction, with Mesdames Viardot and Novello and Messrs. Sims Reeves and Carl Formes in the principal parts. The characters are Eli, Elkanah, Hannah, Samuel, the Man of God, Saph, Philis- tine warrior, Hophni and Phinehas, sons of Eli, and Priests and Philistines as chorus. The story is not very consistent in its outlines, and is fragmentary withal, the narrative of the child Samuel being the central theme, around which are grouped the tribulations of Elkanah and Hannah, the service of Eli the priest, the revels of his profligate sons, and the martial deeds of the Philistines. The overture opens with a pianissimo prelude for organ in chorale form, followed by an orchestral fugue well worked up, but quiet in character. Indeed, the whole overture is mostly pianissimo. In striking contrast fol- lows the opening recitative for bass (" Blow ye the trumpet "), which is the signal for those instruments, and introduces the first chorus (" Let us go to pray before the Lord "), beginning with a soft staccato which gradually works up to a jubilant climax on the words " Make a joy- ful noise." A tenor solo for Elkanah is interwoven with the chorus, which closes with broad, flowing harmony. The next number, a bass air with chorus (" Let the people praise Thee "), is somewhat peculiar in its construction. COSTA 133 It begins with the air, which is slow and tender, and at the close the chorus takes it in canon form. Then Eli intones benedictions in chorale style, and the chorus responds with " Amens " in full harmony at the end of each, mak- ing an impressive effect. It is followed by an elaborate chorus (" Blessed be the Lord"), closing with a fugue on the word "Amen," which is clear and well worked up. The next number is the sorrowful prayer of the barren and grieving Hannah ("Turn Thee unto me "), which is expressive in its mournful supplication, and finely con- trasted with her joyous song after the birth of Samuel. Eli rebukes her, and a dialogue ensues, interrupted by the tender chorus ("The Lord is good"). The dialogue form is again renewed, this time by Elkanah and Hannah, leading to a beautiful duet between them (" Wherefore is thy soul cast down? "). The character of the music now changes as we enter upon a long drinking-cho'rus, with solos by the two revel- lers, Hophni and Phinehas ("For everything there is a season "). The change from the seriousness of the pre- ceding numbers is very abrupt, and the music of the chorus is decidedly of the conventional Italian drinking- song character. Eli appears and rebukes them, and after a cantabile aria ("Thou shouldst mark iniquities"), a short chorus of Levites, for tenors and basses, ensues, in- troducing a simple, but well-sustained chorale for full chorus (" How mighty is Thy name "). At this point the " Man of God " appears, rebuking the Levites for their polluted offerings. His denunciations are declaimed in strong, spirited phrases, accompanied by the chorus of the people ("They have profaned it"), beginning in unison. The scene now changes to the camp of the Philistines, where Saph, their man of war, shouts out his angry and boisterous defiance in his solo ("Philistines, hark, the trumpet sounding "). It is followed by a chorale response 134 STANDARD CONCERT GUIDE from the Philistines (" Speed us on to fight "), which is in the same robust and stirring style, though the general effect is theatrical and somewhat commonplace. Com- bined with it is a chorale response by the priests of Dagon, of an Oriental character. After this clash of sound follows an air of a sombre style by Eli (" Hear my prayer, O Lord "), the introduction and accompaniment of which are very striking. The " Man of God " once more ap- pears, announcing the approaching death of Eli's sons to a weird, sepulchral accompaniment of the reeds and trom- bones, and leading up to a very effective duet between them (" Lord, cause thy face to shine upon Thy servant "). Another chorale ensues (" Oh, make a joyful noise"), and after a brief recitative Hannah has a most exultant song, overflowing with love and gratitude at the birth of Samuel ("I will extol Thee, O Lord "). The first part closes with a brief recitative between Hannah and Eli, preluding a fugued chorus (" Hosanna in the highest "), built up on two motives and one of the most elaborate numbers in the oratorio. The second part opens with a chaste and lovely melody, the morning prayer of the child Samuel (" Lord, from my bed again I rise"), followed with some pretty recitative between the child and his parents, and an unaccompanied quartette, set to the same chorale theme that was heard in the organ prelude to the overture. The next number is the long and showy instrumental march of the Israelites, fol- lowed by two striking choruses, the first of which (" Hold not Thy peace and be not still, O God !") appeals for divine help against the enemy, and the second, an allegro (" O God, make them like awheel"), leads into a fugue (" So persecute them "), which is energetic in char- acter, and closes with the martial hymn (" God and King of Jacob's nation"), sung to the melody of the preceding march. SIR MICHAEL COSTA COSTA 135 The oratorio abounds in contrasts, and here occurs another, the evening prayer of Samuel (" This night I lift my heart to Thee"), a pure, quiet melody, gradually dying away as he drops asleep, and followed by an angel chorus for female voices with harp accompaniment (" No evil shall befall thee "), the effect of which is very beauti- ful, especially in the decrescendo at the close. A messen- ger suddenly arrives, announcing the defeat of Israel by the Philistines, upon which the chorus bursts out in the descriptive number (" Woe unto us, we are spoiled ! "). Some dramatic recitative between Samuel and Eli follows, after which the Levites join in the chorus (" Bless ye the Lord "), opening with the tenors and closing in four parts, with the call of Eli intervening (" Watchmen, what of the night?"). A long recitative by Samuel ("The Lord said"), foreshadowing the disasters to the house of Eli; an air by Eli (" Although my house be not with God ") ; a funeral chorus by the Israelites (" Lament with a doleful lamentation"); further phrases of recitative announcing more defeats of Israel, the capture of the ark, the death of Eli and his sons, and an appeal by Samuel to blow the trumpet, calling a solemn assembly to implore the pity of the Lord, prepare the way for the final chorus (" Blessed be the Lord "), which closes with a fugue on the word "Hallelujah." COWEN 1852- THE SLEEPING BEAUTY " > V HE Sleeping Beauty," written for the Birmingham A 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 re- ception in Paris, where it was brought out under the title of " La Belle au Bois Dormant." 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 off- spring had been abandoned, the gay carousal which he ordered, and the sudden appearance of the twelve fays, guardians of his house, with their spinning-wheels and golden flax, who sing as they weave ("Draw the thread and weave the woof"). In beauty of melody and graceful- ness of orchestration this chorus of the fays is specially noticeable. Its charming movement, however, is inter- rupted 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 charac- teristic contralto aria (" From the gold of the flaxen reel "). 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 COWEN 137 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 melodious tenor solo, with two graceful orchestral interludes, which moral- izes on what has occurred and closes the prologue. The first scene opens in a hall in the King's palace, and is full of animation. A brilliant orchestral prelude leads to the full chorus in waltz time (" At dawn of day on the first of May "), which moves along with a fascinat- ing swing, and closes in a 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. The second scene opens in the turret chamber, where the wicked fay, disguised as an old crone, is spinning. After a short dialogue, in which the fay explains to the Princess the use of the wheel, she bids her listen, and sings a weird ballad ("As I sit at my spinning-wheel, strange dreams come to me "), closing with the refrain of the old prophecy, " Ere the buds of her youth are blown." The Princess dreamily repeats the burden of the song, and then, fearing the presence of some ill omen, opens the door to escape. She hears the dance-music again, but the fay gently draws her back and induces her to 138 STANDARD CONCERT GUIDE touch the flax. As she does so, the fay covertly prick 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 incan- tation music ("Spring from the earth, red roses "), a dra- matic 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, de- scribing in a vivid manner, both with voices and instru- ments, the magic sleep that fell upon the castle and all its inmates. The strain of a horn signal, constantly growing louder, heralds 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 be- holds the sleeping Princess. The love-song which follows (" Kneeling before thee, worshipping wholly ") is one of the most effective portions of the work. His kiss awakes her, and as she springs up, the dance-music at once resumes from the bar where it had stopped in the scene with the wicked fay. An impassioned duet fol- lows, and the work closes with the animated waltz-chorus which opened the first scene. RUTH " Ruth," a dramatic oratorio, words by Joseph Bennett, was first given at the Worcester (England) Festival of 1887. Part I opens before the house of Naomi in Moab with the appearance of a Hebrew caravan on its way to the land of Israel, the march indicated by a measured movement ac- companying the chorus (" Lord, Thou hast been our dwelling place "). After a brief dialogue between Naomi FREDERIC H. Cow EN COWEN 139 and the Elder, the caravan resumes its way. A dialogue between Naomi and Orpah is introduced with the gently flowing melody ("Like as a father") after which Ruth takes part in it in a strong and yet tender air (" Be of good comfort "). The scene closes with a beautifully harmonized chorus of neighbors (" Blessed shall thou be "). The second scene opens on the road to the land of Israel with an orchestral introduction descriptive of the joy and brightness of the morning, leading up to the vig- orous unison chorus ("Then shall we see His glory") followed by a dialogue between Naomi and her daughters. The striking feature of this scene is Ruth's beautiful air ("Intreat me not to leave thee"), the melody of which clearly expresses her faith and constancy. The scene closes with an elaborate chorus of the Hebrews (" Arise, let us go to our own people "). The third scene opens in the harvest field at Bethlehem with the reaper's solo (" Fear not "), accompanied by re- sponses from the reapers and gleaners. Boaz, at the close of the ensemble, greets his servants, and a graceful duet follows for him and Ruth, the subject of which (" Let me find favor") is introduced by the latter. The harvest music closes the scene in the field and on their way homeward the reapers sing a chorus of rest (" Man goeth forth ") which is answered by the gleaners with phrases from the harvest chorus. At the close a dialogue follows between Ruth and Naomi, with Ruth's " Intreaty " for its principal theme, set off in most effective combination by phrases from the reapers' and gleaners' choruses heard in the distance. Part II opens with a characteristic orchestral introduc- tion (" Thanksgiving at harvest time "), followed by a vigorous air for Boaz (" How excellent is thy loving kind- ness"). After a short solo by the Elder, the dance of gleaners, accompanied by the chorus of reapers, begins, i 4 o STANDARD CONCERT GUIDE the effect being peculiarly graceful ; and this is followed by a dance of reapers, accompanied by chorus of gleaners, based upon a Hebrew theme, the two dances interweaving at the close and the ensemble ending with a masterly chorale combination. Then follows a powerful unison in which the story of the famine through which they have passed is told, leading up to a massive and imposing thanksgiving chorale ("We will praise Thee, O God"). As it comes to a close the dance theme disappears and a beautiful duet follows between Ruth and Boaz, preluding the marriage declaration. The Finale is almost entirely choral, beginning with the chorus ("The Lord bless you "), combined with solos of Naomi, Ruth, and Boaz, and closing with an impressive climax upon the words, " Sing, O ye heavens ! " SYMPHONY No. 3, IN C MINOR (SCANDINAVIAN) 1. ALLEGRO MODERATO MA CON MOTO. 2. MOLTO ADAGIO. 3. SCHERZO. MOLTO VIVACE QUASI PRESTO. 4. FINALE. ALLKGRO MA NON TROPPO. ALLEGRO MOLTO VIVACE. Cowen's symphony in C minor, better known as the Scandinavian Symphony, was first performed in London, December 18, 1880, and since that time has made the tour of the musical world in England, Germany, and the United States, and been received with a cordial welcome. It is a charming example of programme-music in a roman- tic form, and, as its name suggests, seeks to convey im- pressions of the Northland. The opening movement, Allegro moderato ma con moto, is sombre and almost melancholy in character, and delineates the natural emo- tions inspired by the forests and mountains of Scandi- navia. It begins with a quiet and serious theme for clarinets and bassoons alone, to which the violins reply COWEN 141 without changing its general character, leading up after a repeat to the full orchestral effect, in which, excepting horns and trumpets, the instruments are in unison. After a short development of this theme, the second is given out by the violins, repeated by the 'cellos, and then taken by 'cellos and first violins. This theme is local in its color and in strong contrast with the first, the one sombre, the other cheerful. After the repetitions the subjects are worked up in the orthodox manner, the gen- eral character of the music alternating between energy and quiet ; but the first theme ultimately asserts itself with great power and dominates the close of the movement. The second movement, Molto adagio, is poetical in its sentiment. It is entitled " Summer night at the fjord," and is intended to represent the impressions of one stand- ing by the water in the moonlight, looking out on the one hand at the shimmering waves, and on the other at the darkling mountains. The northern color is even stronger in the Adagio than in the opening movement. It opens with a short passage for the strings, which alternates be- tween them and the wood winds and is charmingly treated. As it comes to a close an unexpected but delightful inter- mezzo occurs, an Allegretto, representing a party of pleasure-seekers sailing along the other shore, whose song comes across the water to the listener and disturbs his meditations. The song is given out by the horn quartette with harp accompaniment, and diminishes as the boat sails along in the darkness, finally dying away into the stillness of the night. Once more the flute and oboes, followed by the violins, take up the principal theme of the Adagio, and the development proceeds to the end, interrupted for a few measures only by the horn theme, which is again heard in the distance through the dreamy visions of the fjord. The movement as a whole is charming for its poetical ideas and tender, romantic effect. 142 STANDARD CONCERT GUIDE The Scherzo, Molto vivace quasi presto, presents a third picture entirely different from its predecessors in color and outlines. From the moonlight night on the fjord we are transported at once into the heart of a northern Winter, and enjoy a sleigh-ride. The opening theme, introduced by the strings, and its treatment are full of the freedom and exhilaration of the drive, and ingeniously reproduce the motion of the horses, while the triangle's clang supplies the jingle of the bells. The Scherzo is in conventional form, and has a pretty trio and coda reuniting the themes of each. The final movement, Allegro ma non troppo, leading to Allegro molto vivace, is constructed upon a larger and more energetic plan than any of the others, and has the genuine northern sturdiness and rugged force. It enters with its main subject in unison, which increases in vigor with the Allegro molto vivace. The second theme is in- troduced by the violins, followed by the basses, and after its working up the first part of the movement closes with the repetition of the opening theme. From this point on the movement is in the nature of a fantasie, which is de- voted not alone to the first theme, but includes in its scheme the second motive of the first Allegro, the open- ing bars of its first theme, and the principal theme of the Adagio. The entire close, however, is dominated by the strong theme which opened the movement, and is treated in a highly skilful manner. DVORAK 1841 -1904 THE SPECTRE'S BRIDE THE legend of the Spectre's Bride is current in various forms among all the Slavonic nations, but the outlines of the story are the same. The Spectre comes for his Bride, and she rides away with him through the night, amid all manner of supernatural horrors, only to find at the end that she has ridden to the grave with a skeleton. The Bohemian poem used by Dvorak is that of Karel Jaromir Erben. In his version, unlike the German, the Spectre and his Bride make their grewsome journey on foot. The denouement in the churchyard differs also, as the maiden is saved by an appeal to the Virgin. In the opening scene she is represented gazing at a picture of the Virgin, mourning the death of her parents and the absence of her lover, who has failed to keep his promise to return. As she appeals to the Virgin to bring him back, the picture moves, the flame of the lamp up- leaps, there is an ominous knock at the door, and the voice of the apparition is heard urging her to cease pray- ing 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 resists all her appeals to 144 STANDARD CONCERT GUIDE stop and rest, until 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 ; spec- tres are dancing before the door, and the moonlight re- veals 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. Such is the horrible story which forms the theme of Dvorak's music. The cantata contains eighteen numbers, each of con- siderable length, of which eleven are descriptive, the bary- tone, 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, DVORAK 145 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 strange fascination of the music there can be no doubt. THE STABAT MATER Dvorak's " Stabat Mater "was composed in 1875. It was sent to the Austrian Minister of Instruction, but was not deemed worthy of the grant of two hundred dollars which the composer had expected. Its merit was subse- quently recognized by Brahms and Joachim, and the latter secured a hearing of it in London in 1883. It immedi- ately made its composer famous. The " Stabat Mater " is written for soli, chorus, and or- chestra, and comprises ten numbers. The first is the quar- tette and chorus ("Stabat Mater dolorosa"), and carries the old Latin hymn as far as the " Quis est homo." After an orchestral introduction which gives out the principal motives on which the number is based, the vocal quartette begins. The materials of which it is composed are simple, but they are worked up with great technical skill. The general effect is tragic rather than pathetic, as if the com- poser were contemplating not so much the grief of the Virgin Mother at the foot of the Cross as the awful nature of the tragedy itself and its far-reaching consequences. The second number is the quartette (" Quis est homo "). After a short introduction the theme is taken by the alto, followed by the tenor and bass, and lastly by the soprano, the general structure growing more elaborate at each en- 10 146 STANDARD CONCERT GUIDE trance. After the second subject is introduced a strong climax is reached, and in the coda the voices whisper the words "videtsuum" to an accompaniment of wind instru- ments in sustained and impressive chords. The third number (" Eia Mater "), is built up on an ex- ceedingly brief motive, augmented with surprising power in chorale form. It is a work of scholarly skill and yet is full of charm and grace, and will always commend itself even to the untutored hearer by its tenderness and pathetic beauty. The fourth number ("Fac ut ardeat cor meum"), for bass solo and chorus, like the third, is most skilfully con- structed out of small materials, and is marked by fine contrast between the solo and the chorus, which at its en- trance is assigned to the female voices only, with organ accompaniment. The fifth number is the chorus "Tui nati vulnerati," which is remarkable for the smooth and flowing manner in which its two subjects are treated. The sixth number ("Fac me vere tecum flere"), for tenor solo and chorus, is elaborate in its construction. A stately theme is given out by the tenor, repeated in three- part harmony by male voices, the accompaniment being independent in form ; the subject then returns, first for solo and then for male voices, in varying harmonies. After a brief vocal episode the subject reappears in still different form, and, followed by the episode worked up at length in a coda, brings the number to its close. The seventh number (" Virgo, virgonum prseclara "), for full chorus, is marked by great simplicity and tenderness, and will always be one of the most popular sections of the work. The eighth number ("Fac ut portem"), is a duet for soprano and tenor, responsive in character and con- structed on simple phrases presented in varying forms both by the voices and orchestra. ANTONIN DVORAK DVORAK 147 The ninth number (" Inflammatus et accensus "), is one of the most masterly in the whole work. It is an alto solo composed of two subjects, the first majestic, and the second pathetic in character, forming a contrast of great power and beauty. The tenth and closing number (" Quando corpus mori- etur "), for quartette and chorus, is constructed substan- tially upon the same themes which appeared in the "Stabat Mater," and closes with an " Amen " of a massive char- acter, exhibiting astonishing contrapuntal skill. SAINT LUDMILA " Saint Ludmila," an oratorio, text by Jaroslav Vrchlicky, was first given at the Leeds Festival of 1886. Part I opens in the courtyard of the castle of Melnik, where the people are gathered around the statue of the goddess Bdba, erected by Ludmila, invoking the Bohemian deities. After an orchestral passage signifying dawn, the priests sing a joyous chorus (" The night retires to woods "). A short tenor solo for a husbandman (" Laughing springtime ") is followed by a graceful chorus for female voices (" Blos- soms born of teeming springtime "), which in turn is followed by a chant (" Breaking day and dusky night ") and an impressive choral invocation of the deities ("Tri- glav who with threefold face "V Ludmila enters with the recitative (" How wildly beats my heart ! ") invoking the blessing of Baba upon the fatherland, leading to a simple but beautiful melody ("I long with childlike longing"). This is followed by a chorus set to the classical oratorio form ("The gods are ever near"), and this in turn by a graceful, idyllic air for tenor (" Come, let us garlands bring "). The quiet, peaceful nature of the music now changes. An agitated chorus ensues (" Hark ! what can be the noise ? "). Ivan, the Christian teacher, appears and 148 STANDARD CONCERT GUIDE in a declamatory solo of great power appeals to the people (" Give ear, ye people, one is our God "). His appeal is followed by another excited chorus describing his strange appearance and his demolition of the statue. In another beautiful melody ("Oh, grant me in the dust to fall") Ludmila announces her sudden conversion and her de- termination to follow Ivan. The people join in chorus ("What will befall us in the time approaching?") followed by a second chorus of despair (" Now all gives way "), which closes the first part with a climax of great power. Part II opens with an instrumental introduction lead- ing to recitative (" Within what gloomy depths of for- est") for Svatava, who is following her mistress in quest of Ivan. A duet between them follows as they approach a cavern's entrance, from which Ivan issues with the air, " It was no mistake." A duet follows in which Ludmila announces her determination to embrace Christianity. As Svatava joins in a similar declaration there is a sudden change from religious exaltation to hunting music. A chorus of hunters (" Gayly thro' forest") is heard. It increases in energy as they approach and serves to intro- duce Prince Borivoj, who narrates the miracle of the healing of the wounded hind by Ivan, and then as he looks upon Ludmila, declares his sudden love for her. Ivan, in impressive recitative ("To souls in error bring I knowledge "), declares his mission, and the hunters recog- nize Ludmila. Borivoj declares his passion for her and also would fain hear of the new faith. He announces his conversion in an impassioned melody (" Oh, guide me in the way ! ") and offers himself to Ludmila, who in graceful, tender recitative replies (" To thee the pleasure of the chase belongs"). Ivan's appeal to her to give the Prince her hand is followed by a quartette and chorus (" I long indeed to see the light "), which brings the second part to a close. DVORAK 149 Part III opens in the cathedral of Velehrad where Ludmila and Bofivoj are baptized. It is an ensemble of religious exaltation, introduced with the stately chorus ("Mighty Lord, to us be gracious"). Ivan summons the pair with the recitative (" Come hither, ye whom I have taught "), and Ludmila and Bofivoj sing their ex- ultant baptismal duet ("That hour I long for"). The ceremony is followed by an orchestral introduction open- ing with trumpet fanfares, and leading to solos by Ivan and Svatava with choral sequences, the final " Alleluia " (" Mighty Lord, to us be gracious ") being worked up contrapuntally to a climax of tremendous power and impressiveness. SYMPHONY No. 2, D MINOR. OP. 70 1. ALLEGRO MAESTOSO. 3. SCHERZO. 2. POCO ADAGIO. 4. FINALE. Dvorak's Second symphony was first performed in 1885. The first movement opens with the leading theme, instead of the usual introduction, given out by the violas and 'cellos and repeated by the clarinets with tremolo string accompaniment. After an ingenious development, fol- lowed by a powerful climax, the second theme is stated by the wood winds softly accompanied by the strings. After the usual development and a pianissimo close, the first and second themes are treated in a graceful and skilful man- ner, the movement closing pianissimo after a brilliant and resonant coda. The second movement, Poco adagio, opens with a stately melody given out by the wood winds, with pizzicato string accompaniment, followed by another melody for first violins and 'cellos with a background of wood winds and trombones, producing a fascinating effect. The third theme is assigned to the horns, and is followed by a fourth, 150 STANDARD CONCERT GUIDE at first for clarinet and horn and then for flute and bas- soon, the movement closing with the development of these themes. Dvorak, who is always remarkable for the expres- siveness of his melodies, has rarely written anything more beautiful and effective than this Adagio. The third and fourth movements carry out the spirit of the work. The Scherzo is full of life and movement, and, though written in the usual form, is unique and original in its materials and most elaborately ingenious in treatment. The Finale is virile and resonant and its principal themes very expressive, bringing this fine work, considered by some as Dvorak's best symphony, to a well rounded close. SYMPHONY No. 3, IN D MAJOR. OP. 60 1. ALLEGRO NON TANTO. 3. SCHERZO (FURIANT). 2. ADAGIO. 4. FINALE. ALLEGRO CON SPIRITO. Dvorak's Third symphony was written in 1884, and was also his first published work. Notwithstanding its essentially Slavic character the regular symphonic form is not modified in any particular. Instruments are sometimes employed in very peculiar and unique ways, and the modulations are often striking and unusual ; but the adaptability of the symphonic form as originated by Haydn and developed by Mozart and Beethoven is clearly shown in this work of Dvorak's. The first movement, Allegro non tanto, contains a rich display of musical ideas in its group of themes. The pre- lude to the opening theme is divided between the wind instruments, basses, and bassoons, and after four bars the subject is reached ; but the key soon changes and a vigor- ous interruption occurs, after which the theme returns in the original time with a brilliant forte passage for the brasses. Its stay is transient, however, and the interrup- tion occurs, vivacious in its character, which leads up to DVORAK 151 the introduction to the second theme, a thoroughly unique melody given out by the 'cellos and horns, with a picturesque string accompaniment. A duet for oboe and bassoon follows, with a melodious figure in accompaniment for the second violins and violas, and a long sustained tone by the first violins. The theme is then repeated by full orchestra, after which all the ideas of the movement, of which there are no less than six distinct ones, are worked out in the orthodox form. The second movement, Adagio, is rich in color, though gentle and dreamy in its sentiment. After a short prelude, as in the first movement, the first theme is given out by the strings with accompaniment by the wind instruments. After a short episode we reach the second part of the theme, taken by the flutes, with a refrain by the oboes, one of the tenderest and most fascinating songs imaginable. The key then changes, and another short episode brings us back to the original key and principal subject. Another episode, developed from the materials of this theme, occurs and is followed by the coda, in which there is a character- istic 'cello solo. The third movement, Scherzo, gives a national character to the whole symphony. It is marked " Furiant," and is in form and substance almost identical with the Slavonic dances, so many of which Dvorak has arranged. Its open- ing theme is fresh, piquant, and spirited, and is repeated over and over to a wild and furious accompaniment, punc- tuated and emphasized with all the strange accents and unusual rhythms that characterize the Bohemian and Hun- garian music. The excitement reaches its climax in the trio, in which the flutes and strings, pizzicato, carry the melody, and the piccolo gives it the genuine Slavic color. The second theme of the trio is broader and more digni- fied in style, and at its close the Scherzo is repeated and ends this stirring movement. 152 STANDARD CONCERT GUIDE The last movement, Allegro con spirito, is made up of simple Bohemian melodies, treated in the most vigorous style. The opening theme is given out by the strings and clarinets, and with constantly accelerating tempo dashes on with a second theme for oboes and horns, which grows fairly furious when taken by the whole orchestra and yet shows humorous features in the peculiar entrances of the horns and trombones. The coda opens with the first theme splendidly set forth by the horns and violas, and is developed with great skill. The movement comes to an end with a brilliant and vigorous presto. SYMPHONY No. 5 [" FROM THE NEW WORLD "] IN E MINOR. OP. 95 Dvorak's Fifth symphony is one of peculiar interest, not only because of its intrinsic beauties and excellencies, but also because it is in one sense a tribute to America, where he resided for a short time and gave musical instruc- tion, and a utilizing of negro melodies in the thematic treatment. After an expressive introduction, the first theme is given out by the horns and shortly the New World character of the work is illustrated by a rollicking passage for flutes and oboes, followed by a theme for flute with subdued string accompaniment, which every one will recognize as borrowed from the negro jubilee melody, " Swing low, sweet chariot." The remainder of the movement is devoted to a conventional but most unique and complicated working up of these simple thematic materials. After a short introduction for wood winds and brasses a most bewitching melody is given to the English horn in the second movement accompanied by muted strings. Its loveliness and pathos can hardly be overstated. It so lends itself to vocal treatment that it is a wonder some DVORAK 153 one has not adapted it to concert purposes. After a repeti- tion of much of the introduction the beautiful melody returns and is soon followed by a more resonant theme for flutes and oboes. This in turn is succeeded by some compli- cated development leading up to the conclusion, the " swan song " of which is the beautiful melody already re- ferred to, which seems even more beautiful in its new setting. The Scherzo is in the usual form, and besides its own themes contains reminiscences of the first movement. The last movement not only deals with its own materials but those of all the other movements, including the beautiful horn theme of the second, and closes a symphony which, if not as orthodox as some of its predecessors, is yet full of beauty and deservedly a favorite. ELGAR 1857- THE LIGHT OF LIFE " ' I'^HE Light of Life," sometimes called a cantata, JL but by the composer himself a short oratorio, the text by Rev. E. Capel-Cure, Vicar of Bradninch, Devon, England, was first performed at the Worcester (England) Musical Festival, September, 1896. The libretto has for its theme the miracle of the man who was born blind. The solo parts are assigned as follows : soprano, mother of the blind man; contralto, narrator; tenor, the blind man ; barytone, the Master. The work opens with a meditation for orchestra, which is distinctly melodious a characteristic not always found in Sir Edward Elgar's oratorios, for all of them are con- structed by working up thematic material, so much in the Wagner manner that they might aptly be called sacred music dramas. The first vocal number is a male chorus (" Seek Him ") sung by the Levites in the Temple courts, leading to a short tenor solo ("O Thou, in heaven's dome") in which the blind man prays for light. No. 3 is a short recitative for the narrator, leading to a chorus of the Disciples ("Who did sin?"). In No. 4, an expres- sive soprano solo (" Be not extreme "), the mother of the blind man declares that her son has not been punished for the sins of others. This is followed by recitative (" Neither hath this man sinned ") sung by the Master and leading to a massive but simple chorus, at times melodious, and again harmonious (" Light out of darkness "). When this ELGAR 155 is closed, the story is resumed. The eyes of the blind man are anointed and he is told to wash in the Pool of Siloam. No. 8 (" Doubt not thy Father's care ") is a very expressive chorus for sopranos and altos, followed by an ensemble, No. 9, of extraordinary instrumental effective- ness, in which the blind man is questioned by his neigh- bors as to the miracle. It is unusually strong and dramatic, working up through a fughetta to an eight-part climax. In No. 10 ("As a spirit didst Thou pass") the blind man tells his story, which is followed by a vigorous choral dia- logue between the Pharisees, some condemning and some defending the man. No. 12 ("Thou only hast the words of life ") is an arietta for narrator. In No. 13 a new dramatic situation is brought out effectively by the orchestra in which the doubting Jews question the mother and the blind man. A beautiful solo and chorus by women (" Woe to the shepherds of the flock ") follows, leading to a dialogue between the Master and the man He had healed, which closes with the most effective vocal number in the work a solo for the Master (" I am the good shep- herd "). The chorus (" Light of the world "), a brief but triumphant expression of faith, closes the oratorio. It is evident in this, as in all his oratorios, that the composer's sympathies are with the orchestra, for the most beautiful passages are given to it and the chief interest lies in the instrumentation. THE DREAM OF GERONTIUS "The Dream of Gerontius," poem by Cardinal New- man and set to music for mezzo soprano, tenor, and bass solos, chorus and orchestra, was first performed at the Bir- mingham (England) Festival of 1900. The theme of the poem is the dream of the dying Gerontius of his soul's passage to the unseen world, its reception by the angels, 156 STANDARD CONCERT GUIDE and the mysteries of that world. The music is scored for an unusually large orchestra, including besides the ordi- nary instruments, the double bassoon, organ, gong, schellen, glockenspiel, and triangle. Owing to its peculiar con- struction the string section is divided into fifteen, eighteen, and sometimes twenty parts. The score is built up in the Wagnerian manner so closely that it contains no suggestions of the classical ora- torio form. The orchestral prelude gives out no less than ten themes, which hold an important place in the body of the work and which must be kept in mind in order to form an intelligent idea of its meaning. The first tenor solo for Gerontius ("Jesu, Maria, I am near to death") fol- lows the prelude without break and this in turn is followed by a semi-chorus of devotional kind (" Kyrie Eleison"). A brief tenor solo (" Rouse thee, my fainting soul ") is succeeded by a second semi-chorus ("Be merciful"), very tender and sweet in character. A longer solo for tenor ("Sanctus fortis") ensues, full of deep feeling and followed by a powerful interlude by orchestra. The voice, that of Gerontius, again comes in with a melancholy strain ("I can no more ") developing into an expression of hor- ror and dismay as in his disordered imagination he fancies himself pursued by fiends, the accompaniment being of a demoniac nature. A short chorus by the priestly assist- ants follows (" Rescue him, O Lord ! "). As their prayer with its harmonious Amens dies away, Gerontius sings his dying song ("Novissima hora est"), and the jubilant massive chorus (" Go forth upon thy journey ") closes the first part of the oratorio. The second part opens with an orchestral prelude sig- nificant of the soul's passage and its rest, leading to a dreamy poetical solo by the soul (" I went to sleep, and now I am refreshed "), followed by a beautiful solo for the Angel, designated as the "Alleluia" ("My work is done, SIR EDWARD ELGAR ELGAR 157 my task is o'er"). A dialogue ensues between the Angel and the soul and this is followed by a powerful scene, both vocal and instrumental, representing the flight of the Angel with the soul through troops of raging demons whose howls gradually die away as the Angel nears the throne of God. Another dialogue follows between the soul and the Angel to which succeeds the chorus of the Angelicals, which is so divided as to produce a most impressive effect. A third dialogue ensues, begun by the Angel (" We now have passed the gate ") and followed by the chorus (" Glory to Him"). After alternating passages for the soul and the chorus the Angelicals unite in a mighty song (" Praise to the Holiest in the height"). As the song dies away the soul hears the voices of men left on earth, and as the Angel explains the sounds a powerful bass solo by the Angel of Agony intervenes ("Jesu! by that shuddering dread"). At its close the Angel repeats his "Alleluia," and amid the choruses of souls in purgatory and Angeli- cals the Finale begins with one of the most beautiful num- bers in the work, the Angel's solo (" Softly and gently, dearly ransomed soul "), and closes with the softly dimin- ishing chorus of the Angelicals (" Praise to the Holiest "). THE APOSTLES " The Apostles " was first performed at the Birmingham (England) Festival of 1903. In a note appended to the score Elgar says that "The Apostles," Parts I and II, is part of a scheme for an oratorio setting forth the calling of the Apostles, their teaching, and the establishment of the Church among the Gentiles. Parts III and IV are known as "The Kingdom." For each of these works Elgar himself has supplied the words. "The Apostles," like "The Dream of Gerontius," is con- structed upon a series of motives, though upon a much 158 STANDARD CONCERT GUIDE more extensive scale, as it embodies no less than eighty distinct themes which are so closely interwoven that it is not always easy to make the description thoroughly clear without the use of notation. The orchestra is unusually large, like that employed in "The Dream of Gerontius," and includes a shofar, or ancient Hebrew trumpet. The characters are the Blessed Virgin and the Angel, soprano ; Mary Magdalene, alto ; Saint John, tenor, who is also the Narrator ; Jesus, Saint Peter, and Judas, bassos. The orchestral prelude is an epitome of the whole ora- torio. The choral part is majestic in character, and the instrumental accompaniment gives out the typical themes. The first scene is the calling of the Apostles, following Jesus' night of prayer on the mountain, and introduces angelic voices declaring hope for the world, with gentle pastoral accompaniment. This leads to "The Dawn" and the chorus of the watchers on the temple roof (" It shines "), followed by the chorus within the temple (" It is a good thing to give thanks ") accompanied by the shofar and orchestra sounding the calls which are so fa- miliar to the Jewish synagogue. The song of the watchers is also based upon an old Hebrew melody. The scene concludes with the calling of the Apostles, introduced with the recitative ("And when it was day"), leading into an ensemble of Apostles' themes most elaborately constructed and producing a very impressive effect. The second scene is " By the Wayside," in which the Beatitudes are expressed with the simplicity and impres- siveness befitting their character. The third scene, " By the Sea of Galilee," introduces Mary Magdalene in the most powerful and descriptive passage of the whole work (" O Lord Almighty, God of Israel "). She gives voice to her grief and anguish in most dramatic measures. Then follows a bright, tripping choral fantasy describing her past life ; and lastly she sees the storm and the stilling of the ELGAR 159 sea from the tower of Magdala and describes it to a char- acteristic storm accompaniment. In a later passage her conversion is announced, and a solo quartette and chorus (" Turn you to the stronghold ") with an independent accompaniment bring Part I to a close. Part II deals principally with Christ's Passion, and opens with a solemn instrumental prelude. The betrayal scene is developed at considerable length, the most beautiful feature of it being the choral passage ("And the Lord turned and looked upon Peter and he went out and wept bitterly "). Judas' remorse is impressively described in the soliloquy (" Our life is short and tedious "), changing to a wailing farewell to life as he hears the shouts of the rabble ("Crucify him"). In the crucifixion scene ("Gol- gotha ") the tragedy is only briefly but solemnly indicated in the instrumentation which gives expression to the cry "Eli, Eli, lama sabachthani," the only vocal part being a short dialogue between Mary and John. The sixth scene, "At the Sepulchre," is in striking contrast with the last. The music describes the early morning. The song of the watchers is heard again and the first jubilant Alleluia of the angels (" Why seek ye the living among the dead ? "). "The Ascension" closes the oratorio. It is given to a semi-chorus of female voices to whom the mystic chorus is assigned; a chorus of female voices in four parts; four soloists ; a chorus of male voices and orchestra and organ, all uniting at the end in a mighty " Alleluia." The motive of this first section of "The Apostles" is expressed in these lines from Morris' "Earthly Paradise," which the composer has placed upon the last page of the score : "To what a heaven the earth might grow If fear beneath the earth were laid, If hope failed not, nor love decayed." 160 STANDARD CONCERT GUIDE THE KINGDOM "The Kingdom," which was written for the Birming- ham Festival of 1906, is a continuation of the composer's scheme as first displayed in "The Apostles." In his preface to the latter the composer says : " It has long been my wish to compose an oratorio which should embody the calling of the Apostles, their teaching (schooling), and their mission, culminating in the establish- ment of the Church among the Gentiles. The present work carries out the first portion of the scheme; the second portion remains for production on some future occasion." As far as the scheme has progressed, " The Apostles," Parts I and II, is the first oratorio; "The Kingdom," the second ; and the third, dealing with the work of the Apostles in the Church of the Gentiles, when written, will complete the trilogy. There are four solo parts in "The Kingdom " the Virgin Mary, soprano ; Mary Magda- lene, alto ; Saint John, tenor ; and Saint Peter, bass. The chorus alternately fills the part of the disciples, the holy women, and the people. In one passage there is also a mystic chorus. As in " The Dream of Gerontius " and " The Apostles," the composer has constructed this work upon typical themes in the Wagnerian manner. There are seventy-eight of them in its contents, some of them from " The Apostles " appearing with the rest in the prelude called " Jerusalem." The first division of the work is called "In the Upper Room," and follows the prelude without break. It opens with a quartette and chorus (" Seek first the kingdom of God ") in which the disciples call upon their followers to seek the kingdom of God and His righteousness. The Eucharist service is held, Peter leading in the ceremo- nial of breaking the bread, in which appears a beautiful ELGAR 161 antiphonal melody (" O sacrum convivium "), followed by an outburst of praise and an elaborate Amen. In a sec- ond section lots are cast for a successor to Judas. There is a chorus of disciples pronouncing execration upon his memory ("Let his habitation be desolate"), and after this a solo quartette in which the chorus eventually joins, declaring that the lot has fallen upon Saint Matthias. The second division shows the two Marys at " The Beau- tiful Gate." It is a short, graceful idyllic scene in which only the two participate. Their duet ("The singers are before the altar") is made all the more impressive by some of the motives from "The Apostles," notably the melody sung by the watchers on the roof. The third division, " Pentecost," with its subdivision, " In Solomon's Porch," is the longest and most elaborate section of the work. The descent of the Holy Ghost and the symbolizing of " tongues parting asunder like as of fire " are brought out powerfully by the use of the mystic soprano and contralto chorus and the descriptiveness of the thrilling and picturesque accompaniment heightened by the organ. In the scene "In Solomon's Porch," where the people express their surprise at the Galileans speaking in other tongues, the composer displays an extraordinary control of technique in expressing the situation. Peter's address (" Ye men of Judaea "), a most noble declamation, follows, succeeded by an invocation to the Holy Spirit, which makes an impressive climax to the scene. The fourth division, "The Sign of Healing," includes " At the Beautiful Gate," and " The Arrest." The music of the first section, describing the healing of the lame man at the gate and Peter and John's appeal to the people, is of a quiet, peaceful nature but changes in " The Arrest " scene where the disciples are apprehended because they proclaimed in Jesus the resurrection from the dead. Mary's soliloquy ("The sun goeth down"), in which twa 162 STANDARD CONCERT GUIDE Hebrew hymns are utilized, is the feature of this scene ; though first expressed in a calm, tranquil manner, with subdued accompaniment, it reaches an impassioned climax in the Finale. The fifth division, " The Upper Room," closes the oratorio. It opens with an expression of joy by the dis- ciples and holy women ("The voice of joy is in the dwelling of the righteous "), leading to the scene of "The Breaking of Bread," which is simple, yet very ex- pressive. After its climax the voices softly declaim the Lord's Prayer, closing upon " For ever and ever, Amen " in a powerful climax. A chorus of a solemn nature (" Thou, O Lord, art our Father") brings the oratorio to its close. ARTHUR FOOTE FOOTE 1853- HlAWATHA " > I ^HE Farewell of Hiawatha," for barytone solo, male A voices, and orchestra, modestly styled by its com- poser 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 " From his place rose Hiawatha." The composer has made use of the re- mainder of the poem without change, except in repetitions demanded by musical necessity. A short orchestral introduction, Andante con moto, fol- lowed by a chorus of tenors and basses in a few bars, reci- tative in form, and sung pianissimo, leads to a barytone solo for Hiawatha of a tender character (" I am going, O Noko- mis "). 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 com- bination of sweetness and strength, though it only rises to a display of energy in the single phrase, " The Master of Life has sent them," after which it closes quietly and tenderly, in keeping with the sentiment of the text. The remainder of the work is choral. The westward sail of Hiawatha into " the fiery sunset," the " purple vapors," and " the dusk of evening " is set to a very picturesque accompaniment, which dies away in soft strains as he disappears in the dis- tance. An allegro movement with a crescendo of great energy introduces the farewell of " the forests dark and 1 64 STANDARD CONCERT GUIDE 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 out- burst (" Thus departed Hiawatha "). FRANCE 1822- 1890 THE BEATITUDES " > I ^HE Beatitudes," written in 1870 and published in JL 1880, the text, a poetical paraphrase of the Gospel, by Lady Colomb, is divided into nine parts, a prologue and eight beatitudes. The prologue, an impressive number, is set for tenor solo (" Dark brooded fear over the land "), and celestial chorus (" Oh, blessed be He ! ") with orchestra. First Beatitude " Blessed are the poor in spirit: for theirs is the kingdom of heaven" The first beatitude opens with a passionate and ener- getic terrestrial chorus ("All the wealth of the earth"). The celestial chorus softly responds (" When our hearts are oppressed "). The voice of Christ is now heard in a song (" Blessed be ") of exquisite tenderness and beauty, which is taken up by the celestial chorus with a rich accompaniment, and closes the beatitude. Second Beatitude " Blessed are the meek : for they shall inherit the earth" The second beatitude, introduced by the oboe with a tremolo accompaniment of the strings, opens with the terrestrial chorus ("The earth is dark"), followed by the i66 STANDARD CONCERT GUIDE celestial chorus (" Poor human souls "). The voice of Christ closes the number with the tender strain (" Oh, blessed are the meek"). Third Beatitude " Blessed are they that mourn : for they shall be com- forted." The third beatitude opens with the strongest chorus in the work ("Grief over all creatures"). It is followed by a mother's lament over the empty cradle ; the wail of the orphan over its wretched state ; the sorrow of husband and wife over separation ; and the slave's prayer for lib- erty. As the different voices unite in a farewell, the gentle voice of Christ is heard again (" Blessed are the mourners "), followed by an inspiriting celestial chorus ("Oh, blessed forever "). Fourth Beatitude "Blessed are they which do hunger and thirst after righteousness : for they shall be filled" After an impressive and mystical prelude the fourth beati- tude is introduced by a dramatic tenor solo (" Where'er we stray, stern fate enthralls us"), and concludes with another of the gentle melodies of the Christ voice (" Oh, happy he"). Fifth Beatitude " Blessed are the merciful : for they shall obtain mercy" A beautiful string quartette opens the fifth beatitude, followed by an expressive tenor solo (" Like beaten corn sheaves "). In almost furious accord rises the appeal of the slaves (" King all glorious "), ever increasing in power FRANCK 167 and rising to a tremendous climax. The remainder of the beatitude is in striking contrast. First is heard the voice of Christ ("Vengeance belongeth"), followed by the celestial chorus for sopranos and tenors in unison (" Ever blessed are they "), which is one of the sweetest passages in the work. This in turn is followed by the song of the Angel of Forgiveness (" Holy love, sweet pardon "), a repetition of the celestial chorus closing the number. Sixth Beatitude " Blessed are the pure in heart : for they shall see God." After a short prelude, which is scored with masterly skill, follows a chorus of heathen women (" The gods, from us their faces turning ") succeeded by a chorus of Jewish women ("Thou, who once to our sires ap- peared "), the two afterwards uniting in a mass chorus of great beauty. Four Pharisees, after brief solos, unite in a descriptive quartette (" Great God ! from early youth"). Then follows an impressive song by the Angel of Death ("I gather in each soul immortal"). The celestial chorus responds gently ("Earthly knowledge"). The voice of Christ intervenes ("Oh, blest are the pure") and the chorus closes ("Then purge from your hearts"). Seventh Beatitude " Blessed are the peacemakers : for they shall be called the children of God." The seventh is one of the most dramatic sections of the work. It opens with a bitter and vehemently declamatory air by Satan (" Tis I whose baneful spell "). The effect grows more and more passionate and furious as one after the other choruses of tyrants, pagan priests, and the multi- tude, enter. To them succeeds the tender voice of Christ i68 STANDARD CONCERT GUIDE (" Blessed are they") followed by a remorseful wail from Satan (" Ah ! that voice ") and the famous quintet of the peacemakers (" Evil cannot stay "). Eighth Beatitude "Blessed are they which are persecuted for righteousness 1 sake : for theirs is the kingdom of heaven" The last beatitude opens with another vehement out- burst from Satan (" Not yet defeated ") followed by the chorus of the just (" Hear us, Justice Eternal "). Satan once more breaks out in angry denunciation (" Insen- sates ! this wild delusion ") and gives place to the Mater Dolorosa, heard in the majestic song (" Stricken with sor- row "). Satan recognizes his fate in another remorseful song (" Mine the doom she hath spoken"). The tender strains of the Christ voice (" O ye righteous ! ") are heard. Satan in a brief passage owns His power. The voice of Christ is heard for the last time gently calling (" Oh, come, ye of my Father beloved "), and the celestial chorus brings the work to a close with a grand hosanna. SYMPHONY IN D MINOR 1. LENTO. ALLEGRO NON TROPPO. 2. ALLEGRETTO. 3. ALLEGRO NON TROPPO. The symphony in D Minor, which was first performed at the Paris Conservatoire, February 17, 1889, has been furnished with an analysis by the composer himself. It opens with a slow and sombre introduction, the principal motive of which is developed through thirty measures and leads to the Allegro, or first movement proper, which is energetic in style. After a reentrance of the motive of the Lento and the development of that of the Allegro, the CSAR AUGUSTE pRANCK FRANCK 169 second theme appears, and this in turn is followed by a third, which is highly developed. A return is made to the first theme which is given out fortissimo. The theme of the movement proper is resumed, leading to the con- clusion of this division of the symphony. The second movement opens with pizzicato chords for string orchestra and harp, followed by a sweet and mel- ancholy theme given out by the English horn. This section of the movement is closed by clarinet, horn, and flute, after which the violins announce a second theme. At the conclusion of its development, the English horn and the various wind instruments take up fragments of the first motive, after which follows a Scherzo division. At the close of this sprightly Scherzo, the entire opening period, as announced by the English horn, is combined with the theme of the Scherzo, the latter being assigned to the violins. The third movement opens brilliantly in contrast with the sombreness of the two previous ones, the development of its principal motive leading up to a phrase announced by the basses alternating with the strings. The opening theme of the second movement reappears, and the remainder of the work is devoted to the development of the themes of the Finale. LES BOLIDES In the symphonic poem, "Les Eolides," the first of Franck's works of this class, Leconte de Lisle's poem of that name is used as the subject. It was played for the first time at a concert of the Paris Soci6t6 Nationale, May 13, 1877, and was hissed. Seventeen years later it had another hearing and was received with enthusiasm. The work is written in a single movement, Allegretto vivo. The music tells its own story. It is purely unconventional, iyo STANDARD CONCERT GUIDE the composer letting his fancy run untrammelled after the opening motive, which gives expression to the first lines of the poem : " Oh, floating breezes of the skies, sweet breaths of the fair Spring, that caress the hills and plains with freakish kisses." The sentiment of the poem is ad- mirably pictured in this graceful and picturesque music. No detailed analysis is needed to convey the meaning of the work to the hearer. GADE 1817-1890 COMALA " /"^OMALA," one of the earliest of Cade'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 Fin- gal places her on a height, near the shore of the Carun, whence she can overlook the fight, and promises her if victorious that he will return at evening. Comala, though filled with strange forebodings, hopefully waits her royal lover's coming. As the tedious hours pass by 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 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, ac- companied 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 depart- ing soul " to the fathers' dwelling " with farewell hymns. STANDARD CONCERT GUIDE 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 grace- ful ballad form, fresh in their melody, and marked by that peculiar refinement which characterizes all of Cade'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 stately in style and abound in dramatic power, particularly the one accompanying the triumphal return of Fingal. The chorus of spirits is extremely impressive, and in some passages almost supernatural. The female choruses, on the other hand, are graceful, tender, and pathetic; the final full chorus, in which the bards and maidens commend the soul of Comala to " the fathers' dwelling," has rarely been sur- passed in beauty or pathos. The music of the cantata is in keeping with the stately grandeur and richly hued tones of the Ossianic poem. The poetry and music of the North are happily wedded. SPRING FANTASIE Though the " Spring Fantasie " is in undoubted cantata form, Cade designates it as a " Concertstiick " ; that is, a musical composition in which the instrumental parts are essential to its complete unity. The instrumental elements of the " Spring Fantasie " are unquestionably the most prominent. They do not play the subordinate part of ac- companiment, but really enunciate the ideas of the poem, which are still further illustrated by the voices acting as the interpreters of the meaning of the instrumentation. The "Fantasie " was written in 1850, its subject being a poem by Edmund Lobedanz, which of itself might appropriately be called a fantasy. The work consists of four movements, for four solo voices, orchestra, and GADE 173 pianoforte. The prominence which Gade has given to the instrumental parts is shown by his characterizing the movements, I, Allegro moderate e sostenuto ; II, Allegro molto e con fuoco ; III, Allegro vivace. The first movement is in the nature of an invocation to Spring, in which the longing for May and its flowers is 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. THE ERL KING'S DAUGHTER "The Erl King's Daughter" was written in 1852. Its story differs from that told in Goethe's famous poem, and set to music equally famous by Schubert in his familiar song. In Goethe's poem the father rides through the night clasping his boy and followed by the Erl King and his daughters, who entice the child unseen by the parent. The boy at first is charmed with the apparition, but cries in mortal terror as the Erl King seizes him, while the father gallops at last into the courtyard, only to find his child dead in his arms. In the poem used by Gade it is the Erl King's daughter who tempts a knight to his death. The prologue relates that Sir Oluf at eve stayed his steed and rested beneath the alders by the brook, where he was visited by two of the daughters, one of whom caressed him while the other in- vited him to join their revels. At sound of the cock-crow, however, they disappeared. It was the eve of Sir Olufs wedding day. He arrives at home in a distraught condi- tion, and in spite of his mother's appeals decides to return 174 STANDARD CONCERT GUIDE to the alder grove in quest of the beauties who had be- witched him. He finds the alder-maids dancing in the moonlight, singing and beckoning him to join them. One of the fairest tempts him with a silken gown for the bride and silver armor for himself. When he refuses to dance with her, she seizes him by the arm and predicts his death on the morrow morning. " Ride home to your bride in robe of red," she cries as he hastens away. In the morning the mother anxiously waits his coming, and at last beholds him riding desperately through " the waving corn." He has lost his shield and helmet, and blood drips from his stirrups. As he draws rein at the door of the castle he drops dead from his saddle. A brief epilogue points the moral of the story in quaint fashion. It is to the effect that knights who will on horseback ride should not like Oluf stay in elfin groves with elfin maidens till morning. It is unnecessary to specify the numbers in detail, as with the exception of the melodramatic finale, where the music becomes quite vigorous, it is all of the same graceful, flowing, melodic character, and needs no key to explain it to the hearer. THE CRUSADERS " The Crusaders " is one of the most powerful as well as beautiful of modern cantatas. It was written for perform- ance in Copenhagen in 1866, and ten years later was pro- duced at the Birmingham Festival, under the composer's direction. It is divided into three parts, and tells the story of the temptation of Rinaldo d'Este, the bravest of the Crusaders, by Armida and her sirens, who at last call upon the Queen of Spirits to aid them in their hopeless task ; the thwarting of the powers of evil ; and the final triumph before Jerusalem. The first part opens with a chorus of pilgrims and NIELS WILHELM GADE GADE 175 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, warlike melody, full of manly hope and religious fervor. An evening prayer of pious longing and exalted devotion closes this part. The second part is entitled "Armida," and introduces the evil genius of the scene. A strange, mysterious or- chestral prelude indicates the baneful magic of the sor- cerer's wiles. In a remarkably expressive aria, Armida deplores her weakness in trying to overcome the power of the cross. As she sees Rinaldo, who has left his tent to wander for a time in the night air, she calls to the spirits to obey her incantation (" Cause a palace grand to rise "). 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 beau- tifully 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 176 STANDARD CONCERT GUIDE she sings, "Sink, scenes illusive, deep in dark abyss of doom ! " The third part, entitled "Jerusalem," is religious in character and mostly choral. In rapid succession follow the morning hymn with beaUtiful horn accompaniment, the march of the Pilgrims full of the highest exaltation, the hermit's revelation of the Holy City to them, their joyous greeting to it, Rinaldo's resolution to expiate his offence by his valor, the hermit's last call to strife, their jubilant reply, and the final victory (" As our God wills it. Up, arouse thee !"). SYMPHONY No. i, IN C MINOR. OP. 5 1. MODERATO CON MOTO. ALLEGRO ENERGICO. 2. SCHERZO. ALLEGRO RISOLUTO QUASI PRESTO. 3. ANDANTINO GRAZIOSO. 4. FINALE. MOLTO ALLEGRO CON FUOCO. Gade's First symphony was written for the Gewandhaus concerts at Leipsic in 1843. In this, as in his other sym- phonies, he evidently sympathizes with the school of Men- delssohn, but for all that the work is full of individuality and originality. It is romantic in the best sense, and reflects the poetical sentiment of the Sagas. It is also pervaded by the influence of their traditions, as well as by the peculiar plaintiveness and melancholy of the Northern people. The first movement opens with an Introduction, Mode- rato con moto, in which a graceful melody with a melan- choly background, given out by violas and violins, and full of the true Northern feeling, is skilfully developed and leads up to the movement proper, Allegro energico, with a brilliant passage for horns and trumpets, the strings being used with antiphonal effect. The second subject, which has already been observed in the Introduction, Mode- rato, is announced in the heroic manner, after which the first is skilfully developed. The clarinets and bassoons GADE 177 now give out a new motive, also evolved from the Intro- duction, which, frequently repeated with sudden key changes, is ultimately taken by full orchestra, and leads back to the theme and time of the Moderate, now pre- sented with increased energy and power, the brass instru- ments carrying the melody, and the strings furnishing a characteristic accompaniment. Thus the development goes on in orthodox form to the end. The Scherzo is the most fanciful and graceful movement of the four. It is rhythmic throughout, and its first theme is reached by a fine crescendo. This theme, with its itera- tions, dominates the movement, for the second is used in a subordinate way. The Trio is made up of scanty mate- rials, but they are developed with great skill and always with a lightsome, fantastic effect. Though Gade was not a plagiarist in any sense, it is impossible to listen to this Scherzo without being reminded of Mendelssohn's " A Midsummer Night's Dream," for the same spirit animates both. The third movement, Andantino grazioso, is more serious in character, though graceful and fanciful in its develop- ment. The opening theme is given out by the oboes, with accompaniment of violas, 'cellos, and double-basses. After its announcement it is taken by the first violins and clari- nets ; but shortly the flute announces a new subject, and then the oboe resumes with a portion of the first, but with brighter and clearer effect. The remainder of the move- ment is constructed of a passage for the horns and another for the 'cellos, worked up in the usual form. The last movement, Molto allegro con fuoco, is a master- piece of brilliant effect. The drums give a martial char- acter to the Introduction, which leads up to a spirited theme given out by the strings in thrilling style. A sub- sidiary melody appears for the wind instruments alone. Again the leading theme enters, leading forward the second i 7 8 STANDARD CONCERT GUIDE subject, which is now treated by the oboes, clarinets, bas- soons, and 'cellos with a broad and free string accompani- ment. In the midst of this development the heroic theme of the introduction to the first movement, combined with the drum passage of the last, reappears, and the Finale goes on to its close with grand and steady development. SYMPHONY No. 4, IN B FLAT. OP. 20 1. ALLEGRO VIVACE E GRAZIOSO. 2. ANDANTE CON MOTO. 3. SCHERZO. ALLEGRO MA NON TROPPO E TRANQUILLAMENTE. 4. ALLEGRO MOLTO VIVACE. The fourth of the series of Cade's symphonies, written in 1854, is usually considered his broadest and most dig- nified work, though it still preserves the Northern color and sentiment in a large degree. It is evident, however, that in this symphony, as well as in all its successors, the composer has aimed to produce not a Scandinavian sym- phony, but one that should be cosmopolitan and firmly based upon the classic models. The symphony opens with a short and somewhat plain- tive Introduction, leading up to the Allegro, the first theme of which is given out by the violins and flutes. After brief treatment a minor passage for the violins prepares the way for the second theme, first announced by the 'cellos and a single horn, and then joined by the bassoons, the flutes, oboes, and clarinets, having a triple accompaniment. The first part of the movement ends with the repetition of the second subject. The second part is in the nature of a fantasia, in which a part of the first theme and the minor violin passage are combined with the leading theme. The various subjects then recur in regular succession, leading to the coda, in which the strings tremolo and the flutes and reeds in sustained notes play an important part. The GADE 179 opening phrase is then treated, and the movement comes to an end with great vivacity. The second movement, Andante con moto, is delightful for the grace, richness, and tenderness of its harmonized effects, particularly in the opening subject, given out by the strings, and accompanied by the clarinets, horns, and trombones in harmony of the most plaintive and yet thor- oughly musical expression. The second subject, announced by the clarinets, accompanied by the strings in triplets, is equally beautiful in its effect. After it is fully developed, the first theme returns in the minor, charmingly varied. The violins and reeds repeat the second theme, and then a passage from the first serves for the coda and brings the movement to a close. The Scherzo, like its comrade in the First symphony, is remarkable for its sweetness, fancy, and grace. The first violins announce the opening subject, with string accom- paniment, through which are heard the low, tender tones of the clarinets. The movement has two trios, the first of which is based upon a delightful folk-melody. The Scherzo is then repeated, and an equally beautiful and characteristic melody introduces the second, which is also followed by a repetition of the Scherzo, the development of which, in connection with the melody of the first trio, forms the coda. The last movement is full of energy and spirit. With- out introduction or preparation of any kind, the flutes and violins give out the vivacious first subject. After brief treatment two more melodies are introduced, either of which is bright and broad enough to have served for a leading theme. They lead the way to the second subject, worked up in the usual form, and followed by the melo- dious procession of subjects leading to a brilliant coda closing the symphony. GOETZ 1840-1876 SYMPHONY No. i, IN F. OP. 9 1. ALLEGRO MODERATO. 2. INTERMEZZO. 3. ADAGIO, MA NON TROPPO LENTO. 4. FINALE. THE Symphony in F, the only work of this class by Goetz, was written in 1876. It has enjoyed great popularity in Europe, and has also been produced in Amer- ica with conspicuous success, although the composer's fame had not preceded him, except as the author of " The Taming of the Shrew." Its opening movement, Allegro moderate, is perhaps the most effective, though not the most popular. Without introduction the horns give out the first subject, afterward reenforced by the clarinets, a theme of romantic character, flowing on in a broad and serious manner, with striking alternations of expression, as the mood changes from gladness to sadness. The second theme is more cheerful and maintains a strong, hopeful, and healthy feeling throughout. It is introduced by the flutes and oboes, and at the close of its treatment the opening theme recurs and is finely developed until a marked cres- cendo at last brings the movement to a brilliant conclusion. The second movement, Intermezzo, is full of charming effects, and will always be a prime favorite. It is thor- oughly original in form and treatment, and its contents are bright, cheerful, and joyous. It opens with an effec- tive theme for the horns, to which the wood winds reply with another melodious passage, which is delightful for its GOETZ 181 piquant delicacy and beauty, and is subsequently taken up and developed by the violins. A brilliant flute cadence leads into the second part of the movement, which is in- troduced by a quiet but happy theme announced by the flutes and afterward sung by the 'cellos, second violins, and bassoons. These ideas are skilfully developed, and after a charming episode which takes the place of the trio, the movement closes with an effect in broad, free harmony which is peculiarly noticeable for its naivete and childlike serenity. The third movement, Adagio, though differing in form, has a close sentimental connection with the Intermezzo. The 'cellos and violas announce its opening, and are suc- ceeded by the wood winds in a theme which is peculiarly happy in treatment. In the second part of the movement the horns, with string accompaniment, give out the lead- ing subject, which is still further developed by the wood winds. In the close of the movement, which is in the nature of a free fantasie, the strings are used with telling effect, especially in working up to the climax ; and thus with real power, sometimes of the most passionate descrip- tion, the work moves on to the Finale, the opening theme of which is given out by the violins. This movement is developed with great vigor, and culminates in an expres- sion of pathos and passion which of itself is a sufficient indication of the success this brilliant composer might have achieved as a symphony writer had not death cut him down on the very threshold of his career. GOLDMARK 1830- LAENDLICHE HOCHZEIT (COUNTRY WEDDING) SYMPHONY 1. MODERATO MOLTO. (Wedding March with Variations.) 2. ALLEGRETTO. (Bridal Song.) 3. ALLEGRETTO MODERATO SCHERZANDO. (Serenade.) 4. ANDANTE. (In the Garden.) 5. FINALE, ALLEGRO MOLTO. (Dance.) THE Country Wedding symphony, written in 1876, was first performed in that year at Vienna, where it met with a decided popular success. Since that time it has become equally popular in England and this country. Its brightness, freshness, and peculiarly close interpretation of the programme which it represents will always make it a fav- orite among concert-goers. Strictly speaking it is a suite or series of musical pictures, intended to illustrate the pro- gramme contained in its title ; and this it does, not only with absolute fidelity, but with genuine musical skill and happi- ness of expression. Its programme is a sketch of a country wedding. The march and procession, the nuptial song, which we may imagine sung by the friends of the happy pair, the inevitable serenade, the discourse of the lovers in a garden, interrupted by the entrance of friends whose greetings lead up to a genuine country dance in the Finale, are the various scenes in this series of cheerful pastoral pictures. The first movement is a most decided innovation, and at once announces that the work is not in the usual sym- phonic form. It is a march with thirteen variations, in which the theme appears only in fragments. They are KARL GOLDMARK GOLDMARK 183 scored in the freest possible manner, the composer evi- dently not wishing to restrict himself to the march form. The theme, which is simple and yet quite impressive, en- ters upon the 'cellos and basses alone in a quiet manner, and without any of the stir and brilliancy which usually characterize the march. Then follow the variations in regular order. The first horn, with an accompaniment by the other horns and a moving bass in the strings, followed by a new melody for clarinets and flutes, takes the first variation. The violins give the second in an animated man- ner, and the full orchestra sweeps in on the third with the utmost vivacity and good feeling. The strings again take the fourth, but the mood changes to a tender and expres- sive minor. In the fifth the theme returns to the basses, as- sisted by bassoons and horns. The sixth is also assigned to the basses, the flutes and violins weaving a fanciful ac- companiment around the theme. The seventh is in the minor, and is quaintly written, the utmost freedom being allowed to all the instruments. The eighth is divided be- tween the first violins, flutes, oboes, and clarinets. In the ninth the theme is suggested in the bass, reenforced by a new subject for flute and violin. In the tenth the first violin introduces a fanciful figure with the theme appear- ing in the basses and strings. The eleventh, in the minor, is characterized by an entirely fresh subject, assigned to the violin and oboe, then to clarinet and violin, and finally to the clarinet. The twelfth introduces another new theme, growing out of the first, announced by the oboe with bassoon accompaniment, the flutes and clarinets moving independently, and the violins and violas enhanc- ing the effect in a quaint manner. With the thirteenth, which returns to the original tempo, the charming series closes. Though treated freely and fancifully, these varia- tions never lose the " country " spirit of the work. The second movement, "Bridal Song," is a charming 1 84 STANDARD CONCERT GUIDE melody in genuine aria form in which the oboe is prom- inent, the subject of the march being heard in the basses. It is short, but graceful and delicate, and admirably fills its place in the fanciful scheme of the work. The third movement, " Serenade," comes nearer to the sonata form, and yet preserves the pastoral characteristics throughout. The prelude is somewhat elaborate, and leads up to a melody for the oboes, which is afterward worked up by the violins and other instruments. The fourth movement, " In the Garden," is a charming picture of the lovers tenderly conversing with each other and exchanging vows of constancy and passionate utter- ances. It is a dreamy episode with alluring bits of color, at times, as in the solo for clarinet, rising to the very in- tensity of passion, while in the middle part occurs a gen- uine love dialogue. The scene now changes, and in the final movement we have the dance. Oddly enough, its principal theme is in fugal form, led off by the second violins, the first coming in last. It is very brilliant and picturesque in its effect, and contains many charming episodes, among them a return to the garden music in the middle part. GOUNOD 1818-1893 THE REDEMPTION '"""T^HE Redemption, a Sacred Trilogy," is the title A. which Gounod gave to this work, and on its open- ing page he wrote : " The work of my life." It was brought out in August, 1882, and the production was a memorable one. It was first heard in America in the Winter of 1883-1884 under Mr. Theodore Thomas's direction, and was one of the prominent works in his series of festivals in the latter year. The prologue comprises the Mosaic account of the creation and fall of man, involving the necessity of divine mediation, the promise of redemption, and the annuncia- tion of the mystery of the incarnation of the Holy Virgin. After a brief instrumental introduction, descriptive of chaos, the tenor narrator announces the completion of creation in recitative, followed by a similar declamation from the bass narrator announcing the fall of man, the tenor narrator answering with the announcement of the Redeemer's advent ("But of the spotless Lamb"), in which we have for the first time a genuine Wagnerian motive, which runs through the music of the oratorio whenever allusion is made to the divine atonement. This typical melody is heard nine times, three times in the prologue, twice in the scene of the crucifixion, once in our Saviour's promise to the thieves on the cross, once in His appearance to the holy women, and twice in the ascension. 186 STANDARD CONCERT GUIDE The first part includes the march to Calvary, which is divided into six separate numbers, yet so connected as to make a single musical series, the crucifixion, Mary at the foot of the cross, the dying thieves, the death of Jesus, and the confession of His divinity by the centurion. It opens with the story of the condemnation of the Man of Sorrows by Pilate, told by the bass narrator, the words of Jesus himself, however, being used invariably in the first person, and sung by the barytone voice. After another monologue by the narrator, ensues the march to the cross, an instrumental number which is brilliant in its color effects and somewhat barbaric in tone. Without any break, the sopranos enter with the words, " Forth the royal banners go," set to a melody from the Roman Catholic liturgy ; after which the march is resumed. The bass narrator tells the story of the women who followed lamenting, interrupted by a semi-chorus of sopranos sing- ing the lament, and by the words of Jesus, " Ye daughters of Israel, weep not for Me." Again the march is heard, and the sopranos resume (" Forth the royal banners go "). The tenor narrator recites the preparation for the cruci- fixion, accompanied by descriptive music and followed by a stormy chorus of the people (" Ha ! Thou that didst declare "), and the mocking cries of the priests (" Can He now save himself ? "), sung by a male chorus. In a pa- thetic monologue Jesus appeals for their pardon, which leads to an elaborate concerted number for chorus or quartette, called "The Reproaches." A conversation en- sues between Jesus and Mary, followed by the quartette (" Beside the cross remaining "), in canon form, pre- luding the chorale ("While my watch I am keeping"), at first sung by Mary, and then taken up by the full chorus, accompanied by organ, trombones, and trumpets. The next scene is that between Jesus and the two thieves, which also leads to a chorale (" Lord Jesus, Thou to all GOUNOD 187 bringest light and salvation"). This number contains the last touch of brightness in the first part. Immediately the bass narrator announces the approach of the awful tragedy. The gathering darkness is pictured by a vivid passage for strings and clarinet, succeeded by the agoniz- ing cries of the Saviour. The bass narrator declares the consummation of the tragedy, and then with the tenor narrator describes the throes of Nature ("And then the air was filled with a murmur unwonted "), the rending of the veil of the Temple, the breaking of the rocks, the earthquake, and the visions of the saintly apparitions. The last number is the conviction of the centurion, followed by a short chorale (" For us the Christ is made a victim availing "). The second part includes the announcement of the doc- trine of the resurrection by the mystic chorus, the appear- ance of the Angel to the holy women at the sepulchre, that of Jesus to them while on the way to Galilee, the conster- nation of the Sanhedrim when it is learned that the tomb is empty, the meeting of the holy women and the Apostles, the appearance of Jesus to the latter, and His final ascension. It opens with a chorus for the mystic choir ("Saviour of men"), followed by a short pastoral with muted strings and leading to a trio for the three women (" How shall we by ourselves have strength to roll away the stone?"). Their apprehensions are re- moved by the tenor narrator and the message of the Angel interwoven with the harp and conveyed in the beautiful aria, " Why seek ye the living among the dead? " Jesus at last reveals himself to the women with the words, " All hail ! Blessed are ye women," accompanied by the typical melody, of which mention has already been made. The three women disappear on the way to convey His message to the disciples, and the scene changes to the Sanhedrim, where, in a tumultuous and agitated chorus i88 STANDARD CONCERT GUIDE for male voices (" Christ is risen again "), the story of the empty tomb is told by the watchers. The bass narrator relates the amazement of the priests and elders, and their plot to bribe the guard, leading to the chorus for male voices (" Say ye that in the night His disciples have come and stolen Him away "), at the close of which ensues a full, massive chorus (" Now, behold ye the guard, this, your sleep-vanquished guard"), closing with the denun- ciation in unison ("For ages on your heads shall con- tempt be outpoured "). The tenor and bass narrators in duet tell of the sorrow of the disciples, which prepares the way for a lovely trio for first and second soprano and alto ("The Lord He has risen again "). The next number is one of the most effective in the whole work, a soprano obligate solo (" From Thy love as a father "), accompanied by the full strength of chorus and orchestra. Then follows a dialogue between the Saviour and His Apostles, in which He gives them their mission to the world. The Finale begins with a massive chorus (" Unfold, ye portals ever- lasting"). The celestial chorus above, accompanied by harps and trumpets, inquire, " But who is He, the King of Glory?" The answer comes in a stately unison by the terrestrial chorus (" He who death overcame "). Again the question is asked, and again it is answered ; where- upon the two choirs are massed in the jubilant chorus ("Unfold! for lo the King comes nigh!"), the full orchestra and organ sounding the Redemption melody, and the whole closing with a fanfare of trumpets. The third part includes the prophecy of the millen- nium, the descent of the Holy Ghost to the Apostles, the Pentecostal manifestations, and the hymn of the Apostles. After a short instrumental prelude it opens with a brief chorus ("Lovely appear over the mountains"), followed by a soprano solo, the only distinct number of that kind in the work, set to the words, " Over the barren GOUNOD 189 wastes shall flowers have possession," at its close the chorus resuming in unison, " Lovely appear over the mountains." The next number is "The Apostles in prayer," an instrumental sketch, followed by the nar- rators relating the descent of the Holy Spirit. Without break the Apostles' hymn begins, tenors and basses in unison ("The Word is flesh become "), leading into the quartette of solo voices (" By faith salvation comes, and by peace, consolation"). The chorus responds antiphonally, and again the solo voices are heard in a lovely quartette ("He has said to all the unhappy"), followed by a small choir of thirty voices (" Blessed are the poor in spirit "), at the end of which all the voices are massed on the Apostles' hymn, which closes in fugal form on the words, " He, like the Holy Ghost, is one with the Father, an ever- lasting Trinity," the whole ending in massive chords. MORS ET VITA The oratorio " Mors et Vita" ("Death and Life") is the continuation of " The Redemption." It was first per- formed at the Birmingham Festival, August 26, 1885, under the direction of Herr Hans Richter, the principal parts being sung by Mesdames Albani and Patey and Messrs. Santley and Lloyd. Its companion oratorio, "The Redemption," was dedicated to Queen Victoria, and itself to His Holiness Pope Leo XIII. The oratorio is divided into a prologue and three parts. The first part is entitled " Mors," and opens with the pro- logue, which is brief, followed by the " Requiem," inter- spersed with texts of a reflective character commenting upon the sentiment. The second part is entitled " Judic- ium" ("Judgment"), and includes: i. The Sleep of the Dead; 2. The Trumpets at the Last Judgment; 3. The Resurrection of the Dead; 4. The Judge; 5. The i po STANDARD CONCERT GUIDE Judgment of the Elect ; 6. The Judgment of the Rejected. The third part is entitled " Vita," and includes the vision of Saint John, the text being taken from the Apocalypse ; the work closing with an " Hosanna in Excelsis," exulting in the glorious vision of the heavenly Jerusalem. The prologue, which is sustained by the chorus and barytone solo, declares the terrors of death and the judg- ment. The chorus intones the words, " It is a fearful thing to fall into the hands of the living God," and in this phrase is heard the chief motive, heavily accented by the percussion instruments, the motive which typifies death both of the body and of the unredeemed soul. Immediately after follows the barytone voice, that of Jesus, in the familiar words, " I am the Resurrection and the Life." The chorus repeats the declaration, and the Requiem Mass then begins, divided into various sec- tions, of which the "Dies Irse " is the most important; this in turn is subdivided in the conventional form. After an adagio prelude and the intonation of the " Requiem seternam," an interpolated text occurs (" From the morning watch till the evening"), set as a double chorus without accompaniment, in the genuine church style of the old masters. It leads directly to the " Dies Irse," in which the death motive already referred to fre- quently occurs. It is laid out in duets, quartettes, and arias, with and without chorus, very much in the same tempo and of the same character of melody. The verse "Ah! what shall we then be pleading?" for quartette and chorus is remarkable for its attractive melody. It is followed by a soprano solo and chorus of a reflective character ("Happy are we, with such a Saviour"). The hymn is then resumed with the verse, " Faint and worn, Thou yet hast sought us," for duet and chorus, which is of the same general character. The next verse (" Lord, for anguish hear us moaning"), for quartette and CHARLES FRANCOIS GOUNOD GOUNOD 191 chorus, is elaborate in its construction, particularly as compared with that immediately following (" With the faithful deign to place us"), a tenor solo of a quaint and pastoral character. The next number for chorus (" While the wicked are confounded ") affords still another striking contrast, being in the grandiose dramatic style closing with phrases for the solo voices expressive of submission and contrition. Up to this point the " Dies Iree " has been monotonous in its sameness of general style ; but the next verse (" Day of weeping, day of mourning ") is a beauti- ful and thoroughly original number of striking effect. It leads directly to the offertory (" O Lord Jesus Christ, King of Glory "), which is composed of a chorus for eight parts, a soprano solo (" But, Lord, do Thou bring them evermore "), a chorus (" Which once to Abraham "), and a second chorus (" Sacrifice of prayer and praise "). The soprano solo is a delightful melody, sung to a delicate ac- companiment of the strings, with occasional chords on the harp, and based upon the beautiful second typical motive, which the composer styles " The Motive of Happiness." The chorus (" Which once to Abraham ") is set in fugue form, the conventional style among composers with this number ; but, as in " The Redemption," whenever Gou- nod employs the fugue form, he drops it as soon as the four voices have fairly launched themselves. The next number is the " Sanctus," a beautiful tenor aria with chorus, full of that sweetness which is so characteristic of Gounod. It is followed by the quartette (" Mighty Saviour, Jesus blest"), which is deeply religious in char- acter ; the lovely soprano solo and chorus (" Agnus Dei ") ; and the chorus (" Lord, forever let light eter- nal"). The first part is rounded off with an epilogue, an interlude for full orchestra and organ, based upon the first and second typical melodies, forming a consistent and stately Finale to this part of the work. 192 STANDARD CONCERT GUIDE The second part is peculiar for the prominence which the composer assigns to the orchestra. It opens with a well-sustained, gentle adagio movement, entitled " The Sleep of the Dead," which at times is somewhat harshly interrupted by the third typical melody, announcing the awakening of the dead at the terrifying call of the angelic trumpets. This is specially noticeable in that part of the prelude called " The Trumpet of the Last Judgment," in which the trombones, trumpets, and tubas are employed with extraordinary effect. Still a third phrase of the pre- lude occurs, " The Resurrection of the Dead," which is smooth and flowing in its style, and peculiarly rich in harmony. A brief recitative by barytone (" But when the Son of Man ") intervenes, immediately followed by another instrumental number, entitled "Judex" ("The Judge"), .one of the most effective pieces of orchestration in the oratorio, based upon the motive which indicates the tem- pering of justice with mercy, given out by the strings in unison. It preludes a short chorus ("Sitting upon the throne"), the previous melody still continuing in the orchestra. The " Judgment of the Elect " follows, pro- nounced by the barytone voice in recitative, and leading directly to the soprano solo ("The righteous shall enter into glory eternal"), the most exquisite solo number in the work, followed by an effective chorale (" In remem- brance everlasting"). Then follows "The Judgment of the Rejected," consisting of barytone solos and chorus, closing the second part. The third part celebrates the delights of the celestial city as pictured in the apocalyptic vision of St. John, and is in marked contrast to the gloom and sombreness of the Requiem music, as well as the terrors of the Judgment. It is bright, jubilant, and exultant throughout. The title of the prelude is " New Heaven, New Earth." The bary- tone intones the recitative (" And I saw the new heaven "), GOUNOD 193 which is followed by another delightful sketch for the or- chestra ("Celestial Jerusalem"), a most vivid and graphic picture of the subject it describes. The remain- ing prominent numbers are the " Sanctus " chorus, the celestial chorus ("I am Alpha and Omega"), and the final chorus (" Hosanna in Excelsis"), which closes this remarkable work. 3 HANDEL 1685 - 1759 Acis AND GALATEA THE first idea of Handel's famous pastoral, " Acis and Galatea," is to be found in a serenata, " Aci, Galatea, e Polifemo," which he produced at Naples in July, 1708. The plan of the work resembles that of the later pastoral, though its musical setting is entirely different. 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 Symaethis, and pursued him incessantly. She too was pursued by Polyphemus, the one-eyed Cyclops of ^Etna, 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. As he utters his complaints, he espies the lovers. Then, raging and roaring so that the moun- tains shook and the sea trembled, he hurled a huge rock at Acis and crushed him. The shepherd's blood gushing forth from beneath the rock was changed into a river; and Galatea, who had fled to the sea, was consoled. The overture to the work, consisting of one movement, is thoroughly pastoral in its style and introduces a chorus ("Oh, 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 HANDEL 195 heart with an outburst of melodious beauty (" Hush, ye pretty warbling choir ! "). Acis answers her, after a short recitative, with another aria equally graceful (" Love in her eyes sits playing and sheds delicious death "). The melodious and sensuous dialogue is continued by Galatea, who once more sings (" As when the dove "). Then in a duet, sparkling with the happiness of the lovers (" Happy we "), closing with chorus to the same words, this pretty picture of ancient pastoral life among the nymphs and shepherds comes to an end. In the second part there is another tone both to scene and music. The opening chorus of alarm ("Wretched lovers ") portends the coming of the love-sick Cyclops ; the mountains bow, the forests shake, the waves run fright- ened 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 charac- teristic, and leads to the giant's love-song, an unctuous, catching melody almost too full of humor and grace for the fierce brute of ./Etna (" Oh, ruddier than the cherry ! "). 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 moun- tain "). 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 AZtna. 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 conso- lations of the shepherds and their swains (" Galatea, dry thy tears, Acis now a god appears"). 196 STANDARD CONCERT GUIDE ALEXANDER'S FEAST Handel composed the music for Dryden's immortal ode in 1736. The work was first performed at Covent Gar- den Theatre, London, February 19, about a month after it was written, and met with remarkable success. It is unnecessary to inform the reader of the nature of a poem so familiar to every one. The overture is written for strings and two oboes. Throughout the work the orchestration is thin, 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, re- venge ! ' Timotheus cries") and the descriptive recitative (" Give the vengeance due to the valiant crew "), in which Handel employs his imitative powers with consummate effect. 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 ap- plause." They are as genuine inspirations as the best choruses of the " Messiah " or of " Israel in Egypt." L' ALLEGRO " L' Allegro, il Penseroso ed il Moderato," the first two movements of which contain a musical setting of Milton's well-known poem, was written in the seventeen days from January 19 to February 6, 1740, and was first performed on the twenty-seventh of the latter month at the Royal Theatre, Lincoln's Inn Fields, London. The text of the first two parts is by Milton, Allegro, as is well known, chanting the praises of pleasure, Penseroso those of mel- ancholy ; Allegro represented by tenor and Penseroso by HANDEL 197 soprano, and each supported by a chorus which joins in the discussion of the two moods. The work opens without overture, its place having origi- nally been supplied by an orchestral concerto. In vig- orous and very dramatic recitative Allegro bids " loathed Melancholy " hence, followed by Penseroso, who in a few bars of recitative far less vigorously consigns " vain, de- luding joys" to "some idle brain"; Allegro replies with the first aria ("Come, come, thou goddess fair"), a beau- tifully free and flowing melody, responded to by Penseroso, who in an aria of stately rhythm appeals to his goddess (" Divinest Melancholy"). Now Allegro summons his retinue of mirth (" Haste thee, nymph, and bring with thee "), and the chorus takes up the jovial refrain in the same temper. The aria itself is well known as the laugh- ing song. Indeed, both aria and chorus are full of unre- strained mirth, and go laughingly along in genuine musical giggles. 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 recita- tive 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 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 by an equally brilliant song (" Sweet bird that shun'st 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 198 STANDARD CONCERT GUIDE 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 tell- ing effect. This is followed by a quiet meditative aria (" Far from all resorts of mirth "), when once again Al- legro takes up the strain in two arias (" Let me wander not unseen " and " Straight mine eye hath caught new pleas- ures"). 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 whis- pering winds soon lulled to sleep." The second part begins with a stately recitative and aria by Penseroso ("Sometimes let gorgeous tragedy"), followed by one of the most characteristic arias in the work (" But oh, sad Virgin, that thy power might raise ! ") in which the passage " Or bid the soul of Orpheus sing " 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 '11 to the well-trod stage anon"), opening in genuinely theatrical style, and then changing to a delightfully melodious war- ble at the words "Or sweetest Shakspeare, Fancy's child." 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. HANDEL 199 ISRAEL IN EGYPT "Israel in Egypt," the fifth of the nineteen oratorios which Handel composed in England, was written in 1738, the composition of the whole of this colossal work occupy- ing but twenty-seven days. It was first performed as "Israel in Egypt," April 4, 1739, at the King's Theatre, of which Handel was then manager. It was given the second time April 1 1, " with alterations and additions," the alterations having been made in order to admit of the in- troduction of songs. The third performance took place April 1 7, upon which occasion the " Funeral Anthem," which he had written for Queen Caroline, was used as a first part and entitled, " Lamentations of the Israelites for the Death of Joseph." During the lifetime of Handel the oratorio was performed only nine times, for in spite of its excellence, it was a failure. For many years after his death it was produced in mutilated form ; but in 1849 tne Sacred Harmonic Society of London gave it as it was originally written and as we know it now, without the " Funeral Anthem " or any of the songs which had been introduced. The first part opens with the wail of the Israelites over the burdens imposed upon them by their Egyptian task- masters, and then in rapid succession follow the plagues, the water of the Nile turned to blood, the reptiles swarming even into the king's chambers, the pestilence scourging man and beast, the insect-cloud heralding the locusts, the pelting hail and the fire running along the ground, the thick darkness, and the smiting of the first- born. Then come the passage of the Red Sea and the escape from bondage, closing the first part. The second part opens with the triumphant song of Moses and the Children of Israel rejoicing over the destruction of Pha- raoh's host, and closes with the exultant strain of Miriam 200 STANDARD CONCERT GUIDE the prophetess, " Sing ye to the Lord, for He hath tri- umphed gloriously ; the horse and his rider hath He thrown into the sea." " Israel in Egypt " is essentially a choral oratorio. It comprises no less than twenty-eight massive double cho- ruses, linked together by a few bars of recitative, with five arias and three duets interspersed among them. Unlike Handel's other oratorios, there is no overture or even pre- lude to the work. Six bars of recitative for tenor (" Now there arose a new king over Egypt which knew not Joseph") suffice to introduce it, and lead directly to the first double chorus ("And the children of Israel sighed "), the theme of which is first given out by the altos of one choir with impressive pathos. The chorus works up to a climax of great force on the phrase, " And their cry came up unto God," the two choruses developing with consum- mate power the two principal subjects, first, the cry for relief, and second, the burden of oppression ; and closing with the phrase above mentioned, upon which they unite in simple but majestic harmony. Then follow eight more bars of recitative for tenor, and the long series of descrip- tive choruses begins, in which Handel employs the imita- tive power of music in the boldest manner. The first is the plague of the water turned to blood (" They loathed to drink of the river"), a single chorus in fugue form, based upon a theme which is closely suggestive of the sickening sensations of the Egyptians, and increases in loathsomeness to the close, as the theme is variously treated. The next number is an aria for mezzo soprano voice ("Their land brought forth frogs"), the air itself serious and dignified, but the accompaniment imitative through- out of the hopping of these lively animals. It is followed by the plague of insects, whose afflictions are described by the double chorus. The tenors and basses in powerful unison declare, " He spake the word," and the reply comes HANDEL 201 at once from the sopranos and altos, " And there came all manner of flies," set to a shrill, buzzing, whirring accom- paniment, which increases in volume and energy as the lo- custs appear, but bound together solidly with the phrase of the tenors and basses frequently repeated, and presenting a sonorous background to this fancy of the composer in insect imitation. From this remarkable chorus we pass to another still more remarkable, the familiar " Hailstone Chorus " (" He gave them hailstones for rain "), which, like the former, is closely imitative. Before the two choirs be- gin, the orchestra prepares the way for the on-coming storm. Drop by drop, spattering, dashing, and at last crashing, comes the storm, the gathering gloom rent with the lightning, the "fire that ran along upon the ground," and the music fairly quivering and crackling with the wrath of the elements. But the storm passes, the gloom deepens, and we are lost in that vague, uncertain combination of tones where voices and instruments seem to be groping about, comprised in the marvellously expressive chorus (" He sent a thick darkness over all the land "). From the oppression of this choral gloom we emerge, only to encounter a chorus of savage, unrelenting retribution (" He smote all the first-born of Egypt"). After this savage mission is accomplished, we come to a chorus in pastoral style ("But as for His people, He led them forth like sheep "), slow, tender, serene, and lovely in its movement, and grateful to the ear both in its quiet opening and ani- mated, happy close, after the terrors which have preceded it. The following chorus (" Egypt was glad "), usually omitted in performance, is a fugue, both strange and intri- cate. The next two numbers are really one. The two choruses intone the words, " He rebuked the Red Sea," in a majestic manner, accompanied by a few massive chords, and then pass to the glorious march of the Israel- ites (" He led them through the deep "), an elaborate and 202 STANDARD CONCERT GUIDE complicated number, but strong, forcible, and harmonious throughout, and held together by the stately opening theme with which the basses ascend. It is succeeded by another graphic chorus (" But the waters overwhelmed their ene- mies"), in which the roll and dash of the billows closing over Pharaoh's hosts are closely imitated by the instru- ments, and through which in the close is heard the victo- rious shout of the Israelites (" There was not one of them left"). Two more short choruses, the first ("And Israel saw that great work") and its continuation ("And believed the Lord"), written in church style, close this extraordinary chain of choral pictures. The second part, "The Song of Moses," opens with a brief but forcible orchestral prelude, leading directly to the declaration by the chorus (" Moses and the children of Israel sang this song"), which, taken together with the instrumental prelude, serves as a stately introduction to the stupendous fugued chorus which follows (" I will sing unto the Lord, for He hath triumphed gloriously ; the horse and his rider hath He thrown into the sea"). It is followed by a duet for two sopranos (" The Lord is my strength and my song") in the minor key, an intricate but melodious number, usually omitted. Once more the chorus resumes with a brief announcement (" He is my God "), followed by a fugued movement in the old church style (" And I will exalt Him "). Next follows the great duet for two basses ("The Lord is a man of war"), a piece of superb declamatory effect, full of vigor and stately assertion. The triumphant announcement in its closing measures (" His chosen captains also are drowned in the Red Sea") is answered by a brief chorus ("The depths have cov-ered them "), which is followed by four choruses of triumph, "Thy right hand, O Lord," an elaborate and brilliant number ; " And in the greatness of Thine ex- cellency," a brief but powerful bit; "Thou sendest forth GEORGE FRKDKRICK HANDEL HANDEL 203 Thy wrath " ; and the single chorus, " And with the blast of Thy nostrils," in the last two of which Handel again returns to the imitative style with wonderful effect, espe- cially in the declaration of the basses (" The floods stood upright as an heap, and the depths were congealed "). The only tenor aria in the oratorio follows these choruses, a bravura song ("The enemy said, ' I will pursue ' "), and this is followed by the only soprano aria (" Thou didst blow with the wind"). Two short double choruses ("Who is like unto Thee, O Lord," and "The earth swallowed them ") lead to the duet for contralto and tenor ("Thou in Thy mercy "), which is in the minor, and very pathetic in character. It is followed by the massive and extremely difficult chorus, "The people shall hear and be afraid." Once more, after this majestic display, comes the solo voice, this time the contralto, in a simple, lovely song ("Thou shall bring them in"). A short double chorus ("The Lord shall reign for ever and ever"), a few bars of recitative referring to the escape of Israel, the choral out- burst once more repeated, and then the solo voice declar- ing, " Miriam the prophetess took a timbrel in her hand, and all the women went out after her with timbrels and with dances ; and Miriam answered them," lead to the final song of triumph, that grand, jubilant, overpower- ing expression of victory which, beginning with the exultant strain of Miriam (" Sing ye to the Lord, for He hath tri- umphed gloriously"), is amplified by voice upon voice in the great eight-part choir, and by instrument upon instru- ment, until it becomes a tempest of harmony, interwoven with the triumph of Miriam's cry and the exultation of the great host over the enemy's discomfiture, and closing with the combined power of voices and instruments in harmo- nious accord as they once more repeat Miriam's words, " The horse and his rider hath He thrown into the sea." 204 STANDARD CONCERT GUIDE SAUL The oratorio of " Saul " was written by Handel in 1738. The story closely follows the Biblical narrative of the rela- tions between David and Saul. The overture is the longest of all the Handel introductions. It is in four movements, the first an allegro, the second a largo, in which the organ is used as a solo instrument, the third an allegro, and the fourth a minuetto. It is an exceedingly graceful and deli- cate prelude, and makes a fitting introduction to the dra- matic story which follows. The characters introduced are Saul, King of Israel ; Jonathan, his son ; Abner, captain of the host ; David ; the apparition of Samuel ; Doeg, a messenger ; an Amalekite ; Abiathar, Merab, and Michal, daughters of Saul; the Witch of Endor; and the Israel- ites. The dramatic character of the narrative admirably adapts it to its division into acts and scenes. The first part is triumphant in its tone and expressive of the exultation of the Israelites at their victory over the Philistines. The second gives a story of the passions, Saul's jealousy of David, the love of Michal, and the ardent friendship between David and Jonathan. The last is som- bre in its character, opening with the weird incantations of the Witch, and closing with David's grief over Saul and Jonathan. The first scene opens in the Israelitish camp by the valley of Elah, where the people join in an Epinicion, or Song of Triumph, over Goliath and the Philistines. It is made up of a chorus (" How excellent Thy name, O Lord ! "), which is a stirring tribute of praise ; an aria ("An infant raised by Thy command "), describing the meeting of David and Goliath ; a trio, in which the giant is pictured as the " monster atheist," striding along to the vigorous and expressive music ; and three closing cho- ruses ("The youth inspired by Thee," "How excellent HANDEL 205 Thy name," and a jubilant " Hallelujah "), ending in plain but massive harmony. The second scene is in Saul's tent. Two bars of recita- tive prelude an aria by Michal, Saul's daughter, who re- veals her love for David ("O god-like youth ! "). Abner presents David to Saul, and a dialogue ensues between them, in which the conqueror announces his origin, and Saul pleads with him to remain, offering the hand of his daughter Merab as an inducement. David, whose part is sung by a contralto, replies in a beautiful aria, in which he attributes his success to the help of the Lord alone. In the next four numbers the friendship of Jonathan and David is cemented, which is followed by a three-verse hymn (" While yet thy tide of blood runs high ") of a stately character, sung by the High Priest. In a few bars of recitative Saul betroths his daughter Merab to David ; but the girl replies in a vigorous aria (" My soul rejects the thought with scorn "), in which she declares her inten- tion of frustrating the scheme to unite a plebeian with the royal line. It is followed by a plaintive but vigorous aria ("See with what a scornful air"), sung by Michal, who again gives expression to her love for David. The next scene is entitled " Before an Israelitish City," and is prefaced with a short symphony of a jubilant char- acter. A brief recitative introduces the maidens of the land singing and dancing in praise of the victor, leading up to one of Handel's finest choruses (" Welcome, wel- come, mighty king"), a fresh, vigorous semi-chorus accompanied by the carillons, in which Saul's jealousy is aroused by the superiority of prowess attributed to David. It is followed by a furious aria ("With rage I shall burst, his praises to hear "). Jonathan laments the imprudence of the women in making comparisons, and Michal sug- gests to David that it is an old malady which may be as- suaged by music, and in an aria (" Fell rage and black 206 STANDARD CONCERT GUIDE despair") expresses her belief that the monarch can be cured by David's " persuasive lyre." The next scene is in the King's house. David sings an aria (" O Lord, whose mercies numberless "), followed by a harp solo ; but it is in vain. Jonathan is in despair, and Saul, in an aria (" A serpent in my bosom warmed "), gives vent to his fury and hurls his javelin at David. The latter escapes ; and in furious recitative Saul charges his son to destroy him. The next number is an aria for Merab (" Capricious man, in humor lost "), lamenting Saul's temper; and Jonathan follows with a dramatic recitative and aria, in which he refuses to obey his father's behest. The High Priest appeals to Heaven ("O Lord, whose providence ") to protect David, and the first part closes with a powerful chorus (" Preserve him for the glory of Thy name "). The second part is laid in the palace, and opens with a powerfully descriptive chorus (" Envy, eldest-born of hell ! "). In a noble song (" But sooner Jordan's stream, I swear") Jonathan assures David he will never injure him. In a colloquy between them David is informed that Saul has bestowed the hand of the haughty Merab on Adriel, and Jonathan pleads the cause of the lovely Michal. Saul approaches, and David retires. Saul in- quires of Jonathan whether he has obeyed his commands, and in a simple, sweet, and flowing melody (" Sin not, O king, against the youth ") he seems to overcome the wrath of the monarch, who dissembles and welcomes David, bidding him to repel the insults of the Philistines, and offering him his daughter Michal as a proof of his sincerity. In the second scene Michal declares her love for David, and they join in a rapturous duet (" O fairest of ten thou- sand fair"), which is followed by a chorus in simple har- mony ("Is there a man who all his ways"). A long HANDEL 207 symphony follows, preparing the way for the attempt on David's life. After an agitated duet with Michal (" At persecution I can laugh "), David makes his escape just as Doeg, the messenger, enters with instructions to bring David to the King's chamber. He is shown the image in David's bed, which he says will only enrage the King still more. Michal sings an exultant aria (" No, let the guilty tremble "), and even Merab, won over by David's quali- ties, pleads for him in a beautiful aria (" Author of peace ") . Another symphony intervenes, preluding the celebration of the feast of the new moon in the palace, to which David has been invited. Jonathan again interposes with an effort to save David's life, whereupon Saul, in a fresh outburst of indignation, hurls his javelin at his son, and the chorus bursts out in horror (" Oh, fatal consequence of rage ! "). The third part opens with the intensely dramatic scene with the Witch of Endor, the interview being preluded by the powerful recitative, " Wretch that I am ! " The second scene is laid in the Witch's abode, where the incantation is practised that brings up the apparition of Samuel. The whole scene is very dramatic, and the instrumentation powerful, although the effect is made simply by oboes, bassoons, and strings, instead of by the brass instruments which other composers employ so vigorously in similar scenes. This scene closes with an elegy foreboding the coming tragedy. The third scene opens with the interview between David and the Amalekite who brings the tidings of the death of Saul and Jonathan. It is followed by that mag- nificent dirge, the " Dead March," whose simple yet sol- emn and majestic strains are familiar to every one. The trumpets and trombones with their sonorous pomp and the wailing oboes and clarinets make an instrumental pag- eant which is the very apotheosis of grief. The effect of 2o8 STANDARD CONCERT GUIDE the march is all the more remarkable when it is considered that, in contradistinction to all other dirges, it is written in the major key. The chorus (" Mourn, Israel, mourn thy beauty lost "), and the three arias of lament sung by David, which follow, are all characterized by feelings of the deepest gloom. A short chorus (" Eagles were not so swift as they") follows, and then David gives voice to his lament over Jonathan in an aria of exquisite tenderness (" In sweetest harmony they lived "), at the close of which he joins with the chorus in an obligate of sorrowful gran- deur (" Oh, fatal day, how low the mighty lie ! "). In an exultant strain Abner bids the " men of Judah weep no more," and the animated martial chorus (" Gird on thy sword, thou man of might ") closes this great dramatic oratorio. SAMSON The oratorio of " Samson " was written in 1 74 1, and be- gun immediately after the completion of " The Messiah," which was finished September 14 of that year. The last chorus was dated October 29 ; but in the following year Handel added to it " Let the bright seraphim " and the chorus, " Let their celestial concerts." The text was compiled by Newburgh Hamilton from Milton's " Samson Agonistes," " Hymn on the Nativity," and " Lines on a Solemn Musick." The oratorio was first sung at Covent Garden, February 18, 1743, the principal parts being as- signed as follows : Samson, Mr. Beard ; Manoah, Mr. Savage; Micah, Mrs. Gibber; Delilah, Mrs. Clive. The characters introduced are Samson; Micah, his friend ; Manoah, his father ; Delilah, his wife ; Harapha, a giant of Gath; Israelitish woman; priests of Dagon; virgins attendant upon Delilah ; Israelites, friends of Sam- son ; Israelitish virgins ; and Philistines. After a brilliant overture the scene opens before the prison in Gaza, with MADAME NOVELLO (From an old print) HANDEL 209 Samson blind and in chains. His opening recitative, set- ting forth his release from toil on account of the feast to Dagon, introduces a brilliant and effective chorus by the priests with trumpets ("Awake the trumpet's lofty sound"), after which a Philistine woman in a bright, playful melody invites the men of Gaza to bring " The merry pipe and pleasing string " ; whereupon the trumpet chorus is repeated. After the tenor aria (" Loud is the thunder's awful voice "), the chorus recurs again, show- ing Handel's evident partiality for it. The Philistine woman has another solo ("Then free from sorrow"), whereupon in a pathetic song (" Torments, alas ! ") Sam- son bewails his piteous condition. His friend Micah ap- pears, and in the aria, " Oh, mirror of our fickle state," condoles with him. In answer to his question, " Which shall we first bewail, thy bondage, or lost sight?" Samson replies in a short, but exquisitely tender aria (" Total eclipse : no sun, no moon, all dark amidst the blaze of noon "), a song which brought tears to the eyes of the blind Handel himself when he listened to it long after- wards. The next chorus (" Oh, first-created beam ") is of more than ordinary interest, as it treats the same subject which Haydn afterwards used in "The Creation." It begins in a soft and quiet manner, in ordinary time, de- velops into a strong allegro on the words, " Let there be light," and closes with a spirited fugue on the words, " To Thy dark servant life by light afford." A dialogue fol- lows between Manoah and Micah, leading up to an intri- cate bravura aria for bass (" Thy glorious deeds inspired my tongue"), closing with an exquisite slow movement in broad contrast to its first part. Though comforted by his friends, Samson breaks out in furious denunciation of his enemies in the powerfully dramatic aria, " Why does the God of Israel sleep?" It is followed up in the same spirit by the chorus, " Then shall they know," a fugue '4 210 STANDARD CONCERT GUIDE on two vigorous subjects, the first given out by the altos, and the second by the tenors. Samson's wrath subsides in the recitative (" My genial spirits droop "), and the first act closes with the beautifully constructed chorus ("Then round about the starry throne "), in which his friends con- sole him with the joys he will find in another life. The second part, after a brief recitative, opens with an aria by Manoah ("Just are the ways of God to man"), in which he conjures Samson to repose his trust in God. It is followed by the beautiful prayer of Micah (" Return, return, O God of Hosts "), emphasized by the chorus to which it leads ("To dust his glory they would tread"), with which the prayer is interwoven in obligato form. From this point, as Delilah appears, the music is full of bright color, and loses its sombre tone. In a short recita- tive she excuses her misdeed, and then breaks out in an aria of sensuous sweetness (" With plaintive notes and am'rous moan, thus coos the turtle left alone "). Its be- witching grace, however, makes little impression upon Samson, who replies with the aria, " Your charms to ruin led the way." In another enticing melody (" My faith and truth, O Samson, prove "), she seeks to induce him to return to her house, and a chorus of virgins add their entreaties. A last effort is made in the tasteful and elegant aria, " To fleeting pleasures make your court " ; but when that also fails, Delilah reveals her true self. Samson re- bukes "her warbling charms," her "trains and wiles," and counts " this prison-house the house of liberty to thine " ; whereupon a highly characteristic duet ensues (" Traitor to love "). An aria for Micah follows (" It is nor virtue, valor, wit"), leading up to a powerful dissertation on masculine supremacy in a fugued chorus which is treated in a spirited manner. The giant Harapha now appears, and mocks Samson with the taunt that had he met him before he was blind, he would have left him dead on the HANDEL 211 field of death, "where thou wrought'st wonders with an ass' jaw." His first number (" Honor and arms scorn such a foe ") is one of the most spirited and dashing bass solos ever written. Samson replies with the majestic aria, " My strength is from the living God." The two solos reach their climax in the energetic duet between the giants (" Go, baffled coward, go "). Micah then suggests to Harapha that he shall call upon Dagon to dissolve " those magic spells that gave our hero strength," as a test of his power. The recitative is followed by an impressive six-part chorus (" Hear, Jacob's God ") in the true church style. Its smooth, quiet flow of harmony is refreshing as com- pared with the tumult of the giants' music which precedes, and the senuousness of the chorus (" To song and dance we give the day ") which follows it. The act closes with the massive double chorus (" Fixed in His everlasting seat ") in which the Israelites and Philistines celebrate the attributes of their respective deities and invoke their pro- tection, and in which also the composer brings out with overwhelming effect the majesty and grandeur of God as compared with the nothingness of Dagon. The third part opens with a dialogue in which Harapha brings the message to Samson that he must repair to the feast of Dagon to delight the Philistines with some of his feats of strength. Upon Samson's refusal, Harapha sings the threatening aria, " Presuming slave ! " The Israelites invoke the protection of God in the spirited chorus, " With thunder armed," closing with a prayer which changes to wild and supplicating entreaty. Samson at last yields in a tender, pathetic aria (" Thus when the sun "), which seems to anticipate his fate. In a song of solemn parting (" The Holy One of Israel be thy guide "), accompanied by the chorus (" To fame immortal go "), his friends bid him farewell. The festivities begin, and in an exultant chorus (" Great Dagon has subdued our foe ") the Philistines are 212 STANDARD CONCERT GUIDE heard exulting over Samson's discomfiture. Micah and Manoah, hearing the sounds, are filled with anxiety, and the latter expresses his solicitude in the tender aria, " How willing my paternal love." But the scene suddenly changes. In a short, crashing presto the coming destruc- tion is anticipated. The trembling Israelites express their alarm in the chorus, " Hear us, our God," and appeal to Heaven for protection. A messenger rushes upon the scene and announces that Samson is dead and has involved the destruction of his enemies in the general calamity. Micah gives expression to his grief in the touching aria "Ye sons of Israel, now lament," followed by the Israelites in a sorrowful wail ("Weep, Israel, weep"). A funeral march, in the major key, intervenes, full of tender expres- sion of sorrow, for which, after the first two representa- tions, Handel substituted the Dead March from " Saul," and both marches are now printed in the scores for gen- eral use. As at first written, the oratorio closed with the effective chorus and solo, " Bring the laurels " ; but a year afterwards Handel made a different ending. Manoah calls upon the people to cease their lamentation, and the funeral pageant is followed by the magnificent trumpet aria, " Let the bright seraphim," a song worthy only of the greatest artists, both with voice and instrument, and the equally magnificent chorus " Let their celestial con- certs," which closes the great oratorio with triumphant exultation. THE MESSIAH "The Messiah" represents the ripened product of Handel's genius, and reflects the noblest aspirations and most exalted devotion of mankind. Among all his ora- torios it retains its original freshness, vigor, and beauty in the highest degree, in that it appeals to the loftiest senti- ment and to universal religious devotion, and is based HANDEL 213 upon the most harmonious, symmetrical, and enduring forms of the art. It was begun on the twenty-second day of August, 1741, and finished on the following Sep- tember 14. It is an illustration of Handel's almost super- human capacity for work, that at the age of fifty-six he should have written his masterpiece in twenty-three days. The text was taken from the literal words of Scripture, and the libretto arranged by Charles Jennens, who, singu- larly enough, was not satisfied with the music which has satisfied the world. In a letter written at that time he says : " I shall show you a collection I gave Handel, called ' Mes- siah,' which I value highly. He has made a fine entertain- ment of it, though not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition ; but he re- tained his overture obstinately, in which there are some pas- sages far unworthy of Handel, but much more unworthy of the 'Messiah.'" The first public performance took place April 12, 1742, and was thus announced : " For the Relief of the Prisoners in the several Gaols, and for the Support of Mercer's Hospital, in Stephen's Street, and of the Charitable Infirmary on the Inn's Quay, on Monday, the twelfth of April, will be performed at the Musick Hall in Fishamble-street, Mr. Handel's new Grand Oratorio, called the Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Concertos on the Organ by Mr. Handel." "The Messiah" was performed thirty- four times during the composer's life, but never upon a scale commensurate with its merits until the Handel Commemoration at West- minster Abbey in 1 784, when the largest choir and band that had ever assembled before, with the renowned 2i 4 STANDARD CONCERT GUIDE Madame Mara at the head of the soloists, first gave the oratorio to the world in accordance with the grand ideal of the composer. The orchestra was composed as fol- lows : First violins, 40; second violins, 47; tenors, 26; first oboes, 13 ; second oboes, 13 ; flutes, 6; violoncellos, 21 ; double-basses, 15 ; bassoons, 26 ; double-bassoon, i ; trumpets, 12; trombones, 6; horns, 12; kettle-drums, 3; double-kettle-drum, i : total, 242. The choir was made up as follows : Sopranos, 60, of whom 45 were choir-boys ; counter-tenors (altos), 40; tenors, 83; basses, 84: mak- ing the entire number of singers 267. The oratorio is divided into three parts. The first illustrates the longing of the world for the Messiah, proph- esies his coming, and announces his birth; the second part is devoted to the sufferings, death, and exaltation of Christ, and develops the spread and ultimate triumph of the Gospel ; while the third is occupied with the declara- tion of the highest truths of doctrine, faith in the exist- ence of God, the surety of immortal life, the resurrection, and the attainment of an eternity of happiness. The first part opens with an overture, or rather orches- tral prelude, of majestic chords, leading to a short fugue, developed with severe simplicity and preparing the way for the accompanied recitative (" Comfort ye my people "), and the aria for tenor ("Every valley shall be exalted"), which in turn leads to the full, strong chorus ("And the glory of the Lord shall be revealed"), the three numbers in reality forming one. The prophecy is an- nounced, only to be followed by the human apprehension in the great aria for bass (" But who may abide the day of His coming?"), written in the Sicilian pastoral style. The aria leads to the exquisitely constructed number, " And He shall purify," a fugued chorus closing in simple harmony. Once more the prophet announces, " Behold, a virgin shall conceive," followed by the alto solo, " O Thou that L MADAME MARA HANDEL 215 tellest," which preludes a chorus in the same tempo. The next aria ("The people that walked in darkness"), with its curious but characteristic modulations leads to one of the most graphic fugued choruses in the whole work ("For unto us a child is born"), elegantly interwoven with the violin parts, and emphasized with sublime an- nouncements of the names of the Messiah in full harmony and with the strongest choral power. The grand burst of sound dies away, there is a significant pause, and then fol- lows a short but exquisite pastoral symphony for the strings, which with the four succeeding bits of recitative tells the message of the angels to the shepherds on the plains of Bethlehem. Suddenly follows the chorus of the heavenly hosts ("Glory to God "), which is remark- ably expressive, and affords sharp contrasts in the succes- sive clear responses to the fugue. The difficult but very brilliant aria for soprano ("Rejoice greatly "), the lovely aria " He shall feed His flock," originally written entire for soprano, in which Handel returns again to the pas- toral style, and a short chorus ("His yoke is easy"), close the first part. The second part is the most impressive portion of the work. It begins with a majestic and solemn chorus (" Behold the Lamb of God "), which is followed by the aria for alto (" He was despised "), one of the most pa- thetic and deeply expressive songs ever written, in which the very key-note of sorrow is struck. Two choruses " Surely He hath borne our griefs," rather intricate in harmony, and " With His stripes we are healed," a fugued chorus written a capella upon an admirable subject lead to the spirited and thoroughly interesting chorus, " All we like sheep have gone astray," closing with an adagio of great beauty ("And the Lord hath laid on Him the iniquity of us all"). This is followed by several short numbers, a choral fugue (" He trusted in God "), the 216 STANDARD CONCERT GUIDE accompanied recitative ("Thy rebuke hath broken His heart"), a short but very pathetic aria for tenor ("Be- hold and see if there be any sorrow"), and an aria for soprano ("But Thou didst not leave His soul in hell"), all of which are remarkable instances of the musical expression of sorrow and pity. These numbers lead to a triumphal shout in the chorus and semi-choruses (" Lift up your heads, O ye gates ! ") which reach a climax of magnificent power and strongly contrasted effects. After the chorus, " Let all the angels of God worship him," a fugue constructed upon two subjects, the aria, " Thou art gone up on high," and the chorus, "The Lord gave the word," we reach another pastoral aria of great beauty, " How beautiful are the feet." This is followed by a powerfully descriptive chorus (" Their sound is gone out into all lands"), a massive aria for bass ("Why do the nations"), the chorus ("Let us break their bonds asun- der"), and the aria ("Thou shalt break them "), leading directly to the great " Hallelujah Chorus," which is the triumph of the work and its real climax. It opens with exultant shouts of " Hallelujah." Then ensue three simple phrases, the middle one in plain counterpoint, which form the groundwork for the " Hallelujah." These phrases, seemingly growing out of each other, and reit- erated with constantly increasing power, interweaving with and sustaining the " Hallelujah " with wonderful harmonic effects, make up a chorus that has never been excelled, not only in musical skill, but also in grandeur and sub- limity. After listening to its performance, one can under- stand Handel's words : " I did think I did see all heaven before me, and the great God himself." This number closes the second part. It is worthy of note in this con- nection that when the oratorio was first performed at Covent Garden, London, in 1 743, the whole audience, with the King at its head, arose during the singing of the HANDEL 217 " Hallelujah " and remained standing until it was finished, a custom which is still observed, not only in England, but also in the United States. If the oratorio had closed at this point, the unities would have been preserved, but Handel carried it into a third part with undiminished interest, opening it with that sub- lime confession of faith ("I know that my Redeemer liveth "). It is followed by two quartettes in plain counter- point with choral responses (" Since by man came death," and "For as in Adam all die "), in which the effects of contrast are very forcibly brought out. The last im- portant aria in the work ("The trumpet shall sound"), for bass with trumpet obligato, will always be admired for its beauty and stirring effect. The oratorio closes with three choruses, all in the same key and of the same general sentiment, " Worthy is the Lamb," a piece of smooth, flowing harmony ; " Blessing and honor," a fugue led off by the tenors and bassos in unison, and repeated by the sopranos and altos on the octave, closing with full harmony on the words " for ever and ever " several times reiterated ; and the final " Amen " chorus, which is treated in the severest style, and in which the composer evidently gave free rein to his genius, not being hampered with the trammels of words. Other oratorios may be compared one with another; "The Messiah" stands alone, a majestic monument to the memory of the composer, an imperishable record of the noblest sentiments of human nature and the highest aspirations of man. JUDAS MACCABEUS The oratorio of "Judas Maccabaeus" was written in thirty-two days, between July 9 and August n, 1746, upon the commission of Frederic, Prince of Wales, to celebrate the return of the Duke of Cumberland from 218 STANDARD CONCERT GUIDE Scotland after the decisive victory of Culloden, April 16, 1746. The words were written by the Rev. Thomas Morell, D.D., a learned Greek scholar of that time, the plot being taken from the narrative of the exploits of the Jewish deliverer contained in the first book of Maccabees and in the twelfth book of Josephus* " Antiquities of the Jews." It was first performed at Covent Garden, April i, 1747, and was repeated six times that year. Handel him- self conducted it thirty-eight times with ever-growing popularity, to which the Jews contributed greatly, as it glorified an episode in their national history. The char- acters represented are Judas Maccabaeus; Simon, his brother ; an Israelitish messenger ; and Israelitish men and women. The first scene introduces the Israelitish men and women lamenting the death of the father of Judas in the sorrowful chorus (" Mourn, ye afflicted children "), which, after a duet for soprano and tenor, is followed by still another chorus in a similar strain (" For Zion lamentation make "), but much more impressive, and rising to a more powerful climax. After a brief and simple soprano solo ("Pious orgies"), the chorus sings the prayer ("O Father, whose almighty power"), closing with a charac- teristic fugue on the words, " And grant a leader." After a short recitative, Simon, bass, breaks out in the heroic and sonorous aria, "Arm, arm, ye brave!" which has always retained its popularity, notwithstanding its antique bravura. It is followed by the chorus in the brief but stir- ring number, " We come in bright array." Five arias, a duet, and two choruses, nearly all of which are now omitted in performances, being of the same general character, and mainly apostrophes to liberty lead to the great chorus closing the first part (" Hear us, O Lord ! "). The second part opens with the Israelites celebrating the return of Judas from the victories over Apollonius and HANDEL 219 Seron. An instrumental prelude, picturing the scenes of battle, leads directly to the great chorus, the best in the work (" Fallen is the foe "). The triumphant declaration is made over and over with constantly increasing energy, finally leading to a brilliant fugue on the words, " Where warlike Judas wields his righteous sword " ; but inter- woven with it are still heard those notes of victory, " Fallen is the foe," and the response, " So fall Thy foes." The Israelitish man sings a vigorous tribute to Judas ("So rapid thy course is"). The triumphant strain ("Zion now her head shall raise ") is taken by two voices, closing with the soprano alone ; but before her part ends, the whole chorus takes it and joins in the paean, "Tune your harps," and the double number ends in broad, flowing harmony. In a florid number (" From mighty kings he took the spoil") the Israelitish worn an once more sings Judas's praise. The two voices unite in a welcome ("Hail Judsea, happy land"), and finally the whole chorus join in a simple but jubilant acclaim to the same words. The rejoicings soon change to expressions of alarm and apprehension as a messenger enters and an- nounces that Gorgias has been sent by Antiochus to attack the Israelites, and is already near at hand. They join in a chorus expressive of deep despondency (" Oh, wretched Israel"); but Simon, in a spirited aria ("The Lord worketh wonders"), bids them put their trust in Heaven, and Judas rouses their courage with the martial trumpet song, " Sound an alarm," which, though very brief, is full of vigor and fire. After the departure of Judas to meet the foe, Simon, the Israelitish man, and the Israelitish woman follow each other in denunciation of the idolatries which have been practised by the heathen among them, and close with the splendid chorus, " We never will bow down to the rude stock or sculptured stone," in which vigorous repetitions of the opening phrase lead to a 220 STANDARD CONCERT GUIDE chorale in broad, impressive harmony, with which is in- terwoven equally vigorous repetitions of the phrase, " We worship God alone." The third part opens with the impressive prayer (" Fa- ther of Heaven, from Thy eternal throne"), sung by the priest. As the fire ascends from the altar, the sanctuary having been purified of its heathen defilement, the Israelites look upon it as an omen of victory and take courage. A messenger enters with tidings of Judas's triumph over all their enemies. The Jsraelitish maidens and youths go out to meet him, singing the exultant march chorus (" See the conquering hero comes"), which is familiar to every one by its common use on all occasions, from Handel's time to this, where tribute has been paid to martial success and heroes have been welcomed. It is the universal ac- companiment of victory, as the Dead March in " Saul " is of the pageantry of death. It is very simple in its con- struction, like many others of Handel's most effective numbers. It is first sung as a three-part chorus, then as a duet or chorus of virgins, again by the full power of all the voices, and gradually dies away in the form of an instrumental march. The chorus did not originally be- long to "Judas Maccabaeus," but to "Joshua," in which oratorio it is addressed to Othniel when he returns from the capture of Debir. Handel frequently made transfers of that kind, and this was a permanent one ; for the cele- brated chorus is now unalterably identified with the work in which he placed it, and in which also the setting is still more imposing. A very elaborate chorus ("Sing unto God"), a florid aria with trumpet solo for Judas ("With honor let desert be crowned"), the chorus ("To our great God"), a pastoral duet with exquisite accompani- ment (" Oh, lovely peace ! "), and a " Hallelujah " in the composer's customary exultant style, close this brilliant and dramatic oratorio. HANDEL 221 THE DETTINGEN TE DEUM On the twenty-seventh of June, 1743, the British army and its allies, under the command of King George II and Lord Stair, won a victory at Dettingen, in Bavaria, over the French army, commanded by the Marechal de Noailles and the Due de Grammont. It was a victory plucked from an expected defeat, and aroused great enthusiasm in England. On the King's return a day of public thanks- giving was appointed, and Handel, who was at that time " Composer of Musick to the Chapel Royal," was commis- sioned to write a Te Deum and an anthem for the occa- sion. The original score, a large folio volume in the Royal Collection, is headed " Angefangen Juli 17, 1743." There is no date at the end ; but as the beginning of the Dettingen Anthem is dated July 30, it is probable that the Te Deum was finished between the seventeenth and thirtieth. Both works formed part of the thanksgiving services on the twenty-seventh at the Chapel Royal of St. James, in the presence of the King and royal family. The Dettingen Te Deum has been universally consid- ered as one of the masterpieces among Handel's later works. Never was a victory more enthusiastically commem- orated in music. It is not a Te Deum in the strict sense, but a grand martial panegyric. It contains eighteen short solos and choruses, mostly of a brilliant, martial character, the solos being divided between the alto, barytone, and bass. After a brief instrumental prelude, the work opens with the triumphant, jubilant chorus with trumpets and drums (" We praise Thee, O God "), written for five parts, the sopranos being divided into firsts and seconds, con- taining also a short alto solo leading to a closing fugue. The second number ("All the earth doth worship Thee") is also an alto solo with five-part chorus of the same gen- eral character. It is followed by a semi-chorus in three 222 STANDARD CONCERT GUIDE parts (" To Thee all angels cry aloud"), plaintive in style, and leading to the full chorus (" To Thee, cherubim and seraphim "), which is majestic in its movement and rich in harmony. The fifth number is a quartette and chorus (" The glorious company of the Apostles praise Thee "), dominated by the bass, with responses from the other parts, and followed by a short, full chorus (" Thine adorable, true, and only Son "). The seventh number is a stirring bass solo with trumpets. A fanfare of trumpets introduces the next four numbers, all choruses. In this group the art of fugue and counterpoint is splendidly illustrated, but never to the sacrifice of brilliant effect, which is also heightened by the trumpets in the accompaniments. An impressive bass solo (" Vouchsafe, O Lord ") intervenes, and then the trumpets sound the stately symphony to the final chorus ("O Lord, in Thee have I trusted"). It begins with a long alto solo with delicate oboe accompani- ment that makes the effect very impressive when voices and instruments take up the phrase in a magnificent out- burst of power and rich harmony, and carry it to the close. HATTON 1809-1886 ROBIN HOOD THE pastoral cantata " 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." 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 with- out further ado and make him the butt of their sport. Robin Hood sings a charmingly melodious ballad (" Un- der the greenwood tree "), in which the Bishop is invited to become one of their number and share their sylvan en- joyments. 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 in- forms 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 224 for female voices, supposed to be sung by the forest maid- ens, 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 be- tween Robin and Marian, which is somewhat incongruous, whether Marian be considered as the outlaw's mistress, or, as some of the old chroniclers have it, his wife Matilda, who changed her name when she followed him into the forest. From the musical standpoint, however, it affords an opportunity for another graceful ballad of sentiment, in which Marian describes her heart as " a frail bark upon the waters of love " ; a duet in which the lovers passion- ately 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. HAYDN 1732-1809 ARIADNE THE cantata " Ariana a Naxos " was written in 1792, and is for a single voice with orchestra. As an illustration of the original cantata form, it is one of the most striking and perfect. Its story is an episode in my- thology. When Minos, King of Crete, had vanquished the Athenians, he imposed upon JEgens, 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 fol- lowing the thread of Ariadne, daughter of Minos, who had conceived a violent passion for the handsome warrior, conqueror of Centaurs and Amazons. Upon his return to Athens she accompanied him as far as the island Naxos, where the ungrateful wretch perfidiously left her. It is this scene of desertion which Haydn chose for his cantata. Ariadne is supposed to have just awakened from sleep and reclines upon a mossy bank. The first number is a recitative and largo in which she hopefully calls upon Theseus to return. The melody is noble and spirited in style, and yet tender and fervent in its expression of love for the absent one. In the next number, a recitative and andante (" No one listens ! My sad words echo but re- peats "), hopefulness turns to anxiety. The contrast be- tween the blissful longing of the one and the growing '5 226 STANDARD CONCERT GUIDE solicitude expressed in the other number is very striking. The next melody, an allegro vivace (" What see I ? O heavens ! Unhappy me ! "), is remarkable for its pas- sionate 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 expressive instrumentation. An allegro presto, infused with the spirit of hopeless gloom and despair, ends the cantata. THE SEVEN WORDS " The Seven Words of Jesus on the Cross," sometimes called "The Passion," was written by Haydn in 1785, for the cathedral of Cadiz, upon a commission from the Chapter for appropriate music for Good Friday. It was at first composed as an instrumental work, consisting of seven adagio movements, and in this form was produced in London by the composer himself as a " Passione instru- mentale." 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. 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 de- clares that Haydn on more than one occasion, when he was asked to which of his works he gave the preference, replied, "The Seven Words." JOSEF HAYDN HAYDN 227 It opens with an adagio for full orchestra, of a very sor- rowful but impressive character. Then follow each of the Seven Words, given out in simple chorale form, followed by its chorus. Following immediately after the Seventh Word, the 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 open- ing 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 com- poser's passages in "The Creation " and " The Seasons." THE CREATION Haydn was sixty-five years of age when he undertook the great work of his life. It was begun in 1796, and finished in 1798. When urged to bring it to a conclusion more rapidly, he replied, " I spend much time over it, because I intend it to last a long time." Shortly before his final departure from London, Salomon, his manager, brought him a poem for music which had been compiled by Lydley from Milton's " Paradise Lost," for use by Handel, though the latter had not availed himself of it. Haydn took it with him to Vienna, and submitted it to the Baron van Swieten, the Emperor's librarian, who was not only a very learned scholar, but also something of a musician and composer. The Baron suggested that he should make an oratorio of it, and to encourage him, not only translated the text into German, but added a num- ber of arias, duets, and choruses, particularly those of the descriptive kind. Several of the nobility also guaranteed the expenses of preparation and performance. The first public performance was given at the National Theatre, Vienna, March 19, 1799, Haydn's name-day. Its success 228 STANDARD CONCERT GUIDE was immediate, and rivalled that of " The Messiah." It was performed all over Europe, and societies were organ- ized for the express purpose of producing it. In London rival performances of it were given at Covent Garden and the King's Theatre during the year 1800. The oratorio opens with an overture representing chaos. Its effect is at first dull and indefinite, its utterances inar- ticulate, and its notes destitute of perceptible melody. It is Nature in her chaotic state, struggling into definite form. Gradually instrument after instrument makes an effort to extricate itself, and as the clarinets and flutes struggle out of the confusion, the feeling of order begins to make itself apparent. The resolutions indicate har- mony. At last the wonderful discordances settle, leaving a misty effect that vividly illustrates " the spirit of God moving upon the face of the waters." Then, at the fiat of the Creator, " Let there be light," the whole or- chestra and chorus burst forth in the sonorous response (" And there was light "). A brief passage by Uriel, tenor, describes the division of light from darkness, and the end of chaos, introducing a fugued chorus, in which the rage of Satan and his hellish spirits, as they are precipi- tated into the abyss, is described with tremendous dis- cords and strange modulations ; but before it closes, the music relates the beauties of the newly created earth springing up " at God's command." Raphael describes the making of the firmament, the raging of the storms, the flashing lightning and rolling thunders, the showers of rain and hail, and the gently falling snow, to an accom- paniment which is closely imitative in character. The work of the second day forms the theme of " The mar- vellous work," for soprano obligato with chorus, a num- ber characterized by great joyousness and spirit. This leads to the number, " Rolling in foaming billows," in which ^the music is employed to represent the effect of HAYDN 229 water, from the roaring billows of the "boisterous seas," and the rivers flowing in " serpent error," to the " limpid brook," whose murmuring ripple is set to one of the sweetest and most delicious of melodies. This leads the way to the well-known aria, " With verdure clad," of which Haydn himself was very fond, and which he recast three times before he was satisfied with it. It is followed by a fugued chorus ("Awake the harp"), in which the angels praise the Creator. We next pass to the creation of the planets. The instrumental prelude is a wonderful bit of constantly developing color, which increases " in splendor bright," until the sun appears. It is followed by the rising of the moon, to an accompaniment as tender as its own radiance ; and as the stars appear, " the Sons of God " announce the fourth day, and the first part closes with the great chorus, "The heavens are telling," in which the entire force of band and singers is employed in full, broad harmony and sonorous chords, leading to a cadence of magnificent power. The second part opens with the aria (" On mighty pens"), describing in a majestic manner the flight of the eagle, and then blithely passes to the gaiety of the lark, the tenderness of the cooing doves, and the plaintiveness of the nightingale, in which the singing of the birds is imitated as closely as the resources of music will allow. A beautiful terzetto describes with inimitable grace the gently sloping hills covered with their verdure, the leaping of the fountain into the light, and the flights of birds ; and a bass solo in sonorous manner takes up the swimming fish, clos- ing with "the upheaval of leviathan from the deep," who disports himself among the double-basses. This leads to a powerful chorus ("The Lord is great"). The next num- ber describes the creation of various animals ; and per- haps nothing that art contains can vie with it in varied and vivid description. It begins with the lion, whose 2jo STANDARD CONCERT GUIDE deep roar is heard among the wind instruments. The alertness of the " flexible tiger " is shown in rapid flights by the strings. A presto ingeniously represents the quick movements of the stag. The horse is accompanied by music which prances and neighs. A quiet pastoral move- ment, in strong contrast with the preceding abrupt transi- tions, pictures the cattle seeking their food " on fields and meadows green." A flutter of sounds describes the swarms of insects in the air, and from this we pass to a long, un- dulating thread of harmony, representing the " sinuous trace " of the worm. This masterpiece of imitative music is contained in a single recitative. A powerful and digni- fied aria, sung by Raphael (" Now Heaven in fullest glory shone "), introduces the creation of man, which is com- pleted in an exquisitely beautiful aria (" In native worth ") by Uriel, the second part of which is full of tender beauty in its description of the creation of Eve, and closes with a picture of the happiness of the newly created pair. A brief recitative (" And God saw everything that He had made ") leads to the chorus (" Achieved is the glorious work "), a fugue of great power, superbly accompanied. It is interrupted by a trio (" On Thee each living soul awaits "), but soon returns with still greater power and grandeur, closing with a Gloria and Hallelujah of magnifi- cent proportions. The third part opens with a symphonic introduction descriptive of the first morning of creation, in which the flutes and horns, combined with the strings, are used with exquisite effect. In a brief recitative (" In rosy mantle appears ") Uriel pictures the joy of Adam and Eve, and bids them sing the praise of God with the angelic choir, which forms the theme of the succeeding duet and chorus (" By Thee with bliss ") ; to which the answering choir replies with a gentle and distant effect, as if from the celestial heights ("Forever blessed be His power"). HAYDN 231 Again Adam and Eve in successive solos, finally uniting, join with the choir in extolling the goodness of God ; and as they close, all take up the beautiful and majestic paean (" Hail, bounteous Lord ! Almighty, hail ! "). As the an- gelic shout dies away, a tender, loving dialogue ensues between Adam and Eve, leading to the beautiful duet (" Graceful consort "), which is not only the most delight- ful number in the work, but in freshness, sweetness, and tenderness stands almost unsurpassed among compositions of its kind. After a short bit of recitative by Uriel (" O happy pair "), the chorus enters upon the closing num- ber (" Sing the Lord, ye voices all "), beginning slowly and majestically, then developing into a masterly fugue ("Jehovah's praise forever shall endure"), and closing with a Laudamus of matchless beauty, in which the princi- pal voices in solo parts are set off against the choral and orchestral masses with powerful effect. THE SEASONS " The Seasons," written two years after " The Creation," was Haydn's last oratorio. The music was composed be- tween April, 1798, and April, 1801. It is not an oratorio, in the strict sense of the term, as it partakes of the form and qualities, not only of the oratorio, but also of the opera and cantata. The words were compiled by Baron van Swieten from Thomson's well-known poem of " The Seasons." It was first performed at the Schwartzenberg Palace, Vienna, April 24, 1801. Though some of the critics disparaged it, and Beethoven was not overpleased with it, it met with a great popular success, and Haydn himself was delighted with the work that had cost him so much trouble. "The Seasons" is divided into four parts, Spring, Summer, Autumn, and Winter, and the characters 232 STANDARD CONCERT GUIDE introduced are Simon, a farmer ; Jane, his daughter ; Lucas, a young countryman and shepherd ; and a chorus of coun- try people and hunters. A vivacious overture, expressing the passage from Winter to Spring, and recitatives by Simon, Lucas, and Jane, who in turn express their delight at the close of the one season and the approach of the other, lead to the opening chorus (" Come, gentle Spring, ethereal mildness, come "), a fresh and animated number, which is familiar to every one. Simon trolls out a pastoral aria (" With joy the impatient husbandman "), full of the very spirit of quiet, peace, and happiness, a quaint melody which will inevitably recall to opera-goers the " Zitti, Zitti " from Rossini's " Barber of Seville," the essential difference between the two pieces being that in the latter the time is greatly accelerated. This aria is followed by a trio and chorus (" Be propitious, bounteous Heaven "), a free fugue, in which all beseech a blessing upon the sowing of the seed. The next number is a duet for Jane and Lucas, with chorus (" Spring her lovely charms unfolding "), which is fairly permeated with the delicate suggestions of opening buds and the delights of the balmy air and young verdure of Spring. As its strains die away, all join in the cheerful fugued chorus (" God of light ") which closes the first part. After a brief adagio prelude, the second part, " Summer," opens with a charming aria by Simon (" From out the fold the shepherd drives"), which gives us a delightful picture of the shepherd driving his flock along the verdant hill- side, then leaning upon his staff to watch the rising sun. As it appears, it is welcomed by trio and chorus with the exultant shout, "Hail, O glorious sun!" As noon ap- proaches, the music fairly becomes radiant. A series of recitatives and arias follows, bringing out in a vivid and picturesque manner the oppressive, exhaustive heat and the longing for rest and shade, leading at last to an EDWARD LLOYD HAYDN 233 ominous silence as the clouds begin to gather and the sky darkens. A short recitative prepares the way. A crash of thunder is heard upon the drums : it is the prelude to the storm-chorus (" Hark ! the deep tremendous voice "), which has been the model for nearly all the storm descrip- tions written since Haydn's time. It is worked up to a tremendous climax of tumult and terror, of pouring rain, flashing lightning, and pealing thunder. At last the tem- pest dies away, and in the trio and chorus (" Now cease the conflicts ") night comes on, with its song of the quail, which Beethoven subsequently utilized in his Pastoral Symphony, the chirp of the crickets, the croaking of the frogs, the distant chime of the evening bells, and the in- vocation to sleep. After a melodious prelude the third part opens with a terzetto and chorus (" Thus Nature ever kind rewards "), an invocation to virtue and industry, and a quaintly sentimental duet (" Ye gay and painted fair "). The next number, an aria by Simon (" Behold along the dewy grass"), which gives us the picture of the hunter and his dog pursuing a bird, prepares the way for the great hunting chorus (" Hark ! the mountains resound "), one of the most graphic and stirring choruses of this de- scription ever written. The whole scene, the vales and forests resounding with the music of the horns, the finding of the quarry, the flying stag outstripping the wind, the pack at fault, but starting in again as they find the scent, the tally-ho of the hunters, the noble animal at bay, his death, and the shouts of the crowd, are all pictured with fresh and genuine out-door feeling. This remarkable number is separated from its natural companion, the bac- chanalian chorus, by a recitative extolling the wealth of the vintage. This chorus (" Joyful the liquor flows ") is in two parts, first a hymn in praise of wine, sung by the tippling revellers, and second, a dance tempo, full of life 234 STANDARD CONCERT GUIDE and beauty, with imitations of the bagpipe and rustic fid- dles, the melody being a favorite Austrian dance-air. With this rollicking combination, for the two movements are in- terwoven, the third part closes. A slow orchestral prelude, " expressing the thick fogs at the approach of Winter," introduces the closing part. In recitative Simon describes the on-coming of the dreary season, and Jane reiterates the sentiment in the cavatina ("Light and life dejected languish"). In Lucas's recita- tive we see the snow covering the fields, and in his follow- ing aria ("The traveller stands perplexed"), a graphic tone-picture of the wanderer lost in the snow is presented. At last he espies the friendly light in the cottage. " Me- lodious voices greet his ears," and as he enters he be- holds the friendly circle, the old father telling over his stories of the past, the mother plying the distaff, the girls spinning, and the young people making the night merry with jest and sport. At last they join in a charac- teristic imitative chorus (" Let the wheel move gayly "). After the spinning they gather about the fire, and Jane sings a charming love-story (" A wealthy lord who long had loved "), accompanied by chorus. Simon improves the occasion to moralize on the sentiment of the seasons in the aria, "In this, O vain, misguided man," impressing upon us the lesson that " Nought but truth remains ; " and with a general appeal to Heaven for guidance through life, this quaint and peaceful pastoral poem in music draws to its close. It was the last important work of the aged Haydn, but it has all the charm and freshness of youth. HAYDN SYMPHONY No. i (B. & H.), IN E FLAT 1. ADAGIO. ALLEGRO CON SPIRITO. 2. ANDANTE. 3. MINUET. 4. FINALE. PRESTO. The Symphony in E flat was composed in 1795, and is the eighth in the set written for Salomon, and the first of the Breitkopf and Hartel edition. It opens with an adagio, introduced by a roll on the kettle-drum, with the following theme : 'Cello, Bass, and Fagotto. Adagio. This broad and sombre melody gives the key to the whole work, and shows us the composer in a somewhat serious mood. It ends in a unison phrase in C minor, in a half- mysterious way on G, the fifth of the chord. Then enters the Allegro con spirito, in | time, with the following theme : The half-step in the first group, forced in the repetition by an accidental, keeps the otherwise humorous theme within bounds ; and the sforzando strokes, as well as the fortissimo unison passage at the end of the first part, show how seriously the master took his work. The second part is worked up in strict compliance with the sonata form, and displays Haydn's mastery in counterpoint. After a 236 STANDARD CONCERT GUIDE hold, the basses take up the melody of the opening adagio, pressed into the new mould of the | tempo. This middle movement is again interrupted by a hold, followed by the working-out of the second theme and closing on the dom- inant seventh chord and a grand pause, after which the first part is repeated. At the half-cadence the opening adagio unexpectedly enters with its solemn roll of the drum and deep-toned melody, followed by a short coda, allegro. This procedure shows how serious the man who wrote the Children's Symphony could be when in the mood. The andante, in C minor, \ time, opens with the follow- ing melody : The first bar, with its C, E flat, F sharp, has a vein of inexpressibly sad loveliness, which also pervades the whole song, as it may be called. When in the third part, or the Maggiore in C major, the sky brightens, it is interesting to see how simply the composer accomplishes his purpose by filling up the third, C, E, and enlivening the rhythm in this way : The Minore and the Maggiore are then repeated in the form of variations, exquisitely worked out. The third va- riation, in C minor, is scored for full orchestra, and is one of the many examples we find in Haydn which show that the minor mood or minor key was for him rather the ex- pression of the grand and heroic than of sadness or sorrow. HAYDN 237 The coda in its simplicity, however, shows the sad under- current of his thought while writing this lovely Andante, although the close is in the major key. The Minuet, with the following theme, reaches far higher than the dance form, and its working-up in the second part is unusually rich in harmonic treatment. The Trio contains the flowing legato figures which Haydn so often used to offset the broken rhythm and skipping melody of the minuet proper. The Finale, in E flat, is founded on the following theme, with underlying figure for horns, as marked : 1 j j \ nj J J [ 2 5 8! m f & * 1 ^nj W L./ S ^ 9 * * \CT) y zr -5- r tt It is broad in treatment, and often reminds us of Mozart. The whole movement is symphonic in character, and shows little of the playfulness we are wont to look for in Haydn's compositions. 238 STANDARD CONCERT GUIDE SYMPHONY No. 2 (B. & H.), IN D MAJOR 1. ADAGIO. ALLEGRO. 2. ANDANTE. 3. MINUET. 4. FINALE. ALLEGRO SPIRITOSO. The Symphony in D major No. 7 of the Salomon set ; No. 2, Breitkopf and Hartel was written in 1795. ^ has the usual Adagio introduction, in D minor, with a theme as weighty and bold as anything we admire in Bee- thoven, closing on the dominant pianissimo and leading into the Allegro with the following theme : Allegro. The second theme of the first movement, in the key of A, appears only once. In the working-up of the second part, the composer utilizes the four quarter-beats followed by two half-notes, given above, as a separate motive, which by its more decisive character imparts to the whole move- ment a certain brusqueness and force. The Andante, in G major, | time, is based on the fol- lowing lovely song written in a popular vein, Andante. HAYDN 239 and treated in the form of variations ; not, however, in the usual strict manner, but interspersed with significant and deeply effective intermezzos, showing with what perfect freedom the genius of the master soared above conven- tional forms. The second part of the melody proceeds with the following tuneful counterpoint, using the opening bars of the Andante for an accompaniment : The Minuet, in D major, is energetic in character, ow- ing to its peculiar accentuation, as well as strong harmony, and yet preserves the humor and piquancy of the master's most favorite movements in a wonderful degree. The Trio has the same character, in its contrast to the Minuet proper, as that in the E flat symphony. The Finale, in D major, Allegro spiritoso, has a flavor of country life and its enjoyments. It begins on a pedal bass for horns and 'cellos, over which runs the most natural, simple song, a happy-go-lucky air, which however gives free play to the master's art in counterpoint. We select only a few bars in which he combines three melodies over a pedal point in the most masterly manner : j J.A 240 STANDARD CONCERT GUIDE SYMPHONY No. 6 (B. & H.), IN G MAJOR (SURPRISE) 1. ADAGIO. VIVACE ASSAI. 3. MINUET. 2. ANDANTE. 4. FINALE. ALLEGRO MOLTO. The Symphony in G major, popularly known as "The Surprise," No. 3 of the Salomon set ; No. 6, Breitkopf and Hartel, was written in 1791. It has a short intro- ductory Adagio, in which an unusual number of chromatics are employed, leading at once into the main Vivace assai, | time, with the following for the first theme : Daintily as it steps in, it soon develops into the full rush of life, beginning at the figure of sixteenth, the work- ing up of the theme, however, being chiefly based on a group of eighth notes at the beginning. The Andante, in C major, the movement which gave the name of " Surprise " to the symphony, is based on this exceedingly simple melody, moving through the inter- vals of the chord : It opens piano, is repeated pianissimo, and closes with an unexpected crash of the whole orchestra. Here we HAYDN 241 have the genial " Papa Haydn," who enjoyed a joke, and when in the humor for it did not think it beneath his dignity " to score " the joke ; for to a friend, who was visiting him when writing the Andante, he remarked : " That 's sure to make the ladies jump ; " and his waggish purpose has been secured to this day. The theme is carried out in his favorite form of variations, and the movement closes with a pedal point giving the opening phrase and dying away in a pianissimo. The Minuet seems the natural sequence of this ex- tremely simple Andante. The sweep of the violins in the last two measures of the first part is made the motive for the second part, which is used in canon form between the violins and basses and connected with the trio, written in the usual manner. The last movement, Allegro molto, in G major, | time, has this happy theme for its foundation : Allegro di molto. The piquancy of its phrasing is in the master's happiest vein, and although worked out with less display of science than some of his other finales, it gathers new interest by the rushing violin figures that are used quite lavishly and fully sustain its joyful character. Haydn also introduces some finely conceived harmonic surprises, when he follows a half-cadence on D major with the quarter strokes on C natural, pianissimo, as well as rhythmic, by the introduc- tion of a grand pause, which he uses twice. 16 242 STANDARD CONCERT GUIDE SYMPHONY No. 9 (B. & H.), EN C MINOR 1. ALLEGRO. 2. ANDANTE. 3. MINUET. 4. FINALE. VIVACE. The Symphony in C minor No. 5 of the Salomon set ; Breitkopf and Hartel, No. 9 opens at once with an Allegro in common time : The bold steps at the opening and the march-like rhythm of the third and fourth measures, although subdued in a dynamic sense, and never used in a military mood, give the movement a certain crispness which is effectively off- set by the second theme : This is followed by scale runs in triplets, that alternate between the higher and lower instrumental groups and well preserve the strong character of the otherwise short movement. Though brief, it is especially interesting as showing plainly the influence of the younger master, Mozart, and at times reminds us of the latter's C minor Fantasie. The Andante cantabile, in E flat, in its idyllic theme HAYDN 243 Andante. betrays the composer of "With verdure clad," and vies with that well-known melody in sweetness. It is worked out in a number of variations, among which the one in E flat minor is especially noticeable. The Minuet is one of the popular concert numbers, and is a masterly specimen of grace and refined humor, com- bined with the stateliness of the old-fashioned dance. Its theme is the following : The trio varies from many of the previous ones in that the movement of eighth -notes appears staccato through- out, and is given to the 'cellos, the violins only marking the rhythm. The Finale vivace, in C major, is rich in the treatment of counterpoint and fugue ; but a glance at the leading theme Vivace. will show at once that we have nothing to fear in the way of dry or heavy music. The general treatment reminds us of his earlier symphonies, but much of it also shows the influence of Mozart. 244 STANDARD CONCERT GUIDE SYMPHONY No. n (B. & H.), IN G MAJOR (MILITARY) 1. LARGO. ALLEGRO. 2. ALLEGRETTO. 3. MINUET. 4. FINALE. PRESTO. The Symphony in G major No. 12 of the Salomon set, and No. 1 1 of the Breitkopf and Ha'rtel edition was written in 1794. It opens with a slow movement of broad and even pathetic character, closing on the dominant chord with a hold. The first movement proper, Allegro, starts in with the following theme, given out by the flutes and oboes : and is repeated in ever new instrumental combinations, leading into a play of questions and answers between wind and string instruments, which Haydn's successors have made use of so often. After the half-cadence, the second theme enters piano. In spirit it is a lively march, and although at its first appearance it is quite subdued, the staccato HAYDN 245 marks relieve any uncertainty as to its meaning. The working-up in the second part relies chiefly on this second theme ; and when the double-basses take it up, it rises to its full importance. The greater length of the movement, its ingenious harmonic treatment, the stubborn character in the sforzando strokes after the second theme appears fortissimo, the crisp staccato scales in broken thirds in the violins, stamp this Allegro as one of the most important the master has left us, and establish his fame as the worthy predecessor of Beethoven. The Allegretto, in C major, which here takes the place of the usual Andante, has given to this symphony the name of " The Military " and is based on an old French romanza : In its treatment of interchanging instrumental groups, and in its quiet yet cheerful movement, it sounds like the last farewells of soldiers as they take leave of their beloved homes. Haydn displays a wonderful mastery in the dy- namic treatment, which in this movement serves almost exclusively to bring out the ever-changing character of the theme. After several repeats, the trumpets sound the signal for falling into line, and with a few strong chords in the key of A flat, the march is resumed. Observe also the masterly use which the composer has made of the drums, cymbals, and triangle, in the various repeats of this simple theme, relying almost entirely on the tone- colors of the different orchestral instmments and their combination for the maintaining of the interest in the simple march theme. The Minuet, moderato, in its form comes nearer the dance minuet in graceful groups of violin figures than any 246 STANDARD CONCERT GUIDE we have considered ; while the trio is worked up in a more distinct character than usual, and with its dotted rhythm remains nearer the original dance than the legato trios of former symphonies. The last movement, Presto, in | time, is in Haydn's happiest vein. Its theme is playful and charming, and the whole Finale, although not devoid of more forcible intermezzos, broken by unex- pected pauses and elaborate treatment in harmonic changes, moves along in a happy and natural manner, while in con- ciseness of expression it is a model of brevity. SYMPHONY No. 12 (B. & H.), IN B FLAT 1. LARGO. ALLEGRO. 2. ADAGIO. 3. MINUET. 4. FINALS. PRESTO. The Symphony in B flat, written in 1794, is the ninth in the Salomon set, and No. 12 of the Breitkopf and Hartel edition. A short Largo opens pompously with a hold on the keynote, followed by a phrase for wind instru- ments reflecting the sadness of the whole Introduction. The first movement, Allegro vivace, brings in the main theme AlUgro. HAYDN 247 at once fortissimo by the whole orchestra, and reversing the order to repeat, appears as a piano phrase. This is followed by a lively figure for violins through sixteen measures, working up into a fine crescendo fortissimo that reaches its climax on a whole note on A in unison, and with the grand pause following prepares the entrance of the second theme in A major, as follows : ff p JZ. This, with several other shorter themes, furnishes the ma- terial for the working-up of the second part, and shows the composer's extraordinary power of invention and com- bination. The whole scheme is broader than usual. The rhythmic, harmonic, and dynamic changes form a picture of real life pulsating with vital force, and this symphony, Haydn's last tribute to his friend Salomon, was by no means the least of the series. The Adagio in F major, J time, is comparatively short, and has Italian touches of elegance in the rich ornamenta- tion with which the melody is embellished. In character it leaves the popular vein which Haydn's slow movements generally show, and leans more toward the elegiac and sentimental. The Minuet, although its first part inclines toward the dance form, assumes a style of its ovn by the stubborn assertion of a group of three notes in repeat, leading to a hold, after which a playful treatment of the same motive 248 STANDARD CONCERT GUIDE brings us back to the original theme. The trio also dif- fers from many of Haydn's, its rocking movement and tender chromatics reminding us of Schubert. The Finale, in B flat, Presto, \ time, opens with the fol- lowing gay song, Presto. which flows along without interruption, for even the occa- sional attempts at stubbornness have an undercurrent of jollity. The composer's fancy for the humorous and play- ful side of life finds free swing in this Finale. Syncopations, pianissimo staccatos, unexpected pauses, clashes of the full orchestra, sudden transitions of key, the playful use of parts of a motive, etc., combine in making a picture of happiness and joyous life which is all the more extraordi- nary when we consider that Haydn wrote this work in his sixty-second year. HOFMANN 1842- 1902 MELUSINA THE beautiful story of Melusina has always had an attraction for artists and musicians. The version which Hofmann uses in his cantata entitled "The Fable of the Fair Melusina," written in 1875, mns as follows: Melusina, the nymph of a 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 wed- ding cortege moves joyfully on to the castle. In the second part Raymond's mother, Clotilda, and her brother, Sintram, intrigue against Melusina. They denounce her as a witch, and the accusation seems to be justified by a drought which has fallen upon the land since the marriage. The suffering people loudly clamor for the surrender of the " foul witch." After long resistance Raymond is induced to break into the bathing-house which he had erected over the fountain. Melusina and her nymphs, surprised by him, call upon the king of the water-spirits 250 STANDARD CONCERT GUIDE to avenge his treason. The king appears and consigns him to death. Seized with pity, Melusina intercedes for him, and the king agrees to spare his life upon condition that they shall separate. Raymond once more embraces her, neither of them knowing that it will be fatal to him, dies in her arms, and the sorrowing Melusina returns to the flood. The prologue describes Melusina's fountain, and con- tains a leading motive which characterizes Raymond. The chorus part is romantic in its style, and 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 engage- ment in presence of the nymphs, and concluding with a stirring chorus of nymphs and hunters, closes the first part. The second part begins with a theme from the love- duet, followed by a significant theme in the minor, omi- nous 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 H El N RICH HOFMANN HOFMANN 251 chorus in canon form (" Hark ! hark ! Who has come to watch?"). As Raymond appears, the scene grows dra- matic. The king of the water-spirits is summoned; but before he rises from the water, Melusina, in melodious recitative, laments her lover's treason. The scene culmi- nates 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 em- brace 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. THE FRTTHJOF SYMPHONY. OP. 22 1. ALLEGRO CON FUOCO. (Frithjof and Ingeborg.) 2. ADAGIO MA NON TROPPO. (Ingeborg's Lament.) 3. ALLEGRO MODERATO. VIVACE. (Elves of Light and Frost Giants.) 4. FINALE. (Frithjof's Return.) The Frithjof Symphony, the first of Hofmann's larger compositions to attract public attention, was written in 1874. Its subject, as its title indicates, is taken from the cantos of Bishop TegneYs well-known " Frithjof s Saga," describing the banishment of Frithjof, son of Thorstein, by the brothers of Ingeborg, daughter of King Bele, with whom the Norse hero was in love ; her lament for him by the seashore ; and his return in his good ship "Ellida." The opening Allegro, " Frithjof and Ingeborg," has genuine dramatic strength and color, notwithstanding its 252 STANDARD CONCERT GUIDE adherence to form. The hero and heroine are repre- sented in the two leading subjects by motives in the Wagner style, introduced respectively by the clarinet and oboe, and returning again in the Finale of the symphony. One of these themes is vigorous and fiery in its nature, the other sweet, gracious, and tender. As solos with charming string accompaniments, they may be identified with the two lovers; and in duet form alternating with energetic string passages, the composer evidently intended a genuine love-dialogue. The second movement, an Adagio, called " Ingeborg's Lament," is plaintive and sad in character, and represents the sorrowing maiden walking by the seashore and gazing out wistfully over the deep, sighing for the return of Frithjof in " Ellida," and lamenting that death may come to her before he sails back again from the South, whither her brothers have driven him. The working-up of this movement is very short, but before it closes there is a notable subject given out by the trombones strongly resembling Siegfried's motive in Wagner's Nibelungen Trilogy. The third movement, an Allegro, entitled "Elves of Light and Frost Giants," is in reality an episode or inter- mezzo in scherzo form, and thoroughly northern in its color. The " light elves " are introduced in a dainty, delicate theme, strongly suggestive of Mendelssohn, to whom the fairy world in music belongs of right. The " frost giants " come in with a resonant and blustering theme which is in reality a dance of the wildest character. The elves' theme is then repeated, and the movement comes to an end after a most fascinating display of color and fancy in tones. The Finale is animated, exultant, and triumphant throughout. Its character is at once indicated by the joyous calls of the horns and the answering strains of the HOFMANN 253 violins, betokening festivity. The latter at last give out a joyful theme announcing the return of the victorious hero. The second theme is equally exultant, and is followed by Ingeborg's theme from the first movement, not only bind- ing the symphony together and preserving its unity, but, as may well be imagined, representing the reunion of the lovers. LESLIE 1822- 1896 HOLYROOD " T TOLYROOD " was written in 1861, and was first JTl 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 com- poser. 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 ap- proaching 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 a revel. In the midst of the pleas- antry, however, the Queen moves pensively about, as if her thoughts were far away. Her favorite maid tries in vain to rouse her from her melancholy with a Scotch bal- lad. 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 inter- rupted 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 II. D. LESLIE LESLIE 255 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 proph- ecy, 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. The cantata opens with a chorus for female voices in three divisions, with a contralto solo, in the Scotch style (" The mavis carols in the shaw "). After a short reci- tative passage in which Mary Beatoun appeals to the rev- ellers to lure the Queen from her loneliness, and their reply (" O lady, never sit alone "), the maid sings a sombre but engaging Scotch ballad (" There once was a maiden in Melrose town "). As might have been expected, this mournful ditty fails to rouse the Queen from her melan- choly, whereupon Rizzio takes his lute and sings the can- zonet (" Calla stagion novella "), a slow and graceful movement, closing with a sensuous allegro, written in the genuine Italian style, though rather Verdi-ish for the times of Rizzio. The canzonet has the desired effect, and is fol- lowed by a delightful French romance, sung by the Queen, in which a tender minor theme is set off against a fasci- nating waltz melody, closing with a brilliant Finale (" In my pleasant land of France "). At the close of the pretty romance the revel begins with a stately minuet and vocal trio (" Fal, lal, la ") for the Queen, Mary Beatoun, and Rizzio. It is interrupted by the unison psalm-tune of the Puritans, a stern, severe old melody set to a " moving bass " accompaniment (" O thou who sittest on the throne "). There is a temporary pause in the revel, but at the Queen's command it is resumed with a quick-step introducetl by the pipes and full of the genuine Scotch 256 STANDARD CONCERT GUIDE spirit and bustle, the " Fal lal " trio and chorus still ac- companying 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 proph- ecy are unfolded. It is a relief when they join in a hope- ful duet (" E'en if earth should wholly fail me ") which is quiet and melodious. It leads to the Queen's farewell, a quaintly written bit, with an old-fashioned cadenza, fol- lowed by the final chorus, which takes up a theme in the same joyous spirit as the opening one (" Hence with evil omen "). LISZT 1811-1886 THE BELLS OF STRASBURG E Glocken des Strassburger Munsters " (" 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 musi- cal treatment. The cantata, however, deals simply with the prologue, describing the futile attempt of Lucifer and the Powers of the Air to tear down the cross of the Stras- burg 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 en- titled " Excelsior, " andante maestoso, and in which this word is several times repeated by the chorus with gradu- ally increasing power from piano to fortissimo ; and " The Bells," which comprises the principal part of the work. The second part opens with a massive introduction in which the bells, horns, and trumpets play an important part, leading up to the furious invocation of Lucifer (" Hasten ! Hasten ! O ye spirits ! "). Without a break comes the response of the spirits, first and second sopranos, altos, and tenors (" Oh, we cannot, for around it "), fol- lowed by the Latin chant of the bells sung by tenors and basses, with a soft tremolo accompaniment (" Laudo Deum verum ! "). Again with increasing power Lucifer shouts his command ("Lower! Lower! Hover downward !"). 258 STANDARD CONCERT GUIDE As before, the chorus responds in a sweet, harmon- ious strain (" All thy thunders here are harmless "), again followed by the slow and sonorous chant of the bells (" Defunctos ploro ! "). Lucifer reiterates his command with constantly increasing energy (" Shake the case- ments"). In its response this time the chorus is full of energy and impetuosity as it shouts with great power, " Oh, we cannot ! the Archangel Michael flames from every win- dow." The chant of the bells is now taken by the basses alone (" Funera plango ! "). Lucifer makes his last ap- peal with all the strength that voice and orchestra can reach ("Aim your lightnings"). In the choral response ("The Apostles and the martyrs wrapped in mantles ") the sopranos and altos are in unison, making with the first and second tenors a splendid effect. For the last time the first and second basses sing the chant of the bells (" Excito lentos ! "). With no abatement of vigor the baf- fled Lucifer sounds his signal for retreat, and the voices reply, sopranos and altos in unison (" Onward ! on- ward ! With the night-wind.") As the voices die away, choir, organ, and orchestra join with majestic effect in the intonation of the Gregorian chant (" Nocte surgentes "). 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. THE LEGEND OF THE HOLY ELIZABETH The oratorio, "Legend of the Holy Elizabeth," was written in 1864, an d first produced August 15, 1865, upon the occasion of the twenty-fifth anniversary of the Conserv- atory of Pesth-Ofen. The text is by Otto Roquette, and LISZT 259 was inspired by Moritz von Schwind's frescos at the Wart- burg representing scenes in the life of the saint. The characters introduced in the oratorio are Saint Eliz- abeth, Landgrave Ludwig, Landgrave Hermann, Landgra- vine Sophie, a Hungarian Magnate, the Seneschal, and the Emperor Frederick II. The last three roles are usually assigned to Ludwig, thus reducing the number of solo- singers to four. The work is laid out in two parts, each having three scenes corresponding in subjects with Von Schwind's six frescos. The first describes the arrival of Elizabeth at the Wartburg, and the welcome she receives. In the second she is married, and her husband, Ludwig, has succeeded to the throne. His devotion to knight- errantry leads him from home. During his absence a famine breaks out, and Elizabeth in her devotion to the sufferers impoverishes herself and incurs the wrath of her mother-in-law, the Landgravine Sophie. While carrying a basket of bread and wine one day to the victims of the scourge, she is met by her husband, who has unexpectedly returned. Amazed at the absence of her attendants, he questions her, and she excuses herself with the plea that she has been gathering flowers. Doubting the truth of her statement, he snatches the basket from her. She con- fesses her falsehood ; but upon examining the basket it is found to be full of roses. The Lord has performed a mir- acle. Overcome with remorse for doubting her, Ludwig begs her forgiveness, and the two join in prayer that the Lord may continue His goodness to them. The third scene opens at Schmalkald, on the borders of Thuringia, where Ludwig has assembled his knights and nobles who are to accompany him to the Holy Land. They declare their allegiance to Ludwig as their leader, and he calls upon them also to swear fealty to his wife. After a sad farewell Ludwig rides away at the head of his Crusaders. The fourth scene opens with the news of Ludwig's death. The 260 STANDARD CONCERT GUIDE Landgravine claims the castle as her inheritance, compels Elizabeth to abandon the regency, and drives her out in the midst of a furious storm. In the fifth scene we find her at a hospital which she has founded, and, notwithstand- ing her own troubles and sufferings, still ministering to others in like affliction. This scene closes with her death, and in the last we have the ceremonies of her canoniza- tion at Marpurg. The first scene opens with a long orchestral introduction, working up to a powerful climax, and based mainly upon a theme from the old church service, which is Elizabeth's motive, and is frequently heard throughout the work. An animated prelude which follows it introduces the opening chorus ("Welcome the bride"). A brief solo by Land- grave Hermann ("Welcome, my little daughter") and another of a national character by the Hungarian Magnate attending the bride intervene, and again the chorus break out in noisy welcome. After a dignified solo by Hermann and a brief dialogue between Ludwig and Elizabeth, a light, graceful allegretto ensues, leading up to a children's chorus (" Merriest games with thee would we play "), which is delightfully fresh and joyous in its character. At its close the chorus of welcome resumes, and the scene ends with a ritornelle of a plaintive kind, foreboding the sorrow which is fast approaching. The second scene, after a short prelude, opens with Ludwig's hunting-song ("From the mists of the valleys"), which is written in the conventional style of songs of this class, although it has two distinct movements in strong contrast. As he meets Elizabeth, a dialogue ensues, in- cluding the scene of the rose miracle, leading up to a brief chorus (" The Lord has done a wonder "), and followed by an impressive duet in church style (" Him we worship and praise this day "). The scene closes with an ensemble, a duet with full choral harmony, worked up with constantly LISZT 261 increasing power and set to an accompaniment full of rich color and brilliant effect. The third scene opens with the song of the Crusaders, an impetuous and brilliant chorus (" In Palestine, the Holy Land "), the accompaniment to which is an independent march movement. The stately rhythm is followed by a solo by the Landgrave, bidding farewell to Elizabeth and appealing to his subjects to be loyal to her. The chorus replies in a short number, based upon the Hungarian mel- ody which has already been heard. Elizabeth follows with a tender but passionate appeal to her husband (" Oh, tarry! oh, shorten not the hour"), leading to a solo (" With grief my spirit wrestles "), which is full of the pain of parting. A long dialogue follows between them, inter- rupted here and there by the strains of the Crusaders, in which finally the whole chorus join with great power in a martial but sorrowful style. As it comes to a close, the orchestra breaks out into the Crusaders' March, the time gradually accelerating as well as the force, until it reaches a tremendous climax. The chorus once more resumes its shout of jubilee, and the brilliant scene comes to an end. In the fourth scene a slow and mournful movement, followed by an allegro ominous and agitated in style, intro- duces the Landgravine Sophie, the evil genius of the Wart- burg. The tidings of the death of Ludwig have come, and with fierce declamation she orders Elizabeth away from the castle. The latter replies in an aria (" Oh, day of mourn- ing, day of sorrow ! ") marked by sorrowful lamentation. Sophie again hurls her imprecations, and a dramatic dia- logue ensues, which takes the trio form as the reluctant Seneschal consents to enforce the cruel order. Once more Elizabeth tenderly appeals to her in the aria (" Thou too art a mother"). Sophie impatiently and fiercely ex- claims, " No longer tarry ! " The scene comes to an end with Elizabeth's lament as she goes out into the storm, 262 STANDARD CONCERT GUIDE which is vividly described in an orchestral movement, in- terspersed with vocal solos. The fifth scene opens with a long declamatory solo by Elizabeth, in which she recalls the dream of childhood, closing with an orchestral movement of the same general character. It is followed by the full chorus (" Here 'neath the roof of want"), which after a few bars is taken by the sopranos and altos separately, closing with chorus again and soprano solo ("Elizabeth, thou holy one"). The death-scene follows ("This is no earthly night"). Her last words (" Unto mine end thy love has led me ") are set to music full of pathos, and as she expires, the instru- mentation dies away in peaceful, tranquil strains. A semi- chorus ("The pain is over") closes the sad scene, the ritornelle at the end being made still more effective by the harps, which give it a celestial character. The last scene opens with an interlude which gathers up all the motives of the oratorio, the Pilgrim's Song, the Crusaders' March, the Church Song, and the Hunga- rian Air, and weaves them into a rich and varied texture for full orchestra, bells, and drums, forming the funeral song of the sainted Elizabeth. It is followed by a solo from the Emperor (" I see assembled round the throne "), a slow and dignified air, leading to the great ensemble closing the work, and descriptive of the canonization of Elizabeth. It begins as an antiphonal chorus (" Mid tears and solemn mourning"), the female chorus answer- ing the male and closing in unison. Once more the Cru- saders' March is heard in the orchestra as the knights sing ("O Thou whose life-blood streamed"). The church choir sings the chorale (" Decorata novo flore "), the Hun- garian and German bishops intone their benedictions, and then all join in the powerful and broadly harmonious hymn (" Tu pro nobis mater pia "), closing with a sonorous and majestic " Amen." LISZT 263 LES PRELUDES 1 " What is our life but a succession of preludes to that un- known song whose first solemn note is sounded by death ? Love is the enchanted dawn of every heart, but what mortal is there, over whose first joys and happiness does not break some storm, dispelling with its icy breath his fanciful illusions, and shattering his altar? What soul thus cruelly wounded does not at times try to dream away the recollection of such storms in the solitude of country life ? And yet man, it seems, is not able to bear the languid rest on Nature's bosom, and when the trumpet sounds the signal of danger, he hastens to join his comrades, no matter what the cause that calls him to arms. He rushes into the thickest of the fight, and amid the uproar of the battle regains confidence in himself and his powers." This quotation from Lamartine's " Meditations Poe'- tiques " prefaces the score to the " Preludes," and serves as a guide to the meaning of the composition. As this work is heard, perhaps, more often than any of the other sym- phonic poems, and also displays Liszt's manner of thematic treatment in as clear and intelligible a way as any, we will undertake to point out to the reader the many-sided uses in which a simple motive can be employed, and will at- tempt it in such a way as to make it intelligible to the lay reader. The " Preludes " is based on two themes, and we present them with their variations in two groups, A and B: i 1 The six symphonic poems by Liszt selected for analysis are those most likely to be heard in the concert-room. The remaining seven are " Heroide funebre " ; " Hungaria " ; " Berg symphonic " ; " Orpheus "; " Die Ideale " ; " Hamlet" ; and " Yonder Wiege bis zum Grabe" (" From the Cradle to the Grave"). 264 STANDARD CONCERT GUIDE Basses. A pp etc. 2 ff rf ff Violins. Espressivo cantando* Wind instruments. Oboe. Dolce expressive. LSDL _ Horns and Trumpets. *= LISZT Horns. B A moroso cantando. 265 gn~ i rr*i r i i Dolce. Given a number of intervals at i, by playing the eight lines through, or humming them, the reader will at once see that although they appear in very different shapes they contain essentially the same notes. The line 2 opens the composition pizzicato pianissimo by the double basses with mysterious effect, hinting at the "unknown song." The theme is then enlarged and repeated on D, running finally into a dominant chord on G, and working up in a grand crescendo to the fortissimo outbreak at 3, in which all the bass instruments carry the melody as given above, repeated with different harmonies and with ever-increasing force, until it appears after a rapid decrescendo in a 1'istesso tempo in the violins, as at 4. The accompani- ment of the phrase in this form is very beautiful. The violins connect or lead into the different repeats with a soaring figure, while the basses have a figure somewhat 266 STANDARD CONCERT GUIDE like the one given at d, which appears in that form in the accompaniment of the pastorale. Then follows the stormy period breaking in on life's happy spring. It will not be difficult for the listener to trace the detached portions of the motive, which appear throughout in connection chiefly with chromatic runs and a superabundance of diminished seventh chords. The trumpet motive, in its form as at 5, is also brought in toward the end of that tempestuous passage. When the skies brighten again, the motive appears in its most charming form as at 6 and 7, with an accompani- ment in color and form exceedingly graceful, and flowing naturally into the Allegretto pastorale, which is built up on the motive at d, using the same at first with great ingenuity as a leading motive, and bringing out its pastoral character by the skilful use of oboes, clarinets, etc., while later on it is used in connection with the theme a, as an accompani- ment at times below the melody, as indicated in c, d, and at times moving above it. Th dreamy, swinging motion of the movement is finally interrupted by two abrupt chords, and the Allegro marziale opens with horns and trumpets, as at 8, connecting with the second theme in its martial garb at c, and leading in triumphant measures to a repetition of the main theme, as we heard it once at 3, only reen forced with all the resources known to the modern orchestra. To point out the varied employment of the leading motive by using it only in part or dwelling on its more characteristic intervals, by inverting it, and otherwise, would lead too deeply into technicalities ; but enough has been given to show how by change of rhythm and other means of expression an apparently simple succession of intervals can be developed into a tone-poem. In Liszt's orchestral compositions one should always keep the lead- ing motives in mind, as nearly all are written from that standpoint. FRANZ LISZT LISZT 267 PROMETHEUS Liszt's cantata "Prometheus," composed in 1850, is based upon the poem of the same name, written by Johann Gottfried von Herder, the court preacher of Weimar. The poem closely follows the well-known legend of Prometheus' punishment for stealing fire from heaven, and his ultimate rescue by Hercules from the vulture which preyed upon his vitals. In building np 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 introduce the opening chorus of sea- nymphs (" Prometheus, woe to thee ! "), for female voices, arranged in double parts, and set to a restless, agitated accompaniment, expressive of fear and despair. The second prologue, reciting the wrath of Oceanus " on his swift-winged ocean steed," that mortals should have dared to vex his peaceful waters, and the reply of Prometheus that " on the broad earth each place is free to all," introduces the choruses of Tritons and Oceanides. The first is a mixed chorus full of brightness and spirit ("Freedom! afar from land upon the open sea"). Their exultant song is followed by a fascinating melody (" Hail ! O Prometheus, hail ! ") for female chorus, with short but expressive solos for soprano and alto (" When to our waters the golden time shall come"), the number closing with double chorus in full, rich harmony (" Holy and grand and free is the gift of heaven"). Thereupon follows the third prologue, introducing a 268 STANDARD CONCERT GUIDE chorus of Dryads ("Woe to thee, Prometheus") of the same general character as the opening chorus of sea- nymphs, and containing a dramatic and declamatory alto solo ("Deserted stand God's sacred altars in the old forest"). A dialogue follows between Gsea and Pro- metheus, in which the latter bravely defends his course. As the Dryads disappear, Prometheus soliloquizes (" This is, in truth, the noblest deed"). A mixed chorus of gleaners follows ("With the lark sweetly singing"), which is graceful and melodious. 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 quartette. As Prometheus resumes his soliloquy, Hermes approaches, leading Pandora, and seeks to allure him from his purpose by her enchantments, but in vain. The voices of the spirits in the lower regions sing a melodramatic chorus (" Woe ! woe ! the sacred sleep of the dead has been dis- turbed "). An allegro 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 quartette. 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 LISZT 269 name "Agathea. She brings to man the purest, holiest gift, Charity." The closing chorus of the Muses follows ("Of all bright thoughts that bloom on earth"). TASSO The sad fate of the unhappy Italian has furnished Goethe and Byron with the material for great poetical works. Liszt says he was most impressed by the power- ful conception of Byron, who introduces Tasso in prison, in a monologue, but could not confine himself to the English poet, as he wanted to portray also his final triumph. Misjudged in life, he secured at his death a glorification of his genius which overwhelmed his lifelong enemies and persecutors. Liszt therefore called his sym- phonic poem, " Lamento e Trionfo," suffering and trium- phant vindication being the great contrasts in the life of the poet. Full of sadness and grief almost beyond endurance, the opening phrase expresses the very soul of Tasso. After its development, an accelerando leads to an Allegro strepi- toso, which takes us to the prison of the poet, the harsh chords, although still formed on the triplet figure of the main theme, fairly making us feel the rattling of the chains, while the chromatic steps of the lament appear fortissimo to ever-changing, diminished seventh chords. After a repetition of the Lento, the main theme enters at an Ada- gio mesto, the melody being given to bass clarinet and 'cellos at first, con sordini, and then repeated by the vio- lins. A new melody then appears for 'cellos and horn, repeated by the violins, which continue with an imploring motive accompanied by descending chromatics, after which the main theme reappears, this time with an instrumenta- tion rich and full, the brasses carrying the melody and changing its character to one of stately festivity, ending 2 ;o STANDARD CONCERT GUIDE in a recitative embodying the closing motive. An Alle- gretto in F sharp major follows with a theme representing, as it were, the princess who ensnared the heart of the poet, and which in its further working-up appears in the wind instruments, contrasted with a broader and more sentimental phrase for the strings. This phrase is devel- oped to some length, after which the Allegro strepitoso reenters and closes the Lamento. From here on, the Trionfo claims its rights. The very opening of the Al- legro molto con brio, although still built upon the same material, is changed by characteristic instrumentation and appropriate tempos into jubilant triumph. This last part displays in the most brilliant manner the composer's mas- tery over musical forms, in combining the different themes and motives, and moulding them by his great feeling for tone-color into apparently new forms, startling us through- out by the magic transformation of the lament into glo- rious triumph, yet all based on the same melodic design. FESTKLANGE The Allegro mosso con brio, in the key of C major, begins with a martial rhythm given out by the kettle- drums, which is taken up by the horns and other instru- ments, until, passing through a non-accord, it rests on a second accord of C with the C flat in the basses, and as such is treated in the manner of a cadenza, various de- vices of scale figures and broken chords furnishing the superstructure. This whole section, repeated a step higher, and closing on a second accord of D, with C in the basses, then runs into an Andante sostenuto, which, after a short passage for the brasses, develops a delicate treatment of a non-accord on G and A, and after eight measures returns into the first tempo, and, with a short modulation, strikes the principal theme, which is worked up to considerable LISZT 271 length, when the rhythm of the Introduction enters in a Coda of eight measures, connecting with an Allegretto un poco mosso, Tempo di Polacca, a dance form which, next to the march, and akin to the stately polonaise, is most appropriate for the expression of a festive scene. Its chief melody closes with a trill cadenza, after which the violins respond with a phrase based on inversion, followed by a livelier figure of a more pronounced polacca charac- ter, which appears alternately in the violins and flutes, and which predominates during the rest of the movement, until its return to the Tempo primo. The Allegro mosso con brio is repeated in more extended form, and with new and enriched orchestration, only to return once more to the Polacca intermezzo, treated with similar variations and leading into the last Allegro in common time. Utilizing the themes of the march movement and reiterating the more essential motives, it runs into the Coda, which by the free use of the trumpet figure at the very opening and a very forcible ascending motive in the basses brings the composition to a close in truly festive style. MAZEPPA " Mazeppa " is the sixth in the list of Liszt's symphonic poems, and has for its theme the story of the hero of the steppes which has been made familiar by Byron's poem. Liszt, however, took for the groundwork of his composi- tion the " Mazeppa " of Victor Hugo, who, although fol- lowing the story as told by Byron, idealizes the incident into an allegory of " the unbridled flight of genius and its final triumph through suffering and adversity." The musical treatment is divided into three sections. An Allegro agitato, in D minor, illustrates the wild flight of the maddened horse, and the torture, suffering, and despair of Mazeppa. The second movement, a short 272 STANDARD CONCERT GUIDE Andante, pictures the end of the mad race, the dead steed, the human victim lying in utter misery, his life- blood ebbing slowly, " redder than the maple when spring forces the young leaves." A short interlude leads into the Allegro marziale, in D major ("To him greatness arises from suffering and anguish ; the mantle of the het- man will fall upon him, and all will bow before him"). The treatment of the musical themes is similar to that gen- erally employed by Liszt as set forth in the description of'Les Preludes." After an Introduction of eighteen measures, which starts from an abrupt discord with a passage in triplets for the strings, like the wild tramping of the horse ("They fly through the narrow straits of the valley as storms that force their way through the mountain gorges, like a falling star"), we strike the main theme. It is given out by the basses and trombones, and worked out with great effect. It may be mentioned here that in the first part Liszt, in rushing through diminished seventh chords, makes great use of"violini divisi ; " that is, by using as many as six different violin parts, and once as many as eleven, thereby gaining great richness of sound, and at the same time re- taining the rushing motion expressive of the fearful ride. A chromatic scale in the basses pressing upward against a trill on C sharp in the violins forms a short counter- theme, and leads to the introduction of the main theme, which has been called the Mazeppa motive proper. In calling attention to the first three steps, repeated by the winds through twelve measures, with the note gemendo ("groaning") as a guide for their characteristic expres- sion, we turn to the Andante, only to find the same motive, used this time plaintively, "quasi recitative." During the next twelve measures the step of the sixth continually appears as a fragment of the motive. The final Allegro marziale enters with a new theme, the LISZT 273 ascending intervals of which form a fine contrast with the drooping character or the Mazeppa motive. An original Cossack tempo in the trio brings the composition to a triumphant close, not, however, without an occasional re- minder of the first motive. HUNNENSCHLACHT The " Hunnenschlacht " ("The Battle of the Huns") was suggested by Kaulbach's cartoon representing the le- gend of the battle in mid-air between the spirits of the Huns and of the Romans who had fallen before the walls of their city. The music depicts the war of races and the final triumph of the Christian faith. The opening, Allegro non troppo tempestuoso, in C minor, begins with the low rumbling of kettle-drums, and an ascending motive in which the uncanny step of the minor scale prevails. The 'cellos start, and are soon reenforced by the other strings in unison. The diminished seventh chord, most befitting to the minor scale, is extensively employed in the brasses and farther on in the double basses. At a Piu mosso allegro energico assai, these chords in a somewhat altered form are made the chief motive for the first part. After a repetition of the opening theme, the 'cellos and bassoons give out the war-cry, piano, as if in the far distance, to the low rumbling of the drums. The time then changes, and a new rhythmic motive enters, closing with a short sixtole figure in the violins which enhances the wild character of the music. During the fray the trombones give out the strains of the chorale, representing the Christian warriors. The war-cry motive resounds through all the wind instru- ments, while the other themes to which we have drawn attention, in succession or used jointly, keep up the tur- moil. Only twice appears a new feature in a succession of scale runs, fortissimo, in unison for the strings. The 18 274 STANDARD CONCERT GUIDE peculiar rhythm lends itself well to the increasing stormy character. The fortissimos grow into double fortissimos, the agitato into a furioso, until all the forces are engaged, and enter with the whole weight of the orchestra on the Andante, in E flat, the chord being held by the higher in- struments, while the basses of strings and brasses repeat the war-cry double fortissimo, on the three steps of the major chord of E flat. They cease abruptly, and the organ takes up the old hymn, " Crux fidelis, inter omnes." The strains of the chorale, which sound as if from afar, are interrupted by the overwhelming fanfare opening the Andante, until the " Crux fidelis " claims its right, and a very beautiful scoring of the fine old melody, set off by truly Gothic arabesques in solo figures for the violin, oboe, and flute, leads to a peaceful and restful mood. The final Allegro, in the key of C, grows gradually into the hymn of triumph. The war-cry resounds only mezzo forte, and in stately, solemn tempo the chorale increases in breadth of instrumentation. The stretto opens a long crescendo, and the organ finally joins the orchestral forces with whatever resources the instrument may have, dominating the grand close with long-held chords, while the orchestra accents only with abrupt chords the pompous triumphal march of the victorious legions. THE FAUST SYMPHONY 1. ALLEGRO. (Faust.) 2. ANDANTE. (Gretchen.) 3. SCHERZO. (Mephistopheles.) The Faust Symphony, the most important and most artistically conceived of all Liszt's orchestral works, while it is a prominent illustration of programme-music, is unique in this respect, that it is not a programme of scenes or situations, but a series of delineations of character. Liszt LISZT 275 himself styles the three movements of the symphony " Charakterbilder " (" Character-pictures"), and has named them for the three leading dramatis personce in Goethe's poem, Faust, Gretchen, and Mephistopheles. He gives us no further programme. Indeed that would have been impossible, for he confines his purpose to the development of these " bilder " from a psychological point of view, pay- ing no regard to the dramatic side of the poem, except in the Finale of the last movement, where the poet's Chorus Mysticus is introduced, typifying the final salvation of Faust and his reunion with Gretchen. The first movement, " Faust," is intended to typify the longings, aspirations, and sufferings of man, with Faust as the illustration. Four themes are utilized in the expres- sion of Faust's traits of character. The first, Lento, clearly enough illustrates the dissatisfaction, restless longing, sa- tiety, and aspiration, which are so forcibly defined in Goethe's prologue. Massive chords introduce it. It changes to a monologue, passing from instrument to instru- ment, and then develops into an Allegro impetuoso, as if the sadness of the character had given place to fixed reso- lution. The second theme, Allegro agitato, which is brighter and more vivacious in character, shows the dawn- ing of hope. A brief episode, a moment of wild fancy, as it were, passes, in which the old feeling appears in hints of the opening theme, but soon gives way to the third theme, introduced by the horns and clarinets. It is a mel- ody at once refined and enthusiastic, dramatic in expres- sion, and forming one of the principal motives of the work. The fourth and last theme now appears, full of power and vigor, foreshadowing, with its trumpet calls, the stirring activity which has taken the place of doubt in Faust's nature. After this the thematic material as set forth is worked up in genuine symphonic form. There is as marked a contrast between the first and 276 STANDARD CONCERT GUIDE second movements of the symphony as there is between the restlessness and supernaturalism of the opening scenes of Faust and the sweetness and simplicity of Gretchen's life before it is disturbed by passion. After a short pre- lude the first theme of the Gretchen movement a gentle, tender melody is given out by the oboe, with double- bass accompaniment. The second theme, marked Dolce amoroso, tells its own story of the love which has made Gretchen its victim. Between these are several charming episodes, one of them with its gradual crescendo evidently indicating her questioning of the daisy, " He loves me, he loves me not." At last the horn sounds Faust's love mo- tive, which we have already encountered in the first move- ment, followed by the love-scene, which is wrought out with fascinating skill, rising to the ecstasy of passion and dying away in gentle content. The third movement, " Mephistopheles," takes the place of the Scherzo in the regular form. It typifies the appearance of the spirit who denies, with all his cynicism and sneers. Liszt has indicated these qualities in a subtle way. Mephistopheles has no symbolical theme. His constant purpose is to satirize and pervert the motives of his victim, and he begins his cynical work at once. The themes which characterize Faust in the opening movement reappear, but they are only distorted and caricatured remi- niscences, showing the power which the evil principle has gained over its intended victim. The love motive is bur- lesqued and sneered at, but after the fiend has satisfied his malicious humor there comes a solemn episode. The up- roar ceases, and in the grateful silence is heard the tender Gretchen motive in all its beauty. Even Mephistopheles cannot withstand its pure influence. He leaves the field discomfited ; and then by a sudden transition we pass to the purer heights. The solemn strains of the organ are heard, and a mannerchor, the Chorus Mysticus, intones, LISZT 277 a la capella, the chant ("All things transitory"). A solo tenor enters with the Gretchen motive, and the symphony comes to its mystic and triumphant close. A SYMPHONY TO DANTE'S "DrvrNA COMMEDIA" 1. INFERNO. 2. PURGATORIO. MAGNIFICAT. Liszt's symphony to the " Divina Commedia " of Dante is in two parts, " Inferno " and " Purgatorio ; " though by the introduction of the Magnificat after the Finale to the " Purgatorio," the composer also indicates the other divi- sion of the poem, the " Paradise." The Inferno opens at once with a characteristic phrase for the bass instruments with a crashing accompaniment, announcing in recitative the inscription over the door of hell : " Per mi si va nella citta dolente" ("Through me pass on to horror's dwelling- place "), whereupon the trombones and horns sound out the well-known warning, " Lasciate ogni speranza " (" All ye who enter here, leave hope behind "). After the enunciation of the curse the composer paints the infernal scenes with all the fury and barbarity of which apparently music is capable. Unnatural combinations, chromatic phrases, grating dissonances, strange, wild episodes, furi- ous rushes, and weird cries picture the horror and suffer- ing of the damned amid which the curse appears with literally " damnable iteration." In the midst of all this din, however, there is a lull. Amid the tinkling of harps and graceful figures for the strings and flutes, the bass clarinet intones a recitative (the " Nessun maggior dolore," of the original), and the English horn replies, the two instruments joining in a dialogue which tells the mournful fate of Paolo and Francesca da Rimini, a story of in- finite love and endless despair in the Inferno. At its close the curse sounds again, and once more the hellish 278 STANDARD CONCERT GUIDE storm breaks out, and the movement comes to a close amid the shrieks and blasphemies of the damned in an Allegro frenetico which is graphic enough not to need words. The second movement, " Purgatorio," opens with a quiet, restful theme in choral style, its soft and gentle melody picturing that period of expectancy which is the prelude to the enjoyments of Paradise. It is followed by a masterly fugue expressive of resignation and melancholy. Before it closes the first theme returns again and peace- fully dies away, leading to the Finale. A solo followed by a chorus chants the Magnificat in the old classic style. All the resources of the orchestra are employed in enhanc- ing the effect of the chant, and the work comes to a close with imposing Hosannas. For this Finale Liszt has written two endings, the one dying softly away like music heard from a distance, the other full of ecstasy and ending with a mighty Hallelujah. MACFARREN 1813-1887 SAINT JOHN THE BAPTIST THE oratorio " Saint John the Baptist " was first pro- duced at the Bristol Musical Festival in 1873. The libretto was written by Dr. E. G. Monk, and is divided into two parts, the first styled "The Desert," and the second "Machserus," to correspond with the localities where the action is supposed to take place. The inci- dents described are John's preaching to the people, the baptism of Christ, and the events which begin with Herod's feast and close with the execution of the Prophet. The overture, which is dramatic in character, is followed by a powerful fugued chorus (" Behold ! I will send my messenger "), a part of which is set to organ accompani- ment. The narrator, a contralto, recites the coming of the Prophet, in the orchestral prelude to which is a phrase borrowed from an old church melody which Mendelssohn also used in his Reformation Symphony, and which serves throughout the work as the motive for the Prophet. Saint John is introduced in a rugged and massive barytone solo (" Repent ye, the kingdom of heaven is at hand "), ac- companied by descriptive instrumentation. A dramatic scene ensues, composed of inquiries as to the Prophet's mission by the People, a short chorus by the latter ("What shall we do then?") which is very melodic in style, and the resumption of the dialogue form, set to a very skilful accompaniment. This scene is followed by a characteristic aria for the Prophet (" I indeed baptize you 2 8o STANDARD CONCERT GUIDE with water"). The story is once more taken up by the narrator, who describes the baptism of Christ. The words, "This is My Beloved Son " are given to a female choir, with accompaniment by the violins and harps. A song for the narrator (" In the beginning was the word ") follows, and leads to the chorus, which closes the first part, the words taken from the first verse of Psalm civ, and the melody borrowed from the familiar old tune " Hanover." The second part opens in Herod's palace with the re- buke of the Monarch by the Prophet. In this scene, as well as in others, the composer draws a marked contrast in the music assigned to the two, the one being strong and stern, the other sensuous, in style. In the duet, where Herod confesses the error of his ways, the voices unite in a genuine religious strain. The narrator is once more in- troduced, and describes the feast given by the Monarch to the Galilee estates, followed by a jubilant chorus of nobles (" O King, live forever ! "), set to a brilliant accompani- ment, calling for the most ample orchestral resources. The next number is a chorus for male voices (" Lo ! the daughter of Herodias cometh in, she danceth ! ") set to a dance rhythm with tambourines, the themes being bits of Oriental melodies skilfully treated. We then have the banquet scene, the admiration of the nobles for Salome's beauty, Herod's oath, and Salome's joy expressed in a showy song (" I rejoice in my youth "). Then follows the dramatic scene of Salome's request, a concerted number of great force. Herod sings a mournful aria (" Alas ! my daughter, thou hast brought us very low "). The narra- tor explains how the King was compelled to keep his word, and is followed by the nobles in a stirring chorus (" Lo ! the wrath of the King is as a messenger of death "). The scene now changes to the dungeon, where the Prophet sings his farewell song (" A man can receive nothing "), accompanied by orchestra and organ. The final tragedy SIR GEORGE ALEXANDER MACFARREN MACFARREN 281 is told by the narrator, and the work closes with two re- flective numbers, the beautiful unaccompanied quartette (" Blessed are they which are persecuted "), and the chorus (" What went ye out into the wilderness for to see?"). CHRISTMAS " Christmas," the poem by John Oxenford, was written in 1859, and was first performed at one of the concerts of the Musical Society of Ix>ndon, on the ninth 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 in- cident, so that it possesses considerable dramatic interest. After a short instrumental introduction the cantata opens with a double chorus in antiphonal style, in which both the bright and the dark sides of Winter are celebrated. The second choir takes up the theme ("The trees lift up their branches bare "), and the first choir replies ( " Old Winter's hand is always free "). The two then join and bring their friendly contest to a close. This double num- ber is followed by a soprano recitative and romance (" Welcome, blest season "), tender and yet joyous in char- acter, 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 num- ber, with an old English carol (" A blessing on this noble house and all who in it dwell"), Christmas is fairly intro- duced. It is sung first in unison by full chorus, then changes to harmony, in which one choir retains the mel- ody, and closes with a new subject for orchestral treat- ment, the united choirs singing the carol. Christmas would not be complete without its story ; and this we have in the next number for contralto solo and chorus, entitled "A Christmas tale." It is preceded by recitative, written 282 STANDARD CONCERT GUIBE in the old English style, and each verse closes with a refrain, first sung as a solo, and then repeated in full harmony by the chorus ("A bleak and kindless morning had broke on Althenay "). A graceful little duet for female voices (" Little children, all rejoice "), picturing the delights of childhood and its exemption from care, fol- lows 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 mis- tletoe bough with its warning to maids. In delightfully picturesque old English music the joyous scene comes to an end. MACKENZIE 1847- THE STORY OF SAYID " ' | V HE Story of Sayid," a dramatic cantata in two A parts, the libretto by Joseph Bennett, was first produced at the Leeds Triennial Festival, October 13, 1886. Its story is founded upon that of a poem in Edwin Arnold's " Pearls of the Faith," and embodies a myth which is current among nearly all Oriental nations. The characters are Ilmas, daughter of Sawa, soprano; Sayid, an Arab chief, tenor; Sawa, a Hindoo prince, barytone ; a watchman, tenor or barytone ; and a horse- man, barytone. The opening scene pictures the deso- lation of the land of S&wa, caused by the invasion of an Arab band, led by their chieftain, Sayid. In the midst of the popular lamentations a messenger announces the defeat of the Arabs and the capture of their leader, who is brought to the city and sentenced to death on the spot. As Sayid prepares to meet his fate, he is recognized by Sawa as his rescuer at a time when he was hunting in the hills and perishing with thirst. He offers him any boon he may ask except that of life. Sayid entreats that he may be allowed to visit his aged father, promising to return after- wards and suffer his fate. When Sawa asks who will be hostage for him, his own daughter, Ilmas, offers herself. Moved to pity for the Arab, she persists in her offer, and her father at last reluctantly consents. The second scene opens in Ilmas's palace, and we discover that pity has grown into passion for Sayid during his absence. She is interrupted in her meditations by Sawa, who enters with 284 STANDARD CONCERT GUIDE 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 accom- panied 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 gate- way and presents himself to the Prince. He then turns to Ilmas, who warmly receives him, and affirms that what- ever fate may overtake him she shall always cherish his memory. Sa~wa relents, bids the Arab live and be his friend, and we infer the happiness of the lovers from the invocation of " Love the Conqueror," which brings the Damon and Pythias story to a close. A very brief orchestral prelude introduces the opening chorus with solos ("Alas! our land is desolate"). As the expressive chorus comes to a close, an allegro move- ment leads to a dialogue between the people and the watchman, and subsequently with the horseman, who an- nounces the approach of the victorious army, followed by a second chorus of the people invoking Siva (" Vishnu, Vishnu, thou hast heard our cry ! "). The next number is a triumphal march, remarkable for its local color, and gradually increasing in power and effect as the army ap- proaches the city. It is followed by an excited dialogue between Sawa and Sayid, with choral responses, and leads up to a beautiful melody for Sayid (" Where sets the sun adown the crimson west "). Another dramatic scene fol- lows, in which Sawa consents to Sayid's return to his father, MACKENZIE 285 and accepts Ilmas as his bondswoman, which leads to a 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 invoca- tion of Siva. The second part opens in an apartment of Sawa's palace, and discloses Ilmas sitting with her maidens as a thunder-storm dies away in the distance. The latter join in a graceful chorus, which is one of the most beautiful numbers in the cantata (" Sweet the balmy days of Spring"). Ilmas answers them in a broad and exultant strain (" Ay, sweet indeed is love "). As the song ends, Sawa and attendants enter, and the scene closes with a dramatic chorus and solos accompanying the prepara- tions for death. The second scene opens with a solemn march for orchestra, preparing the way for the climax, and leading up to a chorus and solo for Ilmas (" What have these sounds to do with bridal robes?"). As she kneels, awaiting her fate, an orchestral interlude, set to the rhythm of the gallop, indicates the rapid approach of Sayid. A short and agitated dialogue follows between the watchman and the people. Sayid declares his presence, and a grace- ful duet with Ilmas ensues (" Noble maiden, low before thee Sayid bows "), leading to a powerful choral Finale ("Never before was known a deed like this"), closing with a stirring outburst for all the voices (" O Love, thy car triumphal "). THE ROSE OF SHARON " The Rose of Sharon," a dramatic oratorio founded on the Song of Solomon, the words selected from the Scrip- tures and arranged by Joseph Bennett, was first brought out at the Norwich Festival, England, October 16, 1884, under the direction of the composer. The characters are 286 STANDARD CONCERT GUIDE the Rose of Sharon, designated throughout the work as the Sulamite, soprano ; a woman, contralto ; the Be- loved, tenor ; and Solomon, barytone ; the chorus rep- resenting officers of the court, princes, nobles, villagers, elders, and soldiers. The story, briefly told, is one of the power of love. The Beloved and Solomon are both in love with the Sulamite, and the King tears her from the former to be the favorite among the women of the harem. Amid all the splendors of the palace and the luxuries heaped upon her by her passionate admirer she remains true to the Beloved, is ultimately restored to him, and returns to the vineyards of Sulam. The work is divided as follows : Prologue ; Part I, Separation ; II, Tempta- tion ; III, Victory ; IV, Reunion ; V, Epilogue. The motto of the oratorio is " Love is strong as death, and unconquerable as the grave." This motto has its musical theme as well as each of the three principal characters, and they are invariably used with great skill and effect. The woman acts the part of narrator, and after a brief orchestral prelude she is heard declaring the meaning and spiritual significance of the story. The oratorio opens in the vineyard of Sulam as the vine-dressers come forth to their labor. The orchestral part begins with the melody of the Vineyard Song (" We will take the foxes "), and serves to introduce their chorus, a joyous pastoral (" Come, let us go forth into the field"). As they disappear, the voice of the Beloved is heard singing a tender and passionate appeal beneath the Sulamite's lattice (" Rise up, rise up, my Love ") as he urges her to join him. Her reply follows from within her chamber, full of love and adoration, and closing with the Vineyard Song (" We will take the foxes, the little foxes that ravage the vines "). She descends from her cham- ber and joins the Beloved, and their voices unite in a delightful duet ("Come, Beloved, into the garden of SIR ALEXANDER MACKENZIE MACKENZIE 287 nuts "). Once more the chorus of the vine-dressers is heard and at its close, after an intermezzo descriptive of the joys of a spring morning, the scene changes to Lebanon. A short alto solo announces the coming of Solomon, and the pastoral music is followed by a brilliant and stately processional march, accompanied by chorus ("God save the King ! "). Solomon beholds the Sulamite, and pours forth his admiration in a rapturous song (" Thou art lovely, O my friend, as Thirza "). The princes and nobles also testify to their admiration of her beauty. A dramatic scene ensues, in which the Beloved and the Sulamite seek to escape " out of the caves of the lion and from the haunt of the leopard." She is brought back by an elder, and again Solomon pleads his cause in a pas- sionate declamation. She replies, " My Beloved is to me a nosegay of myrrh," and clings to her lover, who once more seeks to escape with her; whereupon she is seized and placed in one of the King's chariots, and the cavalcade moves off to the brilliant strains of the cortege music, accompanied by the chorus. The second part, " Temptation," introduces us to Solo- mon's palace, where the Sulamite is alone, pining for her lover. The scene opens with the psalm, "The Lord is my shepherd," set to a simple, charming melody, full of the spirit of devotion, but entirely disconnected with the general texture of the work. As the touching strain comes to an end, the women of the court enter, insidi- ously plead the cause of Solomon, tempt her with his luxuries, and seek to shame her love for the Beloved, but the Sulamite remains loyal, and only answers : " My Be- loved pastures his flocks among the lilies. My Beloved is mine, and I am his." The temptation is interrupted by the procession of the ark passing in the street below to the glad acclaim of the people (" Make a joyful noise unto the Lord, all ye lands "), and a brilliant march. 288 STANDARD CONCERT GUIDE Successively the maidens of Jerusalem with timbrels, the elders, the shepherds and vine-dressers, the soldiers, the priests bearing the sacred vessels pass by, singing tributes of praise to the Lord ; and as the Levites appear bearing the ark, and Solomon comes in sight with all his retinue, the entire chorus triumphantly repeat (" God save the King ! "). The brilliant procession passes from view. The women once more appeal to the Sulamite ; but she still loyally declares, "My Beloved pastures his flocks among the lilies ; lo ! Solomon in all his glory is not arrayed like one of these." The third part, "Victory," opens with an orchestral prelude picturing the sleep of the Sulamite, with her women watching about her. The voice of the Beloved is heard without the chamber (" Open to me, my sister, my bride "). It reaches her in a dream, and in fancy she replies to him, clothes herself, and searches for him in the streets ; but when she accosts the watchmen, they are so rude that her fright awakes her. She is still a prisoner in the palace, and the women about her announce the coming of Solomon. He pleads his cause in a passionate song ("Ere the day cool and the shadows flee away"); and she replies with another protestation of her constancy in the solo (" Lo ! a vineyard hath Solomon at Baal- hamon "). The situation, which is dramatic in its treat- ment, is heightened by a duet and by the mocking chorus of women ; but above them all still sings the brave Sula- mite (" My Beloved is mine, and I am his "). The fourth part brings us back again to the vineyards of Sulam. It opens with a melancholy chorus of the vine-dressers (" O Lord, be gracious unto us "), lament- ing her absence, followed by a bass solo ("Thus saith the Lord ") and a chorale in full broad harmony. At last the victorious Sulamite is seen coming up from the valley leaning on the arm of the Beloved. All join in a powerful MACKENZIE 289 and exultant chorus of gratitude and joy ("Sing, O heavens, and be joyful, O earth "). A rapturous duet- ensues between the Sulamite and the Beloved, and then all join in the spirited Finale (" For the flame of love is as fire "). BETHLEHEM " Bethlehem," a mystery, the text by Joseph Bennett, was first produced by the Royal Choral Society of Lon- don in 1894. It is in two parts, the first dealing with the appearance of the angel to the shepherds, and the second with the homage paid by the shepherds and the eastern kings to the infant Saviour. After a tranquil orchestral introduction, significant of the angelical appearance to follow, the work opens with a tenor solo of descriptive character ("Darkness o'er the earth is brooding") an- nouncing the coming of the angel and the terrors of the shepherds at the heavenly apparition. This is followed by a male chorus (" O brothers, quick, arise ! ") telling the story of the appearance. In a graceful, smoothly flowing melody for soprano (" Be not afraid ") the angel com- forts the shepherds and tells them the good news. There- upon in broad, massive harmony (" O wondrous light") the shepherds describe the appearance of the heavenly host. The angel's Gloria (" Glory to God "), a chorus for two sopranos and alto with soprano and tenor solos, follows, and then in brilliant chorus the shepherds de- scribe the return of the angel to heaven. They talk to- gether of the wondrous sight, the recitative closing with the chorale (" The word that now we see fulfilled "). A chorus (" Uplift a song of praise ") with soprano and tenor solos closes the first part in a powerful climax. The second part opens with the chorus ("Upon the quiet of the night ") introduced by the orchestra in march 19 290 STANDARD CONCERT GUIDE tempo with reminiscences of the shepherds' chorale. This is followed by a tender and beautiful cradle-song (" Sleep, sweet Babe, my cares beguiling "). An extended scene describing the search of the shepherds and people for the Babe ensues, the most striking features of which are the song of the first shepherd (" Lo ! now, think ye we lay dreaming?") and that of a woman ("A woman out of Galilee"). The voice of the mother is once more heard in a reminiscence of the cradle-song (" Darkness, hill and plain forsaking"). After an impressive song by the angel (" Good news to you ") the mother sings an exultant strain (" Lord God of Israel "). In the next section an impres- sive theme (" O holy Babe") given out by the mother is taken by full chorus, and then the three kings enter to the accompaniment of an Eastern march. The entire latter part of the section indeed is eastern in color, and the instrumentation very brilliant. The work closes with a triumphant quartette and chorus (" Lo ! this is He of whom the prophets spake "). M MASSENET 1842- MARY MAGDALEN ARY MAGDALEN " was written in 1873, and was first performed at the Odon, 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 en- titled " 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 an- other. The characters represented are Mary Magdalen, Martha, Jesus, and Judas, the chorus parts being assigned to the Disciples, Pharisees, Scribes, Publicans, soldiers, servants, holy women, and people. After a short introduction, pastoral in character, the work begins with a scene representing Mary at the foun- tain 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 1'heure ou conduisant de longues caravanes "), and the song of the women blends with it. Next follows a chorus of the Scribes, discussing this Stranger, and pronouncing Him an impostor, and again the young Magdalens take 292 STANDARD CONCERT GUIDE up their strain. The second number is a pathetic aria by Mary (" O mes sceurs ! "), which is full of tender beauty. The women shrink back from her and join in a taunting chorus (" La belle pecheresse oublie "). Next, Judas ap- pears upon the scene, and servilely saluting Mary coun- sels her to abandon sadness and return to love, in an aria which is a good illustration of irony in music. It is fol- lowed by a powerful and mocking chorus of women, Phar- isees, and Scribes (" Vainement tu pleures"), in which Mary is taunted with her shame, despite her sad appeals for pity. The next scene is an aria and trio. Jesus ap- pears in their midst, and in a calm, impressive aria (" Vous qui fle'trissez les erreurs des autres ") rebukes them. Mary prostrates herself at His feet and implores pardon, and the scene closes with a trio for Jesus, Mary, and Judas, leading up to a strong concerted Finale closing the act, in which Jesus bids the Magdalen rise and return . to her home, whither He is about to repair. The second act opens in the Magdalen's house, which is richly decorated with flowers and redolent with per- fume. It begins with a sensuous female chorus (" Le seuil est par6 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 dramatic Finale containing Jesus' rebuke to Judas and His declaration of the coming betrayal, after which the disci- ples join in a simple but effective prayer (" Notre Pere, Iou6 soit nom radieux "). [\ i JULES MASSENET MASSENET 293 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-aimd sous la sombre couronne"), and the final tragedy. The second is de- voted to the resurrection and apparition, which are treated very dramatically, closing with an exultant Easter hymn (" Christ est vivant, ressuscite"). MENDELSSOHN 1809-1847 THE WALPURGIS NIGHT IT was during his travels in Italy in 1831 that Men- delssohn composed the music to Goethe's poem, " The First Walpurgis Night." The cantata was first publicly performed in Leipsic, February 2, 1843. The subject is a very simple one. The witches of the Northern mythol- ogy were supposed to hold their revels on the summit of the Brocken on the eve of the first of May (Walpurgis Night), and the details of their wild and infernal "Sab- bath " 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 Dru- idism 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 moun- tains to celebrate their rites without interference from the Christians, accomplishing their purpose by disguising their sentinels as demons, who, when the Christians approached, ran through the woods with torches, clashed their arms, uttered hideous noises, and thus frightened them away, leaving the Druids free to finish their sacrifices. The cantata begins with an overture in two movements, an Allegro con fuoco and an Allegro vivace, which describes in vivid tone-colors the passing of the season from Winter to Spring. The first number is a tenor solo and chorus of MENDELSSOHN 295 Druids, which are full of spring feeling, rising to religious fervor in the close. The next number is an alto solo, the warning of an aged woman of the people, which is very dra- matic in its style (" Know ye not a deed so daring "). 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 stirring character in which the Druids resolve to go on with their rites. It is followed by a pianissimo chorus of the guards whispering to each other to "secure the passes round the glen." One of them suggests the demon scheme for frightening the enemy, which leads to the chorus, (" Come with torches brightly flashing"). 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 instru- mental, which may fairly be called infernal, although it 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 num- ber ("Restrained by might "). Following this impressive hymn comes the terrified warning of the Christian guard (tenor), and the response of his equally terrified comrades ("Help, my comrades! see a legion"). As the Chris- tians disappear, scared by the demon ruse, the Druids once more, led by their priest, resume their rites, closing with another choral hymn of praise similar in style to the first. ANTIGONE Mendelssohn wrote incidental music to four great dramas, the "Antigone" of Sophocles, 1841; the " CEdipus at Colonos" of Sophocles, 1843; the "Athalia" of Racine, 1843; and the "Midsummer Night's Dream" of Shakspcare, 1843, the overture to which was written 296 STANDARD CONCERT GUIDE by him in 1826. Of the first three the music to "Anti- gone " and " CEdipus " is most frequently performed, and for that reason has been selected for description. In June, 1841, the King of Saxony invited Men- delssohn to become his Capellmeister. Frederick William IV of Prussia had made him a similar offer about the same time. He accepted the latter and removed to Berlin, and the first duty imposed upon him by the King was the composition of music to the " Antigone " of Sophocles. With the assistance of the poet Tieck, who helped arrange the text, the work was accomplished in the short space of eleven days, and was given on the Potsdam Court stage, October 28, to a private audience. It was first performed in public at Leipsic, March 5, 1842. It is written for male chorus and orchestra, and includes seven numbers; namely, i. Introduction and maestoso (" Strahl des Helios schonstes Licht"); . Andante con moto ("Vieles Gewaltige lebt ") ; 3. Moderate (" 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 alia marcia (" Hier kommt er ja selbst"). A condensation of Lampadius' account of the first pub- lic performance of " Antigone " will suffice in place of a detailed analysis. Mendelssohn's biographer says : " The music 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 giv- ing a running musical commentary on them. . . . The Eros chorus, with its solemn awe in the presence of the divine om- nipotence 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 MENDELSSOHN 297 Antigone enters, wailing, the chamber where her dead lover lay, and whither Creon has borne in his son's corpse, had an imposing effect. Devrient, director of the opera at Carlsruhe at that time, in his " Recollections of Mendelssohn " also says : "The choruses not only gave the key to every scene, the expression to each separate verse, from the narrow compla- cency 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. To raise this chorus to be the terrible turning-point of the action ; to bring here to its culmination the tension excited by the awful impending doom ; to give this continually gathering power to the invocation, 'Hear us, Bacchus!' till it becomes a cry of agony; to give this exhaustive musical expression to the situation, marks the composer to have a specially dramatic gift. And this is be- tokened no less in the melodramatic portions." OEDIPUS AT COLONOS The portions of Sophocles' tragedy, " CEdipus at Col- onos," to which Mendelssohn set music are the banish- ment of the blind hero, the loving care of his daughters, his arrival at Attica, and his death in the gardens of the Eumenides at Colonos, absolved by the fate which had so cruelly pursued him. The music to " CEdipus " was written at the command of the King of Prussia in 1843, and was first produced at Potsdam, November i, 1845. It contains a short intro- duction and nine choral numbers. The first and second choruses describe the entrance of CEdipus 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 298 STANDARD CONCERT GUIDE Theseus the King. The third number, double chorus, is the gem of the work, and is often given on the concert- stage. 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 beau- tiful 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 dramatic in its effect, tells of the assault of Creon upon CEdipus, 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 it- self, and tell in notes as eloquent as Sophocles' lines of the mysterious disappearance of the Theban hero, ingulfed in the opening earth, and the sorrowful lamentations of the daughters for the father whom they had served and loved so devotedly. MENDELSSOHN 299 As THE HART PANTS The music to the Forty-second Psalm, familiarly known by the caption which forms the title of this sketch, was first performed at the tenth subscription Gewandhaus con- cert 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 com- plete 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 expres- sion 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 melo- dious adagio. The third number is a soprano recitative ("My tears have been my meat") leading to a chorus in march time by the sopranos and altos (" For I had gone with the multitude ; I went with them to the house of God"). Then follows a full chorus beginning with male voices in unison ("Why, my soul, art thou cast down?"), answered by the female voices ("Trust thou in God"). Again the soprano voice is heard in pathetic recitative (" O my God ! my soul is cast down within me ; all Thy waves and Thy billows are gone over me "). A beautiful quartette 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, followed by a quintet 3 co STANDARD CONCERT GUIDE at the end, and 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. LAUDA SION The " Lauda Sion," or sequence sung at High Mass on the Feast of Corpus Christi, was chosen by Mendelssohn as the subject of one of his most beautiful cantatas, for four solo voices, chorus, and orchestra. The majestic rhythm of Saint Thomas Aquinas's verses loses none of its stateliness in this musical setting. The work was written for the celebration of this Festival by the Church of St. Martin at Liege, and was first performed there June n, 1846. It contains seven numbers. After a short intro- duction the voices give out the theme " Lauda Sion," followed by a chorus (" Laudis thema "), full of devo- tional spirit. The soprano then enunciates in the " Sit laus plena " phrases repeated by the chorus, followed by a beautifully accompanied quartette (" 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 dra- matic solo and chorus ("Sumit unus") set to the words " Bone pastor," and the closing verses of the hymn it- self. Short as the cantata is, it is one of the most felici- tous of all Mendelssohn's settings of the ritual. Music TO "A MIDSUMMER NIGHT'S DREAM." OP. 61 The incidental music to Shakspeare's "Midsummer Night's Dream," is divided in two parts, an overture, op. 21, and the music to various scenes of the play, op. 61. The overture, in A major, was written in 1826, Mendelssohn MADAME CLARA NOVELLO MENDELSSOHN 301 being then in his seventeenth year, though the original score was considerably changed in accordance with sug- gestions made by Marx. It is especially interesting as be- ing the starting-point in his musical career. Though he had written several minor pieces previous to this, the over- ture was the first to express his own individuality and a genuine maturity of form, and this to such a degree that when he wrote the music to the play seventeen years later, it filled its place in the perfected scheme as freshly and fittingly as if it were composed simultaneously with the rest. It contains all the motives of the play, the songs and dances of the fairies, the chases of the lovers, the dance of the rustic clowns, the grace of Titan ia, and the airiness of Puck. It leads us into the fairy kingdom, and fascinates us with its poetical beauty, refinement, grace, and lightness ; and yet this almost ethereal mixture of humour and fancy is constructed in the strongest and most solid manner. The incidental music is divided into twelve numbers. The first, a Scherzo, in G minor, comes after the first act of the play. The realities of the happy love of Theseus and Hippolyta, the distressing perplexities of Hermia and Helena in their cross game of love with Lysander and De- metrius, and the jolly assignment of parts in " Pyramus and Thisbe " to Quince and Bottom's famous company have already transpired. The Scherzo rings up the cur- tain, discloses the fairy world of Titania and Oberon, with its chattering elves and their mischievous gambols, inter- rupted now and then by the griefs of the unfortunate and tormented lovers, and gradually dies away in airy lightness. No. 2 is a melodrama accompanying the first scene of Act II, the reply of the fairy to Puck (" Over hill, over dale "), and the continuation of their dialogue, until it is interrupted by the entrance of Oberon and Titania with their respective retinues, at which point the music leads up 302 STANDARD CONCERT GUIDE to the Elfenmarsch (Fairy march), one of the daintiest of rhythms. At its close the music accompanies the dialogue between Oberon and Titania, Oberon's instructions to Puck, and the melancholy encounter of Demetrius and Helena. No. 3 is a song and chorus, Allegro ma non troppo, for the beginning of the second scene, where Titania requests, " Sing me now asleep, then to your offices and let me rest." The entire song (" You spotted snakes, with double tongue ") is set for a soprano duet with chorus, closing with the exit of the fairies and the sleep of Titania. No. 4 is a melodrama, Andante, accompanying the epi- sode where Oberon squeezes the juice of the purple flower upon Titania's eyelids (" What thou seest when thou dost wake "), and the short dialogue in the wood between Lysander and Hermia. No. 5 is an Intermezzo, Allegro appassianato, which in agitated, restless, and yet dainty style accompanies the sad quest of Helena for Demetrius, and her encounter with Lysander, with its magical results, and leads up to an Al- legro molto commodo, preparatory to the introduction of the rustic actors at the beginning of the third act. No. 6 is a melodrama, Allegro, accompanying the re- hearsal of the actors, Puck's interruption and the mischiev- ous tricks he plays upon them, Titania's awakening and declaration of love for Bottom, the entrance of the fairies, and the subsequent adventures of Hermia and Demetrius, Lysander and Helena. No. 7 is the well-known Nocturne, in E major, with its exquisite horn passages and genuine feeling of the woods, to the strain of which Bottom has his " exposition of sleep " and Titania falls into slumber, caressing and doting upon her uncouth lover in the ass's head. No. 8 is a melodrama, Andante, accompanying Oberon's welcome to Puck (" Her dotage now I do begin to pity "), MENDELSSOHN 303 the awakening of Titania, the dialogue between her and Oberon, and the entrance of Theseus, Hippolyta, and their train. No. 9 is the wedding march, Allegro vivace, at the end of the fourth act, whose brilliant and stirring rhythm and festive passages for the procession are so familiar that they need no description. No. 10 is a melodrama, Allegro commodo, accompany- ing the performance in the fifth act of " The most lamenta- ble comedy and most cruel death of Pyramus and Thisbe ; " and Mendelssohn has not forgotten to write a short fu- neral march when the trusty sword sends Pyramus's " soul to the sky " and " imbrues " the gentle breast of Thisbe. No. n, Ein Tanz von Riipeln, Allegro molto, accompa- nies the Bergomask dance which follows the play with uncouth jollity until it is interrupted by Theseus's injunc- tion ("The iron tongue of midnight hath told twelve "). No. 12, melodrama, Allegro vivace, begins with the de- parture of the wedding procession. Darkness now comes on apace, and Puck begins his sombre soliloquy (" Now the hungry lion roars "). The music leads up to the Finale, a captivating song and dance of the fairies as Oberon blesses the palace, and bestows his benediction upon the three happy couples. SYMPHONY No. 3, IN A MINOR (SCOTCH). OP. 56 1. INTRODUCTION. ALLEGRO AGITATO. 2. SCHERZO. ASSAI VIVACE. 3. ADAGIO CANTABILE. 4. ALLEGRO GUERRIERO. FINALE MAESTOSO. The A minor symphony, the third of the Mendelssohn series, is familiarly known as the " Scotch," the composer having given it that name in his letters written from Rome in 1832. The first conception of the symphony dates still farther back. In April, 1829, Mendelssohn, then in his 3 o 4 STANDARD CONCERT GUIDE twentieth year, paid his first visit to England. After re- maining in London two months he went to Scotland, arriving in Edinburgh July 28 ; the next day he heard a competition of the Highland pipers, which, it may well be imagined, gave him a good idea of the national melodies. The next day he visited Holyrood. He writes in his let- ters that he saw the place where Rizzio was murdered, and the chapel where Mary was crowned, " open to the sky, and surrounded with grass and ivy, and everything ruined and decayed; and I think I found there the beginning of my Scotch symphony." He wrote down on the spot the first sixteen bars of the introduction, announcing the theme which not only opens but closes the movements and thus gives an unmistakable clew to its meaning. Its introduction begins with the Andante theme already mentioned, a melody of a sombre and even melancholy cast, which admirably reflects the influence of that gray evening at Holyrood. The first theme, Allegro un poco agitato, is of the same cast. A subsidiary theme, of a tender, plain- tive character, leads back to the Andante of the introduc- tion, which closes a movement rarely equalled for its mu- sical and poetical expression and graceful finish. A short passage for flutes, horns, and bassoons connects this earnest, serious movement with the Scherzo, which gives us a different picture. In its form, it departs from the Minuet and Trio, and is purely a caprice, and a most lovely one ; while, at the same time, it differs from all his other Scherzos in the absence of their sportive, fantastic quality. It is a picture of pastoral nature, characterized by a continuous flow of rural gaiety. Its opening theme, given out by the clarinets, dominates it throughout ; for the second theme plays but a small part, though it has its place in the general working up. The first motive is fre- quently reiterated, and fills the movement with glowing life and spirit. MENDELSSOHN 305 The Adagio cantabile presents still another picture. The first movement gave us the sombre tints ; the second, those of rural freedom and idyllic gaiety ; the third, though still infused with melancholy, is evidently a reverie in which the composer meditates upon the ancient state and grandeur of the country. Its majestic strains might almost have been swept from Ossian's harp, and it well prepares the way for the final movement, the impetuous first part of which is marked Allegro guerriero. The romantic sen- timent disappears. In its place we have the heroic ex- pressed with astonishing force and exuberant spirit in its three themes, which finally give place to a short second part, maestoso, colored by national melody, and closing this exquisite tone-picture of the Scotch visit. SYMPHONY No. 4, IN A (ITALIAN). OP. 90 1. ALLEGRO VIVACE. 3. CON MOTO MODERATO. 2. ANDANTE CON MOTO. 4. SALTARELLO. PRESTO. Like the A minor symphony, the A major gets its fa- miliar name from the composer himself, who always styles it the " Italian " in his letters. The first movement, Al- legro vivace, reflects as clearly the blue skies, clear air, brightness, and joyousness of Italy as the first movement of the A minor symphony does the sombre and melan- choly aspect of Holyrood. After a moment of prepara- tion, the violins sweep off at once in a vigorous theme to an accompaniment of horns, bassoons, clarinets, and flutes. After its development, the order is reversed ; and a second theme, more restful in character, appears for the clarinets and bassoons, with string accompaniment. It is taken by the flutes and oboes, and leads the way to a new theme for the first violins and clarinets, the development of which brings us back to the first theme, closing the first part of the movement. The second part opens with a fresh, 20 3 o6 STANDARD CONCERT GUIDE bright theme given out by the second violins and con- tinued by the other strings and flutes, followed by an episode for the strings alone, which furnishes a remark- able display of the composer's contrapuntal skill. It is finally interrupted by the wind instruments. The principal themes reappear in various forms, at last returning to the first. Toward the close of the movement an entirely new subject appears for the first violins. The Coda is full of spirit and joyous feeling, and at last the happy, vivacious movement comes to an end. The Andante, sometimes called the " Pilgrims' March," though the title is merely fanciful, opens with a unison phrase, which has been construed by one authority as a call to prayer, and by another with more propriety, as it would seem the call to attention. It is followed at once by the principal theme, given out by the oboe, bas- soon, and violas, and then repeated by the first violins, with an elaborate accompaniment by the flutes. After the announcement of the second theme, with a similar instru- mental setting to the first, the second part opens with a bright, joyous strain from the clarinets, reenforced by the violins and flutes. At the close of its development the call is heard again, summoning attention to the develop- ment of the thematic materials already presented. The third movement, Con moto moderato, is supposed to have been taken from one of his youthful works, though its identity in this respect has never been discovered. It opens with a simple but graceful melody. The trio is fresh and full of delicate fancy. At its conclusion the first theme returns, and a charming coda constructed upon suggestions of this theme, brings the movement to a close. If there were any doubt about the national significance of this symphony, it would be removed by the Italian Finale, Saltarello presto, evidently inspired by the Roman MENDELSSOHN 307 carnival, of which Mendelssohn was a delighted spectator. The movement is a Saltarello, a favorite dance rhythm in Italy, combined with a whirling Tarantella with astonishing skill. After a short introduction the flutes lead off in the merry dance, the other instruments soon joining as if they too had caught the mad contagion. At the close of the theme a soberer melody is given out by the violins, the wind instruments still busied with fragments of the dance measures. Soon the Saltarello returns again, however, this time with a fresh accompaniment. At last it gives place to the rush of a Tarantella whirling gayly along until the Saltarello combines with it, and the two rhythms go on to the end, now alternating, now together, in a general terp- sichorean hurly-burly, full of genuine Italian brilliancy and vivacity. THE REFORMATION SYMPHONY, No. 5. OP. 107 1. ANDANTE. ALLEGRO CON FUOCO. 2. ALLEGRO VIVACE. 3. ANDANTE. 4. CHORALK. ALLEGRO VIVACE. 5. FINALE. ALLEGRO MAESTOSO. The Reformation symphony was written by Mendelssohn in his twenty-first year, with the expectation of its perform- ance at the Tercentenary Festival of the Augsburg Con- fession, June 25, 1830, being the anniversary of the confession of faith which was presented by Luther and Melanchthon to the Emperor Charles V at the Diet of Augsburg, 1530. It was finished in May, 1830, but was not brought to the anticipated performance in Leipsic owing to fierce and even riotous opposition made by op- ponents of the celebration. In 1832 it was rehearsed in Paris with a view to performance, but again circumstances proved unfavorable, and it was not heard until December of that year when Mendelssohn himself produced it in 3 o8 STANDARD CONCERT GUIDE Berlin for the benefit of the " Orchestral Widows' Fund " of that city. The work was then laid aside for more than thirty years, when it was revived in London, and since that time has been frequently performed both in England and the United States. The first movement typifies the struggle between the old and new faith, and is strong and serious throughout. The first theme is given out by the violas, and at once taken up by the 'cellos. During its development the wind instruments in unison announce the second theme, which is answered by the strings in a gentle strain, modulating to the dominant cadence, which is twice repeated ; the re- sponse being the passage used for " Amen " in the Catholic Church at Dresden, known as the " Dresden Amen." At the close of this significant introduction follows an Allegro con fuoco, built up on two principal themes, the develop- ment of which, as well as the stormy character of its progress, unquestionably indicates the conflict, which is significantly marked by the return of the " Amen " passage at the very height of the struggle, as if the Church were still dominant. The coda restates the material of the Allegro, but in a subdued manner. Then follows a cres- cendo leading up to a vigorous close. The second movement, Allegro vivace, except for the pure and spiritual nature of its contents can hardly be called a part of the programme. Its two themes are charming in their grace and refinement, but play no par- ticular part in telling the story of the progress of the new faith. The opening of the third movement, Andante, is ex- ceedingly beautiful and effective. The leading theme, most pathetic in character, is given out by the violins, accompanied by the other strings. After a brief remi- niscence of the second theme of the Allegro con fuoco, the melody of Luther's hymn, " Ein' feste Burg iet unser FELIX MENDELSSOHN BARTHOLDY MENDELSSOHN 309 Gott," is given out by a single flute, unaccompanied, herald of the triumph of the coming new religion. After three bars the wood winds take up the theme and fill out the harmony. The violas and 'cellos come in to enrich it. A variation follows, Allegro vivace, in which the violins take part, while fragments of the theme are treated by the clarinets, oboes, and flute, leading up to the Finale, Allegro maestoso. The first theme is a fugal passage for strings, which occurs twice, and the second a triumphant strain, prophetic of victory. At the second appearance of the fugue, led off by the first violins, the chorale, given out by the wind instruments, disputes its superiority. The fugue continues independently, and finally the chorale combines with it. The second theme also reappears, but at last the climax is reached, and the full orchestra fortis- simo proclaims the " Ein' feste Burg ist unser Gott" in all its sonorous majesty. SAINT PAUL "Saint Paul," first of Mendelssohn's oratorios, was be- gun in Du'sseldorf and finished in Leipsic in the Winter of 1835, the composer being then in his twenty-sixth year. He first applied to Marx to write the text ; but the invita- tion was declined, on the ground that the chorales were unsuited to the period of the narrative. Mendelssohn then consulted with his friends Furst and Schubring, and the libretto as it now stands represents their joint compila- tion. Its three principal themes are the martyrdom of Saint Stephen, the conversion of Saint Paul, and the Apos- tle's subsequent career. The work was produced May 22, 1836, on the occasion of the Lower Rhine Festival at Du'sseldorf. The principal parts were sung by Madame Fischer-Achten, Mademoiselle Grabau, Herren Schmetzer and Wersing, the latter artist taking the part of Paul. jio STANDARD CONCERT GUIDE After a long and expressive overture for orchestra and organ, the first part opens with a strong and exultant chorus ("Lord ! Thou alone art God "). It is massively constructed, and in its middle part runs into a restless, agitated theme ("The heathen furiously rage"). It closes, however, in the same energetic and jubilant man- ner which characterizes its opening, and leads directly to a chorale ("To God on high"), set to a famous old Ger- man hymn-book tune (" Allein Gott in der Hoh" sei Ehr"), which is serenely beautiful in its clearly flowing harmony. The martyrdom of Stephen follows. The basses in vigorous recitative accuse him of blasphemy, and the people break out in an angry chorus (" Now this man ceaseth not to utter blasphemous words "). At its close Stephen sings a brief, but beautiful solo (" Men, brethren, and fathers ! ") ; and as the calm protest dies away, again the full chorus gives vent to a tumultuous shout of indig- nation ("Take him away"). A note of warning is heard in the fervent soprano solo, " Jerusalem, thou that killest the prophets ; " but it is of no avail. Again the chorus hurls its imprecations more furiously than before (" Stone him to death"). The tragedy occurs. A few bars of recitative for tenor, full of pathos, tell the sad story, and then follows another beautiful chorale of submission (" To Thee, O Lord, I yield my spirit"). Saul's participation in the tragedy is barely touched upon. The lament for Stephen is followed by the chorus, " Happy and blest are they." which is beautifully melodious in character. Saul now appears, " breathing out threatenings and slaughter " against the Apostles. His first aria (" Consume them all") is a bass solo which is fiery in its energy. It is fol- lowed by the lovely arioso for alto (" But the Lord is mindful of His own "), fitting companion to the equally beautiful " Oh, rest in the Lord " from " Elijah," and much resembling it in general style. Then occurs the MENDELSSOHN 311 conversion. The voice from heaven ("Saul, Saul, why persecutest thou Me?") is represented, as was often done in the passion-music, by the soprano choir, which gives it peculiar significance and makes it stand out in striking contrast with the rest of the work. A forcible orchestral interlude, worked up in a strong crescendo, leads to the vigorous chorus (" Rise up ! arise ! ") in which the power- ful orchestral climax adds great strength to the vocal part. It is a vigorously constructed chorus, and is followed by a chorale ("Sleepers, wake ! a voice is calling"), the effect of which is heightened by trumpet notes between the lines. At the close of the imposing harmony the music grows deeper and more serious in character as Saul breathes out his prayer (" O God, have mercy upon me ") ; and again, after the message of forgiveness and mercy delivered by Ananias, more joyful and exultant in the bass solo with chorus (" I praise Thee, O Lord, my God "), Saul receives his sight, and straightway begins his ministrations. A grand reflective chorus (" Oh, great is the depth of the riches of wisdom "), strong and jubilant in character, and rising to a powerful climax, closes the first part. The second part opens with the five-part chorus, "The nations are now the Lord's," a clear fugue, stately and dignified in its style, leading, after a tenor and bass duet ("Now all are ambassadors in the name of Christ"), to the beautifully melodious chorus, " How lovely are the messengers that preach us the gospel of peace ! " and the equally beautiful soprano arioso, " I will sing of Thy great mercies." After the chorus (" Thus saith the Lord "), and a second tumultuous chorus expressive of rage and scorn (" Is this He who in Jerusalem "), another chorale occurs ("O Thou, the true and only light "), in which the Church prays for direction. The tenor recitative announc- ing the departure of Paul and Barnabas to the Gentiles, STANDARD CONCERT GUIDE followed by the tenor and bass duet (" For so hath the Lord Himself commanded "), brings us to the scene of the sacrifice at Lystra, in which the two choruses (" The gods themselves as mortals" and "Oh, be gracious, ye Immor- tals"), are full of genuine Greek sensuousness and in striking contrast with the seriousness and majestic charac- ter of the harmony in the Christian chorus (" But our God abideth in heaven ") which follows. Once more the Jews interfere, in the raging, wrathful chorus, "This is Jehovah's temple." In a pathetic tenor aria (" Be thou faithful unto death") Paul takes a sorrowful leave of his brethren, and in response comes an equally tender chorus " Far be it from thy path." Two stately choruses (" See what love hath the Father " and " Now only unto Him ") close the work. HYMN OF PRAISE The " Lobgesang " (" Hymn of Praise ") was written at Leipsic in 1840, the occasion which gave birth to it being the fourth centennial celebration of the introduction of the art of printing, which took place June 24 and 25 of the above year. Its next performance was at Birmingham, September 23, 1840, Mendelssohn himself conducting. After this performance it was considerably changed, and the whole scene of the watchman was added. The idea occurred to him after a sleepless night, during which, as he informed a friend, the words " Will the night soon pass?" incessantly came into his mind. The text to the " Hymn of Praise " is not in narrative form, nor has it any particular dramatic significance. It is what its name indicates, a tribute of praise. The expression of delight over victory is well brought out, not only in the music, but also in the arrangement of the Scriptural texts, which begin with exhortations of praise MENDELSSOHN 313 and appeals to those who have been in distress and afflic- tion to trust the Lord. The tenor, who may be regarded as the narrator, calls upon the watchman, " What of the night?" The response comes that the night has passed. In exultation over the victory, once more the text ascribes praise to the Lord. " All that has life and breath " sings to His name. The symphony is in three parts, beginning with a maes- toso movement, in which the trombones at once give out the choral motive, " All that has life and breath sing to the Lord,"- a favorite theme of Mendelssohn. This movement, which is strong and energetic in character, is followed by an allegretto based upon a beautiful melody, and to this in turn succeeds an Adagio religiose rich in harmony. The opening chorus (" All that has life and breath ") is based upon the choral motive, and enunciates the real " Hymn of Praise." It moves along in a stately manner, and finally leads without break into a semi-chorus (" Praise thou the Lord, O my spirit ! "), a soprano solo with accompaniment of female voices. The tenor in a long dramatic recitative (" Sing ye praise, all ye redeemed of the Lord ") urges the faithful to join in praise and extol His goodness, and the chorus responds, first the tenors, and then all the parts, in a beautiful number (" All ye that cried unto the Lord "). The next number is an exquisite duet for soprano and alto with chorus (" I waited for the Lord "). It is thoroughly devotional in style, and in its general color and effect reminds one of the arias, " Oh, rest in the Lord," from " Elijah," and " The Lord is mindful of His own," from " Saint Paul." This duet is followed by a sorrowful, almost wailing tenor solo (" The sorrows of death had closed all around me "), ending with the piercing, anxious cry in recitative, " Watchman ! will the night soon pass?" set to a restless, agitated accom- paniment and thrice repeated. Like a flash from a cloud STANDARD CONCERT GUIDE comes the quick response of the chorus (" The night is departing"), which forms the climax of the work. The chorus is beautifully constructed, and impressive in its effect. At first the full chorus proclaims the night's departure ; it then takes the fugal form on the words "Therefore let us cast off the works of darkness," which is most effectively worked out. In the Finale the male voices are massed on the declar- ation ("The night is departing") and the female voices on the response (" The day is approaching ") ; and after alternating repetitions all close in broad, flowing harmony. This chorus leads directly to the chorale (" Let all men praise the Lord "), sung first without accompaniment, and then in unison with orchestra. Another beautiful duet (" My song shall alway be Thy mercy "), this time for soprano and tenor, follows, and prepares the way for the final fugued chorus (" Ye nations, offer to the Lord "), a massive number, stately in its proportions and impres- sive in its effect, and closing with a fortissimo delivery of the splendid choral motive ("All that has life and breath "). ELIJAH " Elijah," the most admired of all Mendelssohn's com- positions, was finished in 1846, and was first performed August 1 8 of that year, at the Birmingham (England) Fes- tival. Notwithstanding Mendelssohn's delight with the per- formance, he was not satisfied with the oratorio as a whole. He made numerous changes and rewrote portions of the work, indeed, there was scarcely a movement that was not retouched. It is interesting to note in this connec- tion that the beautiful trio (" Lift thine eyes ") was origi- nally a duet, and very different in character. The first performance of the work in London took place April 1 6, MENDELSSOHN 315 1847, when it was given by the Sacred Harmonic Society. The prominent scenes treated in the oratorio are the drought prophecy, the raising of the widow's son, the rival sacrifices, the appearance of the rain in answer to Elijah's appeal, Jezebel's persecution of Elijah, the sojourn in the desert, his return, his disappearance in the fiery chariot, and the Finale, which reflects upon the meaning of the sacred narrative. The introduction to the oratorio is prefaced by a brief, but impressive recitative Elijah's prophecy of the drought leading directly to the overture, a sombre, de- spairing prelude, picturing the distress which is to follow as the curse settles down upon the streams and valleys. At last the suffering is voiced in the opening chorus (" Help, Lord ! "), which, after three passionate appeals, moves along in plaintive beauty, developing phrase after phrase of touching appeal, and leading to a second chorus, with duet for two sopranos (" Lord, bow Thine ear to our prayer "), the choral part of which is an old Jewish chant, sung alternately by the male and female voices in unison. It is followed by Obadiah's lovely tenor aria (" If with all your hearts"), full of tenderness and consolation. Again the people break out into a chorus of lamentation (" Yet doth the Lord see it not "), which at the close develops into a chorale of graceful and serene beauty (" For He the Lord our God "). Then follows the voice of an angel summoning Elijah to the brook of Cherith, leading to the beautiful double quartette (" For He shall give His angels charge over thee"), the melody of which is simple, but full of animation, and worked up with a skilful effect. Again the angel summons Elijah to go to the widow's house at Zarephath. The dramatic scene of the raising of her son ensues, comprising a passionate song by the mother (" What have I to do with thee? ") and the noble declaration of the prophet (" Give me thy son "), and 316 STANDARD CONCERT GUIDE closing with the reflective chorus (" Blessed are the men who fear Him "). In the next scene we have the appearance of Elijah be- fore Ahab, and the challenge of the priests of Baal to the sacrifice on Mount Carmel, set forth in vigorous recitative, accompanied by short choral outbursts. At the words of Elijah (" Invoke your forest gods and mountain deities ") the priests of Baal break out into the stirring double chorus ("Baal, we cry to thee"), which is fairly sensual and heathenish in its rugged, abrupt melodies, as compared with the Christian music. At its close Elijah bids them " call him louder, for he is a God ; he talketh, or he is pursuing ! " Again they break out into a chorus of barbaric energy (" Hear our cry, O Baal ! "), in the inter- vals of which Elijah taunts them again and again with the appeal, " Call him louder." The priests renew their shouts, each time with increasing force, pausing in vain for the reply, and closing with a rapid, almost angry expos- tulation (" Hear and answer"). Then follows the calm, dignified prayer of the prophet (" Lord God of Abra- ham"), succeeded by a simple, but beautiful chorale (" Cast thy burden upon the Lord "). It is the moment of quiet before the storm which is to come. He calls for the fire to descend upon the altar, and a chorus of pas- sionate energy replies (" The fire descends from heaven "), accompanied by imitative music, and closing with a brief movement in broad harmony. In fierce recitative Elijah dooms the priests of Baal to destruction, and after a short chorale reply sings the bass aria (" Is not His word like a fire?") a song of extraordinary difficulty, and requiring a voice of exceptional accuracy and power for its proper performance. A lovely arioso for alto (" Woe unto them ") follows Elijah's vigorous declamation. These two arias are connecting links between the fire chorus and the rain scene which ensues. Obadiah summons Elijah MENDELSSOHN 317 to help the people, and Elijah replies in an exquisite little andante passage, repeated by the chorus (" Open the heavens and send us relief"). Then follows a dialogue- passage between the prophet, the people, and the youth, whom he bids "look toward the sea," the most striking features of which are the responses of the youth and the orchestral climax as the heavens grow black and " the storm rushes louder and louder." As the deluge of rain descends, the thankful people break out into a passionate shout of delight (" Thanks be to God "), heard above the tempest in the orchestra. At first it is a brief expression of gratitude. The voices come to a pause, and Elijah repeats the tribute of praise. Then all join in a surging tumult of harmony, as fresh and delightful as was the pour- ing rain to the thirsty land, voices and instruments vying with each other in joyful acclamations, until the end is reached and the first part closes. The second part opens with a brilliant soprano solo (" Hear ye, Israel "), beginning with a note of warning, and then with trumpet obligato developing into another melody of an impetuous and animated description (" I, I am He that comforteth "). The solo leads to the magnifi- cent chorus (" Be not afraid "), in which, after a short pause, the entire force of voices, orchestra, and organ join in the sublime strain, sweeping on in broad, full harmony. There is a pause of the voices for two bars, then they move on in a strong fugue (" Though thousands languish and fall "). At its close they are all merged again in the grand announcement " Be not afraid," delivered with impetuosity, and ending with the same subject in power- ful chorale form. The scene which follows is intensely dramatic. The prophet rebukes Ahab and condemns the Baal worship. Jezebel fiercely accuses Elijah of conspir- ing against Israel, and the people in sharp, impetuous phrases declare " He shall perish," leading to the chorus 318 STANDARD CONCERT GUIDE " Woe to him ! " After a few bars for the instruments, Obadiah, in an exquisite recitative, counsels him to fly to the wilderness. In the next scene we behold Elijah alone, and in a feeble but infinitely tender plaint he re- signs himself. It is hard to conceive anything grander and yet more pathetic than this aria (" It is enough "), in which the prophet prays for death. A few bars of tenor recitative tell us that, wearied out, he has fallen asleep (" See, now he sleepeth beneath a juniper-tree in the wilderness, and there the angels of the Lord encamp round about all them that fear Him"). It introduces the trio of the angels ("Lift thine eyes to the mountains"), sung without accompaniment, one of the purest, love- liest, and most delightful of all vocal trios. An exquisite chorus (" He watching over Israel ") follows, in which the second theme, introduced by the tenors ("Shouldst thou, walking in grief"), is full of tender beauty; the trio and chorus are the perfection of dream-music. At its close the angel awakes Elijah, and once more we hear his pathetic complaint (" O Lord, I have labored in vain; oh, that I now might die! "). In response comes an aria of celestial beauty, sung by the angel (" Oh, rest in the Lord"), breathing the very spirit of heavenly peace and consolation, an aria of almost matchless purity, beauty, and grace. Firmly and with a certain sort of majestic severity follows the chorus (" He that shall endure to the end "). The next scene is one of the most impressive and dramatic in the oratorio. Elijah no longer prays for death ; he longs for the divine presence. He hears the voice of the angel (" Arise now, get thee without, stand on the mount before the Lord ; for there His glory will appear and shine on thee. Thy face must be veiled, for He draweth near"). With great and sud- den strength the chorus announces, " Behold ! God the Lord passed by." With equal suddenness it drops to a MENDELSSOHN 319 pianissimo, gradually worked up in a crescendo movement, and we hear the winds " rending the mountains around ; " but once more in pianissimo it tells us " the Lord was not in the tempest." The earthquake and the fire pass by, each treated in a similar manner; but the Lord was not in those elements. Then, in gentle tones of ineffable sweetness, it declares, "After the fire there came a still, small voice, . . . and in that still, small voice onward came the Lord ; " and onward sings the chorus in low, sweet, ravishing tones to the end (" The seraphim above Him cried one to the other, Holy, holy, holy, is God the Lord!") a double chorus of majestic proportions. Once more Elijah goes on his way, no longer dejected, but clothed with " the strength of the Lord." His aria (" For the mountains shall depart ") prepares us for the final climax. In strong accents the chorus announce, " Then did Elijah the prophet break forth like a fire ; his words were like burning torches ; he overthrew kings ; he stood on Sinai and heard the vengeance of the future on Horeb." Then comes a significant pause. The basses begin " And when the Lord would take him away ; " another brief pause, and the full chorus pictures in vivid color the coming of the fiery chariot and the whirlwind by which he was caught up into heaven. One more tenor aria (" Then, then shall the righteous shine ") and a brief soprano solo introduce the chorus (" Behold my servant "). A beautiful quartette (" Oh ! come, every one that thirsteth ") follows, and the massive fugue (" And then shall your light break forth as the light of the morning ") closes this great masterpiece. MOZART 1756-1791 THE REQUIEM MOZART'S "Requiem" was written in Vienna in 1791, and was left in an unfinished state by the composer, who made suggestions and gave instructions as to its completion even upon his death-bed ; it was literally his swan song. No work by any composer has given rise to more romantic stories or more bitter discussion. It was long the popular belief that the " Requiem " was commissioned by a dark, mysterious stranger, whose ap- pearance impressed Mozart with the conviction that he was a messenger of death ; more than this, that he him- self had been poisoned, and that he was writing his own death-song, upon the order of some supernatural power. It is now known his suspicions were only the outcome of his. morbid condition. Mozart's widow, after his death, fearing that she might have to refund the money advanced for the work, induced Siissmayer, who was thoroughly familiar with Mozart's ideas, to complete it. He did so, kept a copy, and after completion published it ; and in a letter to the publishers set up a claim to the instrumentation of the " Requiem," " Kyrie," " Dies Irae," and " Domine," and to the whole of the " Sanctus," " Benedictus," and " Agnus Dei." The publication of Siissmayer's letter provoked a controversy which has raged from that day to this. The ablest critics and musicians in Europe have taken part in it. Nearly all of them have defended Mozart's authorship ; but after half a century's MOZART 321 discussion it still remains in doubt how far Siissmayer participated in the completion of the work as it now stands. After an introduction, which gives out the subject of the opening movement, a slow, mournful, solemn theme, the first number begins with the impressive strain " Requiem aeternam dona eis," which gradually bright- ens in the phrase " Et lux perpetua, " and reaches a splendid burst of exultation in the "Te decet hymnus." After a repetition of the " Requiem geternam," the number closes with the " Kyrie eleison," a slow and complicated fugue, which is sublime in its effect, though very sombre in color, as befits the subject. The next number is the " Dies Irae," written for chorus in simple counterpoint, and very dramatic in its character, the orchestral part being constantly vigorous, impetuous, and agitated, and reaching intense energy on the verse " Quantus tremor est futurus," the whole presenting a vivid picture in tones of the terrors of the last judgment. In the " Tuba mirum " the spirit of the music changes from the church form to the secular. It is written for solo voices, ending in a quartette. The bass begins with the "Tuba minim," set to a portentous trombone ac- companiment ; then follow the tenor (" Mors stupebit "), the alto ("Judex ergo"), and the soprano ("Quid sum miser"). This number is particularly remarkable for the manner in which the music is shaded down from the almost supernatural character of the opening bass solo to the beauty and sweetness of the soprano solo. From this extraordinary group we pass to the sublime chorus " Rex tremendae majestatis," once more in the church style, which closes with the prayer " Salva me," in canonical form. With rare skill is this last appeal of humanity woven out of the thunder-crashes of sound in the judgment- music. 21 322 STANDARD CONCERT GUIDE The " Dies Iras " is followed by the " Recordare," written, like the "Tuba mirum," as a quartette for solo voices. The vocal parts are in canon form and are com- bined with marvellous skill, relieved here and there with solos in purely melodic style, as in the " Quaerens me," while the orchestral part is an independent fugue, with several subjects worked up with every form of instru- mental embellishment, the fugue itself sometimes relieved by plain accompaniment. The whole is an astonishing piece of contrapuntal skill, apparently inexhaustible in its scientific combinations, and yet never for an instant losing its deep religious significance. Once more the orchestral part is full of agitation and even savage energy in the " Confutatis maledictis," as it accompanies a powerful .double chorus, closing at last in a majestic prayer ("Oro supplex et acclinis"), in which all the voices join in magnificent harmony. The " Lacrymosa " is the most elegant and poetically conceived movement in the " Requiem." It begins in a delicate, graceful, and even sensuous manner, which grad- ually broadens and strengthens, and at last develops into a crescendo of immense power, reaching its climax on the words " Judicandus homo reus." Then it changes to a plaintive prayer (" Huic ergo parce Deus "), and closes in a cloud of gloom in the " Dona eis requiem." The next number (" Domine Jesu Christe ") is in pure church form, beginning with a motet by chorus in solid harmony, which runs into a fugue on the words " Ne absorbeat eas Tartarus," followed by a quartette of voices regularly fugued, leading to another great fugue on the passage " Quam olim Abrahse," which closes the number in a burst of sacred inspiration. The " Domine " is followed by the " Hostias," a lovely choral melody which leads to the " Sanctus," a sublime piece of harmony closing with a fugued " Hosanna." The " Benedictus," which follows it, WOLFGANG MOZART MOZART 323 is a solo quartette, plaintive and solemn in character, but full of sweet and rich melodies magnificently accompanied. The " Agnus Dei " closes the work, a composition of profound beauty, with an accompaniment of mournful majesty, developing into a solemn, almost funereal strain on the words " Dona eis requiem," and closing with the fugue of the opening " Kyrie " on the words " Lux aeterna." " Written under the inspiration of death " might well be inscribed on this great monument of musical skill, this matchless requiem of awful majesty and divine beauty. SYMPHONY No. 543 (KocHEL 1 ), IN E FLAT 1. ADAGIO. ALLEGRETTO. 2. ANDANTE. 3. MINUET AND TRIO. ALLEGRETTO. 4. FINALE. ALLEGRO. The Symphony in E flat is the first of the three great works of its class composed by Mozart in the year 1788. It was written at a time when he was in sore financial straits, and yet breathes the very spirit of joy and gaiety throughout, except in the Andante movement. It is an extraordinary proof of his marvellous powers of creation that while he was writing minuets, waltzes, and other music for the court balls at Vienna to obtain the means of subsistence, besides many pieces of a more important character, he found time between the twenty-sixth of June and tenth of August to compose the three greatest sym- phonies of his forty-nine, the E flat, G minor, and C, Jupiter, and the last three of the series, for after the Jupiter no more works of this kind came from his facile pen. The E flat is inscribed by him June 26, 1788, but it was probably written between the seventeenth and 1 Numbered from Kochel's " Theme Catalogue." 324 STANDARD CONCERT GUIDE twenty-sixth of that month. Though not constructed upon so grand a scale as its two associates, it is charac- terized by remarkable beauty and felicity of expression, and is familiarly known as "The Swan Song." The symphony opens with a short Adagio built up on solid chords by the whole orchestra, with intervening scale passages for the first violins, and subsequently for the second violins and basses, leading up to the Allegro, which is introduced by the following restful and melodi- ous theme : first announced by the violins, and on the repeat given over to the basses. The second theme is a cantabile melody of equal beauty and grace, divided between the violins and clarinets. The development of the movement is short, and the second theme is mainly used in associa- tion with a phrase at first employed as an accompaniment. The Andante movement is principally based upon the following theme : given out by the strings, which leads up to a second theme of more serious character. The second part begins with a passionate, almost impetuous theme, at the close MOZART 325 of which there is a genuine harmonic display in which the bassoons play a very characteristic part. The Minuet opens thus cheerfully : J. The Trio sung by the first clarinet, the second playing an arpeggio accompaniment, is one of those lovely pas- sages, lovely in its very simplicity, which are so charac- teristic of Mozart. In the Finale the composer gives free rein to his humor and fancy, as well as to his skill in development. It opens with the following theme : which is fairly fascinating by its sportive and tantalizing mood. The second theme is so similar in character as to amount to little more than an emphasis of the first, and seems to have been introduced to give more room for the merry thoughts of the composer, which are expressed in bewildering variety of development. The themes them- selves count for little as compared with the fanciful, elaborate structure of which they are the foundation. The Finale in fact is a very carnival of gaiety and sunshine. 326 STANDARD CONCERT GUIDE SYMPHONY No. 550 (KOCHEL), IN G MINOR 1. ALLEGRO MOLTO. 3. MINUET AND TRIO. ALLEGRO. 2. ANDANTE. 4. FINALE. ALLEGO ASSAI. In Mozart's autograph catalogue the symphony in G minor is set down as written July 25, 1788, which refers probably to the day of completion. As the E flat was finished June 26, it is evident that it was composed be- tween these two dates. Of the sixteen symphonies written between 1773 and 1788 this is the only one in the minor key, and from this fact many authorities have attributed to it an expression of sorrow. It has always been a great favorite with composers. Schubert said : " You can hear the angels singing in it." Mendelssohn held it in high esteem ; and there is a report that Beethoven scored it over for orchestra from a piano edition, though the score has never been found. Mozart himself was very fond of it, and after its first performance made a second score, adding two clarinets to the oboes, and making other changes to suit the new arrangement. Without the Adagio, which was customary at that time, or any attempt to call the attention of the hearers, the first movement begins at once with the principal theme, m m followed by a new theme which is afterward employed in the most elaborate fashion. Then follows an exquisite melody, MOZART 327 Viola. Oboe. ? r "r ["r answered in the basses by ^ In the second part the principal theme is broken up into bits, shaken about in true kaleidoscopic fashion, and transparent at every turn, thus increasing its beauty. The Andante is not based on a long cantilena, like most of his Adagios, but betrays rather a restless spirit by the short groups which are thrown from the instruments. The gem of the melody appears at the opening in the bass The Minuet, Allegro, opens with : The stubborn syncopation is enforced at the beginning of the second part in the following manner : r f f tit -* -"* 328 STANDARD CONCERT GUIDE and we easily realize that poor Mozart feels out of sorts ; but the cloud soon passes, and in the Trio he smiles again, and dismisses his " blues " with a joke : The Finale, Allegro assai, is a work of such marvellous skill that, while the musical student can alone appreciate the genius of the master by close study of the score, yet the listener never is oppressed by its intricacies. All is clear, beautiful, and full of life and energy from the opening phrase, which embodies the character of the whole movement, to the last note. Mozart reared this monument of orchestral writing with the modest means of what would nowa- days be called a small orchestra, consisting, besides the string quartette, of two horns, a flute, two clarinets, two oboes, and two bassoons. SYMPHONY No. 551 (KOCHEL), IN C (JUPITER) 1. ALLEGRO VIVACE. 2. ANDANTE CANTABILE. 3. MINUET AND TRIO. ALLEGRETTO. 4. FINALE. ALLEGRO MOLTO. Among all the symphonies of Mozart not one can equal the dignity, loftiness, and skill of the symphony in C, the last from his pen, which by common consent, as it were, has been christened the "Jupiter," both as compared with his other symphonies and with the symphonic works MOZART 329 of other composers before Beethoven appeared with his wonderful series. It was composed within a period of fifteen days, and completed August 10, 1788. It has no introduction, but begins at once with the prin- cipal theme of the Allegro, which is constructed upon two subjects, the first strong and bold in character at times, and again restful ; and the second gay, even to the verge of hilarity. The first theme is as follows : The second theme, which is full of genuine Gemuth- lichkeit, is given out by the strings, and its hilarity is in- tensified by the following episode, which dominates the whole movement, so far as its expression is concerned : The Andante is highly expressive. The materials which compose it are exquisite melodies whose beauty, especially that of the first, with muted violins, must appeal even to the dullest ear. The opening theme is as follows : 330 STANDARD CONCERT GUIDE After a repetition of four bars by the basses a new melody appears for the bassoons, which leads up to the second theme, given out by the oboes and full of rest and contentment. A charming coda brings the beautiful first part of the movement to its close. The second is devoted to the contrapuntal development of all this melodious material, which is accomplished with marvellous skill, and at the close returns to the original key and melody. The Minuet is one of the happiest and most charming of all his numbers in this rhythm. There is a swing, an elasticity of movement, at once light and free, and a gaiety and freshness which belong almost exclusively to Mozart. It begins with the following theme : The trio is in the same key, and is equally happy in its expression of naivett and cheerful humor. The Finale is the masterpiece of the symphony. In combinations of the most astonishing contrapuntal skill with freedom of movement it will always remain a monu- ment to the genius and knowledge of the composer. It almost seems as if in this last movement of his last sym- phony Mozart desired to give to the world an immortal legacy which should forever bear witness to the greatness MOZART 33* of his musical name. It is built up on four themes de- veloped in fugal treatment. Colossal figures of counter- point are combined with the most graceful motives, each thoroughly individual in character and all fitted together in every variety of union, but never at the sacrifice of that grace and fancy for which Mozart is so conspicuous. The first theme is an old church-music phrase which was a favorite with him : The second theme is announced at once : At its close the first is treated as a five-part fugue, after which the third theme appears on the violins : r f fir' The fourth theme enters in graceful fashion : These are the materials which Mozart elaborates with marvellous skill. As the development proceeds he inverts 332 STANDARD CONCERT GUIDE the second theme, giving a fresh melodic subject, which enters into the combination as clearly and individually as its companions. Thus on into the coda, which again re- veals the masterly skill of the composer and the ease with which he treated the most intricate contrapuntal difficul- ties. It is not necessary to follow the progress in detail, for in spite of all its .complications the movement will always commend itself to the hearer by its smooth, flowing character, showing that however difficult these ingenious and elaborate contrivances may seem they did not exist as difficulties to the composer, but were only used as sym- bols to express the glowing, animated picture which occu- pied his thoughts. That picture was one of human life in its most powerful, active, and dignified phases. PAINE 1839 - J 96 CEDIPUS TYRANNUS THE first public performance of the "(Edipus Ty- rannus " of Sophocles in America was given at the Sanders Theatre (Harvard College), Cambridge, Mass., May 17, 1 88 1, for which occasion Mr. Paine composed the music incidental to the world-famous tragedy. The per- formance 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 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 seek- ing 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, Jo- casta, thus completing the revelation of the oracle, does not need description in detail. The marriage was followed by a pestilence that wasted Thebes, and at this point the plot of the drama begins. It concerns itself with the efforts of QEdipus to unravel the mystery of the death of his father, Laius, which leads to the discovery that he him- self was the murderer, and that he had been guilty of incest with his own mother. Jocasta hangs herself, and CEdipus, 334 STANDARD CONCERT GUIDE rushing frantically into the palace, beholds her, and, over- whelmed with horror at the sight and the fulfilment of the oracle, seizes her brooch-pin and blinds himself. In the " CEdipus at Colonos " the sequel is told. The hero dies in the gardens of the Eumenides, happy in the love of his daughters and the pardon which fate grants him. The music to the tragedy is thoroughly classical in spirit, and has all the nobility, breadth, dignity, and grace char- acteristic of the Greek idea. The principal lyric move- ments of the chorus, the choral odes, of which there are six, comprise the scheme of the composer. The melodra- matic practice of the orchestra accompanying spoken dia- logue only appears to a limited extent in the third ode ; and the chorus, as narrator, is accompanied by music only in the last seven lines of the play, which form the postlude. The orchestral introduction, which is treated in a skilful and scholarly manner, epitomizes the spirit of the work. The odes are divided as usual into strophes and antistro- phes, assigned alternately to a male chorus of fifteen and full chorus. The first (" Oracle, sweet-tongued of Zeus "), which has the genuine antique dignity and elevation, is a description of the sufferings of the people from the pesti- lence which has wasted Thebes since the unnatural mar- riage of CEdipus 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 Tiresias arrives upon the summons of Creon and accuses GEdipus of the crime, accompanying the accusation with dark hints of further guilt. In this ode, which is spe- cially 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 CEdipus, 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 PAINE 335 the ode the chorus joins in this appeal to QEdipus, a strong, vigorous number, the effect of which is heightened by the intervening spoken parts of Creon, QEdipus, and Jocasta, with musical accompaniment. The fourth ode (" Oh, 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 remark- able degree the old Grecian idea of sensuous beauty. It is a speculation upon the divine origin of CEdipus, after the messenger relates the story of the King's exposure in his childhood upon Mount Cithaeron, and contains a charming tenor solo. The last ode (" O race of mortal men ! ") bewails the vicissitudes of fortune, and is full of the tragic significance of impending fate. The work comes to a close with the postlude (" Ye who dwell in Thebes our city, fix on CEdipus your eyes "). THE NATIVITY The text of " The Nativity," for chorus, solo voices, and orchestra, is taken from the hymn in Milton's ode " On the Morning of Christ's Nativity," and is composed in three parts. After a short instrumental introduction, which works up to an effective climax, the cantata begins with a chorus (" It was the Winter wild "), introduced by the soprano, developing to full harmony at the words "Nature in awe to Him," and closing pianissimo. After a short soprano solo (" But He her fears to cease ") the chorus resumes ("With turtle wing the amorous clouds dividing "'). A succession of choral passages follows, ad- mirably suggestive of the sentiment of the poem, a vig- orous, 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, 336 STANDARD CONCERT GUIDE graceful number, " But peaceful was the night." They are followed by another soprano solo ("And though the shady gloom "), full of brightness and animation, which leads directly to a majestic chorus (" He saw a greater sun appear"), which closes the first part. The second part, a quartette and chorus, is pastoral in character, and reflects the idyllic quiet and beauty of the text. The quartette (" The shepherds on the lawn ") is in- troduced by short tenor, bass, and alto solos, and also con- tains a melodious and graceful solo for soprano (" When such music sweet their hearts and ears did greet "), after which the full quartette leads up to a vigorous chorus (" The air such pleasure loath to lose ") closing the part. The third part is choral, and forms an effective climax to the work. It opens with the powerful chorus (" Ring out, ye crystal spheres "), emphasized by the organ bass with stately effect, and moves on majestically to the close. THE REALM OF FANCY "The Realm of Fancy" is a short cantata, the music set to Keats's familiar poem " Ever let the Fancy roam." 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 so- prano 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 sap- phire 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. JOHN K PAINE PAINE 337 "PHCEBUS, ARISE" Mr. Paine's ripe scholarship is shown to admirable ad- vantage in his selection of the poem " Phoebus, Arise," from among the lyrics of the old Scottish poet, William Drummond, of Hawthornden, and the characteristic old- style setting he has given to it. Like "The Realm of Fancy," it is quite short; but like that cantata, also, it illustrates the versatility oT his talent and the happy man- ner in which he preserves the characteristics of the poem in his music. Drummond, who has been called "the Scottish Petrarch," and whose poems were so celebrated that even Ben Jonson could find it in his way to visit him, was noted for the grace and lightness of his verse, and the pensive cast with which it was tinged. It has little of the modern poetic style, and the composer has clothed his poem in a musical garb to correspond. The cantata is written for tenor solo, male chorus, and orchestra, and opens with a brilliant chorus (" Phoebus, arise, and paint the sable skies with azure, white, and red "), closing with a crescendo in the old style. An ex- pressive and somewhat pensive tenor solo follows (" This is that happy morn "). A short choral passage with tenor solo ( " Fair king, who all preserves ") leads to a full, rich chorus (" Now, Flora, deck thyself in fairest guise "). In the next number the chorus returns to the opening theme (" Phoebus, arise "), and develops it with constantly increasing power to the close. SAINT PETER " Saint Peter," Mr. Paine's only oratorio, and from the highest standpoint it may be said the only oratorio yet produced in this country, was written in 1872-73, and first performed at Portland, Maine, in June of the latter 338 STANDARD CONCERT GUIDE year, under the composer's own direction. The solos were sung by Mrs. Wetherbee, Miss Adelaide Phillipps, Mr. George L. Osgood, and Mr. Rudolphsen. It was again produced with great success at the third Triennial Festi- val of the Boston Handel and Haydn Society, May 9, 1874, with Mrs. J. Houston West, Mr. Nelson Varley, Miss Phillipps, and Mr. Rudolphsen in the principal parts. The establishment of Christianity, illustrated by the four principal scenes in the life of Saint Peter, forms the subject of the oratorio. It is divided into two parts, and these are subdivided as follows : Part I, The Divine Call ; The Denial and Repentance. Part II, The Ascension ; Pente- cost. The overture, a short adagio movement expressive of the unsettled spiritual condition of the world prior to the advent of Christianity, leads directly to the opening chorus ("The time is fulfilled"), which develops not only this subject, but also a second (" Repent, and believe the glad tidings of God"), in a masterly manner. The chorus, written in noble style, is followed by the tenor recitative, which describes the divine call of our Lord to Simon and Andrew as " He walked by the Sea of Galilee." It prepares the way for a soprano aria (" The spirit of the Lord is upon rne ") which announces the glad tidings they are commissioned to deliver. Twelve male voices, repre- senting the disciples, accept the call in the chorus (" We go before the face of the Lord "), which is beautifully ac- companied by and interwoven with the full chorus, closing with the smoothly flowing 'chorale (" How lovely shines the morning star ! "). Then ensues the first dramatic scene. To the question of the Saviour " Who do men say that I am ? " the twelve male voices first reply, followed by Peter in a few bars of very effective recitative, " Thou art the Christ." A tenor arioso, declaring the foundation of the Church " upon this rock," is followed by a noble and ex- quisitely chaste bass aria for Peter (" My heart is glad and PAINE 339 my spirit rejoiceth "), the scene ending with the powerful chorus (" The church is built upon the foundation of the Apostles and prophets "). The next scene ( The Denial and Repentance) opens with the warning to Peter that he will deny his Lord, and his remonstrance (" Though I should die with Thee "), which is repeated by the Apostles. These brief passages are followed by a pathetic aria for tenor (" Let not your heart be troubled ") and a beauti- fully worked-up quartette and chorus (" Sanctify us through Thy truth "). A contralto solo announces the coming of "Judas with a great multitude," leading Jesus away to the High Priest, and is followed by the expressive chorus, " We hid our faces from Him." The scene of the de- nial is dramatic, the alternating accusations of the servants and the denials of Peter being treated with great skill; and closes with an effective contralto recitative, illustrating the sad words : " And while he yet spake, the cock crew. And the Lord turned, and looked on Peter; and he remembered the word of the Lord, and he went out and wept bitterly." An orchestral interlude follows, in the nature of a lament, a minor adagio full of deep feeling. It is followed by an aria for Peter (" O God, my God, for- sake me not "), which is cast in the same strain of lamen- tation as the orchestral number which precedes and really introduces it. At its close a chorus of angels, sopranos and altos with harp accompaniment (" Remember, remem- ber from whence thou art fallen "), is heard warning Peter, augmented on the introduction of the second subject ("And he that overcometh shall receive a crown of life") by the full chorus. This chorus is followed by a beautiful aria for alto (" The Lord is faithful and righteous to for- give our sins ") ; and then a massive chorus, which is fairly majestic ("Awake, thou that sleepest"), closes the first part. The second part opens with a chorus (" The Son of 340 STANDARD CONCERT GUIDE Man was delivered into the hands of sinful men "), which tells the story of the crucifixion, not only with great power, but also with intense pathos, ending with the chorale "Jesus my Redeemer lives," which invests the sad nar- rative with tender and consolatory feeling. The ascen- sion scene is accompanied by graceful and expressive recitatives for tenor and bass, followed by a tenor arioso (" Go ye and teach "), and a short soprano recitative (" And He lifted up His hands "), leading to the full, melo- dious chorus " If ye then be risen." The next number is an impressive soprano solo (" O Man of God ! "), in which Peter is admonished " to put on the whole armor of God and fight the good fight." A beautifully written quartette ("Feed the flock of God") closes the scene of the ascension. The last scene opens with a tenor solo describing the miracle of Pentecost, set to an extremely vigorous and descriptive accompaniment. It is followed by the chorus "The voice of the Lord," which is one of the most effective in the whole work, though not con- structed in the massive style of those which close the two parts. A contralto recitative links this chorus to its successor (" Behold ! are not all these who speak Gali- leans?"). After a brief soprano recitative Peter has an- other vigorous solo (" Ye men of Judsea "), which is as dramatic in its style and almost as descriptive in its ac- companiment as the opening tenor solo of this scene. A reflective aria for alto (" As for man ") follows it, and bass and tenor recitatives lead up to the eagerly questioning chorus of the people (" Men and brethren "). The an- swer comes from Peter and the Apostles (" For the prom- ise is to you "). An intricate chorus (" This is the witness of God "), closing with a chorale ("Praise to the Father "), leads to the Finale, which comprises the chorus (" Beloved, let us love one another "), written for bass solo, tenors, and basses, the disciples, and full chorus; an effective PAINE 341 duet for soprano and tenor (" Sing unto God ") ; and the final majestic chorus ("Great and marvellous are Thy works "). THE TEMPEST Professor Paine's symphonic poem, "The Tempest," illustrative of Shakspeare's play, was composed in 1876, and first performed in New York by the Thomas Orchestra in 1877. It is written in four connected movements, and the clew to its meaning is sufficiently given in the pro- gramme which the composer has furnished. The first movement, Allegro con fuoco, in D minor, describes the storm ; the second, Adagio tranquillo, in E major, a calm and happy scene before Prospero's cell and Ariel's appear- ance, the motives given out by solo flute, clarinet, and harp, supported by the strings and winds ; the third, Al- legro moderato e maestoso, in C major, Prospero's tale ; and the fourth, Allegro ma non troppo, in D major, the happy love of Ferdinand and Miranda, and an episode with Caliban solo, bassoon, and Ariel, flutes, harps, clari- nets, and strings, closing with the triumph of Prospero's potent art. The work is written in a scholarly manner, and is not only poetically suggestive, but wonderfully rich and clear in its expression. SYMPHONY No. 2, IN A (SPRING). OP. 34 1. INTRODUCTION. ADAGIO SOSTENUTO. (The Departure of Winter.) ALLEGRO MA NON TROPPO. (The Awakening of Nature.) 2. SCHERZO. ALLEGRO. (May Night Fantasy.) 3. ADAGIO. (A Romance of Springtime.) 4. ALLEGRO GIOJOSO. (The Glory of Nature.) The Spring symphony was composed in 1879-80. It is a work characterized by scholarly dignity and purity of style, as well as by the grace and freedom of its musical 342 STANDARD CONCERT GUIDE ideas and their adaptation to the expression of definite programme-music through the medium of brilliant and effective instrumentation. Altogether, it is by far the most important instrumental work yet produced by an American composer. The introduction is clearly typical of the melancholy and frigid desolation of Winter. It begins with a suggest- ive minor theme for the tenors and 'cellos, the contrabass and horn furnishing the background. As the harmony is increased it grows grimmer and more agitated in tone, until a tremolo of the strings makes way for a melody for the clarinet, harbinger of Spring. It is followed by a tempestuous climax. The Winter is going out like a lion. As the storm subsides it gives place to a pianissimo tremolo of the strings leading to a change to the major key. Spring has come. The violins keep up their tremolo, as if filled with anticipations, when suddenly the principal theme is given out by the second violins and 'cellos, soon joined by the violins and clarinets in a bright stream of melody, after which the violins resume their suggestive epi- sode. Fresh motives, clear, cheerful, and buoyant in character, are introduced, with which the winter theme strives in vain contention. Near the close a sweet melody for the violins occurs, and the Allegro ends with the tremolo taken at first fortissimo and gradually dying away. The Scherzo is entitled " May Night Fantasy," and well answers to its name. It opens with a graceful, airy theme, which in its melodious progress, accompanied by the songs of birds and the sounds of animated nature calling from instrument to instrument, is a genuine bit of spring poetry, full of gay color and warm, rich tone. The trio finely contrasts with the tenderness of its cantabile melody. The Adagio is broadly laid out. The principal theme is in sombre color, but poetic in its feeling, and tinged here and there with reminiscences of the winter theme. PAINE 343 It is undoubtedly intended for a reverie, full of restless aspiring and serious introspection. The theme pervades the whole movement, and is enriched by subsidiary phrases from the various instruments of the same general character. The Finale, Allegro giojoso, is a noble and exalted climax to the work, its distinguishing feature being a grand chorale-like theme of thanksgiving expressing the joy of man over the return of Spring and the glory of Nature. The opening theme is bright and exhilarating, and after its full development alternates with the swelling paean of praise, which is exceedingly impressive in its repeated utterances by full orchestra. H. W. PARKER 1863- KING TROJAN 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 Au- burndale, Mass. After a short and graceful introduction, the cantata opens with a solo describing the quiet beauty of a sum- mer night, daintily accompanied by wind instruments and harp. A second voice replies (" O summer night ! "), and then the two join in a vigorous duet (" Oh, fill thou even with light of heaven "). A short solo for a third voice leads to a chorus which gives us a picture of King Trojan's castle gleaming in the moonlight. It is followed by an 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 dramatic in style, describing the mutual longing of the lovers to be together. The second scene opens with a short solo by the page (" Up, up, O King, the horses wait "), followed by the chorus as narrator, describing the ride of the King and his companion through the greenwood, with which is inter- woven Trojan's solo ("How sweet and cool is yet the HORATIO \V. PARKER H. W. PARKER 345 night ! "). In the next number, a vivacious allegro, the story of the ride is continued by the chorus, with a charac- teristic accompaniment, and again Trojan sings a charming tribute to the summer night, which is followed by respon- sive 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 passion- ate bit of recitative (" Now swift, ye horses ") by Trojan reveals the secret of the King's haste. He is King of the night, and the morning ray will be fatal to him. A short choral number (" And forward fly they ") brings the first part to a close with the arrival of the riders at the Queen's castle. The second part opens with a beautiful solo, quartette, and chorus (" Good -night, the lindens whisper"), which describes the meeting of the lovers, white " Beneath the lofty castle gate Slumbers the page who so long must wait. Then crows the cock, the hour is late." At this note of warning the page appeals to his master to fly, for the sunlight will bring him pain and harm. The dallying King replies, " Hark ! how the nightingale yet sings." A small chorus intervenes with the warning " Love is so fleeting, night is so fair." The Queen ap- peals 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 chorale 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 chorale passage, with harp accompaniment, brings this very dramatic and fanciful composition to a close. 346 STANDARD CONCERT GUIDE HORA NOVISSIMA " Hora Novissima," the music by Horatio W. Parker, text arranged by Mrs. Parker, mother of the composer, was first performed by the Church Choral Society of New York in 1893, and has been often given since that time both in the United States and in England, in the latter country at the Worcester Festival of 1899, and by the Royal Choral Society of London in 1901. As a choral and orchestral setting it is one of the most interesting as it is one of the most ambitious works by an American composer. The original Latin text, comprising three thousand lines upon the subject " De contemptu mundi," was written in the twelfth century by Bernard of Morlaix, a monk in the Abbey of Cluny, and from these Professor Parker has se- lected the stanzas which form the climax of the " Rhythm," as the poem is called, and picture a vision of the New Jerusalem. These thirty-five verses, of six lines each, present metrical difficulties, besides a constant uniformity in character, but the composer has overcome them with great technical skill. Of the eleven numbers, four are for solo voices. The remaining choral parts are written in plain, strong harmony, and are massive in construction. The opening chorus (Hora novissima), " Cometh earth's latest hour," is preceded by a long introduction which gives out many of the themes of the work, broadly and freely treated. This is followed by the quartette (Hie breve vivitur), " Here life is quickly gone," which begins contrapuntally, develops into solid, effective harmony, and closes with a beautiful cadenza. No. 3 is a bass solo (Spe modo vivitur), "Zion is captive yet," flowing in style and worked up with great rhythmical skill. No. 4 (Pars mea, rex meus), "Most mighty, most holy," is a chorus with introduction and fugue, which reaches a very H. W. PARKER 347 vigorous climax. It is followed by the melodious soprano aria (O bone patria), " O country, bright and fair." The solo, quartette, and chorus (Tu sine littore), "Thou ocean without shore," constructed of material from the opening number, closes the first part. The second part opens with a tenor solo (Urbs Syon aurea), " Golden Jerusalem," most elaborately accompa- nied, which is followed by a rapid, jubilant, and massively constructed double chorus (Slant Syon atria), "There stand those halls." No. 9, a contralto solo (Gens duce splendida), "People victorious," is usually the most pop- ular number in the work. It is followed by an a cnpella chorus (Urbs Syon unica), " City of high renown," a fugue unaccompanied and in strict style, and the work comes to a close with a powerful quartette and chorus (Urbs Syon inclyta), "Thou city great and high," in which the com- poser gathers up his chief themes and weaves them to- gether fugally in a compactly and artistically finished whole. The musical work throughout is noble, dignified, and schol- arly, and is a fitting setting for the text of the poem which has long been assigned by scholars to the same high rank as the " Stabat Mater " and " Dies Irae." J. C. D. PARKER 1828- REDEMPTION HYMN " ' V HE Redemption Hymn," for alto solo and chorus, JL 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 Gary-Raymond taking the solo. The words are taken from Isaiah li : 911. The work opens with a brief but spirited orches- tral introduction, which leads to an exultant chorus ("Awake, O arm of the Lord!"), changing to a well- written fugue in the middle part ("Art thou not it?"), and returning to the first theme in the close. The next number is an effective alto solo ("Art thou not it which hath dried the sea?") alternating with chorus. It is fol- lowed by a slow movement for alto solo and chorus ("Therefore the redeemed of the Lord shall return"), which closes gracefully and tenderly on the words, "Sorrow and mourning shall flee away." JAMES C. D. PARKER PARRY 1848- THE VISION OF LIFE SIR HUBERT PARRY'S cantata, or symphonic poem, as he calls it, " The Vision of Life," was first pro- duced at the Cardiff Festival, September 27, 1907, and both by its beauty and the scholarly character of the work is likely to find its way, in whole or in part, to the concert- room. It is built upon a poem presenting the landmarks of history, beginning with the primeval conditions of savagery. Then follow in quick succession Greek civiliza- tion and the worship of beauty ; the ideals of Roman power and grandeur; the rise of Christianity; the warring of sects ; the French Revolution ; and finally the section " Dimly the certainties waken the hearts of men." The subject, as will be seen, is one of great dignity, and the composer has given it a dignified musical setting. The score of the new work has not yet reached America at the time this volume is ready for the press (1908), but the music is spoken of by authoritative English critics as char- acterized by richness, spontaneity, and genius of invention, and the treatment of the vocal and instrumental forces as very interesting, while the thematic development is un- usually perfect. The solo portions are divided between "A Dreamer," bass, and "The Spirit of the Vision," soprano. The most noticeable numbers are the chorus "To us is the glory of beauty revealed;" the imperial chorus referring to the decline of Rome ; the furious 350 STANDARD CONCERT GUIDE chorus (" Red is the wild revenge ") referring to the French Revolution ; the meditative solo for soprano (" So near to perfect joy and peace ") ; an intonation of ecclesiastical music for male chorus ; and the climax at the close (" We praise the men of the days long gone "). SIR CHARLES H. H. PARRY RAFF 1822-1882 SYMPHONY No. 3, IN F MAJOR (!M WALDE). Op. 153 1. ALLEGRO. (Am Tage Eindriicke und Empfindungen. "Day- time. Impressions and Sensations.") 2. LARGO. (In der Dammerung. a. Traumerei. />. Tanz der Dryaden. " Twilight. Reverie. Dance of the Wood- nymphs.") 3. ALLEGRO. (Nacht. Stilles Weben der Nacht im Walde. Ein- zug und Auszug der Wilden Jagd mit Frau Holle und Wotan. Anbruch des Tages. "Night The Quiet Mur- mur of Night in the Forest. Arrival and Departure of the Wild Hunt with Dame Holle and Wotan. Break of Day.") THE mottoes of the symphony in F major clearly enough express its meaning. It is a picture of day- time, twilight, and night in the woods. The first two movements are suggestive. The third attempts actual de- scription, and with remarkable success. The first move- ment bears the title " Impressions and Sensations," reminding one of Beethoven's guide in the Pastoral sym- phony : " Expressive of feeling rather than painting." It begins with an introductory call from the horns, followed by the strings, pastoral and mysterious in its effect, and throwing out hints of the subsequent theme-material of the movement. The first theme is given out by the strings, followed by a new phrase for strings and wind in- struments, and leading up by ingenious modulations to a long second theme, which after full statement is partially repeated by the horns, with accompaniment of violins. A new figure follows for the bassoons, with the development 352 STANDARD CONCERT GUIDE of which the first part of the movement comes to a close. In the further treatment of the thematic material frequent use is made of the horn signal in the Introduction. This and a fresh phrase for the violins, used as accompaniment, play an important part in the elaboration. All the themes pass in review, the beautiful second entire, and the coda brings to its close this charming picture of the quiet sur- prises of woodland in an autumn day. The second movement, entitled "Twilight," consists of two parts, " Reverie " and " Dance of the Wood-nymphs," the first Largo and the second corresponding to the Scherzo and trio of the orthodox form. After a short introduction the Largo begins with a beautiful and sug- gestive melody the reverie of the dreamer. After a short episode it is repeated, this time by the first horn and violas, with the remaining horns, violins, and 'cellos ac- companying, an effect which is not only thoroughly in keeping with the character of the dream-picture itself, but admirable from an artistic point of view. After another episode the theme returns twice, the first time with heightened pastoral effect, and the second time in much the same manner as when originally given out. The Scherzo opens with a lively passage for the flutes, and the trio starts off on the strings. It is in reality a dance movement, the dance of the dryads, but before its close the reverie motive of the Largo appears, and thus unifies the movement and completes the picture of the dreamer and his reverie intruded upon by the dancing wood-nymphs. In the final movement the mythologies are somewhat mixed. The graceful dryads disappear in the twilight. Night comes on, and the grim spectres of the Northern sagas make their appearance, rising from the caverns of the earth and joining in the Wild Hunt in the air, sad presage of coming death to the unfortunate spectator at RAFF 353 the diabolical scene. Darkness has overspread the forest, and the opening theme, with its fugal treatment and fre- quent repetitions, is typical of the stillness of night. That stillness is soon broken. In marked rhythm the strings and clarinets, supported by the 'cellos and bassoons, an- nounce the approach of the Wild Hunt and its unearthly saturnalia. It is needless to follow the musical devices which the composer employs to produce his effect. There is no mistaking the meaning of this orgy. The same theme which announced the tramp of the hellish crew tells us they have passed by. Once more the " Stillness of Night " theme returns, but, like Emerson's " Brahma," they " turn and pass and come again." The horrible uproar is re- sumed ; but at last they disappear, and stillness settles down once more, not to be disturbed again until a theme from the first movement appears. It is the dawn of breaking day, and from this we pass on into the sunrise. SYMPHONY No. 5 (LENORE). OP. 177 1. ALLEGRO. ANDANTE QUASI LARGHETTO. (Liebesgliick. " Happiness in Love.") 2. MARCH TEMPO. (Trennung. "Separation.") 3. ALLEGRO. (VViedervereinegung. "Reunion in Death." In- troduction and Ballad after Burger's " Lenore.") The " Lenore " is confessedly the best of Raffs sym- phonic works. It is written in illustration of Burger's grew- some ballad, although it is only the third movement that is so marked by the composer. In the ballad itself the maiden Lenore mourns for her lover William, who has gone to the wars and from whom she has received no tidings, although peace has been declared. Hearing nothing of him from his returning comrades, she becomes frenzied, and blas- phemes. In the night, however, there is a knock at her door. It is her lover, who informs her that he must bear her away a hundred leagues to their bridal chamber. She 354 STANDARD CONCERT GUIDE mounts his steed behind him, and away they fly through the darkness. They meet with many grim encounters on the ride. A train of mourners bearing a corpse to the grave forsake it and join in the ghastly ride. Spectres dancing about a gibbet also fall in. At last, as day dawns they rush through a gate into a cemetery, William dis- closes himself to her as a skeleton, and the unfortunate Lenore at lasts finds relief from her sorrows. The symphony is divided into three parts, the first of which, " Happiness in Love," consists of two movements corresponding to the first Allegro and Adagio of the usual symphonic form. They are entitled Allegro and Andante quasi larghetto. The two principal themes of the Allegro are simply expressions of happy, passionate scenes between the two lovers. In the third melody tenderness and long- ing speak out, which change to anxiety and foreboding in the development of this section of the movement. The second part of the movement is a delightful representation of the discourse of the lovers, in which it is not difficult to imagine William listening to the anxious expressions of Le- nore and seeking to quiet her and allay her apprehensions. The second movement is in march form, for war has broken out, and the lover must take his departure. The fascinating march is so familiar by its frequent perform- ance that it hardly needs more than mere reference. It is interrupted by an episode of an agitated character, which graphically depicts the parting of the lovers and Lenore's grief and despair. Then the march is resumed, and dies away in the distance as the movement comes to a close. The final movement is the one which the composer has indicated as being after Burger's ballad, to which the other two are introductory. It opens with a plaintive theme given out by the strings, suggestive of Lenore mourning for her lover as she wakes from troubled dreams. Then JOACHIM RAFF RAFF 355 follows an intimation of her fate in a brief phrase for the trombones. The trio of the march tells the story of her despair, for the army has returned without her lover. Her blasphemy and the remonstrances of her mother are clearly indicated. The recurrence of the first theme leads up to a rhythmical figure for the viola, representing the tramp of the steed bearing the spectre bridegroom. The bell tinkles softly, and Lenore descends to meet her lover. Then the 'cellos take up the figure, retaining it to the close. The terrible ride begins. The bassoons and oboes carry on the dialogue between the spectre and his bride. One after another the constantly intensified and impetuous music pictures the scenes of the ride, the 'cellos and other strings keeping up their figure. A gloomy dirge tells us of the funeral train, and a weird theme in triple time of the spectres' dance about the gibbet, accompanied by wild cries of the night birds. More and more furious grows the ride until the graveyard is reached, when, after a moment of silence following the transformation, a choral strain is heard, with a sad and tender accompaniment. The wretched maiden has at last found rest. SYMPHONY No. 8, IN A (FRUHUNGSKLANGE). OP. 205 1. ALLEGRO. (" Nature's Awakening.") 2. WALPURGIS NACHT. 3. LARGHETTO. (" First Blossoms of Spring.") 4. ALLEGRO. (" The Joys of Wandering.") The symphony No. 8, in A, is entitled "Friihlings- klange " ("Sounds of Spring") and is the first of a series of four, the other three being " Im Sommerzeit " (" In Summer Time"), " Zur Herbstzeit " ("In Autumn"), and "Im Winter " (" In Winter"). The first movement, Allegro, begins with a long introduction intended to de- pict the quiet of Nature before the awakening from her 356 STANDARD CONCERT GUIDE winter sleep. It opens with long-drawn pianissimo chords given out by the string orchestra, with bassoons, to which the first horn imparts warmth and vitality with the opening tones of the first subject. The oboe, and after a few measures the flute, take up the theme with increasing life ; and at last the violins give decided animation to the movement, followed by the wood winds, which furnish bright and cheerful color. The call of the various instru- ments is answered by the full orchestra, which announces the theme entire, and with it the full awakening of Nature and her freedom from the sombre influences of winter. A charming pastoral episode leads up to the second theme, a spring song for the violins, followed by a free canon for the strings, resolving into a coda for the new subject. The development of the two themes then occurs in the usual form, and the reprise closes with a jubilant outburst suggestive of a chorus of praise. The second movement, " Walpurgis Night," brings us into Mendelssohn's world of fancy, but not with his light and airy step. It is weird and grotesque, instead of fanci- ful. Witches take the place of elves. They enter quietly at first, but as their numbers increase, with suggestions of the Wild Hunt, a supernaturalism of which Raff is very fond, they march on to their May orgies amid a din of trumpets, trombones, and horns, filling the air with horrid sounds sufficient to scare away all the spring nymphs and dryads. Their song accompanies a wild and furious tar- antella as they perform their sacrifice. Then comes a sudden alarm ; and the ghostly celebrants disperse, for the dawn is approaching. The third movement, Larghetto, brings welcome relief after all this blare and din. It is entitled "The First Blossoms of Spring," and opens with a suave and tender melody, most poetically orchestrated, and treated with unusual refinement to the end. The second theme is RAFF 357 equally pretty and sentimental, and enhances the graceful and spring-like effect of the movement. The theme is in- toned by the violins with a pizzicato accompaniment by the 'cellos, which in turn take up a fresh, melodious phrase, the violins carrying the accompaniment in graceful semi-quavers. In the close there is an effective imitation of a bell, produced by the flutes in combination with the pizzicato of the second violins. The fourth movement, "The Joys of Wandering," is characterized by a resumption of the clamor and noisy resonance of the first two. Spring, with its blossoms and songs of birds, is evidently left behind, and the wanderer is out in the world seeking freedom and happiness. The symphony closes with a long coda in which the brass in- struments dominate. Though very pleasing by its variety in effects and realistic color, it has not made such an im- pression as the " Lenore " or " Im Walde," his earlier works ; but of the series to which it belongs, it is unques- tionably the most popular. RANDEGGER 1832- FRIDOLIN , or the Message to the Forge " was writ- ten for the Birmingham Triennial Musical Festival of 1873. The words, by Mme. Erminia Rudersdorff, are founded on Schiller's ballad, " Der Gang nach dem Eisen- hammer." The dramatis persona 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. A short but stirring prelude introduces the declamatory prologue-chorus (" A pious youth was Fridolin"). The cantata proper opens with a recitative by Fridolin (" Aris- ing from the lap of star-clad night "), leading up to the quiet, dreamy air, " None but holy, lofty thoughts." It is followed by a bass scena for Hubert (" Proceed, thou hateful minion, on thy path") which opens in an agitated manner, but grows more reposeful and tender in style as the subject changes in the passage " For one kind glance from out those eyes divine." Again the scene 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 graphic and spirited hunting-chorus (" Hark ! the morn awakes the horn "), introduced and accompanied by the horns, and full of breezy, out-door ALHERTO RANUEGGER RANDEGGER 359 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 dramatic duet (" Death and destruction fall upon his head "). In striking contrast with these stormy numbers comes the charming, graceful chorus of the hand- maidens (" Calmly flow the equal hours "), followed by an 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 quartette for the four principal parts ("Now know I, Hubert, thou speakest true "). The ninth scene is admirably constructed. It opens with an animated and picturesque dance and chorus of villagers ("Song is resounding, dancers are bounding"), which swings along in graceful rhythm until it is inter- rupted 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 dramatic scene with the Countess (" My VValdemar, how erred thine Eg- lantine?"). 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 com- poser has produced the effect of clanging anvils, roaring fire, and hissing sparks, with wonderful realism. The 360 STANDARD CONCERT GUIDE chorus closes with passages describing the providential rescue of Fridolin and the fate of Hubert, and an Andante religiose ("Let your voices anthems raise"). The epi- logue is mainly choral, and ends this very dramatic work in broad, flowing harmonies. RHEINBERGER 1837- TOGGENBURG " npOGGENBURG," a cycle of ballads, was written in JL 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 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 quartette and chorus (" Ah ! huntsman, who gave thee the diamond ring?"), is 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 him welcome. The next number is a female chorus (" On mossy bed her gen- tle form reposes "), very slow in its movement and plain- tive 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 362 STANDARD CONCERT GUIDE (" Toggenburg all is in mourning array "), funereal in style, ends the mournful story. 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. SYMPHONY No. i (WALLENSTEIN). OP. 10 1. VORSPIEL. 2. ADAGIO. ("Thekla.") 3. SCHERZO. Poco PIU MODERATO. (" Wallenstein's Camp. The Friar's Admonition.") 4. FINALE. (" Wallenstein's Death.") The great hero of the Thirty Years' War has been cele- brated by Schiller in two of his dramas, " The Piccolo- mini " and " The Death of Wallenstein." The former is introduced by a one-act prologue entitled " The Camp of Wallenstein." The composer has selected episodes from this trilogy for musical illustration. Thus in the Vorspiel, or prelude, he undertakes a sketch of the great soldier him- self ; the Adagio brings before us a picture of the devoted Thekla ; the Scherzo is based upon the prologue already mentioned ; and the Finale delineates the close of the tragical story. The opening movement, an Allegro, entitled " Vorspiel," in its animated principal theme sketches the hero con- scious of his strength, full of ambition, and dominating the camp. Other themes more tender in character follow, evidently suggestive of his relations to Max and Thekla, the devoted but sorrowful princess of Friedland. Short and sombre motives occur, foreshadowing the impending doom of the hero. The Vorspiel plays the same part for the symphony that the overture does for the opera. It JOSEPH RHEINBERCER RHEINBERGER 363 sketches its scenes and sentiment, and its themes reappear in the other three movements. The Adagio, entitled "Thekla," is a character-sketch, opening with a first theme of extraordinary beauty. The second theme, given out by the wind instruments, accom- panied by the violins, is tender and plaintive in character, and is evidently intended for a picture of Wallenstein's daughter. A short episode follows, touching upon her love for Max, and the movement closes with a delineation of the unrest which ever after follows the unfortunate maiden. The third movement, Scherzo, " Wallenstein's Camp," opens with a theme full of gaiety and abandon, given out by the violins, followed by several shorter themes and episodes intended as pictures of the wild scenes among the Croats, Uhlans, Yagers, Cuirassiers, and camp-followers of Wallen- stein. After the development of this material the principal subject returns and leads up to a new theme, an old Netherlandish troopers' song, called " William of Nassau," which was a great favorite in the time of the Reformation. After its development, which is accomplished in an effec- tive manner, the Trio, poco piii moderato, called "The Friar's Admonition," which in the prologue is a scene for a Capuchin who enters amid the general revelry and hurls his maledictions at Wallenstein, begins with a phrase in mock ecclesiastical style, leading up to the principal theme, to which subsidiary phrases respond, evidently sug- gestive of the soldiers' taunts and menaces. After the de- velopment of these episodes the violins give out a light, vivacious melody in dance tempo. At the close of the trio the Scherzo is repeated. The Finale, " Wallenstein's Death," opens with a short prologue foreshadowing in sombre tones the coming trag- edy. The movement really begins with an Allegro vivace which recalls martial surroundings. The hero wanders in 364 STANDARD CONCERT GUIDE dreams, and the music delineates his visions. He awakes, and again it paints the bustle of camp-life, then changing to an Adagio, as the hero slumbers again. Thus the music alternates between the spirited scenes of the camp and Wallenstein's dream-fantasie, until the trumpets and trom- bones, in wild dissonances, accompanied by a general out- burst from the whole orchestra, announce the catastrophe. ROMBERG 1767-1821 LAY OF THE BELL THE "Lay of the Bell" was composed in 1808, the music being set to Schiller's famous poem of the same name, whose stately measures are well adapted to musical treatment. It opens with a bass solo by the Mas- ter, urging on the workmen (" In the earth right firmly planted"). 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 re- sponses is the chorus (" What in the earth profoundly hidden "), a smoothly flowing number followed by a soprano solo ("For with a burst of joyous clangor"), a pleasantly rippling melody picturing the joys of childhood, and a spirited tenor solo ("The youth, girl-playmates proudly leaving ") indicating the dawn of the tender passion which broadens out into love, as the two voices join in a charming duet ("Oh, 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 366 STANDARD CONCERT GUIDE homely joys of domestic life. The male chorus thereupon takes up the story in a joyful strain (" And the good man with cheerful eye "), and tells us of the prosperity of the happy pair and the good man's boast (" Firm as the solid earth "), to which comes the ominous response of the female chorus ("Yet none may with Fate supernal"). The Master now gives the signal to release the metal into the mould, whereupon follows a stirring and picturesque chorus ("Right helpful is the might of fire") describing the terrors of fire, the wild alarm, the fright and confu- sion of the people, the clanging bells and crackling flames, and the final destruction of the homestead, closing the first part. The second part opens with the anxious orders of the Master to cease from work and await the result of the casting. The chorus takes up a slow and stately measure ("To mother earth our work committing") which closes in a mournful Finale describing the passing funeral train, followed by a pathetic soprano solo which tells the sad story of the death of the good man's wife, while "to the orphaned home a stranger comes unloving rule to bear." The scene now changes from a desolate to a happy home as the Master bids the workmen seek their pleasure while the bell is cooling. A soprano solo takes up a cheery strain ("Wends the weary wanderer"), picturing the harvest home, the dance of the youthful reapers, and the joys of evening by the fireside, followed by a tribute to patriotism, sung by tenor and bass, the pleasant scene closing with an exultant full chorus (" Thou- sand 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 ROMBERG 367 complete and successful, and in the true spirit of German Gemiithlichkeit the Master summons his workmen (" Let us, comrades, round her pressing"). The cantata closes with a last invocation on the part of the Master, followed by a jubilant chorus (" She is moving, she is moving"). ROSSINI 1792-1868 STABAT MATER THE " Stabat Mater" was written in 1832, but was not sung in public until January 7, 1842, when Grisi, Albertazzi, Mario, and Tamburini took the principal parts. A brief but brilliant orchestral prelude leads to the opening chorus (" Stabat Mater dolorosa "), arranged for solos and chorus, and very dramatic in style, especially in its broad, melodious contrasts. It is followed by the tenor solo, " Cujus animam," which is familiar to every concert-goer, a clear-cut melody free of embellishment, but brilliant and even jubilant in character, considering the nature of the text. The next number (" Quis est homo "), for two sopranos, is equally familiar. It is based upon a lovely melody, first given out by the first soprano, and then by the second, after which the two voices carry the theme through measure after measure of mere vocal embroidery, closing with an extremely brilliant cadenza in genuine operatic style. The fourth number is the bass aria ("Pro peccatis "), the two themes in which are very earnest and even serious in character, and come nearer to the church style than any other parts of the work. It is followed by a beautifully constructed number (" Eia Mater "), a bass recitative with chorus. The sixth number is a lovely quartette (" Sancta Mater"), full of variety in its treatment, and closing with full, broad harmony. After a short solo for soprano (" Fac ut portem "), the climax is GIOACHINO ROSSINI ROSSINI 369 reached in the " Inflammatus," a brilliant soprano ob- ligate with powerful choral accompaniment. The solo number requires a voice of exceptional range, power, and flexibility ; with this condition satisfied, the effect is intensely dramatic, and particularly fascinating by the manner in which the solo is set off against the choral background. A beautiful unaccompanied quartette in broad, plain harmony ("Quando corpus"), leads to the showy fugued " Amen " which closes the work. RUBINSTEIN 1830-1894 THE TOWER OF BABEL " / "T"^HE Tower of Babel," a sacred opera, as Rubin- X stein entitles it, was written in 1870, the text, which is somewhat of a travesty on sacred history, by Julius Rodenberg. The anachronisms are numerous enough to make the text almost a burlesque. Nimrod, the mighty hunter, is made the chief builder of the tower, which is sup- posed to be in process of erection as an insult to the Deity. Abraham appears upon the scene many years before he was born, and rebukes Nimrod for his presumption ; whereupon the hunter-king orders " the shepherd," as he is called, to be thrown into a fiery furnace, after the man- ner of Shadrach, Meshach, and Abednego. The angels watch over the patriarch, and he comes out of the fire un- harmed. Some of the people standing by ascribe the mir- acle to Baal, some to Dagon, some to Ashtaroth, and a few to Jehovah, and at last get into a quarrel with each other. Nimrod interposes his authority, and orders them to their work on the tower again. Soon the heavens cloud over, and a storm is seen approaching. Abraham prophesies destruction, and Nimrod orders him to be seized and hurled from the summit of the tower; but before his commands can be executed, a thunderbolt strikes it and crumbles it into a heap of shapeless stones. While Abra- ham exults over the destruction, the dispersion of the three races, the Shemites, Karaites, and Japthides, occurs. Nimrod laments over the result of his folly, and at last RUBINSTEIN 371 acknowledges the authority of the Divine Power, and thus the story ends. The dramatis persona are Nimrod, bass ; Abraham, tenor ; Master Workman, barytone ; four angels, boys' voices ; the choruses by Nimrod's followers ; the people, angels, and demons. The overture is a confused, form- less number, indicating the darkness. In the beginning there is no clear musical idea ; but at last the subject as- sumes definite form as the dawn breaks and the Master Workman announces the sunrise and calls the people to their work, in the recitative (" Awake ! ye workers, awake ! "). The summons is followed by the chorus ("To work "), in which the vocal part is noisy, broken, and somewhat discordant, representing the hurry and bustle of a crowd of working-men, with which, however, the or- chestra and organ build up a powerful theme. The song of the Master Workman is also interwoven, and the cho- rus is finally developed with great vigor and splendid dramatic effect. Nimrod now appears, and in a triumph- ant outburst (" Stately rises our work on high ") contem- plates the monument to his greatness now approaching completion. Abraham rebukes him (" How, mortal, canst thou reach His presence ? "). The scene at this point is full of dramatic vigor. Nimrod hurls imprecations at Abraham, followed by strongly contrasting choruses of the angry people and protecting angels, which lead up to the mixed chorus of the people, indicating the confusion of tongues as they severally ascribe the escape of Abra- ham from the furnace-fire to Baal, Dagon, Ashtaroth, and Jehovah, and closing with tumultuous dissension, which is quelled by Nimrod. The effect of the angels' voices in the hurly-burly is exceedingly beautiful, and the accom- paniments, particularly those of the fire scene, are very vivid. Nimrod's order to resume work on the tower is followed by the angelic strain (" Come on 1 let us down 372 STANDARD CONCERT GUIDE to earth now hasten"). Once more the builders break out in their barbaric chorus ("To work"), followed by the portentous outburst of the people (" How the face of heaven is o'ershadowed ! "). In a vigorous solo Abra- ham replies (" No ! 't is not vapor nor storm-clouds that gather"). There is a final controversy between Abraham and Nimrod, and as the latter orders the patriarch to be thrown from the tower, the storm breaks, and amid the shrieks of the chorus (" Horror ! horror ! ") and the tre- mendous clangor of organ and orchestra on the theme already developed in the opening, the tower is destroyed. The tumultuous scene is followed by Nimrod's lament (" The tower whose lofty height was like my state "), a bass aria of great power, and reaching a splendid climax. Abraham, in an exultant strain (" The Lord is strong in might "), proclaims God's purpose to scatter the people. The most picturesque scene in the work now occurs, the dispersal of the Shemites, Hamites, and Japthides, typified by orchestral marches and choruses of a barbaric cast. The first chorus, that of the Shemites, which is sung in unison, is taken from some of the ancient music in the ritual of the Jewish Synagogue, used on the eve of the Day of Atonement. The other two choruses are also' oriental in color and rhythm, and give a striking effect to this part of the work. The chorus of angels (" Thus by almighty power of God ") proclaims the completion of the work, and two long solos by Abraham and Nimrod lead up to the final choruses of the angels, people, and demons, worked up in powerful style, and in the Finale uniting the themes which originally introduced the chorus of the people and the angels, and the subject of the darkness in the overture. RUBINSTEIN 373 PARADISE LOST The oratorio " Paradise Lost " was first produced in Vienna, in 1859, by the Gesellschaft der Musikfreunde, a choral organization conducted by Rubinstein during his stay in that city. Like " The Tower of Babel," it is en- titled by the composer " a sacred opera," though it is in genuine oratorio form, and usually classed as such. The text is a free transcription from Milton. The work is divided into three parts ; but as the second is usually the only part given by oratorio societies, our sketch will be prin- cipally confined to that. The first part mainly concerns the defeat of Satan's forces by the legions of heaven, and is remarkable for its vigorous instrumental treatment. The second part is devoted to the creation, and is com- posed principally of choruses introduced by a few bars of recitative, invariably for the tenor, who acts the part of narrator. The first seven of these describe the crea- tion of the earth. After a characteristic introduction, the tenor declares, " Chaos, be ended ! " whereupon the an- gels sing a glowing tribute to light (" Upspringing, the darkened air broke forth into radiant brightness "). Again the tenor and chorus in a brief number describe the firma- ment. The third chorus (" Fierce raged the billows ") pictures the division of land and water with great vigor, accompanied by imitative instrumentation which indicates Rubinstein's skill as a water-painter quite as clearly as his great Ocean symphony. In the fourth and fifth choruses the music vividly tells the story of the creation of the trees and plants and the appearance of the stars in the firma- ment. The sixth (" Gently beaming, softly streaming"), in which the angels rejoice in the soft radiance of the moon, is short, but exceedingly tender and beautiful. In the seventh (" All around rose the sound of the strife of life") we have a description of the awakening of life, 374 STANDARD CONCERT GUIDE characterized by extraordinary descriptive power. This group of choruses, each one thoroughly fresh, original, and picturesque in its description, brings us up to the creation of man, which is the finest portion of the whole work. It begins with a long tenor recitative (" In all her majesty shines on high the heaven "), reaching a fine crescendo at the close (" And lo ! it was man "). The angels reply with their heavenly greeting (" Hail to thee, O man ! "). A short dialogue follows between Adam and the narrator, and the angels renew their greeting, this time to Eve. This leads up to a lovely duet between Adam and Eve ("Teach us then to come before Thee"), which is gracefully constructed, and tenderly melodious in character. The final number is a chorus of the angels (" Clear resounded the trumpets of heaven "), beginning in broad, flowing, jubilant harmony, then developing into a fugue on the words " Praise the Almighty One," built up on a subject full of exultation and grandeur, and clos- ing with a " Hallelujah " delivered with mighty outbursts of power. The third part is devoted to the fall of Adam and Eve and their banishment from Eden, closing with the an- nouncement of the ultimate salvation of mankind. Both the Almighty and Satan appear in this part, the former's music being sung by the tenor voice ; though, curiously enough, the latter's music is much the more attractive. SYMPHONY No. 2, m C MAJOR (OCEAN). Op. 42 1. ALLEGRO MAESTOSO. 4. FINALE. ALLEGRO CON FUOCO. 2. ADAGIO NON TANTO. 5. ADAGIO. (SUPPLEMENTARY.) 3. SCHERZO. 6. SCHERZO. (SUPPLEMENTARY.) The Ocean symphony, written in 1868, is dedicated to Franz Liszt, the founder of the programme-music of the new school. Although generally considered that it has no ANTON RUBINSTEIN RUBINSTEIN 375 definitely pronounced character of tone-painting, the writer has it from the lips of the composer that the headings for the different movements, if he had wanted to make use of them, would have been somewhat like this : First move- ment, wind and water ; Adagio, an evening on the ocean ; Scherzo, dance of Tritons and Naiads ; while the idea of a triumphal procession of Neptune and his attendants underlies the Finale. With the supplementary numbers five and six the composer laughingly remarked, " I am trying to get on dry land again." As they are not likely to be performed in connection with the symphony, it is not necessary to consider them. The opening movement, an Allegro maestoso in C major, begins with the chord of the tonic, in a tremolo piano for two measures, above which rises in the third measure a figure in the flutes which sounds like the springing up of a gentle breeze. Later on, this airy triplet figure is offset by a motive for the violins, which, by its even motion of quarter notes and the rise and fall of its melody, seems to portray the slow rolling of the mighty waves. But al- though such outward signs are obvious, we cannot call this music " programme-music " in the sense that Liszt used the thematic treatment in his symphonic poems. It is rather the appropriate expression of an artistic temperament fully imbued with the grandeur and beauty of Nature, in this cnse the ocean, and foregoing every temptation to draw on t'.ie resources of mechanical dexterity to astonish or coax the public. The symphony breathes the spirit of Bee- thoven ; and the melodic richness and poetic treatment of the separate episodes, broadening into solemn grandeur as the movement proceeds, place Rubinstein in the front rank of the later symphonists. The Adagio non tanto, in E minor, common time, has for its leading theme a sombre and pathetic melody. Night has spread over the water, and the starry heavens 37 6 STANDARD CONCERT GUIDE span the billowy deep ; but in the music human interest predominates in this solitude of Nature. It is the con- templative dreaming of the man, the yearning of the human heart for the mystery shrouded from mortal vision by the vast expanse, the almost agonized cry for the solu- tion of the riddle of life, while trying to pierce the impenetrable void between the glittering canopy of night and its dark-faced mirror. The questioning step of the major fourth, D, E flat, A ; the long-sounding call of the horn through the still night ; and the ever-rippling motion in the accompaniment, are expressions of the poetic nature of the composer through a medium as natural to him as human speech. The third movement, or Scherzo, is an Allegro in | time, in G major, and displays the rollicking sport of the sea-people. The ponderous gyrations of the basses at the opening may represent the sports of Tritons or sailors. The accompaniment is full of original force and humor, often broad, and at times unrestrained, and displaying a certain barbaric trait in the composer. Frequent hearing or thorough study, however, will reveal a dexterity in the handling of the profuse material scattered throughout the movement not often found in Rubinstein. The Finale, Allegro con fuoco, in the step of the third in the first motive, has the germ of pompous festivity, which, although relieved by strains of a quieter character, domi- nates the whole movement, and reaches its climax in a grand chorale. The trombones carry the noble hymn through the agitation of roaring waves, which storm against it in the rushing figures of the violins, and bring this grand ocean poem to an imposing and befitting close. RUBINSTEIN 377 SYMPHONY No. 4, IN D MINOR (DRAMATIC). Op. 95 1. LENTO. ALLEGRO MODERATO. 2. PRESTO. ALLEGRO MA NOW TROPPO. 3. ADAGIO. 4. LARGO. ALLEGRO CON FUOCO. The Dramatic symphony, next to the " Ocean " the greatest of Rubinstein's works of this kind, was written in 1875, and first produced at a concert given by the St. Petersburg Conservatory in that year. It is written for full orchestra, thus placing the most complete resources in the hands of the composer ; and in technical skill, boldness of treatment, and largeness of conception is a master- piece of musical art. It illustrates no particular pro- gramme, like the " Ocean," but is evidently intended to impress the emotions of the hearer through the agency of music in the same manner as the hearer would be in- fluenced by the progress of a drama. To accomplish this the composer has given free rein to his fancy and moods, and uses strange, melodic forms, eccentric rhythms, and unusual changes of tempo ad libitum. The first movement, Lento, developing to Allegro moderate, is essentially tragic in its style, though its themes are simple, despite their elaborate treatment and its intrinsic difficulties. The introduction, Lento, opens with a theme given out by the bass strings in unison. It is subjected to an ingenious variety of treatment, passing from instrument to instrument and repeated in many com- binations, finally leading up to the Allegro moderato, or real opening of the movement. It begins with a theme which is developed in a truly dramatic manner, speaking out in interjectory phrases, fragmentary episodes, and even sharp dissonances, rather than in a smooth, flowing ex- pression of musical thought, and leading up to a short prelude consisting of a gentle strain sung by the clarinet, 378 STANDARD CONCERT GUIDE with accompaniment by the strings and introducing the second theme, a stately melody given out by the horns and bassoons and answered by the strings, a struggle, as it were, between hope and doubt. These two themes are skilfully combined with other matter, and prepare the way for the introduction of still another broad and heroic theme, which closes the first part of the movement. The development of the remainder of the movement is mas- terly. There are allusions to all the themes. Sometimes they appear in sharp conflict, and again are involved with fresh thematic ideas. As the movement draws to its close, startling dissonances and complicated chromatic passages occur, but they finally resolve themselves, and the principal themes are asserted with unmistakable force and expres- sion, continually increasing in energy to the end. The second movement, Presto, begins with short, sharp signals and intervening pauses, introducing a furious but rhythmical theme which dominates the whole movement. In the Moderate assai a violin solo of a grotesque charac- ter occurs. This and other episodes of a somewhat ec- centric character give variety to the first part. The furious Presto soon returns to give place to a delicate and pleasing trio based upon two principal subjects, accom- panied by several melodic figures which play an important part in the development. The Presto is then repeated, and a phrase from the trio forms the coda. The Adagio is a simple, beautiful movement, in striking contrast with what has preceded it. It has three princi- pal themes, the first given out by the violins, the second by the 'cellos, and the third again by the violins. It opens with an exquisitely tender and graceful melody, developed in a delightfully harmonious manner and finally giving way to the second theme, equally beautiful, but more energetic. At its close the opening theme is again heard, first stated by the horns and then as a clarinet RUBINSTEIN 379 solo, with string accompaniment. At its conclusion a third subject appears, given out by the violins. The elaboration of these themes is accompanied by a chorale- like strain for the bass strings, which gives a religious tone to the close. The Finale opens with an introductory Largo for full orchestra, at the close of which the Allegro con fuoco enters with furious energy upon a theme for all the strings in unison, followed by an auxiliary subject, which is hardly more than stated before the first theme returns, this time the melody being in the basses, and the violin accom- panying. These two subjects are elaborately developed, the energetic character of the movement being always preserved. During their development a new phrase ap- pears for the violins, which is treated in ingenious varia- tions. The remainder of the movement is occupied with the broad and dignified treatment of the thematic material with numerous episodes interwoven. It flows on with re- sistless force, constantly gathering fresh energy as new ideas are added, and finally closes with a triumphant out- burst in which the principal subject is heard again assert- ing its superiority. SAINT-SAENS 1835- CHRISTMAS ORATORIO " "VTOEL," Saint-Saens' Christmas oratorio, in dimen- .L^l sions hardly exceeds the limits of a cantata, but musically is constructed in oratorio style. Its subject is the nativity, combined with ascriptions of praise and a final exultant hallelujah. The work is short, but effective, and is written for five solo voices and chorus, with accompani- ment of strings and organ, and the harp in one number. It opens with a pastoral symphony of a melodious character. The first number is the recitative (" And there were shep- herds "), including the angelic message and the appearance of the heavenly hosts, the subject being divided among the tenor, alto, soprano, and barytone, and leading up to the first chorus (" Glory now unto God in the highest "), which is quite short, but beautifully written. The next number is an aria for mezzo-soprano (" Firm in faith "), which is simple, but graceful in its melody. The fourth number is a tenor solo and chorus ("God of all"), written in the church style, followed by a soprano and barytone duet ("Blessed, ever blessed"), which is elaborate in its con- struction, and highly colored. The next number is the chorus ("Wherefore are the nations raging?"), which is intensely dramatic in its effect, especially for the manner in which the voice parts are set off against the agitated accompaniment. The contrasts also are striking, particu- larly that between the tumultuous opening of the chorus and its tranquil close in full harmony on the words "As SAINT-SAENS 381 it was in the beginning." The next number is a lovely trio for tenor, soprano, and barytone (" Thou art from first to last"), with harp accompaniment throughout, which gives to it an extremely graceful and elegant effect. It is followed by a quartette (" Alleluia "), in which the theme is introduced by the alto. The Alleluia is then taken up by all four parts, soprano, mezzo-soprano, alto, and barytone, in full, rich harmony, the alto closing the number alone in an effective adagio passage. The next number is a quintet and chorus, the prelude to which is a repetition of parts of the opening pastoral. It is also utilized in the voice parts. The number is very elaborate in its construction and devel- opment, and is followed by a short final chorus (" Raise now your song on high ") in simple church style. ROUET d'OMPHALE. OP. 3! The symphonic poem, " Rouet d'Omphale " (" Om- phale's Spinning-wheel "), illustrates the old story of Her- cules serving as slave to the Lydian queen, and running her spinning-wheel in female attire by her side. The com- position is in sonatina form, and quite short, but exceed- ingly naive and graceful. It begins with a characteristic imitation of the wheel by the violins in a well-known figure. The second motive, a sombre melody in the bass, charac- terizes the lamenting, groaning Hercules ; but Omphale soon sets him at work again, and the wheel resumes its lively, characteristic rhythm. The poem is vivacious and elegant throughout, and a good illustration of Saint-Saens' cleverness in instrumentation. PHAETON. OP. 35 The symphonic poem of " Phaeton " has for its story the legend of the unfortunate amateur charioteer of the sun, who, having obtained permission to drive the fiery 382 STANDARD CONCERT GUIDE steeds, approaches so near the earth that it is only saved from destruction by Jupiter, who interposes with a timely thunderbolt, and hurls the reckless driver into the outer limbo. It begins with a bright, pleasant melody, the driver evidently contemplating an agreeable journey. Soon an- other theme comes in ; the chariot is taking an upward flight. Anon he loses his course, and the first theme appears with significant chromatic changes. His inde- cision, fear, and despair are clearly indicated in the un- certain, abrupt, and wandering character of the music. At last Jupiter settles matters with an outburst of trumpets ; and the poem closes with the second theme in dirge form, singing a lament for the unfortunate victim of over-curiosity and confidence. DANSE MACABRE. OP. 40 The " Danse Macabre," or " Dance of Death," does not, as might be supposed, follow the well-known epi- sodes which Holbein's pictures have made so familiar, but is based upon a grotesque poem by Henri Cazalis, beginning " Zig et zig et zig, la Mort en cadence." Death is described as a fiddler, summoning the skeletons from their graves at midnight for a dance, the hour being indicated on the harp. The ghastly merriment, interrupted by some sombre strains, is kept up until the cock crows, the signal for the instant disappearance of the grim and clattering revellers. The poem is based upon two themes, one in dance measure, punctuated with the clack of bones, and the other a more serious strain, symbolical of night and the loneliness of the grave. The variations upon these two themes continue until the cock-crow, given out by the oboe, sounds the signal for the close. The poem, in a word, is a waltz measure set off with grotesque, but ingenious instrumentation. ^ *, CAMILLE SAINT-SAENS SAINT-SAENS 383 SYMPHONY No. 3, IN A MINOR. OP. 55 1. ALLEGRO MARCATO. ALLEGRO PASSIONATO. 2. ADAGIO. 3. SCHERZO. PRESTO. 4. PRESTISSIMO. Saint-Saens' Third symphony, dedicated to the late M. Pasdeloup, the eminent Parisian conductor, was writ- ten in 1878. It is scored for full orchestra, except trom- bones, and is characterized by the gracefulness rather than the depth of its ideas. Two strong chords leading to an animated passage for the strings, which is recitative in its style, and a short episode lead to the first theme, Allegro passionate, given out by the violins, which, after imitation by the other strings, gives place to the second theme. The two subjects are then ingeniously and spiritedly combined. After the inversion of the second, forming a new melody, a third subject appears for flute and strings. The three are then combined in various positions until the first re- appears. The second is used episodically. There are reminiscences of the Introduction, and a coda formed out of the third closes the movement. The Adagio is a charming movement, graceful, delicate, and sweet, though short. It is built up on two themes, the first of a pastoral character, for the strings, con sordini; and the second for the English horn, with strings, this instrument being used with peculiarly happy effect. The Adagio is in the major key, but the Scherzo returns to the minor. There is no seriousness in the movement, however. It opens with a lively, piquant theme, which after varied repetitions gives place to a second theme, in- troduced by the horns and taken up by the strings and oboes. The first theme is repeated, and leads to a solo 384 STANDARD CONCERT GUIDE for the oboe. The development of this material is skilful, and with a vigorous pizzicato, accompanied by the wind instruments in sustained chords, the movement closes. The final movement, Prestissimo, is rightly characterized. It is an exhilarating dance rhythm of the Saltarello order, starting off with a theme for the first violins, accompanied by the other strings pizzicato. The vigorous skipping mel- ody is followed by a second theme which preserves the same rhythm. The two are then combined in a diversity of styles, and gather fresh interest as the horns take up the merry effect, the piccolo doing good service with the mel- ody. After a slower episode the first theme reappears and goes skipping off again in its spirited dance. In the coda, the second theme is heard in unison among the strings, and with a few strong, harmonious chords the symphony closes. SYMPHONY No. 5, IN C MINOR. OP. 78 1. ADAGIO. ALLEGRO MODERATO. Poco ADAGIO. 2. ALLEGRO MODERATO. PRESTO. MAESTOSO. ALLEGRO. Saint-Saens' Fifth symphony was written for the Lon- don Philharmonic Society; and its first performance, July 19, 1886, was conducted by the composer himself. For this occasion the composer prepared an analysis of its contents and structure for the programme, which is fol- lowed in this analysis. After a slow and plaintive introduc- tion for violins and oboes, the string quartette gives out the first theme, sombre and agitated in character, which, after transformation by the wind instruments, leads to a second subject, marked by greater repose. After a short development, presenting the two themes simultaneously, the second reappears in new and striking form, though brief in its duration. This is followed by a fresh transformation SAINT-SAENS 385 of the first theme, through the restlessness of which are heard at intervals the plaintive notes of the opening Adagio. Various episodes, introducing a gradual feeling of repose, lead to the Adagio, in D flat, the subject of which is given out by the violins, violas, and 'cellos, sus- tained by organ chords. It is then assigned to clarinets, horn, and trombone, accompanied by the divided strings. After a fanciful and elaborate violin variation, the second transformation of the initial theme of the Allegro reap- pears, restoring the old restlessness, which is still further augmented by dissonant harmonies. The principal theme of the Adagio then returns, this time played by a violin, viola, and 'cello solo, accompanied by the chords of the organ and the persistent rhythm in triplets of the preceding episodes. The movement closes with a coda, " mystical in sentiment," says the composer. The second movement, Allegro moderate, opens with a vigorous figure, which is at once followed by a third trans- formation of the initial theme of the first movement, in more agitated style than the others, and limited to a fan- tastic character, which declares itself in a tumultuous Presto, through which flash at intervals the arpeggios and rapid scale passages of the pianoforte, accompanied by a syncopated rhythm in the orchestra, and interrupted at last by an expressive motive. After the repetition of the Allegro moderato, a second Presto is introduced, in which shortly appears a calm, earnest figure for trombones, in striking contrast with the fantastic character of the first Presto. There is an evident conflict between the two, ending in the defeat of the latter; and after a vague reminiscence of the initial theme of the first movement, a Maestoso, C minor, announces the ultimate triumph of the new and earnest figure. The initial theme of the first movement in its new form is next stated by the divided strings and the pianoforte, four hands, and taken up by 386 STANDARD CONCERT GUIDE organ and full orchestra. After development in three-bar rhythm, there is an episode for organ, followed by a pas- toral theme twice repeated. A coda, in which the initial theme by a last transformation appears as a violin passage, finishes this unique work. SCHUBERT 1797 - 1828 MIRIAM'S WAR SONG THE majestic cantata, "Miriam's War Song," was written in March, 1828, the last year of Schubert's life, a year which was rich, however, in the productions of his genius. The 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 ar- ranging 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 Capell- meister at the Karnthnerthor Theatre in Vienna. The theme of the cantata is Miriam's hymn of praise for the escape of the Israelites, and the exultant song of victory by the people, rejoicing not alone at their own delivery, but at the destruction of the enemy. It opens with a spirited and broad harmony ("Strike the cym- bals "), 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 Is- raelites 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. j88 STANDARD CONCERT GUIDE SYMPHONY No. 8, m B MINOR (UNFINISHED) 1. ALLEGRO MODERATO. 2. ANDANTE CON MOTO. Schubert's Eighth symphony is but a fragment. The first two movements are complete. There are nine bars of a Scherzo, and with them the symphony stops; and yet among all of the composer's works not one is more beautiful in ideas or perfect in form than this. No more of it has ever been found, and no one knows why Schubert should have abandoned it. The first page of the score is dated, " Vienna, October 30, 1822." For forty-five years it remained unknown, and it is due to Sir George Grove that it was rescued from its obscurity and given to the world for its constantly increasing delight. The score was published in 1867, and the first performance was given at the Crystal Palace, London, on the sixth of April in the same year. Since that time the symphony has become one of the favorite numbers on the concert-stage. The Allegro opens at once and without introduction with an impressive subject given out by the 'cellos and basses. At its close the oboes and clarinets take up a melodious theme pianissimo, the violins accompanying it in an agitated manner. After a short development of this theme the 'cellos enter with a melody which will never cease to fascinate the hearer with its wonderful beauty and grace of motion. After its repetition by the violins in octaves there comes a pause followed by a most pas- sionate declaration in the minor, as if to drown the mem- ory of the former moment of happiness. The beautiful theme again returns, however, and the first part of the movement closes with a struggle between these expres- sions of perfect happiness and wild passion. The second part opens with the original subject varied for the basses, FRANZ SCHUBERT SCHUBERT 389 which is grandly developed amid full orchestral outbursts up to a powerful climax. As it dies away the first theme reenters, and is again treated with charming variety, the whole closing with another climax in which the opening subject forms the material of the coda. The Andante begins with an introductory passage for the horns and bassoons, the double-basses accompanying pizzicato, leading up to another lovely theme given out by the violins. After a striking development of this theme the second subject is stated by the clarinets with string ac- companiment, repeated by the oboe with the addition of a new phrase, in which the flute joins. The whole orchestra follows with stately harmony, succeeded by an episode which leads up to a new treatment of the second theme by the strings. Then follows the customary repetition in brilliant detail. The coda is full of melodious beauty, and closes this delightful work. SYMPHONY No. 9, IN C MAJOR 1. ANDANTE. ALLEGRO MA NON TROPPO. 2. ANDANTE CON MOTO. 3. SCHERZO. ALLEGRO VIVACK. 4. FINALE. ALLEGRO VIVACE. The Symphony in C, the last and culminating work of Schubert's genius, is literally his swan song. It was begun in March, 1828, and on the nineteenth of November of the same year he passed away. On the twelfth of December following his death, it was produced at the Redouten-Saal in Vienna, and was repeated in the ensuing March. It was then neglected and forgotten until 1838, in which year Schumann visited Vienna, and finding the score, obtained permission to take it with him. He at once went to Leipsic, where Mendelssohn was at that time conducting the Gewandhaus conceits, and together the two friends 390 STANDARD CONCERT GUIDE and composers studied it. It did not take them long to discover its beauty, notwithstanding its length. It was performed at the Gewandhaus, March 22, 1839. The first movement opens with an introductory Andante, the tender, fairy-like melody of which is assigned to the horns alone, afterward repeated by oboes and clarinets. After working up at some length a start is made pianis- simo, and a grand crescendo, enlivened by a triplet figure, leads to the Allegro, the strings giving out the bold, deci- sive first theme answered by the winds in triplets. The second theme, stated by the oboes and bassoons, is in striking contrast with the first, and really establishes the rhythm of the movement. An episode growing out of this theme, and a third broad subject in which the trom- bones are employed with striking effect, constitute the principal material of the movement. The coda is long and copious, closing in rather accelerated tempo marked by a repetition of the triplet figure of the initial theme. The Andante opens with a short prelude for the strings, after which the oboe starts off with the first theme, a quaint, plaintive, bewitching strain which has every char- acteristic of gypsy music, closing with a significant four- note cadence which seems to have haunted Schubert throughout the rest of the work. The theme is repeated with variation and the addition of the clarinet, after which the oboe gives out a new phrase succeeded by an episode of an agitated, even furious, character, after which the fascinating first theme returns. The second subject, enter- ing pianissimo, is ingeniously treated, and closes with a charming horn episode. The opening subject then re- turns, this time for oboe, which soon plays its part as accompaniment for a charming solo passage for the 'cello. A change of key, and the second subject returns with fresh treatment. The horn episode is heard again, and the movement closes with the fascinating opening theme. SCHUBERT 391 The Scherzo starts with a unison passage for strings, followed by a boisterous episode for the oboes and horns, in which the four beats already alluded to make themselves felt. The second subject, given out by the strings, with accompaniment of clarinets and bassoons, is light and playful in character. The trio opens with horns and clarinets, leading to a broad melody for the winds, with string accompaniment, producing a brilliant orchestral effect ; and with the Scherzo, da capo, the movement closes. The Finale crowns this extraordinary work with a fitting climax, impetuous and resistless in its rush, with the four beats asserting themselves all through it. After an intro- duction of a most energetic and sonorous character, the first theme is announced by the oboes and bassoons, with the violins accompanying in triplets of fiery velocity. The second theme is led off by the horns, the violins still in the mad, impetuous sweep of their triplets, and the first half of the movement closes with a working-out of part of the second theme. The second part is fiery in its energy, and closes with an immense crescendo, beginning with the violas, double pianissimo, and spreading over one hundred and sixty-four measures before coming to a final rest. SCHUMANN 1810-1856 ADVENT HYMN THE " Advent Hymn " describes the entry of Christ into Jerusalem, reflectively considers His peaceful career as compared with that of earthly kings, and appeals to His servants to bear tidings of Him throughout the world, closing with a prayer that He will bring His peace to all its people. It is a hymn full of simple devotion and somewhat narrow in its limitations ; but Schumann has treated it with all the dignity and breadth of the oratorio style. It opens with a melodious soprano solo (" In lowly guise thy King appeareth"), with choral responses by sopranos and altos, leading to an effective five-part chorus (" O King indeed, though no man hail Thee"), begun by first and second tenors and basses, and closing in full harmony with the added female voices. The soprano voice again announces a subject ("Thy servants faithful, tid- ings bearing "), which is taken up by full chorus, in some- what 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 un- failing ") 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 intri- cate in construction, but at the close resolve into a double chorus of great power and genuine religious exaltation. SCHUMANN 393 THE PILGRIMAGE OF THE ROSE "The Pilgrimage of the Rose," for solo and chorus, with piano accompaniment, twenty-four numbers, was written in the Spring of 1851, and was first performed May 6, 1852, at a Diisseldorf 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 is never to fall from her hand. The principal numbers are the opening song, a joyous hymn to Spring, in canon form, for two sopranos; the dancing choruses of the elves, for two sopranos and alto ; the male chorus (" In the thick wood"), which is delight- ful 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 quartette ("Oh, joy! foretaste of heaven's rest ") ; and the duet (" I know a blushing rosebud "). The work as a whole has never attained the popularity of " 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. THE MINSTREL'S CURSE " The Minstrel's Curse," for solo voice, chorus and or- chestra, was written in 1852, and first performed in the same year. Its text is based upon Uhland's beautiful bal- lad of the same name, which was adapted for the com- poser by Richard Pohl. The libretto shows numerous 394 STANDARD CONCERT GUIDE 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 Sangers," " Gesang und Krieg," and " Das Thai." Instead of the beautiful verse in the original poem (" They sing of spring and love, of happy golden youth "), which leads up to the tragedy, it is the singing of the " Hohe Liebe " which is made the motive by Pohl, who from this point on follows the story as told by Uhland. The work contains fourteen numbers. The first two verses, describing the castle and its haughty monarch, are sung by the narrator, and are followed by an alto solo, bright and joyous in style, which tells of the arrival of the two minstrels. The fourth number is a Provencal song, full of grace and poetical feeling, sung by the youth, fol- lowed by full chorus. The king angrily interposes in the next number (" Enough of Spring and pleasure "), where- upon 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 power- ful 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 spiritedly follows the story as told by Uhland. The general style of the work is declamatory, but in many of its episodes the ballad form is used with great skill and effect. PARADISE AND THE PERI Schumann's secular oratorio, " Paradise and the Peri," was written in 1843, and first performed at the Ge- wandhaus, Leipsic, December 4 of that year, under the SCHUMANN 395 composer's own direction. Its first performance in Eng- land was given June 23, 1856, with Madame Jenny Lind- Goldschmidt in the part of the Peri, Sterndale Itennett conducting. The text is taken from the second poem in Moore's " Lalla Rookh," and was suggested to Schumann by his friend Emil Flechsig, who had translated the poem. This was in 1841 ; but he did not set it to music until two years later. The oratorio is written in three parts, for solo voices, chorus, and orchestra, the principals being the Peri, soprano ; the angel, alto ; the King of Gazna, bass ; a youth, tenor ; the horseman, barytone ; and the maiden, soprano. The choruses are sung by Indians, angels, houris, and genii of the /Nile, and the part of nar- rator is divided among the various voices. The story fol- lows that of the original poem. The Peri, expelled from Paradise, stands at its gate weeping. The angel who keeps the gate of light promises she shall be readmitted if she brings " the gift that is most dear to heaven." The Peri goes in quest of the gift, first to India, where she procures the last drop of blood shed by the hero who resisted the tyrant Mahmoud, and takes it with her to the gate ; but the crystal bar moves not. She continues her quest, and from the pestilential plains of Egypt she takes back the last sigh of the maiden who sacrificed herself to her love for the youth who stole out to die alone. But still the crystal bar moves not. At last, in the vale of Baalbec, she finds the gift, the tear of a repentant sinner, which secures her admission. After a brief orchestral introduction, the narrator, alto, tells the story of the disconsolate Peri at the gate, and introduces her in the first solo (" How blest seem to me, vanished child of air ! "), a tender, beautiful melody, char- acterized by romantic sentiment. The narrator, tenor, introduces the angel, who delivers her message to the Peri 396 STANDARD CONCERT GUIDE (" One hope is thine "), to which the latter replies in a sensuous melody, full of Oriental color (" I know the wealth hidden in every urn "). The narrator introduces at this point a quartette (" Oh, beauteous land "), in which the two trebles, tenor, and bass alternate, followed by the full, powerful chorus (" But crimson now her rivers ran "). A weird march, fairly barbaric in its effect, indicates the approach of the tyrant of Gazna, and intro- duces the stirring chorus of the Indians and conquerors ("Hail to Mahmoud ! "). The tenor narrator describes the youthful warrior standing alone beside his native river and defying the tyrant. Once more the chorus shouts its greeting to Mahmoud, and then ensues a dialogue in reci- tative between the two, leading up to the youth's death and a double chorus of lamentation (" Woe ! for false flew the shaft"). The tenor narrator describes the flight of the Peri to catch the last drop of blood shed for liberty ; and then all the voices join with the soprano solo in a broad, strong, exultant Finale (" For blood must holy be "), which is one of the most effective numbers in the work. The second part opens in the most charming manner. The tenor narrator pictures the return of the Peri with her gift, leading up to the angel's solo (" Sweet is our wel- come "), which preludes a brief choral passage for sixteen female voices. After the narrator's declaration of her disappointment, the scene changes to Egypt, and in a dainty, delicate,. three-part chorus the spirits of the Nile are invoked not to disturb the Peri. Her lament is heard (" O Eden, how longeth for thee my heart ! "), and the spirits now weave a gentle, sympathetic strain with her song. A long tenor narration follows (" Now wanders forth the Peri sighing"), describing the pestilence brooding over the Egyptian plains, set to characteristic music. The scene of the maiden dying with her lover is full of pathos, and contains two exquisite numbers, the narrative solo SCHUMANN 397 for mezzo-soprano (" Poor youth, thus deserted "), and the dying love-song of the maiden (" Oh, let me only breathe the air, love ! "). The scene closes with a sweet and gentle lament for the pair (" Sleep on "), sung by the Peri, followed by the chorus, which joins in the pathetic farewell. The third part opens with a lovely chorus of houris ("Wreathe ye the steps to great Allah's throne"), inter- spersed with solos and Oriental in its coloring. The tenor narration ("Now morn is blushing in the sky"), which is very melodious in character, introduces the angel, who in an alto solo (" Not yet ") once more dooms the Peri to wander. Her reply (" Rejected and sent from Eden's door ") is full of despair. The narration is now taken by the barytone in a flowing, breezy strain (" And now o'er Syria's rosy plain "), which is followed by a charming quartette of Peris (" Say, is it so? "). Once more the bary- tone intervenes, followed by the Peri ; and then the tenor narrator takes up the theme in a stirring description of the boy nestling amid the roses, and the " passion-stained " horseman at the fountain. The alto proclaims the vesper call to prayer, and the tenor reflects upon the memories of the wretched man as he sees the child kneeling. The solo barytone announces his repentance, followed by a quartette and chorus in broad, full harmony (" Oh, blessed tears of true repentance ! "). The next number is a double one, composed of soprano and tenor solos with chorus (" There falls a drop on the land of Egypt "). In an exultant, triumphant strain ("Joy, joy forever, my work is done ! ") the Peri sings her happiness, and the chorus brings the work to a close with the heavenly greeting (" Oh, welcome 'mid the blessed ! "). 398 STANDARD CONCERT GUIDE SYMPHONY No. i, IN B FLAT. OP. 38 1. ANDANTE UN POCO MAESTOSO. ALLEGRO MOLTO VIVACE. 2. LARGHETTO. 3. SCHERZO. MOLTO VIVACE. 4. FINALE. ALLEGRO ANIMATO E GRACIOSO. Schumann's First symphony, in B flat, was written in 1841, and was first performed at the Leipsic Gewandhaus concerts, under Mendelssohn's direction, March 3 1 of that year, together with his " Overture, Scherzo, and Finale," which is symphonic in its dimensions. It was his first important work for orchestra, and, being written at a very happy period of his life, when at last all obstacles to his marriage with Clara Wieck had been removed, is marked by vivacity and joyousness. According to Hanslick, Schu- mann himself characterized it as the " Spring symphony." The first movement is prefaced with a brief introduc- tion, Andante un poco maestoso, of a passionate and ear- nest character, its opening phrase, given out by the horns and trumpets, playing an important part in the progress of the movement. In the development there are sombre suggestions ; but with a sudden change in the harmony, the flute is heard with a more cheering tone, the violins rush in, and with a grand sweep the whole orchestra opens the fresh and vigorous Allegro, its first theme being similar to that of the Andante. The second theme, prefaced by the horns and given out by the clarinet with viola accompaniment, is a unique and thoroughly char- acteristic melody. As it is developed it gathers fresh life and force. New and piquant phrases are introduced, and blend with it, one of them forming a charming accompani- ment to the first theme. The coda is constructed freely and broadly, and works up to a magnificent climax lead- ing at last, after a pizzicato passage, to a joyful rhythmical ROBERT SCHUMANN SCHUMANN 399 song given out first by the strings and then by full orchestra. The Larghetto movement is a grand fantasie, full of passionate devotion and almost religious in its character, showing unmistakably the influence of Beethoven. Its opening theme is given out by the violins and then re- peated by the 'cellos, a new and characteristic phrase appearing in the accompaniment. Again it appears for the oboes and horns, most ingeniously varied. Its treat- ment on each reappearance grows more elaborate, and fresh phrases wander from one instrument to another. The beautiful fantasie finally dies away, and with slight pause the Scherzo opens, Molto vivace, with a vigorous theme which has already been indicated in the close of the Larghetto. As opposed to it Schumann has written two trios in different rhythms. The first, Molto piu vivace, is thoroughly original, and rich and tender in its harmony. The second is equally characteristic, and clearly enough reveals the union of Schumann's romantic style with the old minuet form. At the close of the Scherzo the first trio again appears, and the movement ends with a diminuendo. The Finale begins with a scale passage, which is a prominent feature in the movement. Its first theme is fresh, gay, and vigorous, and after its statement leads to an interesting dialogue in which a new and lively subject and the scale-passage of the opening take part. The second theme is full of joyous contentment, and in the development the first theme appears opposed to it, with freshly varied treatment, until the brilliant and powerful close is reached. 400 STANDARD CONCERT GUIDE SYMPHONY No. 2, IN C MAJOR. OP. 61 1. SOSTENUTO ASSAI. ALLEGRO MA NON TROPPO. 2. SCHERZO. ALLEGRO VIVACE. 3. ADAGIO ESPRKSSIVO. 4. ALLEGRO MOLTO VIVACE. Schumann's C major symphony No. 2 l was sketched in 1845 and completed in 1846. It was first performed at a Leipsic Gewandhaus concert, under Mendelssohn's direc- tion, November 5, 1846. Unlike the No. i, it was written at a time of physical suffering and mental afflic- tion, the precursors of the malady which led to a dis- tressing fatality ten years later. The symphony itself is a representation of conflict, but with a happier result, as the triumphant Finale shows. As compared with the First, also, it is laid out on a grander scale, and is more finished in form, the outgrowth of Schumann's contrapuntal study. Its movements are also closely bound together and related to each other, and by the skilful use of the material of the introduction an admirable unity of design is secured. The prelude, Sostenuto assai, which introduces the first movement, is in the nature of an overture to the sym- phony, setting forth its story, furnishing a clew to its meaning, and constituting a bond of union between the various movements. Its opening theme, which is of a lofty and serious character, will be found in each of the movements, and it also foreshadows the leading theme of the first. It is given out by the trumpets, horns, and trombone, with an harmonious accompaniment by the strings. After a few bars a romantic phrase appears in the accompaniment for the wood winds, which is also 1 The C major is in reality the Third symphony, though num- bered as the Second, and in order of date follows the B flat, D minor, and E, known as the " Overture, Scherzo, and Finale." SCHUMANN 401 repeated in the other movements. As the introduction progresses the time is accelerated, and a new subject is assigned to the flutes and oboes, which leads up to the principal theme, Allegro ma non troppo, a resolute, energetic melody suggestive of conflict, and followed by a vigorous phrase, already heard, but now appearing with a fresh accompaniment and leading to the second theme, of a less energetic character, which closes the first part of the movement. The second part is devoted to the elaborate development of this thematic material, which leads up to a return of the first theme, after a long organ- point in the basses, with unique wind accompaniment. In the coda, after a treatment of associated subjects, the trumpets take up the opening of the prelude again, this time in sonorous and aggressive style, clearly indicating the conflict The Scherzo shows us Schumann in one of his rare joyous moods, though the movement is dominated by the same general sentiment of energetic resistance. Its first theme is given out by the violins, and is characterized by feverish restlessness, to which a counter-theme is opposed, with an accompaniment in contrary motion. The Scherzo has two trios. The first is a melody in triplets, divided between the wood winds and strings. The second, which is more subdued, is taken by the strings in full har- mony. In the return the trios are displaced by the first theme ; and in the coda the trumpets and horns, with scale accompaniment by the violins, again give out the theme of the prelude. The Adagio is in marked contrast to the preceding movements, expressing tenderness and devotion instead of conflict. Without introduction the strings alone sing a passionate love-song, the oboes and clarinets subsequently adding their voices to the beautiful strain. A brief interlude leads to the second theme, assigned to the 26 4 02 STANDARD CONCERT GUIDE strings, accompanied by the trumpet and horns. After its statement the love-song is repeated by the violins in octaves trilling downward, the wood winds closing it. The second part closely resembles the first and closes peacefully, with no allusion to the trumpet theme of the prelude. In the Finale Schumann returns to the conflict with renewed ardor and force. It begins with a rapid scale- passage leading up to the martial first theme. The tran- sition to the second theme is characterized by vigorous and striking rhythms. The theme itself, suggestive of the Adagio, is given out by the violas, 'cellos, clarinets, and bassoons, accompanied by the violin scale-passage men- tioned above and the wind instruments in triplets, and gradually leads back to a return of the first subject. The end of the conflict is marked by a climax in which the trumpet theme is again heard. After suggestive rests the oboe intones a simple theme, but full of joy and victory, which is worked up to a climax. It then appears broader and more freely for the strings, and from this point moves on to the close like a grand hymn of thanks- giving, the trumpet theme making its last appearance near the end. SYMPHONY No. 3 (RHENISH), IN E FLAT. OP. 97 1. ALLEGRO. 3. ANDANTE. 2. SCHERZO. 4. LENTO. 5. ALLEGRO FINALE. The Symphony in E flat, though numbered the Third, was the Fourth in order of composition, and is familiarly known as "The Rhenish," the title being derived from the impressions of life in the Rhineland made upon the com- poser. It was sketched and instrumented between No- vember 2 and December 9, 1850, in which year Schumann SCHUMANN 403 was the municipal director of music at Diisseldorf. Its first performance took place in that city, February 6, 1851. It is a work characterized by exuberant fancy, extraordinary inventiveness, originality and joyousness of feeling, con- sidering the mental disorder which was already preying upon the unhappy composer. The first movement opens without introduction, the first theme being at once given out by the violins. After short development it is heard again with increased animation, and leads up to a lively second theme for the oboes, bas- soons, and clarinets. The elaboration of these two themes is long and skilful, and the manner in which Schumann unfolds, develops, and contrasts them and leads up to the reprise shows what rapid progress he had made in his contrapuntal studies. The Scherzo begins with a characteristic theme given out by the violas, bassoons, and 'cellos, a melody which is fairly replete with good-nature and old-fashioned humor. After its development a second lively theme occurs and leads up to a subject given out by the clarinets, horns, and bassoons, corresponding to the trio, and full of color. After its statement the principal theme returns and is ingeniously varied. The Andante opens with a quiet and beautiful melody for the bassoons and clarinets. The movement is serene and sentimental throughout, and prepares the way for the succeeding Lento, the inspiration of which has been out- lined by Schumann himself. It is marked " Feierlich." The composer at first superscribed the movement, " In the character of accompaniment to a solemn ceremony." This ceremony was the festivity in the cathedral of Cologne consequent upon the elevation of Archbishop von Geissel to the rank of Cardinal, which he had witnessed. When the symphony was published, however, he erased the su- perscription, explaining his action by saying : " One must 4 o 4 STANDARD CONCERT GUIDE not show the people his heart. A more general impres- sion of a work of art is better for them ; then at least they will make no false comparisons." The religious pomp which he had seen is clearly apparent, and would have impressed itself upon the hearer even had Schumann left no clew to its inner meaning. Its foundation is a broad and unmistakably ecclesiastic harmony given out in a sol- emn and stately manner by the trombones, and on this foundation he builds up an elaborate contrapuntal struc- ture which retains the same ecclesiastic form, with added richness and brilliancy. The Finale is written in strict form, and introduces new and fresh themes, with the ex- ception of the appearance of the ecclesiastical motive, of which the principal one is the most striking. As to the general character of the symphony Schumann says : " Pop- ular elements had to be prominent, and I believe I have succeeded, which may be an explanation of its title, " Rhenish." SYMPHONY No. 4, in D MINOR. OP. 120 1. INTRODUCTION. 3. ROMANZA. 2. ALLEGRO. 4. SCHERZO AND FINALE. Schumann's Fourth symphony, really his Second, was originally written in 1841, but was not revised and put into its present form until 1851. [Its title is " Symphony No. 4, D minor, Introduction, Allegro, Romanza, Scherzo, and Finale, in one piece,") the parts passing into one another without pause, and united by the use of subjects already stated.) The Introduction opens with a theme for the violas and 'cellos of a somewhat melancholy character, and after its brief development, with a gradually accelerated tempo, the Allegro enters with a theme dry and difficult in its contents, but used with masterly effect in its development, SCHUMANN 405 and presenting unusual strength, in spite of its unmelo- dious nature. Though there is a second theme, more gracious in style, the first dominates the whole first part of the movement. After the usual repeat the second part is treated in the style of a free fantasie, with entirely new material, in which respect Schumann makes a wide de- parture from the established forms ; and yet there is the same general feeling, the same strength, and no apparent lack of unity, for in this part of the movement appears a semi-quaver figure already used in the Introduction. It is built up mainly on two episodes, the first given out with full strength by the winds, and in the repeat by the strings, and the second by the violins. The entire second part is devoted to the elaboration of these two episodes in a bold and striking manner, and it closes with fiery emphasis, in strange contrast with the movement to which it leads. A single chord binds it to the Romanza, which one critic has beautifully described as " like a shower out of the blue sky." It opens with a simple, plaintive, and ex- quisitely refined melody, which, once heard, will always linger in the memory. It is given out by the oboes and 'cellos, with the strings pizzicato. A short phrase follows for the violas. Then succeeds a passage from the Intro- duction which reminds us that this tender Romanza is filling its part in the general symphonic design. A repeti- tion of its phrase leads to a second subject given out by the strings, while a solo violin heightens the beautiful effect with a variation on the principal theme. The move- ment closes with the tender song that opens it. The Scherzo opens with a strong, energetic theme for full orchestra, except trombones, which has few reminders of the ordinary Scherzo lightness and caprice. The sec- ond part, however, is more gracious, and the trio is soft and dreamy. At its close the Scherzo reappears, followed by the trio, in the midst of which there is a moment of 406 STANDARD CONCERT GUIDE restlessness, as if the instruments knew not which way to turn. Instead of leading back to the Scherzo the music diminishes in tone as if it would disappear, when suddenly the winds give out a melodious phrase leading into the Finale. The short introduction, which contains familiar material, prepares the way for the opening theme, which is also familiar, as it has appeared in nearly the same form in the first movement. At its close occurs a subject, only a bar in length, which plays an important part in the final development. The second theme is an odd mixture of fancy and frolic. After the customary reprise Schumann gives himself up to his mood, quitting the first subject alto- gether and elaborating the second until in the coda we meet with a new and unexpected theme. The Finale closes presto with a genuine Italian stretta. CHRISTIAN SINDING BINDING 1856- SYMPHONY IN D MINOR. OP. 21 I. ALLEGRO MODERATO. 3. VIVACE. a. ANDANTE. 4. MAESTOSO. SINDING'S symphony in D minor was written in 1890, and is the most important of the few works of this gifted Norwegian composer which have grown familiar in our concert-rooms. It opens with a strange minor theme, given out by full orchestra, accompanied by several smaller themes in its development, but finally working up to a climax, after which the second subject is given out by the violins with an accompaniment of bassoons and bass strings. It is then passed on to the horn, clarinet, oboe, and other instru- ments, after which follows a fantasie closing with a splendid statement of the first theme. The second theme reappears for clarinet, horn, and first violins, the movement ending suddenly with a repetition of the first. The Andante opens with another strange theme, devel- oping most curious effects, and sombre in character. The theme passes from instrument to instrument, continually producing new effects until a counter theme is reached. The development of this new matter, with the principal theme announced with the full strength of the bassoons, trombones, and tubas, closes the movement. The Scherzo is marked " Vivace " by the composer. The violins give out the first subject which is full of spirit, but is suddenly met in its development by a brilliant 4 o8 STANDARD CONCERT GUIDE counter theme, and upon these two the whole move- ment rests. It is spirited and lively throughout and closes with some unique variations of the first theme. The final Maestoso opens with a theme given out by basses, 'cellos, trombones, and tubas, impressive in char- acter and most sonorous. After its development a second theme enters upon the clarinet and bassoon, and after the development of this material this original and peculiarly Northern symphony comes to its close. SMART 1813-1879 THE BRIDE OF DUNKERRON " ' |^HE Bride of Dunkerron," words by Frederick JL 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. The story is a simple one. The Lord of Dunkerron becomes enamoured of a sea-maiden, and as she is unable to leave her element he follows her to her abode. She seeks the Sea-King to obtain his consent to their union, but returns to her lover with the sad message that she is doomed to death for loving a mortal. He in turn is driven from the Sea-King's realm, and is cast back by the tempest to the shores of the upper world ; and the work closes with the laments of the sea-spirits for the maiden, and of the serfs for their master. After an expressive orchestral introduction the cantata opens with a chorus of the serfs, tenors and basses (" Ere the wine-cup is dry"), followed by a romantic chorus of sea-maidens, the two at times interwoven and responsive, the one describing Lord Dunkerron's nightly vigils on the sea-shore, 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 recita- tive and aria ("The full moon is beaming") for Dunker- ron, which is 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 ") 4 io STANDARD CONCERT GUIDE and a long love dialogue between Dunkerron and the maiden. The next number is a spirited and picturesque chorus (" Down through the deep ") describing the pas- sage 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 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 con- sent 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, Dunker- ron, and the Sea- King, followed by the angry commands of the latter ("Hurl him back!"), tells of the death of the lovers, and the work closes as it opened, with the intermingled choruses of serfs and sea-maidens, this time, however, full of lamentation over the sad tragedy. KING RENT'S DAUGHTER " King Rene's Daughter," a cantata for female voices only, the poem by Frederick Enoch, was written in 1871. The story is freely adapted from Henrick Hertz's lyric drama. lolanthe, the daughter of King Rene, Count of Provence, was betrothed in her infancy to the son of the Count of Vaudemont. When but a year old she was stricken with blindness. She has been reared in igno- rance 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, pro- vided she is first informed of the existence of the missing SIR GEORGE T. SMART SMART 411 sense ; but her father refuses permission. Her betrothed has never seen her, but wandering one day through the valley of Vaucluse, singing his troubadour lays, he beholds her, and is captivated by her beauty. His song reveals to her the faculty of which she has been kept in ignorance, and the magician, his condition thus having been fulfilled, restores her to sight. The work is divided into thirteen numbers, the solo parts being lolanthe, soprano ; Martha, mezzo-soprano ; and Beatrice, contralto. In the third number another soprano voice is required in a trio and chorus of vintagers ; and in the sixth number, a soprano and contralto in the quartette, which acts the part of narrator, and tells of the troubadour's " Rose Song " to lolanthe. It is unnecessary to specify the numbers in detail, as they are of the same gen- eral 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, quartette ("Who hath seen the troubadour?"); No. 8, lolanthe's song ("I love the rose"); No. n, duet and chorus ("Sweet the angelus is ringing") ; and the Finale, with the jubilant chorus (" Ren6 the king will ride forth from the gate"). s SPOHR 1784-1859 THE LAST JUDGMENT POHR wrote two oratorios upon the same subject " Das jungste Gericht " (" The Last Judgment ") and " Die letzten Dinge " (" The Last Things ") ; but the latter is now universally entitled " The Last Judgment," and the former was shelved by the composer himself shortly after its performance. The work opens with a long overture of a grave and majestic character, followed by the striking chorus, " Praise His awful Name," which is beautifully written, and contains impressive soprano and bass solos. Some brief tenor and bass recitatives lead to the second number, a short chorus (" Holy, holy, Lord God of Hosts "), in which the voices have no accompani- ment except the horns. Three phrases of recitative for soprano and tenor lead to the next chorus (" All glory to the Lamb that died "), a grand number, which is familiar to nearly every lover of oratorio music. The next num- ber is one of the most striking in the work. A short tenor recitative introduces the tenor solo and chorus ("Blessing, honor, glory, and power"), beginning with a tranquil and smoothly flowing solo, the chorus opening in the same manner, then developing into an admirably written fugue, and closing in the same serene style as it opened. A picturesque scene follows, comprising the tenor recitative (" And lo ! a mighty host "), with a striking accompaniment descriptive of " the mighty host SPOHR 413 of all nations and people that stood before the throne and the Lamb," and the exquisite quartette and chorus (" Lord God of heaven and earth ") which close the first part. The second part opens with an orchestral symphony which heralds the signs and portents of the Day of Judg- ment in graphic style. It is followed by a long bass reci- tative with intensely dramatic accompaniment ("The day of wrath is near "), leading to the pathetic duet for soprano and tenor ("Forsake me not in this dread hour"), a gem of beautiful melody, followed by the response of the chorus in unison (" If with your whole hearts "). After a short tenor recitative another strong chorus ensues (" Destroyed is Babylon "), with an agitated and power- ful accompaniment, which continues for some time after the voices cease, once interrupted by the tenor proclaim- ing, "It is ended," and then coming to a close in a gentle pianissimo effect. A tender, melodious quartette and chorus (" Blest are the departed ") follows. The soprano voice announces the new heaven and earth. A short tenor recitative (" Behold ! He soon shall come ") and the quartette response (" Then come, Lord Jesus ") prepare the way for the final massive chorus (" Great and wonderful are all Thy works "), which begins with a few bars of full harmony, then develops into a vigorous fugue, which, after choral announcements of hallelujah, is fol- lowed by another fugue (" Thine is the kingdom "), clos- ing with a tumultuous ascription of praise, and Amen. The solo parts in the oratorio are always short and of a reflective character. It is peculiarly a choral work, the predominant traits of which are sweetness, tenderness, and grace. 4 i4 STANDARD CONCERT GUIDE SYMPHONY No. 4, IN F (CONSECRATION OF SOUND). OP. 86 1. INTRODUCTION AND ALLEGRO. (Silence of Nature before the Creation of Tone.) 2. ANDANTINO, ETC. (Cradle-Song, Dance, and Serenade.) 3. TEMPO DI MARCIA. (Military Music. Off for the Battle. Feel- ings of Those Left Behind. Return of the Victors. Thanks- giving.) 4. LARGHETTO. ALLEGRETTO. (Funeral Chant. Consolation of Tears.) The Fourth symphony of Spohr's, " Die Weihe der Tone " (" Consecration of Sound "), a notable example of programme-music, bears the title, " Characteristic!^ Tongemalde in Form einer Sinfonie nach Gedicht von Carl Pfeiffer " (" Characteristic Tone-Pictures in the Form of a Symphony after a Poem by Carl Pfeiffer "). In a work which is so clearly an illustration of the pro- gramme, a series of suggestive tone-pictures whose meaning lies on the surface, it is not necessary to enter into detailed analysis. The opening movement, " Silence of Nature before the Creation of Tone," is introduced by a vague, formless Largo, like Haydn's Chaos in "The Creation," characterized by portentous, heavy harmonies for the basses and wood winds, and leading up to an Allegro which opens with a principal theme full of melo- dious sweetness given out by the violins and supported by the flutes. The movement has no second theme. After the opening melody the movement partakes of the nature of a symphonic poem, illustrating the various sounds of Nature, the songs of birds, the uproar of the elements, and the blessings of human speech. In the second movement, which takes the place of the customary slow movement, there are three distinct themes, forming the groundwork of three pictures. The first is a cradle-song of a gentle, soothing character. From this Louis SPOHR SPOHR 415 we pass to a dance tempo of a lively, tripping style, and again to a serenade for the 'cello. These three themes are delightfully combined, and give to the movement a peculiar grace and refinement. The third movement, corresponding to the Scherzo, is marked " Tempo di Marcia." It begins with a brilliant military march announced by the trumpets with full accom- paniment of drums and cymbals, and to the same strain the soldiers depart to the battle. Meanwhile the clarinet touchingly sings the grief of those left behind, while, as if in the distance, is heard the tempo of the march. After the return of the troops the movement closes with a hymn of thanksgiving, based upon the old Ambrosian chorale " God, we praise Thee," with characteristic choral accompaniment. The last movement begins Larghetto, with a funeral chant which in its general form resembles the Finale of the third movement, being based upon the chorale, " Now let us bury the dead," given out by the clarinets and 'cellos with full accompaniment. After the funeral episode follows "The Consolation of Tears" in a soothing melody, Allegretto, which gradually develops to a celestial strain. Music follows man from the cradle to the grave, and its tones are heard in the better world beyond. STANFORD 1852- SYMPHONY No. 3, IN F MINOR (IRISH). OP. 28 1. ALLEGRO MODERATO. 3. ANDANTE CON MOTO. 2. ALLEGRO MOLTO VIVACE. 4. ALLEGRO MODERATO. STANFORD'S so-called Irish symphony was completed in 1887, and was first performed June 27 of that year in one of Herr Richter's London concerts. Like Men- delssohn's Scotch and Cowen's Cambrian, it is said to have grown out of a visit made by the composer to Ireland. It is certainly Irish in spirit as well as in the thematic ma- terial employed, and is sufficiently national to secure instant recognition by even an untutored Irish listener. The first movement, Allegro moderate, opens with a melodious theme in the string quartette, unison and pianis- simo, supported by the winds. After a short development it is repeated in a powerful crescendo by full orches- tra. A phrase from the theme is then treated, and leads to the second, given out by the 'cellos in cantabile style and then taken up by the violins. The usual repetition follows, and closes the first part. The second part opens with a working-up of the first theme, followed by the second with ingenious variations. Both themes also ap- pear in the coda closing the movement. The second movement, Allegro molto vivace, which takes the place of the customary Scherzo, begins at once with a first theme in jig-like movement for the first violins. After its development a short episode follows, given out by CHARLES V. STANFORD STANFORD 417 the wood winds, which leads up to a genuine peasant mel- ody. The trio opens with an attractive theme, leading to the coda, in which the jig returns, closing the movement in spirited style. The slow movement after some introductory harp ar- peggios opens with a sombre, pathetic theme for the flutes and clarinets, several times repeated, and assigned to vari- ous instruments until the oboe appears with a second theme, the accompanying figure of which is based upon the old Irish song, " The lament of the sons of Usnach." Fresh subjects follow with elaborate treatment, leading to a general pause, which prepares the way for the " Lament " theme. A reminiscence of the beginning of the movement and the harp arpeggios furnish the close. The Finale, Allegro moderato ma con fuoco, is based upon two Irish songs, the first of which (" Remember the glories of Brian the brave ") constitutes the first theme. After its development a fresh modulation leads up to the second theme for string orchestra with bassoons, horn, and contrabasses, pizzicato, followed by a melodious figure which prepares the way for further treatment of the the- matic material already presented. The second of the Irish themes mentioned above is now given out by three trum- pets pianissimo with tremolo accompaniment of violins. After the development of this theme occurs the ordi- nary reprise, and a skilfully treated coda concludes the symphony. STRAUSS 1 1864- DON JUAN. OP. 20 " "T\ON JUAN," the first published of Richard Strauss' \J tone-poems, was written in November, 1880, and performed for the first time at Weimar, near the close of the same year. The subject of the work is taken from a poem of the same name, written by the Hungarian poet Lenau. The hero is not the " chartered libertine " of Mo- zart's immortal " Don Giovanni," but a Don who is in love with the feminine principle. He is devoted to the adora- tion of the whole feminine world rather than the pursuit of the individual. The text " through every realm, O friend, would I wing my flight, wherever beauty blooms, kneel down to each," shows his diffusiveness. At last he becomes pessimistic. The pursuit of beauty palls. " Now it is o'er, and calm all round, above me ; sheer death is every wish ; all hopes o'ershrouded." At last he is satisfied to give up life itself. In the illustration of this story, Strauss' music opens with a variety of restless themes, occasionally me- lodious in bits, but more frequently discordant without res- olution. Don Juan makes his appearance to a somewhat 1 In presenting the analysis of " Don Juan," as well as of the re- maining tone-poems by Richard Strauss, no attempt will be made to consider them in detail. The instrumentation is much too compli- cated and the whole orchestral scheme too bizarre and unusual to allow of it without occupying undue space as well as voluminous notation. The analysis in each case therefore will present a general view of the works. STRAUSS 419 brilliant melody. This is followed by desultory love epi- sodes, some of which musically are as unsatisfactory to the hearer as the episodes themselves were to the hero. They invariably end in a restless manner. Don Juan in desper- ation plunges into a general carnival of feminine and vinous revels, depicted by music intended to be bacchana- lian, but unintelligible without a detailed programme. The debauch closes in a manner indicating the hero's fate, and at last his end is announced by the trumpet. MACBETH. OP. 23 Although " Macbeth " was the first tone-poem com- posed by Strauss, its opus number follows that of " Don Juan." Contrary to his usual custom, the composer has furnished no key to its contents except the title and occa- sional hints in the score. He evidently did not intend a setting of the drama, but rather musical portraits of Macbeth and Lady Macbeth, and these portraits, it must be confessed, are presented in the loudest of colors, after a motive which runs through the whole work, given out by the violins. The personal motive of Macbeth appears. It is accom- panied by a counter theme and leads to a third theme, the meaning of which is left to the imagination. This prepares the way for a vigorous passage for flutes and clarinets which the score annotation intimates in the Lady Macbeth motive. The annotation is : " Hie thee hither, that I may pour my spirit in thine ear." The motive soon yields to a more passionate one given out by the violins. This, when thoroughly developed, gives place again to the Lady Macbeth motive. The latter, however, makes but a brief reappearance and is succeeded by a sweet and very gracious melody for the violins, which at last joins itself to another of somewhat similar character, the two pro- gressing through unique development to the close. 420 STANDARD CONCERT GUIDE TOD UND VERKLARUNG. OP. 24 " Tod und Verklarung " (" Death and Transfiguration ") was written in 1890 and first performed at Eisenach in June of the same year. The composer has given the clew to its meaning in a poem by Alexander Ritter, printed on the fly-leaf of the score, though, singularly enough, the poem was written after the author had heard the music. The poem describes the sleep of a sick man " who a mo- ment since with death wildly, desperately has struggled ; " the renewal of the struggle, life and death wrestling for supremacy and silence again ; the delirium in which the events of his life pass in review in the mind of the sufferer ; then the final struggle, followed by the transfiguration, in which he triumphs over death. The opening of the musi- cal description is a largo, low toned in color and restless, but with occasional melodious episodes. It is followed by strangely discordant passages evidently intended to repre- sent the renewal of the struggle, but at this point the music assumes a more melodious character as the memories of youth come back. In the final struggle the musical fury begins again, growing more and more indefinite and dis- cordant until the end comes and the din ceases. The transfiguration music which closes the work is extremely impressive and full of that majestic beauty which is at Strauss' command when he elects to display it. TILL EULENSPIEGEL. OP. 28 " Till Eulenspiegel " was first performed at Cologne, November 5, 1895. The music represents the eccentric career of a roving Merry Andrew, the droll tricks which he played, and his final expiation upon the gallows for prac- tical jokes which at last became too brutal to be endured. In the old legend of Till, however, he does not come to the RICHARD STRAUSS STRAUSS 421 gallows, but escapes it by trickery. Strauss, however, ruthlessly sacrifices him in the close with explosive music. The themes in this work typify the hero in various situa- tions, and their development shows the droll tricks which he plays. His ride through the market-place and the dismay of the market-women as their wares are scattered are ac- companied by imitative music. Unctuous themes display him as a clerical impostor and tender passages for the violins, clarinets, and flutes tell of his love episodes. Char- acteristic music shows him fooling the university doctors. At last ominous tones from the trombones and horns indicate his approaching doom. He pays no attention to them, however, until hollow rolls of the drum announce his arrest. His fear then is clearly indicated. The bas- soons, horns, trombones, and tubas unmistakably tell of his death, and his soul takes its flight to twitterings of the flutes. A brief sort of in memoriam episode closes the music, as droll as the tricks of its subject. THUS SPAKE ZARATHUSTRA. OP. 30 " Thus Spake Zarathustra," though based upon a philo- sophical subject, is one of the most popular of the Strauss tone-poems, perhaps because it has been heard more frequently than the others. It was inspired by a " prose poem " of the same name, written by Friedrich Nietzsche. The details of the philosophical story of Zarathustra, or Zoroaster, as he is more familiarly known, are too involved for use in this connection and perhaps are not needed for enjoyment of the music; which is very impressive and grows upon the listener by successive hearings. Strauss has liberally annotated his score with the headings of chapters in the Nietzsche text. The work opens with a stately theme by trumpets lead- ing to a powerful climax for full orchestra and organ 422 STANDARD CONCERT GUIDE which is the most impressive feature of the tone-poem. Then follow new themes under the headings of " Back World's Men " and of" Great Longing," the music descrip- tive of Zarathustra's " going down " to teach the doctrine of the Overman and the " Longings " of those in the Back World for higher things. Another theme, given out by the violins, sings of their " Delights and Passions," fol- lowed by the " Grave Song "' a tender melody for oboe which is worked up in conjunction with the " Longings " theme. The despair of science is treated as a fugal epi- sode based upon the opening motive, followed by furious and at times dissonant outbursts from the full orchestra. An episode, " The Convalescent," is devoted to an opti- mistic view of humanity. . This is followed by the jubila- tions of the Overman expressed in the " Dance Song," which is anything but terpsichorean in character. " To the general " it must be " caviar." At last twelve strokes of the bell usher in the " Song of the Night Wanderer " and a short passage the very spirit of perplexity and doubt being set in two keys, involving a mysterious discord, closes this extraordinary music which illustrates such vague and mystic philosophical gropings. DON QUIXOTE. OP. 35 " Don Quixote " is absolute programme-music and programme-music run wild in which Strauss has well-nigh exhausted the ordinary orchestral effects and invented new ones. It is written in variation form and personal motives are assigned to Don Quixote, on the 'cello, and to Sancho Panza, on the viola, the first appearing in the introduction which describes knightly feeling and the hero's resolve to become a knight. But as Don Quixote pursues his studies of chivalry and realizes the duties as well as the pleasures it entails, he turns out a madman as explained by the most incoherent of dissonances. STRAUSS 423 His journey now begins and a series of pictures describ- ing his adventures follows, in variation form. It first depicts his attack upon the windmills, the rushing of the air rep- resented by violin trills and strange wood-wind effects, and his own downfall by wood winds emphasized by the ever- useful kettle-drums. In the second he makes his furious onslaught upon the herd of sheep whose frightened bleating is clearly discernible on the muted brasses. The third noisily tells of the dispute of the knight and his squire over chivalry. In the fourth we behold him making his attack upon the pilgrims as they chant their ecclesiastical music, mistaking them for robbers. The fifth and sixth tell of his longings for his Dulcinea and the trick which Sancho plays upon him by pointing out a homely peasant woman as the real object of his raptures. In the seventh occurs the absurd episode of the supposed journey of the Don and his squire through the air, the wind effect being made by harp, kettle-drum, flutes, and an ingenious wind machine. The eighth, a barcarole, describes the ride to the enchanted boat, and the ninth his encounter with the two priests. In the tenth he has his last adventure with the Knight of the White Moon, which ends his knightly career. In the Finale his reason returns but the shiver of the violins tells of his rapidly approaching death. It is followed by strange harmonies, and at last the 'cello marks the end of his follies and of his life. EIN HELDENLEBEN. OP. 40 "Ein Heldenleben" ("A Hero- Life") was first per- formed at Frankfort, March 3, 1899. It tells the story of a hero, his struggles with mankind, with love, with the enemy on the battle-field, his development of high thought, his intellectual and peaceful achievements, and at last his departure from the world. There is no introduction. The opening theme, horn 4 2 4 STANDARD CONCERT GUIDE and strings, describes the characteristics of the hero, and other motives referring to attributes of his nature also ap- pear and are worked up to an impressive climax. The contests with his fellow-men are depicted in a genuine illustration of philosophy and ethics in music. The love music is charming throughout and closes with a duet for violin and oboe. The fourth section of the work describes the clash and fury of battle, which concludes with a splendid song of victory whose pealing harmony is fairly majestic. Then follows the hero's peace conquests in which the com- poser has introduced themes from nearly all his tone- poems, his opera " Guntram," and some of his songs. The last section relates the hero's passage from this world, pre- luded with reminiscences and closing with a mighty outburst from the. whole orchestra fit tribute to the passing of a hero. The work is grand in its conception and treatment, and in some passages rises to inspiration. SlNFONIA DOMESTICA "Sinfonia Domestica" ("Domestic Symphony") de- scribes a day in the composer's family life. It contains three themes, one for the father, one for the mother, and one for the child, and subsidiary themes are accepted as representing " the sisters, the cousins, and the aunts." It is afar step downwards from "Zarathustra" and "Helden- leben," and has not even the dignity of " Don Quixote " in the sheep episode, or the air ride. It lacks both quality and dignity. A great conductor, to whom Strauss sent this work, and who had introduced most of his tone-poems in America, made to the author the pertinent criticism that a composer should never intrude his personality or his domestic affairs upon the public. He should have re- membered Schumann's words : " A composer must not show his heart to the public." SULLIVAN 1842-1901 ON SHORE AND SEA THE cantata " On Shore and Sea " was written for the London International Exhibition of 1871. The solo parts are allotted to La Sposina, a Riviera woman, and II 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 can- tata 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 stirring. 426 STANDARD CONCERT GUIDE THE GOLDEN LEGEND " The Golden Legend " was first produced at the Leeds Musical Festival, October 16, 1886. The adaptation of Longfellow's poem for the Sullivan cantata was made by Joseph Bennett, who, while omitting its mystical parts, except the prologue, has confined himself to the story of Prince Henry and Elsie. All the principal scenes, though sometimes rearranged to suit the musical demands of the composer, have been retained, so that the unity of the legend is preserved. The prologue, representing the effort of Lucifer and the spirits of the air to tear down the cathedral cross, is used without change. The part of Lucifer is assigned to the barytone voice, the spirits of the air to the sopranos and altos, and the bells to the tenors and basses, the whole closing with the Gregorian Chant. The orchestral accom- paniment is 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 solilo- quy of Prince Henry in his chamber (" I cannot sleep "), followed by a dramatic duet with Lucifer, describing the temptation, and closes with a second solo by the Prince, accompanied by a warning chorus of angels. The second scene opens before the cottage of Ursula at evening, with a short alto recitative ("Slowly, slowly up the wall ") with pastoral accompaniment, followed by an 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 dia- logue 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, SIR ARTHUR SULLIVAN SULLIVAN 427 closing with her noble offer to the Prince, which he ac- cepts, the angels responding Amen to the blessing he asks for her. The third scene opens with Elsie, the Prince, and their attendants on the road to Salerno where the cure is to be effected by her sacrifice. They fall in with a band of pil- grims, 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 dis- tance (" Cujus clavis lingua Petri ") ; the mocking charac- teristic 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 an effective solo for Elsie (" The night is calm and cloudless "), which is repeated by full chorus with soprano obligato dwelling upon the words " Christe Eleison." The fourth scene opens in the Medical School at Salerno, and discloses Lucifer disguised as the physician Friar Angelo, who re- ceives Elsie and takes her into an inner apartment, not- withstanding 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 (" Oh, pure in heart ! "). The fifth scene is short. It passes at the door of Ursula's cottage, where a forester brings the mother the news of Elsie's safety and of the Prince's miraculous cure. The dialogue is followed by a prayer of thanks- giving (" Virgin, who lovest the poor and lowly "). The last scene opens on the terrace of the castle of Vauts- berg. It is the evening of the wedding day, and amid the sound of bells heard in the distance the Prince relates 428 STANDARD CONCERT GUIDE 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 com- pared to the mountain brook flowing down from " the cool hills " to bless " the broad and arid plain." THE PRODIGAL SON "The Prodigal Son," the first of Sullivan's oratorios, was written for the Worcester Festival in England, and performed for the first time September 8, 1869. It is a short work, comprising but eighteen numbers, and exceed- ingly melodious in character. In reality there are but six of the eighteen numbers concerned with the narration of the parable. The remainder moralize upon the story and illustrate its teaching. After a short, simple orchestral prelude, an opening chorus, beginning with soprano solo (" There is joy in the presence of the angels of God "), and also containing alto and bass solos, gives the key to the whole work in reflec- tive style, as it proclaims the rejoicing in heaven over the " one sinner that repenteth." At its conclusion the para- ble begins with tenor recitative and solo (" A certain man had two sons "), in which the Prodigal asks for his portion of goods. In a bass aria preceded by recitative, the father gives him good advice (" Honor the Lord "), and presumably his portion also, as the soprano recites in the next number that " he took his journey into a far country, and there wasted his substance in riotous living." There- upon follows a melodious and vivacious chorus (" Let us eat and drink; to-morrow we die") in which the tenor has an important part. The response to the bacchanal comes in the next number, a brief chorus beginning with the alto recitative (" Woe unto them ! "). One of the gems SULLIVAN 429 of the work, a pretty alto song (" Love not the world "), intervenes at this point. At its conclusion the narrative is resumed. After an effective prelude by orchestra, the soprano re- citative relates the famine and the experiences of the Prodigal among the swine, leading up to the aria (" Oh, that thou hadst hearkened "). The tenor follows with an expressive aria (" How many hired servants of my father's "). The narrative again halts to give place to a taking chorus (" The sacrifices of God "), after which we have the return and reconciliation (" And he arose and came to his father "), a dramatic duet for tenor and bass, followed by the vigorous and exultant bass aria (" For this my son was dead ") of the father. The para- ble ends here ; but the music goes on moralizing upon and illustrating the theme in four effective numbers, the chorus ("Oh, that men would praise the Lord"), which is the longest and best constructed in the work ; the recita- tive and aria for tenor (" Come, ye children ") ; the unaccompanied quartette (" The Lord is nigh ") ; and the final chorus ("Thou, O Lord, art our Father"), closing with a Hallelujah in full, broad harmony. THE LIGHT OF THE WORLD Sir Arthur Sullivan's second oratorio, "The Light of the World," is laid out upon a much larger scale in every way than " The Prodigal Son." It was written for the Birming- ham Festival of 1873, and was given for the first time on August 27 of the same year. The purpose of the work, as the composer explains in his preface, is to set forth the human aspects of the life of our I-ord upon earth by the use of some of the actual incidents in His career which bear witness to His attributes as preacher, healer, and prophet. 430 STANDARD CONCERT GUIDE The first part has four scenes, " Bethlehem," " Naz- areth," "Lazarus," and "The Way to Jerusalem." The scenes of the second part are laid entirely in Jerusalem. " Bethlehem " includes the message of the angels to the shepherds, their visit to Mary, the nativity, the warning by the angel to Mary and Joseph of Herod's design, the lament and consolation of Rachel in Rama, and the promise of God's blessing upon the Child. In " Nazareth " we have a scene representing Christ in the synagogue reading from Isaiah and declaring himself the object of the prophecy, his expulsion by the incredulous crowd of listeners, and his exhortations to his disciples, when left alone with them, to bear their persecutions with meekness. " Lazarus " de- scribes the journey to Bethany and the Lord's assurances to the bereaved sisters that their brother shall rise again. " The Way to Jerusalem " scene is indicated by its title, the entry of the Lord into the city amid the hosannas and exultant acclamations of the people. In the second part we have the discourse concerning the sheep and the goats, the interview between the ruler and the people, and the former's anger with Nicodemus, the sufferings and death of Christ, and the resurrection and joy of the disciples as they glorify God and sing the praises of their risen Master. The work opens with a prologue chorus (" There shall come forth a rod out of the stem of Jesse "), at the close of which the "Bethlehem " scene begins. It is preluded with a quiet but effective pastoral movement for the or- chestra, a tenor recitative ("There were shepherds abid- ing in the field"), and a contralto solo announcing the heavenly message to the shepherds, which lead up to a spirited " Gloria " by the sopranos and altos, followed by a chorus of the shepherds (" Let us now go even unto Bethlehem ") for male voices. A shepherd, in brief recita- tive passages, declares to Mary, " Blessed art thou among SULLIVAN 431 women," followed by the soprano solo, " My soul doth magnify the Lord." After the Virgin's expression of thanks the shepherds join in the chorus (" The whole earth is at rest"), which is peculiarly striking in its con- trasts. A short recitative by the angel, warning Mary to flee into Egypt, is followed by a sombre chorus (" In Rama was there a voice"). At its close the tenor is heard in a tender aria ("Refrain thy voice from weeping"), leading to a chorus full of spirited harmony, and rising to an effec- tive climax ("I will pour my spirit"), which closes the scene. The "Nazareth" scene opens with a barytone solo (" The Spirit of the Lord is upon me ") in which Jesus declares himself in the synagogue as the object of the prophecy from Isaiah which He has been read- ing. The Jews answer in a dramatic chorus ("Whence hath this man his wisdom?"). Again Jesus interposes with the declaration, " A prophet is not without honor save in his own country ; " whereupon the people break out in a still more dramatic chorus (" Is not this Jesus? "). For the third time Jesus declares Himself, followed by the stirring, furious chorus, "Why hear ye Him?" A tender and at times fervid solo (" Lord, who hath believed our report?") leads to an effective quintet ("Doubtless Thou art our Father "). After another brief barytone solo ("Blessed are they") we come to the chorus ("He maketh the sun to rise"), which is one of the most beautifully written in the work, and closes the scene. The third scene, " Lazarus," begins with the description of the mournful journey to Bethany, the arrival among the kindred and friends, who are trying to comfort the bereaved sisters, and closes at the still unopened grave. It includes a duet between tenor and barytone, the former a disciple, the latter Jesus, whose music is invariably sung by the bary- tone voice ; a solo for alto (" Weep ye not for the dead ") 432 STANDARD CONCERT GUIDE with a sombre orchestral prelude, and accompanied by a chorus in its close ; a dialogue between Martha and Jesus (" Lord, if Thou hadst been here ") ; a short, but beautiful chorus (" Behold how He loved him ! ") ; the barytone solo ("Said I not unto thee ") ; and a final chorus of great power ("The grave cannot praise Thee"). The last scene of the first part, " The Way to Jerusalem," is brilliant throughout, and is in cheerful contrast with the general sombreness of the preceding numbers. It opens with a brief dialogue between Jesus and a disciple (" Mas- ter, get Thee out, and depart hence "), which leads to a charming three-part chorus for children's voices (" Ho- sanna to the Son of David"), with a prominent harp part in the accompaniment, and worked up to a fine climax. A brilliant soprano solo (" Tell ye the daughter of Zion ") intervenes, followed by a short dialogue between Jesus and a Pharisee which leads to the vigorous chorus of the dis- ciples ("Blessed be the kingdom "). After another bary- tone solo (" If thou hadst known, O Jerusalem ") the children's Hosanna is repeated, this time with the power of the full chorus ; and the first part comes to a close. The second part begins with a long overture effectively written, and intended, as the composer himself says, to indicate the angry feelings and dissensions caused by the Lord's presence in Jerusalem. At its close the barytone, in one of the most forcible solos assigned to this part ("When the Son of Man shall come in His glory"), discourses the parable of the sheep and goats. The wondering chorus of the people (" Is not this He whom they seek to kill?") follows, and then ensues a somewhat tedious scene. A ruler argues with the people, contempt- uously asking if Christ shall come out of Galilee. The people remain unconvinced, however. Nicodemus then strives to reason with the ruler, with the natural effect of making him angry. All this leads up to an effective SULLIVAN 433 female chorus (" The hour is come "). In a tender and pathetic solo (" Daughters of Jerusalem ") Jesus sings his farewell. The incidents of the crucifixion are avoided, as the work is intended only to illustrate the human career of Jesus. The rest of the story is told in narrative form ; an unaccompanied quartette ("Yea, though I walk") and a powerful, but gloomy chorus, describing Christ's sufferings ("Men and brethren"), bring us to the sepulchre. The scene opens with the plaint of Mary Magdalene (" Where have they laid Him ? ") and the response of the angel, who tells her Christ has risen, which is followed by a six-part, unaccompanied chorus ("The Lord is risen"). A short tenor solo (" If ye be risen with Christ ") leads directly to the final chorus ("Him hath God exalted"), which is worked up in fugal form with much spirit. SYMPHONY No. i, IN E MINOR 1. ANDANTE. ALLEGRO MA NON TROPPO VIVACE. 2. ANDANTE ESPRESSIVO. 3. ALLEGRETTO. 4. ALLEGRO VIVACE E CON BRIO. Mr. Sullivan's First symphony was written in 1866, and was first played at the Crystal Palace, London. It adheres to the old form of absolute music in that it has no programme. It begins with an introduction, Andante, in which a phrase is announced by the basses that not only dominates the introduction proper, but does good service in the succeeding Allegro. The introduction leads directly to the Allegro, the first theme of which is given out by the violins, and based upon the phrase already mentioned. The full orchestra is employed in its development, after which follows an episode for the wind instruments, accom- panied by the violas, and leading to the entrance of the second subject, which is first indicated by the violins and 28 434 STANDARD CONCERT GUIDE clarinet, but not clearly shown until it is given out by the flute with the violins in octaves. The usual repeat brings the first part of the movement to a close. In the second part the first and second themes are elaborated with great ingenuity, and reach an impressive climax, after which a vigorous coda ends the movement. The second movement, Andante espressivo, after a brief prelude begins with a theme for the horns and alto trom- bones, which is fully developed, and then gives place to the second theme, for the clarinets. The new theme, however, occupies a subordinate position, as the first soon returns, and is treated with charming effect. A new sub- ject presents itself near the close in a solo for clarinet, and the movement ends quietly with reminiscences of the principal subject. The third movement, Allegretto instead of Scherzo, opens with a fresh and effective theme given out by the oboe with string accompaniment. It is twice repeated, first by the 'cellos and bassoons with flute and clarinet accompaniment, and then by the winds with string accom- paniment, after which the second theme appears, divided between the flutes and violins. Its treatment leads to the trio, the subject of which is assigned to the clarinets in octaves. After its repetitions the principal theme returns, and closes the movement. The Finale, Allegro vivace e con brio, opens at once with a vigorous subject for full orchestra which is developed in masterly style. A graceful little episode prepares the way for the second subject, given out by the violins with counter theme for the winds. The rest of the movement is devoted to the elaboration of this material until the reprise is reached, after which the movement progresses clearly and forcibly to the end. TCHAIKOVSKY 1840-1893 SYMPHONY No. 2 IN C MINOR. OP. 17 t. ALLEGRO vivo. 3. SCHERZO. 2. ANDANTINO MARCIALE. 4. MODERATO ASSAI. TCHAIKOVSKY'S Second symphony, sometimes called the " Little Russian Symphony," was written in 1873, an d was first performed in Moscow. It is con- sidered the most national of all this composer's works, as it is based largely upon Russian themes. After a long introduction, founded upon a melody, elegiac in style, the main part of the movement begins with a theme given out by the violins, accompanied by the remaining strings, which, after development by full orchestra, leads to a second theme for oboe, accompanied by clarinets and bassoons, then passing to the violas and 'cellos with a counter theme for violins. After a short free fantasie the recapitulation begins, closing with the coda and bits of the beautiful melody of the introduction. The second movement opens with the kettle-drums which furnish an accompaniment to the first theme, bor- rowed from a march in the composer's unpublished opera, " Undine," and stated by the clarinets and bassoons. The first violins furnish the second theme, repeated by bassoons and 'cellos. The two themes are beautifully elaborated, and the movement closes with the kettle-drum beats which began it. The first violins have the opening theme of the Scherzo, followed by a chromatic passage for second violins and 436 STANDARD CONCERT GUIDE violas, which leads to the second theme for the first violins. After its embellishment and the retarn of the first theme the trio follows, based on a theme for wood winds and horns, most elaborately worked up. The movement ends with a repetition of the Scherzo and coda. The Finale is exceedingly brilliant. Its first theme, a little Russian song called "The Crane," is given out by the first violins, followed by a second original theme, also for violins. These two themes, the first being mainly dominant, are beautifully worked up to a powerful climax, the symphony closing with a coda full of vitality and brilliancy. SYMPHONY No. 4, IN F MINOR. OP. 36 1. ANDANTE SOSTENUTO. MODERATO CON ANIMA. 2. ANDANTINO IN MODO DE CANZONA. 3. SCHERZO. PIZZICATO OSTINATO. 4. FINALE. ALLEGRO CON FUOCO. The Fourth symphony was written in 1878, and was regarded by Tchaikovsky as his finest work. It stands almost alone in that composer's music for its humorous characteristics, which are all the more strange when it is considered he was mentally depressed while writing it. The first movement opens with a somewhat stately intro- duction, at the close of which the first theme enters upon the first violins and 'cellos to the accompaniment of the other strings and horns. After a vigorous development a quiet passage occurs, leading to a subsidiary plaintive theme for clarinets, after which the second theme enters on the 'cellos. It is not long, however, before the first theme is heard again and it soon assumes the chief importance. This section is most elaborately worked up, and the move- ment finally comes to a close with the utmost vigor and brilliancy. PETKR TCHAIKOVSKY TCHAIKOVSKY 437 In the second movement, one of the most fascinating Tchaikovsky ever wrote, Andantino, in modo canzona, the canzona, or song, is given out by the oboe, accompanied by the strings pizzicato. The song is next taken up by the 'cello with accompaniment of wood winds, horns, and basses. It next passes to the strings, the accompaniment continually growing fuller and richer until a strong climax is reached. The bassoons and 'cellos now take the song in unison, the former soon followed by the violins, the flutes and clarinets furnishing a graceful accompaniment. After a brief epi- sode the violins once more take up the song, followed by one group of instruments after another until the beautiful melody dies away on the bassoons. The third movement is unique for its pizzicato string accompaniment which runs through the whole movement whenever the strings are playing. When they are not, the same effect is produced by the wood winds and brasses. The opening theme is most brilliant, and is given out by the violins. The second is slower and is stated by the oboes and bassoons. After its statement the clarinets take the theme faster, accented by the piccolos and accompanied by the brasses. Then the first theme returns on the first violins, alternating with the wood winds. The second theme is touched upon once more, after which the move- ment closes pianissimo. The Finale is a brilliant Allegro. The full orchestra gives out the first theme, quickly followed by the second on the wood winds. After the repetition of the first the third is stated by the full orchestra. The movement is devoted to the development of these three themes, and in the treat- ment the effect runs from double fortissimo to pianissimo, the movement coming to its close with a crescendo of tremendous energy. 438 STANDARD CONCERT GUIDE SYMPHONY No. 5, IN E MINOR. OP. 64 1. ANDANTE. ALLEGRO CON ANIMA. 3. VALSE. 2. ANDANTE CANTABILE. 4. FINALE. The Fifth symphony was written in 1887, ar >d reflects one of the sad moods of the composer. The introduction is based upon an exceedingly sombre theme which is prominent all through the work. It leads to an Allegro which is more animated in character and is based upon two subjects, one of them melancholy in color but the other bright and vigorous. After their development, however, the sombre theme of the introduction reappears, finally dying away on the bassoons. The second movement is in the form of a romance, the melody being given out by solo horn, then passing to 'cello and afterwards to the strings. The theme is one of exceptional beauty and is followed by new themes for oboe and clarinet, the development of which is serious in char- acter, leading to a tremendous climax, the whole orchestra joining in the opening theme. The second part of the movement is based upon the same themes and works up to a similar climax, the theme returning fitfully, and the movement closes with a coda based upon the second theme. In place of the conventional Scherzo the composer has given us a very graceful and poetical waltz based upon two themes, its flow being interrupted occasionally by the reentrance of the principal theme of the first movement. The Finale has a long introduction in which this princi- pal theme is heard again. After being worked up to a grand crescendo it disappears. After an impetuous sub- sidiary theme is developed the second theme is given out, first by the wood winds and then by the violins. From TCHAIKOVSKY 439 this point to the close these two themes are treated, but the ominous theme of the introduction is continually prom- inent. The situation clears up at last, however, and the symphony ends with a vigorous climax. One Russian writer says : " The entire symphony seems to set forth some dark spiritual experience. Only at the close the clouds lift, the sky clears, and we see the blue stretching pure and clear beyond." SYMPHONY No. 6, IN B MINOR (PATHETIQUE). OP. 74 1. ADAGIO. ALLEGRO NON TROPPO. 2. ALLEGRO CON GRAZIA. 3. ALLEGRO MOLTO VIVACE. 4. FINALE. ADAGIO LAMENTOSO. The Sixth symphony, which the composer named the " Pathetic " after its first performance, was written in 1893. One of his biographers says he seems to have concentrated in this symphony the brooding melancholy which is the most characteristic of all his emotional phases. Be this as it may, it is one of the most stirring and impressive of all his instrumental works. He left no programme for it. Indeed, he wrote to a friend that the programme must re- main a riddle to every one, and to the same friend : " I love it as I have never loved any other of my musical cre- ations." To the general hearer the symphony must ever present itself as a curious medley of human emotions and passions. The first movement opens with an Adagio introduction in which one of the figures of the first theme is given out by the bassoons against a droning bass and most ingen- iously worked up. The second theme is a melody of " pur- est ray serene," which will always haunt the memory. It is developed quietly and slowly. As it ceases the power- ful first theme returns and is developed with furious energy. 440 STANDARD CONCERT GUIDE As the storm dies away, the beautiful second theme returns and the movement closes in the quietest of pianissimos. The second movement, Allegro con grazia, is in striking contrast with the first. It has little of the conventional Scherzo character, as it is set to the dance rhythm, the prin- cipal theme being given out by the 'cellos with pizzicato accompaniment in the strings and alternating chords in the wood winds and horns. The second theme is of a plain- tive sort, but it is soon replaced by the sparkling first, and the movement ends placidly and cheerfully. The third movement, Allegro molto vivace, opens with a truly vivacious theme alternately taken by the strings and wood winds. The strings finally usurp the theme and the wood winds develop a counter theme. The contest be- tween these two at last ends in a grand march movement, introduced by the brasses aud gradually taken up by the whole orchestra with magnificent power and almost bar- baric effect. The last movement, Adagio lamentoso, is well named. It is the apotheosis of sorrow and despair. Few composers would have the courage to end a symphony with an Adagio, still fewer with an Adagio so gloomy that it has been called " suicide music." It has no regular form and well-nigh defies analysis. It is a succession of mournful outcries, despairing laments, and wretched hopelessness, and yet is worked up with great dramatic power. Its intensity is tragic. It is a relief when its last measures die away pianissimo. After hearing it one can understand the com- poser's remark to a friend : " Often during my wanderings, composing it in my mind, I have wept bitterly." TCHAIKOVSKY 441 SYMPHONY AFTER BYRON'S " MANFRED." OP. 58 1. Manfred is wandering about in the Alps. 2. The Spirit of the Alps appears. 3. Pastorale. 4. The Underground Palace of Arimanes. " Manfred," described as " a symphony in four scenes," was written in 1884. Its scenes are based upon Byron's " Manfred " but in the denouement the composer's hero evidently is reconciled to heaven and does not die rebel- lious. The first movement opens with a theme which dominates the whole symphony, given out by bassoons and bass clarinet, and typical of Manfred's wretchedness and anguish of soul. A second mournful phrase, bassoons, horns, oboe, and clarinets, represents his appeal for forget- fulness. Then ensue sinister, foreboding passages, broken figures, and weird effects descriptive of his futile incanta- tions and interwoven with them the mournful love subject, recalling the lost Astarte. The second movement, which may stand for the Scherzo, is almost entirely devoted to Manfred's invocation of the Spirit of the Alps, and is a most charming piece of nature- painting in music. The programme annotation reads : " The Spirit of the Alps appears to Manfred in the rainbow over the waterfall." The music vividly paints the rush of the water over the rocks, the reflection of the sunlight, the appearance of the rainbow, and at last the vision of the Spirit, singing her fascinating song, first violins with harp accompaniment. The pastoral movement which follows is equally restful and beautiful, but amid its quiet harmonies is heard the gloomy motive which represents Manfred as well as his motive of longing for forgetfulness. The second and third scenes are gratefully restful after the gloom of the first and fourth scenes. The opening 442 STANDARD CONCERT GUIDE theme of the final scene suggests Manfred's invocation. Suddenly the shrill trills of the strings and wood winds and the weird tones of the brasses and cymbals mark the be- ginning of the Spirit's orgy in which Manfred is a partici- pant. The orgy becomes a veritable delirium, and after its close the motives of invocation and despair as well as of Astarte follow each other and at last are united with impres- sive power. A reference is made to the " Dies Irae " with organ accompaniment. Manfred's death follows after a powerful climax, and in the closing measures some critics see the redemption of the hero. VERDI 1813- 1902 THE MANZONI REQUIEM THE history of " The Manzoni Requiem " is of more than ordinary interest. Shortly after Rossini's death, in 1 868, Verdi conceived the idea of a requiem in his memory, to be written by many hands, which should be performed in the cathedral of Bologna on each centen- ary of the composer's death, but upon no other occasion and at no other place. The project met with favor. The work was laid out in thirteen numbers and assigned to thirteen Italian composers, Verdi taking the "Libera me," which was to be the last number in the work. Each of the composers finished his task ; but when the parts were joined hi a complete requiem they were found to be so dissimilar in treatment, and the whole work so incoherent and lacking in symmetry and unity, that the scheme went no further. About this time, 1873, Alessandro Manzoni, the founder of the romantic school in Italian literature, died, and was universally mourned by his countrymen. The requiem which had been intended for Rossini was now written by Verdi for his friend, the great Italian patriot and poet. It was performed for the first time at Milan, May 22, 1874, the anniversary of Manzoni's death, with Teresa Stolz, soprano ; Maria Waldmann, alto ; Giuseppe Capponi, tenor ; and Ormondo Maini, bass ; a chorus of a hundred and twenty voices, and an orchestra of a hundred and ten. 444 STANDARD CONCERT GUIDE The " Requiem " opens, after a few measures of prelude, with the chorus chanting the appeal for rest, sotto voce, the effect being carried as pianissimo as possible until the basses, by an abrupt change of key, give out the theme of a fugue ("Te decet hymnus"), written in pure religious style. The introductory " Requiem " is repeated, and leads to the " Kyrie," the theme of which is stated by the tenor, and in turn taken up by the other soloists, the chorus shortly joining, a double sextet interwoven with it, and the whole closing pianissimo, as the " Requiem " opened. The second part, the " Dies Irae," is in strong contrast with the first, and is more broadly and dramatically worked up, and with freer accompaniment. The opening chorus is one of startling power. The tenors and basses open the number, immediately followed by the four parts announc- ing the " day of wrath " in high, sustained notes, while the second sopranos, altos, and tenors accompany them with immense sweeps of sound that rise and fall like the waves. There are nine numbers in this part which have been al- ready specified, the most effective of them being the Adagio trio (" Quid sum miser ") for soprano, alto, and tenor, upon which Verdi has lavished his melodious inspiration. The trio is continually interwoven with the chorus shouting fortissimo the " Rex tremendae Majestatis," until it takes another form in the prayer (" Recordare "), a duet for soprano and alto in Verdi's best operatic vein. An effec- tive tenor solo (" Ingemisco"), followed by a solemn and majestic bass solo (" Confutatis "), leads to the stirring measures of the " day of wrath " again, and closes this part in a powerful ensemble, both vocal and dramatic. The offertory (" Domine Jesu ") is a quartette with three motives, the first Andante, the second Allegro, and the third Adagio in Gregorian form, the three themes being admirably worked up and accompanied. The " Sanctus," GIUSEPPE VERDI VERDI 445 the fourth part of the mass, is an impressive Allegro double chorus, followed by the " Agnus Dei," a duet for soprano and alto which is full of melodious inspiration, il- lustrated with charming instrumental color. The sixth part is the " Lux aeterna," a trio for alto, tenor, and bass which leads to the " Libera," the final division and the climax of the work. In its general effect it is a soprano obligato with chorus. After a monotone recitative and solo the " Dies Irae " is repeated, likewise the " Requiem aeternam," which forms the introduction of the mass, and the " Requiem " closes with a fugue of majestic propor- tions, ending with the same pianissimo effect which charac- terizes the opening of the work. VOLKMANN 1815-1883 SYMPHONY No. i, IN D MINOR. OP. 44 1. ALLEGRO PATETICO. 2. ANDANTE. 3. SCHERZO. ALLEGRO MA NON TROPPO. 4. FINALE. ALLEGRO MOLTO. VOLKMANN'S First symphony, written during his stay in Pesth, in its general structure and spirit clearly shows the results of Beethoven's influence, and yet is characterized by great freedom and originality. The first movement, Allegro patetico, begins with a theme given out by the strings in unison, which determines at once the vigorous, energetic character of the whole movement. The motive is retained tenaciously by the double-basses, while the wind instruments take up a quiet melody, leading through a steady crescendo into the second theme, given out by full orchestra. This is followed by a melodic phrase carefully and skilfully treated. The first theme is then repeated, after which the various subjects are em- ployed with such combinations and additions as appear to grow naturally out of the material, the whole forming a movement of great strength in the genuine symphonic form. The Andante is thoroughly melodious. Its opening theme is first given out by the clarinet, leading to an effec- tive climax. This is followed by a beautifully harmonized passage, moving pianissimo around a rhythmic figure on one note given to the horns, which in turn leads back to VOLKMANN 447 the principal melody now taken up by the strings and subjected to elaborate treatment. The Scherzo starts off briskly with a theme developed from material in the first movement. In the second part the customary trio changes to an Andantino, and is thoroughly romantic and winsome in style. After elabora- tion it leads back to the Scherzo. The Finale, Allegro molto, is stately in character and severe in treatment. It contains some fine contrapuntal writing, but is always clear in outline, and closes with a grand climax. The second subject of this movement is particularly noticeable for its combination of pathos and joyousness. WAGNER 1813-1883 LOVE FEAST OF THE APOSTLES S 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, and was first performed in the Frauen-Kirche in Dresden at the Men's Singing Festival, July 6 of that year. The work opens with a full chorus of disciples (" Ge- griisst seid, Bruder, in des Herren Namen "), who have gathered together for mutual help and strength to endure the persecutions with which they are afflicted. The move- ment 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 Macht'gen Hass " and " O fasst Vertrau'n," gradually accelerating and working up to a climax, and closing pianissimo (" Der Macht'gen Spah'n verfolgt uns uberall "). In the next number the Apostles enter twelve bass voices with a sonorous welcome (" Seid uns gegriisst, ihr lieben Bruder "), reenforced by the disciples, pianis- simo (" Wir sind versammelt im Namen Jesu Christi "), the united voices at last in powerful strains (" Allmacht'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 RICHARD WAGNER WAGNER 449 are heard (" Seid getrost, Ich bin euch nah, und Mein Geist 1st mil euch "). The disciples reply with increas- ing vigor ("Welch Brausen erfiillt die Luft"). The Apostles encourage them to steadfast reliance upon the Spirit (" Klein muthige ! Hort an was jetzt der Geist zu Kiinden 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 overpower- ing 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. WEBER 1786-1826 JUBILEE CANTATA THE "Jubilee Cantata" was written in 1818 to cele- brate 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 com- missioned 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 twelfth of September the information was confirmed by a letter from the Count which informed him that not- withstanding 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 Nico- lini. 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 him- self conducting the performance, and that only the over- ture 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 com- memorates many special events in the life of the King, being found unsuitable for general performance, a second CARL WEBER WEBER 451 text was subsequently written by Amadeus Wendt, under the title of " Ernte-Cantata " (" Harvest Cantata "), which is the one now in common use, although still another ver- sion was made under the name of "The Festival of Peace," by Hampdon Napier, which was used at a per- formance in London under the direction of the composer himself only a few days before his death. The cantata is written for the four solo voices, chorus, and orchestra. It opens after a short Allegro movement with a full, jubilant chorus (" Your thankful songs up- raise "), the solo quartette joining in the middle part with chorus. The second number is an expressive recitative and aria for tenor (" Happy nation, still receiving "). The third is characterized by quiet beauty, and is devo- tional in spirit. It begins with a soprano recitative and aria (" Yet not alone of labor comes our plenty ") lead- ing up to a second recitative and aria ("The gracious Father hears us when we call "), which are 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 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 reci- tative (" Lo, once our prayer ") introduces a beautiful quartette and chorus of thanksgiving (" Wreathe into gar- lands 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"). APPENDIX i THE ORCHESTRA THE word "orchestra," which originally designated the space occupied by players, has come to signify the players themselves, when combined for the production of operas or of such large works as are described in this volume. The old orchestras, which were much smaller than those of the present time, comprised the string quintet (first violins, second violins, violas, violoncellos, and double basses), flutes, oboes, clarinets, bassoons, horns, trumpets, kettle-drums, and sometimes trombones. In the modern orchestras the following instruments are also included : English horn, bass clarinet, double bassoon, tuba, harp, bass and snare drums, cymbals, triangle, castanets, caril- lons, gong, and xylophone ; and sometimes the string sec- tions are greatly strengthened to allow of subdivision. The modern orchestra is divided into these four families or sections : strings, wood winds, brasses, and percussion instruments, or " the battery." The string section, which is the backbone of the orchestra, includes first violins, second violins, violas, violoncellos, and double basses, which correspond to the tones of the human voice as follows : first violins, soprano ; second violins, alto ; violas, tenor ; violoncellos, barytone ; and double basses, bass. The wood-wind section includes clarinets, flutes, oboes, bassoons (these played in pairs), bass clarinets, double bassoons, English horns, and piccolos. The brass section includes horns (usually called French horn), trumpets (or their substitutes, cornets), trombones, tubas, and bass tuba. The percussion instruments are 454 APPENDIX the kettle-drums, or tympani, bass and snare drums, tri- angle, cymbals, tambourine, castanets, carillons, xylophone, and gong. The harp, though one of the most ancient of instruments, belongs to no family. It is a comparatively recent addition to the orchestra and might be called the hermit thrush of the harmonious aggregation. The violins are divided into firsts and seconds, the seconds only differing from the first in that they are em- ployed to fill out the harmony by supplying the alto voice. The violin is familiar to every one. It has four strings raised above the belly of the instrument by means of a bridge, and changes of pitch are effected by stopping the strings with the fingers, thus shortening them. In addition to its natural tones, caused by pressure, it is capable of sweet, flute-like over-tones, called " harmonics," produced by the player touching the strings at certain points. Pizzicato tones are made by plucking the strings with the fingers, and the softer tones by affixing an appliance called the " Sordino," or " mute," to the bridge. The viola is only a larger form of the violin, tuned a fifth lower, which fills in the harmony with a deeper tone, corresponding to the tenor voice. The violoncello, commonly abbreviated into 'cello, is the barytone of the string family. It is usually coupled with the double basses as a reinforcement, but often has important solo work assigned to it. It has a very sympathetic and almost human quality of tone, as deep as that of the double bass, as sombre as that of the viola, and as rich as that of the violin. It is the most satisfying singer in the orchestra. The double bass, or contra bass, or in vulgar parlance the " bull fiddle," is really the bass singer of the whole orchestra though not so boisterous as some of its bass companions in other sections. It has a deep, broad, rich tone, and is even capable of producing beautiful harmonics. Its pizzicatos also are impressive, but the mute is not usually employed. APPENDIX 455 In the wood-wind section, the clarinet, one of the oldest of instruments, holds first place by virtue of its tone and the demands composers make upon it. Unlike the oboe, English horn, and bassoon, it is played with a single reed. It is the richest in tone of all the wood winds. Its lower tones are somewhat coarse and hollow, but the others are warm, brilliant, and powerful, and it almost equals the flute in ornate and rapid facility. The bass clarinet is an octave deeper and is of different shape, having a bell mouth. The clarinet and bassoon are the real wood-wind foundation. Every one knows the flute, oldest and more bird-like of all instruments. It is the only one of the wood winds played from a side mouthhole, for which reason it is sometimes called the traverse flute. The beak flute, like the flageolet, for instance, is a flute with a mouthpiece. The flute tone is gentle and sweet, and the instrument is peculiarly adapted for trills and rapid pas- sages. The piccolo is only a small flute of higher range and more piercing tone. It produces the highest, shrill- est, and most penetrating tone in the orchestra. The oboe is a double reed instrument. Some of its tones are weak and others shrill and nasal, but the general quality is plaintive and pastoral and very tender, even melancholy when the subject is at all sombre. In the hands of an expert player it can be made effective even as a solo instrument, and concertos have been written for it. It is a modest little instrument, but very dignified, for it gives out the A for the orchestra's tuning. The English horn, or cor anglais, is often mistaken by those unfamiliar with instru- ments, who seek for it in the brass section. It is all the more mystifying, for it is neither English nor horn. It is the alto oboe, of deeper tone, a fifth below, and partakes of the oboe's plaintive quality. The bassoon is not a dig- nified instrument in form or quality. It has a double reed like the oboe. Its higher and medium tones are not 456 APPENDIX unmusical, when they fit into the general harmony, but its lower tones are deep and guttural and coarse. It some- times affects an air of dignity, but it is more at home in the grotesque and is usually played by elderly, serious per- sons. As a solo instrument it is uncouth and uncanny. The double bassoon is an octave lower. It is to the bassoon what the double bass is to the 'cello. In the brass section the French horn holds the leading place. It is really an evolution from the old hunting horn. It has a smooth, rich, velvety tone, and the full harmony of a quartette of horns is exceptionally beautiful. Its " open " tones are made by blowing and manipulation of the lips and the " closed " tones by closing the bell of the instrument with the hand. The trumpet is not often heard in orchestras, its place being taken by the B flat cor- net, which has not so pure or brilliant a tone but is more easily played and is extremely facile in every kind of tonal utterance. The cornet is so well known by its fre- quent use as a solo instrument in bands, big and little, that it needs no detailed description. The trombones usually appear in triple array, alto, tenor, and bass. Soprano trombones have been made, but they have not proved effective. Every concert-goer is familiar with the two tubes sliding in and out, by which the pitch is varied. Its compass is a little more than two octaves and in the hands of a finished player its tone is majestic and im- pressive, and at the same time it is capable of delicate and melodious effect. The tuba, which has taken the place of the ophicleide, belongs to the saxhorn family, one of the seven. It has a deep, noble tone and is the dominat- ing bass of the brasses. The percussion family is easily distinguishable by its noise, when it has a chance to make it, but it adds rich color to instrumentation. The kettle-drums, or tympani, ordinarily two in number, one high, the other low, though APPENDIX 457 sometimes three and four are used, are metal basins headed with skin. They are tuned to sound certain notes by the use of screws and are specially serviceable in ac- centuating rhythm, heightening effect, and adding color. The bass drum is used for certain sonorous effects and with its neighbors, the kettle-drums, is happy in a thunder storm or cannonading. The snare drum supplies the military features and aids march rhythm. The cymbals are metal discs clashed together to heighten effect. The triangle is metallic, of the shape its name indicates, and is played with a little bar of the same metal. The caril- lons are small bars of steel, which, when struck with a mallet, give out bell tones, and a somewhat similar effect is produced upon strips of wood constituting the xy- lophone. The gong is used in dirges or tragic denoue- ments. The castanets and tambourine are instruments for dance-music which are too familiar to need description. PROMINENT MUSICAL ORGANIZATIONS IT would be impractical to present a complete list of vocal and instrumental musical organizations in the United States in a volume of this nature. They would make a somewhat bulky directory of themselves, as they number several thousands. In compiling the subjoined list only the large organizations have been selected whose repertories are likely to contain the works described in this volume. The arrangement has been made by cities, alphabetically, for ease in reference : Albany, N. Y Albany Music Association. Conductor, Arthur Mees. Musical Art Choir. Conductor, F. S. Rogers. Amherst, Mass. . . . Oratorio Club. Conductor, W. P. Bigelow. Ann Arbor, Mich. . . Choral Union. Conductor, A. A. Stanley. Atchison, Kans. . . . May Festival Association. Conductor, John H. Davis. Atlanta, Ga Musical Festival Association. Conductor, J. L. Browne. Symphony Orchestra. Conductor, J. L. Browne. Augusta, Me Augusta Chorus. Conductor, Latham True. Aurora, 111 Musical Club. Conductor, Clarence Dickinson. Baltimore, Md Choral Society. Conductor, R. L. Haslup. Oratorio Society. Conductor, Joseph Pache. Bangor, Me Festival Association. Conductor, W. R. Chapman. Battle Creek, Mich. . . Amateur Music Club. Conductor, Edward Barnes. Bethlehem, Pa Bach Society. Mr. W. E. Doster, Sec'y. Choral Society. Conductor, D. G. Samuels. Birmingham, Ala. . . Musical Art Society. Conductor, A. D. Peterson. Boise, Idaho Symphony Orchestra. Conductor, Moses Chris- ten sen. Boston, Mass Apollo Club. Conductor, Emil Mollenhauer. Symphony Orchestra. Conductor, Max Fiedler. Choral Art Society. Conductor, Wallace Goodrich. APPENDIX 459 Boston, Mass. Handel and Haydn Society. Conductor, Emil Mollenhauer. People's Choral Union. Conductor, S. G. Cole. Cecilia Society. Conductor, B. J. Lang. Brooklyn, N. Y. ... Amateur Musical Club. Conductor, H. R. Shelley. Apollo Club. Conductor, John Brewer. Arion Singing Society. Conductor, Arthur Claasen. Oratorio Society. Conductor, W. H. Hall. Cecilia. Conductor, Albert Ewald. People's Choral Union. Conductor, T. B. Glasson. Buffalo, N. Y Orpheus. Conductor, Herman Schloecht. Westminster Choral Society. Conductor, A. M. Read. Burlington, la Burlington Musical Club. Conductor, W. F. Bentley. Cambridge, Mass. . . Pierian Sodality of Harvard University. Conductor, Philip G. Clapp. Canton, O Symphony Orchestra. Conductor, C. G. Sonner. Charleston, S. C. . . . Philharmonic Society. Conductor, F. Brusch- weiler. Chicago, 111 Apollo Musical Club. Conductor, Harrison Wild. Mendelssohn Club. Conductor, Harrison Wild. Theodore Thomas Orchestra. Conductor, Frede- rick Stock. Musical Art Society. Conductor, Clarence Dick- inson. Germania Mannerchor. Conductor, Hans von Schiller. Freie Sangerbund. Conductor, Gustav Berndt. Chicago Symphony Orchestra. Conductor, Adolpb Rosenbecker. Madrigal Club. Conductor, D. A. Clippinger. Philharmonic Society. Conductor, T. S. Loverte. Cincinnati, O Musical Festival Association. Conductor, F. Van der Stucken. Orpheus. Conductor, E. N. Glover. Apollo Club. Conductor, J. L. Alden. Cleveland, O Symphony Orchestra. Conductor, Johann Beck. Harmonic Club. Conductor, J. P. Jones. Columbus, O Oratorio Society. Conductor, John S. Bayer. Symphony Orchestra. Conductor, Franc Ziegler. Columbus Orchestra. Conductor, John S. Bayer. 460 APPENDIX Davenport, la. Dayton, O. Cbncord, N. H. ... Oratorio Society. Conductor, C. S. Conant. Cumberland, Md. . . Festival Chorus. Conductor, T. E. Morgan. . . Apollo Club. Conductor, E. L. Philbrook. . . Philharmonic Society. Conductor, W. L. Blumen- scheim. Denver, Colo Apollo Club. Conductor, F. G. Herbert. Choral Society. Conductor, Gwilym Thomas. Symphony Orchestra. Conductor, Raffaello Cavallo. Des Moines, la. ... Apollo Club. Conductor, L. M. Bartlett. Detroit, Mich Concordia Society. Conductor, Alois Meurer. Orchestra Association. Conductor, N. J. Covey. Symphony Orchestra. Conductor, Hugo Kaalson. Dubuque, la Choral Club. Conductor, N. H. Pontius. Evanston, 111 Musical Club. Conductor, P. C. Lutkin. Fall River, Mass. . . . Fall River Choral Association. Conductor, F. L. Andrews. Faribault, Minn. . . . Choral Union. Conductor, A. R. Wiley. Frederick, Md Choral Society. Conductor, M. Y. Beckwith. Galesburg, 111 Musical Union. Conductor, W. F. Bentley. Gloucester, Mass. . . . Choral Association. Conductor, A. S. Wonson. Grand Rapids, Mich. . Choral Union. Conductor, N. H. Ross. St. Cecilia Society. Conductor, Wm. M. B. Wickstrom. Schubert Club. Conductor, Francis Campbell. Harrisburg, Pa. . . . Symphony Orchestra. Conductor, Edward Sey- mour. Hartford, Conn. . . . Philharmonic Society. Conductor, John L. Camp. Choral Club. Conductor, R. L. Baldwin. Haverhill, Mass. . . . Symphony Orchestra. Conductor, Gerald Whit- man. Homestead, Pa. . . . Carnegie Library Orchestra. Conductor, Charles Mierzwa. Indianapolis, Ind. . . Oratorio Society. Conductor, Edward Taylor. Philharmonic Society. Conductor, Ferdinand Schaefer. Symphony Orchestra. Conductor, Karl Schneider. APPENDIX 461 Ithaca, N. Y Cornell Festival Chorus. Conductor, H. E. D. Dana. Kalamazoo, Mich. . . Academy Orchestra. Conductor, George Newell. Apollo Club. Conductor, R. P. Warren. Kansas City, Mo. . . . Apollo Club. Conductor, Edward Kreiss. Philharmonic Society. Conductor, Karl Busch. Kokomo, Ind Oratorio Society. Conductor, W. E. Ranch. Symphony Orchestra. Conductor, P. L. Nuss- baum. Little Rock, Ark. . . . Philharmonic Society. Conductor, May House. Louisville, Ky Apollo Club. Conductor, E. A. Simon. Philharmonic Society. Conductor, Karl Schmidt. Musical Club. Conductor, Gookins. Los Angeles, Cal. . . . Apollo Club. Conductor, Harry Bernhart. Choral Society. Conductor, J. A. Jahn. Symphony Orchestra. Conductor, Harley Hamilton. Philharmonic Orchestra. Conductor, Arnold Kraus. Lynn, Mass Oratorio Society. Conductor, Emil Mollenhauer. Manchester, N. H. . . Choral Society. Conductor, E. G. Hood. Milwaukee, Wis. . . . Arion. Conductor, Daniel Prothero. Musik Verein. Conductor, Herman A. Zeitz. Mannerchor. Conductor, Albert Kramer. Minneapolis, Minn. . . Apollo Club. Conductor, H. S. Woodruff. Symphony Orchestra. Conductor, Emil Ober- hoffer. Philharmonic Society. Conductor, Emil Ober- hoffer. Montclair, N. J. ... Apollo Club. Conductor, L. R. Dressier. Nashville, Tenn. . . . Mozart Society. Conductor, N. H. Wright. Newark, N. J Symphony Orchestra. Conductor, L. A. Russell. Schubert Society. Conductor, L. A. Russell. Orpheus Club. Conductor, Arthur Mees. Oratorio Society. Conductor, L. A. Russell. New Bedford, Mass. . Choral Association. Conductor, J. A. Ruggles. New Haven, Conn. . . Oratorio Society. Conductor, Horatio Parker. Symphony Orchestra. Conductor, Horatio Parker. People's Choral Union. Conductor, W. E. Haescher. 462 APPENDIX New Orleans, La. . . Apollo Club. Conductor, Ferdinand Dunkly. Crescent City Symphony Society. Conductor, Charles F. Gluck. New Orleans Choral and Symphony Society. Con- ductor, Ferdinand Dunkly. New York City .... Arion. Conductor, Julius Lorenz. Amateur Glee Club. Conductor, Arthur Phillips. Mendelssohn Glee Club. Conductor, Frank Damrosch. Musical Art Society. Conductor, Frank Dam- rosch. New York Festival Chorus. Conductor, T. E. Morgan. Liederkranz. Conductor, Arthur Claasen. Oratorio Society. Conductor, Frank Damrosch. People's Choral Union. Conductor, Frank Damrosch. People's Symphony Concerts. Conductor, F. X. Arens. Philharmonic Society. Conductors Variable. Rubinstein Club. Conductor, W. R. Chapman. Russian Symphony Society. Conductor, M. Altschuler. New York Symphony Society. Conductor, Walter Damrosch. Norfolk, Conn Litchfield Co. Choral Union. Conductor, R. P. Paine. Oberlin, O. . . . Omaha, Neb. . . Orange, N. J. . . Orange, East, N. J. Ottumwa, la. . . Paterson, N. J. . . Peoria, III Philadelphia, Pa. . Musical Union. Conductor, E. W. Andrews, Philharmonic Club. Conductor, Robert Curcadon. Musical Art Society. Conductor, J. H. Simms. Festival Chorus. Conductor, Benjamin Stanley. Haydn Orchestra. Conductor, S. Van Praag. Mendelssohn Union. Conductor, Arthur Mees. Musical Art Society. Conductor, A. D. Woodruff. Choral Society. Conductor, James Swirles. Choral Society. Conductor, C. M. Wiske. Musical Festival Association. H. B. Morgan, Pres. Festival Chorus. Conductor, T. E. Morgan. Philadelphia Chorus. Conductor, H. G. Thunder. Harmonic Singing Society. Conductor, Eugene Klee. Choral Society. Conductor, Henry Holtt. APPENDIX 463 Philadelphia, Pa. Philadelphia Symphony Orchestra. Conductor, Carl Pohlig. Mendelssohn Club. Conductor, W. W. Gilchrist. Pittsburg, Pa Festival Orchestra. Conductor, Karl Bareuther. Cecilia Choir. Conductor, C. N. Boyd. Apollo Club. Conductor, Reinhart Mayer. Mozart Club. Conductor, J. P. McCoIlum. Symphony Orchestra. Conductor, Emil Pauer. Portland, Me Festival Chorus. Conductor, L. B. Cain. Choral Society. Conductor, A. S. Hyde. Providence, R. I. . . . Philharmonic Orchestra. Conductor, H. Schneider. Raleigh, N. C Choral Society. Conductor, Wade Brown. Richmond, Va Wednesday Club. Conductor, R. H. Peters. Rochester, N. Y. . . . Symphony Orchestra. Conductor, Ludwig Schenck. Rockford, HI Mendelssohn Club. Conductor, Harrison Wild. Rock Island, HI. ... Handel Oratorio Society. Conductor, F. E. Peterson. Saginaw, Mich Symphony Orchestra. Conductor, H. A. Milliken. Salem, Mass Oratorio Society. Conductor, Emil Mollenhauer. San Francisco, Cal. . . Arion Club. Conductor, Frederick Zeck. Howe Club. Conductor, James H. Howe. Loring Club. Conductor, W. C. Stadtfeld. Schenectady, N. Y. . . Choral Society. Conductor, H. W. Darling. Seattle, Wash Symphony Orchestra. Conductor, Michael Kegrize. Sioux City, la Choral Union. Conductor, J. W. Matthews. Spokane, Wash. . . . Orchestra. Conductor, Adolph Kirchner. Symphony Orchestra. Conductor, A. Bareuther. Springfield, HI Arion Club. Conductor, J. W. Freund. Springfield, Mass. . . Musical Festival Association. Conductor, J. J. Bishop. South Bend, Ind. . . . Choral Club. Conductor, M. B. Griffith. St. Louis, Mo Amphion Club. Conductor, A. G. Robyn. Apollo Club. Conductor, Arthur Liever. Liederkranz. Conductor, Richard Stempff. Symphony Society. Conductor, Max Zach. St. Paul, Minn. . . . Choral Club. Conductor, G. H. Fairclough. Syracuse, N. Y. ... Choral Society. Conductor, Henri Bitter. Musical Festival Association. Conductor, Thomas Ward. 464 APPENDIX Tiffin, O University Oratorio Society. Conductor, E. C. Zartman. Toledo, O Symphony Orchestra. Conductor, Topeka, Kans Choral Society. Conductor, Geo. B. Penny. Orchestra Society. Conductor, A. Jebs. Troy, N. Y Choral Club. Conductor, Allan Lindsay. Washington, D. C. . . Choral Society. Conductor, Heinrich Hammer. Festival Chorus. Conductor, P. S. Foster. Coleridge Taylor Club. Conductor, J. F. Layton. Wichita, Kans Choral Club. Conductor, W. H. Leib. Apollo Club. W. R. Morrison, Pres. Worcester, Mass. . . . Worcester Musical Association. Conductor, Wallace Goodrich. Oratorio Society. Conductor, J. V. Butler. Yonkers, N. Y Choral Society. Conductor, Will MacFarlane. York, Pa Oratorio Society. Conductor, Joseph Pache. Schubert Choir. Conductor, H. G. Thunder. Ypsilanti, Mich. . . . Choral Society. Conductor, F. H. Pease. INDEX "Aci, Galatea, c Polifemo," 194 "Acis and Galatea," 194 "Actus Tragicus," 9 "Advent Hymn," 392 Albani, Mme., 189 Albertazzi, in "Stabat Mater," 368 Albrechtsberger, 18 "Alexander's Feast," 196 "All that is of God's creation," 12 "Allegro, L'," 196-198 "Alles was von Gott geboren," 12 Ambros, 55 "An die Freude," Schiller, 67 "Antigone," Mendelssohn, 295-297 "Apostles, The," 157-161 "Ariadne," 225 "Ariana a Naios," 225 Arion Society, New York, 88 Arnold, , manager of the King's Theatre (1814), 15 Arnold, Sir Edwin, 126, 283 "As the Hart pants," 299 Ascension Cantata, 10 "Athalia," Mendelssohn, 295 Augsburg, Diet at, 11, 307 B BACH, 1-12, 44, 79-81 "Barber of Seville," 232 Bartholomew, , prepared English version "Mount of Olives," 15 Bartholomew, William, 132 "Battle of the Huns, The," 273 Beard, Mr., vocalist, 208 "Beatitudes, The," 165-168 Beethoven, 2, 13-76, 99, 101, 118, 150, 231, 233, 238, 245, 329, 351, 399446 "Belle au Bois Dormant, La," 136 "Bells of Strasburg, The," 257 Benedict, 77 Bennett, William Steradale, 79-83, 395 Bennett, Joseph, 138, 283, 285, 289, 426 "Berg symphonic," symphonic poem, Liszt, 263 Berlioz, 35, 55, 66, 84-95 "Bethlehem," 289 Birmingham festivals, 79, 132, 136, 155, 157, 160, 174, 189, 312, 314, 35 8 > 49 4*9 Bischoff, , 56 Bologna, cathedral of, 443 Bomliet, , 226 Bosquin, M., 291 Boston Handel and Haydn Society, 338 348 Bradford Triennial Festival of 1856, 123 Brahms, 96-106, 145 Breitkopf and Hartel, editors of Haydn's symphonies, 235, 238, 240, 242, 244, 246 "Bridal of Triermain, The," 130 "Bride of Dunkerron, The," 409 Bristol Musical Festival of 1873, 279 Brown, Jessie, in defence of Lucknow, no Bruch, 107-114 Biirckner, 115-119 Buck, Dudley, 120-129 Burger, author of ballad "Lenore," 353 354 Byron, Lord, 269, 271, 441 CAMBRIAN Symphony, Cowen, 416 Campbell, Sir Colin, 1 10 Capel-Cure, Rev. E., 154 3 4 66 INDEX Capponi, Giuseppe, 443 Cardiff Festival of 1907, 349 Carlyle's translation of "Ein" Feste Burg," II Gary-Raymond, Anna Louise, 348 Cazalis, Henri, 382 Chicago, 1 1 6, 118 Children's Symphony, 236 Choral Fantasie, 67, 75 Choral Symphony, 66-75 Chorley, Henry F., 82, 254 "Christ on the Mount of Olives," 13 "Christmas," 281 "Christmas Oratorio," Bach, 1-4 "Christmas Oratorio," Saint-Saens, 380 "Christus," Longfellow, 122 "Christus am Oelberge," 13 Church Choral Society of New York, 346 Cibber, Mrs., 208 Cincinnati Festival of 1884, 96 Cincinnati May Festival Association, 122 Clive, Mrs., 208 Cologne, cathedral of, 403 Colomb, Lady, 165 "Columbus," Washington Irving, 124 "Comala," 171 Consecration of Sound Symphony, 414 Constantina siege, memorial of, 84 Corder, Frederick, 130 Costa, Sir Michael, 132-135 Country Wedding Symphony, 182- 184 Covent Garden Theatre, London, 196, 208, 216, 218, 228 Cowen, Frederick H., 136-142, 416 "Creation, The," 209, 227-231, 414 "Crusaders, The," 174-176 Crystal Palace, London, 388, 433 Culloden, commemoration of victory of, 218 D "DAMNATION of Faust, The," 88-91, 93 Damremont, Gen., ^4 Damrosch, Dr. Leopold, 88, 122 "Dance of Death," 382 "Danse Macabre," 382 Dante's " Divina Commedia," Sym- phony to, 277 "Death and Life" ("Mors et Vita"), 189 "Death and Transfiguration" ("Tod und Verklarung"), 420 "Death of Wallenstein, The," Schil- ler, 362 "Dedication of the House, The," 16 "Dettingen Te Deum," 221 Devrient, , 297 Divina x Commedia Symphony, 277 Domestic Symphony, 424 "Don Giovanni," 418 "Don Juan," 418, 419 "Don Munio," 120-122 "Don Quixote," 422, 424 Dramatic Symphony, 377-379 "Dream of Gerontius, The," 155-158, 160 Drum, used as solo instrument, 2 Drummond, William, 337 Dry den, John, 196 Diisseldorf, 309, 393, 403 Dvorak, Antonin, 143-153 "EARTHLY Paradise," Morris, 159 Eighth symphony, Beethoven, 61-67 Eighth symphony, Raff, 355-357 Eighth symphony, Schubert, 388 "Ein' Feste Burg," Bach, n Eleventh symphony, Haydn, 244-246 Elgar, Sir Edward, 154-162 "Eli," 132-135 "Elijah," 310, 313-319 Emerson, Ralph Waldo, 353 "Engedi," 15 Enoch, Frederick, 409, 410 "Eolides, Les," 169 "Episode in the Life of an Artist" (Symphonic Fantastique), 91 Erben, Karel Jaromir, 143 "Erl King's Daughter, The," 173 INDEX 467' "Ernte-Cantata," 451 Eroica Symphony, 31-38 "Ever let the Fancy roam," Keats, 336 "FABLE of the Fair Melusina, The," 249 "Fair Ellen," 109 Fantasie in C Minor, Mozart, 242 "Farewell of Hiawatha, The," 163 "Faust," 54, 294 Faust Symphony, 274-277 Fest Overture, Nicolai, 12 "Festa Ascensionis Christi," 10 "Festival of Peace, The," 451 "Festklange " 270 "Fidelio," 39 Fifth symphony, Beethoven, 27, 39, 45-5'. 55> 99 Fifth symphony, Dvorik, 152 Fifth symphony, Mendelssohn, 307- 39 Fifth symphony, Raff, 353-355 Fifth symphony, Saint-Saens, 384- 386 Fifth symphony, Tchaikovsky, 438 "Fioriture," Italian term, 42 First symphony, Beethoven, 18-26 First symphony, Brahms, 98-101 First symphony, Gade, 176-179 First symphony, Goetz, 180 First symphony, Haydn, 235-237 First symphony, Rheinberger, 362- 364 First symphony, Schumann, 398 First symphony, Sullivan, 433 First symphony, Volkmann, 446 "First Walpurgis Night, The," Goethe, 294 Fischer-Achten, Mme., 309 Flechsig, Emile, 395 Foote, Arthur, 163 Formes, Carl, 132 Fourth symphony, Beethoven, 39-44, 60 Fourth symphony, Brahms, 105 Fourth symphony, Bruckner, 1 16 Fourth symphony, Gade, 178 Fourth symphony, Mendelssohn, 305- 307 Fourth symphony, Rubinstein, 377- 379 Fourth symphony, Schumann, 404- 406 Fourth symphony, Spohr, 414 Fourth symphony, Tchaikovsky, 436 Franck, , writer of text of "Ein' Feste Burg," 12 Franck, C^sar Auguste, 165-170 Frauen-Kirche, Dresden, 448 "Fridolin," 358-360 Friedrich August, King, of Saxony, 450 "Frithjof," cantata, 107-110 Frith jof Symphony, 251-253 " Frithjof 's Saga," by Esaias Tegndr, Bishop of Wexio, 107, 251 "From the Cradle to the Grave," symphonic poem by Liszt, 263 From the New World Symphony, 152 Friihlingsklange Symphony, 355-357 Fu'rst, , librettist of "Saint Paul," 39 GADE, Niels Wilhelm, 171-179 "Gang nach dem Eisenhammer, Der," Schiller, 358 Gasparin, M. de, 84 Geissel, Archbishop von, 403 "Geistliche Lieder," Wittenberg, 1535, 80 "German Requiem," 96 Gesellschaft der Musikfreunde, Vienna, 373 Gewandhaus concerts, Leipsic, 99, i?6, 299, 389, 390, 394, 398, 400 "Glocken des Strassburger Munsters, Die," 257 "Glorious Moment, The," 17 "Glorreiche Augenblick, Der," 17 "God's Time is the Best of All," 9 Goethe, 173, 269, 275, 294 Goetz, Hermann, 180 "Golden Legend, The," Buck, 122- 124 4 68 INDEX "Golden Legend, The," Longfellow, 122, 257 "Golden Legend, The," Sullivan, 426-428 Goldmark, Karl, 182-184 "Gottes Zeit," 9 Gounod, Charles Francois, 185-193 Grabau, Mile., 309 Graff, William Paul, no "Great Magnificat," 7 Grillparzer, , 387 Grisi, in "Stabat Mater," 368 "Grosse Sinfonie in A," 61 Grove, Sir George, 388 "Guntram," 424 H HAMERIK, Asgar, 122 Hamilton, Newturgh, 208 "Hamlet," symphonic poem by Liszt, 263 Handel and Haydn Society, of Boston, 338- 348 Handel, George Frederick, 3, 9, 98, 194-222, 227 Hanslick, , 398 "Harold in Italy," 93-95 "Harvest Cantata," 451 Harvey, Frederick, 122 Hatton, 223 Havelock, , in defence of Luck- now, 109 Haydn, Josef, 18, 22, 24, 25, 64, 101, 150, 209, 225-248, 414 "Heilige Augenblick, Der," 17 "Heldenleben, Ein," 423, 424 Henrici, Christian Friedrich, 4 Herder, Johann Gottfried von, 267 " Hero-Life, A" (" Ein Heldenleben,") 423 "He"roide funebre," symphonic poem by Liszt, 263 Hertz, Henrick, 410 "Hiawatha," 163 Hofmann, Heinrich, 249-253 Hofmeister and Peters, music pub- lisher, of Leipsic, 18 Holbein's pictures illustrating the "Dance of Death," 382 "Holyrood," 254-256 "Hora Novissima," 346 Horn, Moritz, 393 Huber, , 13 Hudson, Dr. Henry, of Dublin, 15 Hueffer, Francis, 136 Hugo, Victor, 271 "Huguenots, The,' 12 "Hungaria," symphonic poem Liszt, 263 "Hunnenschlacht," 273 "Hymn of Praise," 299, 312-314 "Hymn on the Nativity," Milton, 208 "IcH hatte viel Bekiimmerniss,* 1 8 "Ideale, Die," symphonic poem by Liszt, 263 "Im Sommerzeit," symphony, 355 Im Walde Symphony, 351-353, 357 "Im Winter," symphony, 355 "In Autumn" ("Zur Herbstzeit"), symphony, 355 "In Summer Time" ("Im Sommer- zeit"), symphony, 355 "In Winter " (" Im Winter)," sym- phony, 355 Irish Symphony, 416 Irving, Washington, 120, 124 "Israel in Egypt," 196, 199-203 Italian Symphony, 305-307 J JENNENS, Charles, 213 Jewish popularity of "Judas Mao cabaeus," 218 Joachim, 145 Jonson, Ben, 337 "Joshua," Handel, 220 Jubel Overture, 450 "Jubilee Cantata," 450 "Judas Maccabseus," 217-220 " Jiingste Gericht, Das," 412 Jupiter Symphony, 328-332 INDEX 469 "KAISER March," Wagner, 12 Karnthnerthor Theatre, Vienna, 68, 387 Kaulbach, , 273 Keats, John, 336 Kind, Friedrich, 450 "King Rent's Daughter," 410 "King Stephen, Hungary's First Ben- efactor," 1 6 "King Trojan," 344 "Kingdom, The," 160-162 King's Theatre, London, 199, 228 "Kleine Sinfonie in F," 61 KocheTs "Theme Catalogue," for numbering of Mozart's symphonies, 323 "Konig Stephan, Ungarn's erster Wohlthater," 16 Kotzebue, 15 Kuffner, 75 LACHNER, Franz, 387 Laendliche Hochzeit Symphony, 182- 184 "Lalla Rookh," Moore, 395 Lamartine, quoted, 263 "Lamento e Trionfo," symphonic poem by Liszt, 269 Lampadius, , 296 "Last Judgment, The," 412 "Last Things, The," 412 "Lauda Sion," 300 Lawrence, Sir Henry, 109, no "Lay of the Bell," 365-367 Leeds festivals, 15, 82, 147, 283, 426 "Legend of the Holy Elizabeth, The," 258-262 Lenau, , 418 Lenore Symphony, 353-355, 357 "Leonore," Beethoven, 39 Leslie, H. D., 254-256 "Letzten Dinge, Die," 412 Lichnowski, Prince, 26 "Liebesmanl der Apostel, Das," 448 "Light of Asia, The," 126-129 "Light of Life, The," 154 "Light of the World, The," 429-433 Lind-Goldschmidt, Jenny, 395 "Lines on a Solemn Musick," Milton, 208 Linley, George, 223 Lisle, Leconte de, 169 Liszt, Franz, 257-278, 374, 375 "Little Russian Symphony," 435 Lloyd, , vocalist, 189 Lobedanz, Edmund, 172 "Lobgesang," 312-314 Lobkowitz, Prince, 32, 45 London International Exhibition of 1871, 425 London Philharmonic Society, 67, 68, 384 Longfellow, Henry W., 122, 163, 257, 426 "Love Feast of the Apostles," 448 Lower Rhine, Festivals of the, 97, 309 Luther, Martin, n Lutheran Church, chorales in use in, 4 Luther's hymn, "Ein* Feste Burg,** II, 12 Lydely, , 227 M "MACBETH," 419 Macfarren, 279-282 Mackenzie, 283-290 "Magnificat in D," 7 Maini, Ormondo, 443 Manfred Symphony, 441 Manzoni, Alessandro, 443 "Manzoni Requiem," 443-445 Mara, Mme., 214 Mario, in "Stabat Mater," 368 Man, , 34, 55, 301, 309 "Mary Magdalen," 291-293 Massenet, Jules, 291-293 "May Queen, The," 82 "Mazeppa," Hugo, 271 "Mazeppa," Liszt, 271-273 "Meditations Poc'tiques," Lamartine, 263 INDEX Meisel, Carl, 16 "Melusina," 249-251 Mendelssohn, 4, 12, 66, 176, 177, 252, 279. 2 94-3'9> 3 l6 > 35 6 > 3 6z > 3 8 9> 398, 400, 416 Men's Singing Festival, Dresden, 448 "Messiah, The," 3, 9, 196, 208, 212- 217, 228 Meyerbeer, 12 "Midsummer Night's Dream, A," 66, i?7, *95> 3-33 Military Symphony, 244-246 Milton, John, 196, 208, 227, 335, 373 "Minstrel's Curse, The," 393 "Miriam's War Song," 387 Monk, Dr. E. G., 279 Moore, Thomas, 395 Morell, Rev. Thomas, 218 Morlacchi, 450 Morris, William, 159 "Mors et Vita," 189-193 "Mount of Olives," 13-15 "Mourning Cantata," 9 Mozart, Wolfgang, 18, 21, 22, 25, 63, 46, 150, 196, 237, 242, 243, 320-332, 418 Musical Society of London, 281 Muth, Franz Alfred, 344 "My Heart was Full of Heaviness," 8 N NAPIER, Hampdon, 451 Napoleon and "Eroica" symphony, 3334 "Nativity, The," 335 New York Symphony Society, 88 Newman, Cardinal, 155 Nibelungen Trilogy, Wagner's, 252 Nicolai, 12 Nicolini, 450 Nietzsche, Friedrich, 421 Ninth Symphony (choral), Beethoven, 45, 66-75, IOI "8 Ninth symphony, Bruckner, 118 Ninth symphony, Haydn, 242 Ninth symphony, Schubert, 389-391 "Noel" (Christmas oratorio), 380 Norton, Miss Annie B., 122 Norwich festivals, 77, 285 Nottebohm, 26 Novello, Mme., 132, 299 O OBERSDORF, Count, 39 Ocean Symphony, 374-377 "Ode to Joy," Schiller, 67 Odeon, Paris, 291 "Odysseus," 110-114 "OEdipus at Colonos," 295-298 "CEdipus Tyrannus," 333-335 Oliphant, Thomas, 15 "Omphale's Spinning-wheel," 381 "On Shore and Sea," 425 "On the Morning of Christ's Na- tivity," Milton, 335 Oratorio Society, New York, 88 " Oratorium tempore nativitatis Christi" ("The Christmas Ora- torio"), Bach, i Orchestra, the, see Appendix, p. 453 Organizations, prominent musical, see Appendix, p. 458 "Orpheus," symphonic poem by Liszt, 263 Osgood, George L., 338 Oulibicheff, , 55 Outram, , in defence of Luck- now, 109 "Overture, Scherzo, and Finale," Schumann, 398, 400 Oxenford, John, 281 PAINE, 333-343 "Paradise and the Peri," 339-397 "Paradise Lost," Milton, 227 "Paradise Lost," Rubinstein, 373 Paris Societe Nationale, 169 Parker, H. W., 344-347 Parker, Mrs. Isabella G., 344, 346 Parker, J. C. D., 348 Parry, 349 Pasdeloup, M., 383 Passion music, Bach's, 3, 79 INDEX "Passion, The," Haydn, 226 Pastoral Symphony, 45, 51-56, 233 35' Patey, Mme., 189 Pathetique Symphony, 439 "Pearls of the Faith," Sir Edwin Arnold, 283 Petit, M., 291 Pfeiffer, Carl, 414 "Phaeton," 381 Phillipps, Miss Adelaide, 338 "Phoebus, Arise," Drummond, 337 "Phoebus, Arise," Paine, 337 "Piccolomini, The," Schiller, 362 "Pilgrimage of the Rose, The," 393 Pohl, Richard, 393, 394 Portland, Me., 337 "Praise of Music," 1 8 "Preis der Tonkunst," 17 "Preludes, Les," 263-266, 272 Probst, , 75 "Prodigal Son, The, " 428 "Prometheus," Beethoven, 38 "Prometheus," Liszt, 267-269 'QuciN Mab," 66 35'-357 Randegger, 358-360 Rasoumowsky, Count, 45 "Realm of Fancy, The," 336, 337 "Recollections of Mendelssohn," Devrient, 297 "Redemption Hymn," 348 "Redemption, The," 185-189, 191 Redouten-Saal, Vienna, 389 Reeves, Sims, 132, 223 Reformation Symphony, 12,279, 37~ 309 "Requiem, The," Berlioz, 84-86 "Requiem, The," Mozart, 320-323 Rheinberger, 361-364 Rhenish Symphony, 402-404 "Rhythm" ("Hora Novissima"), 346 Richtcr. Herr Hans, 189 Richter's, Herr, London concerts. 416 Ries, Ferdinand, 67 Ritter, Alexander, 420 "Robin Hood," 223 Rochlitz, Friedrich, 17 Rodenberg, Julius, 370 Romantic Symphony, 116 Romberg, 365-367 "Romeo and Juliet," 86-88 Roquette, Otto, 258 "Rose of Sharon, The," 285-289 Rossini, 232, 368, 443 "Rouet d'Omphale," 381 Royal Choral Society of London, 289, 346 Royal Theatre, Lincoln's Tnn Fields, London, 196 Rubinstein, 370-379 Rudersdorff, Mme. Erminia, 358 Rudolphsen, J. F., 122, 338 "Ruins of Athens, The," 15-17 "Ruth," 138-140 SACRED Harmonic Society of London, '99. 3'5 "Saint Cecilia," 77 "Saint John Passion," Bach, 3 "Saint John the Baptist," 279-281 "Saint Ludmila," 147-149 "Saint Luke Passion," Bach, 3 "Saint Mark Passion," Bach, 3 "Saint Matthew Passion," Bach, 2-7, 81 "Saint Paul," 309-313 "Saint Peter," 337-341 St. Petersburg Conservatory, 377 Saint-Saens, 380-386 Salomon, , 61, 227, 235, 238, 240, 242, 244, 246, 247 "Samson," 208-212 "Samson Agonistes," Milton, 208 Sanders Theatre, Cambridge, Mass., 333 Santley, George, 189 'Saul," 204-208, 212, 220 Savage, Mr., 208 Scandinavian Symphony, 140-142 472 INDEX Schiller, 67, 358, 362, 365 Schiller, sister of, 67 Schmetzer, Herr, 307 "Schon Ellen," no Schubert, 64, 66, 173, 248, 326, 387- 391 Schubring, , librettist of "Saint Paul," 309 Schumann, Robert, 44, 66, 97, 362 389, 392-406, 424 Schwind, Moritz von, 259 Scotch Symphony, 303-305, 416 Scott, Sir Walter, 130 "Seasons, The," Haydn, 227, 231-234 "Seasons, The," Thomson, 231 Second symphony, Beethoven, 26-32 Second symphony, Brahms, 102 Second symphony, Bruckner, 115 Second symphony, Dvorak, 149 Second symphony, Haydn, 238 Second symphony, Paine, 341-343 Second symphony, Rubinstein, 374- 376 Second symphony, Schumann, 400- 402 Second symphony, Tchaikovsky, 435 "Seven Words, The," 226 Seventh symphony, Beethoven, 55-61, 67 Seventh symphony, Bruckner, 117 Shakspeare, 295, 300, 341 Sinding, 407 "Sinfonia Domestica," 424 Singer, Otto, 122 Sixth symphony, Beethoven, 45, 51- 55 Sixth symphony, Haydn, 240 Sixth symphony, Tchaikovsky, 439 Slavonic music, 57 "Sleeping Beauty, The," 136-138 Smart, Sir George, 15, 409-411 "Senate Pathe'tique," Beethoven, 26 "Song of Triumph," 97 Sophocles, adaptations of tragedies of, 2 95> 333 "Sounds of Spring" ("Friihlings- klange") Symphony, 355-357 Spanish papers, Washington Irving's, "Spectre's Bride, The," 143-145 Spohr, 412-415 "Spring Fantasie," 172 Spring Symphony, Paine, 341-343 "Spring symphony," Schumann's, 398 "Stabat Mater,'' Dvorak, 145-147 "Stabat Mater," Rossini, 368 Stanford, 416 Stolz, Teresa, 443 "Story of Sayid, The," 283-285 Strauss, Richard, 418-424 Sullivan, 425-434 Surprise Symphony, 240 Siissmayer's controversy over author- ships of " Requiem," 320 "Swan Song" (Mozart's Symphony No. 543), 324 Swieten, Baron van, 227, 231 "Symphonic Fantastique," Berlioz, 9'-93> 95 Symphony in D Minor, Franck, 168 Symphony in D Minor, Sinding, 407 Symphony No. i, in C Major, Beethoven, 18-26 Symphony No. I, in C Minor, Brahms, 98-101 Symphony No. i, in C Minor, Gade, 176-179 Symphony No. i, in F, Goetz, 1 80 Symphony No. I, in E Flat, Haydn, 235-237 Symphony No. i, Rheinberger, 362- 3 6 4 Symphony No. I, in B Flat, Schu- mann, 398 Symphony No. I, in E Minor, Sullivan, 433 Symphony No. I, in D Minor, Volkmann, 446 Symphony No. 2, in D, Beethoven, 26-32 Symphony No. 2, in D Major, Brahms, 102 Symphony No. 2, in C Minor, Bruck- ner, 115 Symphony No. 2, in D Minor, Dvorak, 149 Symphony No. 2, in D Major, Haydn, 238 INDEX 473 Symphony No. 2, in A, Paine, 341- 343 Symphony No. 2, in C Major, Rubin- stein, 374-376 Symphony No. 2, in C Major, Schu- mann, 400-402 Symphony No. 2, in C minor, Tchai- kovsky, 435 Symphony No. 3, in Flat, Beethoven, 3*-39 46 Symphony No. 3, in F Major, Brahms, 103-105 Symphony No. 3, in C Minor, Cowen, 140-142 Symphony No. 3, in D Major, Dvorak, 150-152 Symphony No. 3, in A Minor, Mendelssohn, 303-305 Symphony No. 3, in F Major, Raff, w-isi Symphony No. 3, in A Minor, Saint- Saens, 383 Symphony No. 3, in Flat, Schumann 402-404 Symphony No. 3, in F Minor, Stanford, 416 Symphony No. 4, in B Flat, Bee- thoven, 39-44, 60 Symphony No. 4, in Minor, Brahms, 105 Symphony No. 4, in E Flat, Bruckner, 116 Symphony No. 4, in B Flat, Gade, 178 Symphony No. 4, in A, Mendelssohn, 305-307 Symphony No. 4, in D Minor, Rubinstein, 377-379 Symphony No. 4, in D Minor, Schu- mann, 404-406 Symphony No. 4, in F, Spohr, 414 Symphony No. 4, in F Minor, Tchaikovsky, 436 Symphony No. 5, in C Minor, Bee- thoven, 27, 39, 45-51, 55, 99 Symphony No. 5, in Minor, Dvorak, 152 Symphony No. 5, Mendelssohn, 307- 309 Symphony No. 5, Raff, 353-355 Symphony No. 5, in C Minor, Saint- Saens, 384-386 Symphony No. 5, in Minor, Tchaikovsky, 438 Symphony No. 6, in F, Beethoven, 45, S'-S5 Symphony No. 6, in G Major, Haydn, 240 Symphony No. 6, in B Minor, Tchaikovsky, 439 Symphony No. 7, in A Major, Bee- thoven, 55-61, 67 Symphony No. 7, in Major, Bruckner, 117 Symphony No. 8, in F, Beethoven, 61-67 Symphony No. 8, in A, Raff, 355-357 Symphony No. 8, in B Minor, Schubert, 388 Symphony No. 9, in D Minor, Bee- thoven, 45, 66-74, 101, 1 18 Symphony No. 9, in D Minor Bruckner, 118 Symphony No. 9, in C Minor, Haydn, 242 Symphony No. 9, in C Major, Schu- bert, 389-391 Symphony No. 1 1 , in G Major, Haydn 244-246 Symphony No. 12, in B Flat, Haydn, 246-248 Symphony No. 543, in E Flat, Mozart, 323-325 Symphony No. 550, in G Minor, Mozart, 63, 326-328 Symphony No. 551, in C, Mozart, 3*8-33* TAMBURINI, in "Stabat Mater," 368 "Taming of the Shrew, The," Goetz, 1 80 "Tasso," 269 Tchaikovsky, 435-442 "Tempest, The," 341 Thayer, , 67 Theater an der Wien, Vienna, 13, 26 474 INDEX Third symphony, Beethoven, 32-39, 46 Third symphony, Brahms, 103-105 Third symphony, Cowen, 140-142, Third symphony, Dvorak, 150-152 Third symphony, Mendelssohn, 303- 3S Third symphony, Raff, 351-353 Third symphony, Saint-Saens, 383 Third symphony, Schumann, 402-404 Third symphony, Stanford, 416 Thomas, Theodore, 96, 117, 122, 185 Thomas (Theodore) Orchestra, 3,116, 118, 341 Thomson, James, 231 "Thus Spake Zarathustra," 421, 424 Tieck, , 296 "Till Eulenspiegel," 420 "Tod und Verklarung," 420 "Toggenburg," 361 "Tower of Babel, The," 370-373 "Triumphlied," 97 Troutbeck, Rev. J., 15 Twelfth symphony, Haydn, 246-248 U . 393. 394 UHLAND, "Undine," 435 VARLZY, Nelson, 338 Verdi, 255, 443-445 Viardot, Mme., 132, 291 Vidal, Mme., 291 Vienna, 13, 16-18, 26, 33, 39,45, 51, 55, 68, 116, 118, 182, 227, 231, 3 2 3> 3877389 Vienna Philharmonic Society, 103 "Vision of Life, The," 349 Vitzthum, Count, 450 Volkmann, 446 Von Billow, 99, 106 "Von der Wiege bis zum Grabe," symphonic poem by Liszt, 263 'Voyage of Columbus, The," 124-126 Vrchlicky, Jaroslav, 147 W WAGNER, Richard, 12, 34, 56, 92, 117, 154, 156, 160, 171,252,448 Waldmann, Maria, 443 Wallenstein Symphony, 362-364 "Walpurgis Night, The," 294, 299 Weber, 450 "Weihe der Tone, Die," symphony, . 4H "Weihe des Hauses, Die," 16 Weinlig, Frau Charlotte Emilie, 448 Weissenbach, Dr. Aloys, 17 Wendt, Amadeus, 451 Wersing, Herr, 309 West, Mrs. J. Houston, 338 Wetherbee, Mrs., 338 Whitney, M. D., 122 Wieck, Clara (Mme. Schumann), 398 Wolverhampton Festival of 1886, 130 "Woman of Samaria, The," 79-82 Worcester festivals, 138, 154, 346, 428 "ZARATHUSTRA," see "Thus Spake Zarathustra" Zerrahn, Carl, 122 Zingarelli, 450 'Zur Herbstzeit" symphony, 355 INDEX OF PRINCIPAL NUMBERS [The following Index contains a list of the principal numbers in the various musical compositions described in this volume which have become popular, whether in their original setting or by frequent performances in the concert- room.] "All glory, praise, and majesty," chorus, 10 "All glory to the Lamb that died," chorus, 412 "All hail ! Blessed are ye women," 187 "All human foresight wanders in deepest night," male chorus with solo quartette, 268 "All my soul within Me shudders," recitative and aria, 14 "All that has life and breath sing to the Lord," choral motive, 313, 314; same, chorus, 313 "All that is of God's creation," 12 "All the earth doth worship Thee," alto solo with chorus, 221 "All the wealth of the earth," chorus, 165 "All things transitory," chant, 277 "All thy thunders here are harmless," 258 "All we like sheep have gone astray," chorus, 215 "All ye that cried unto the Lord," 313 "All ye who enter here, leave hope behind," 277 "Allein Gott in der Hob.' sei Ehr," hymn tune, 310 "Alleluia," quartette, Saint-Saens' "Christmas Oratorio," 381 "Alles was von Gott geboren," 12 "Allmacht'ger Vater der du hast gemacht Himmel und Erd' und Alles was darin," 448 "Although my house be not with God," 135 Amen Chorus, Handel's "Messiah," 117 "And behold then the heavens opened wide," barytone solo, 98 'ABIDE with me, fast falls the even- tide," chorale, 81 'Above yon sun, the stars above," duet, 359 'Accursed light, I feel thee now," 345 'Achieved is the glorious work," chorus, 230 'Acknowledge me, my keeper," chorale, 4 'Agnus Dei," Berlioz's "Requiem," 84,86 'Agnus Dei," Gounod's "Mors et Vita," 191 'Agnus Dei," Mozart's "Requiem," 320, 323 'Agnus Dei," Verdi's "Manzoni Requiem," 445 * Ah ! how for death I am longing," 226 *Ah! huntsman, who gave thee the diamond ring?" solo quartette and chorus, 361 'Ah! that voice," 168 *Ah! what shall we then be plead- ing?" quartette and chorus, 190 'Aim your lightnings," 258 'Air is mild and dear and grateful to the reapers, The," tenor recita- tive, 451 'Air such pleasure loath to lose. The," chorus, 336 'Alas! my daughter, thou hast brought us very low," aria, 280 'Alas ! my Jesus now is taken," aria, 6 'Alas ! now is my Jesus gone," aria, 6 ''Alas! our land is desolate," chorus with solos, 284 "All around rose the sound of the strife of life," chorus, 373 476 INDEX PRINCIPAL NUMBERS "And believed the Lord," chorus, 202 "And ever, against eating cares," aria, 198 "And forward fly they," choral number, 345 "And God saw everything that He had made," recitative, 230 "And he arose and came to his father," tenor and bass duet, 429 "And He lifted up His hands," soprano recitative, 340 "And He shall purify," chorus, 214 "And he that overcometh shall re- ceive a crown of life," chorus, 339 "And I saw the new heaven," bary- tone recitative, 192 "And I will exalt Him," 202 "And in the greatness of Thine ex- cellency," chorus, 202 "And Israel saw that great work," chorus, 202 "And kings sat still with awful eye," 335 "And lo! a great name hath He written," barytone solo, 98 "And lo! a mighty host," tenor recitative, 412 "And lo! it was man," 374 "And now o'er Syria's rosy plain," 397 "And now the moon her orb has hid," solos and chorus, 131 "And on the champion's brow was found," 131 "And the children of Israel sighed," double chorus, 200 "And the glory of the Lord shall be revealed," chorus, 214 "And the good man with cheerful eye," male chorus, 366 "And the Lord hath laid on Him the iniquity of us all," 215 "And the Lord turned and looked upon Peter and he went out and wept bitterly," 159 "And their eyes mixed, and from the look sprang love," soprano and tenor duet, 127 "And then shall your light break forth as the light of the morning," 3'9 "And then the air was filled with a murmur unwonted," 187 "And there was light," 228 "And there were shepherds," recita- tive, 380 "And though the shady gloom," soprano solo, 336 "And were the world all devils o'er," chorale, 12 "And when it was day," recitative, 158 "And with the blast of Thy nostrils," chorus, 203 "And yonder a snow-white horse," chorus, 98 "Angel adored," trio, 90 "Apostles and the martyrs wrapped in mantles, The," 258 Apostles' Hymn, 189 "Apostles in prayer, The," instru- mental, 189 "Arise, let us go to our own people," chorus, 139 "Arising from the lap of star-clad night," recitative, 358 "Arm, arm, ye brave!" aria, 218 "Around Thy tomb here sit we weeping," chorus, 7 "Art thou greater than our Father Jacob ?" solo, 80 "Art thou not it?" 348 "Art thou not it which hath dried the sea ?" alto solo, 348 "As a spirit didst Thou pass," 155 "As for man," alto aria, 340 "As I sit at my spinning-wheel, strange dreams come to me," ballad, 137 "As our God wills it. Up, arouse thee!" 176 "As the hart pants after the water- brooks, so panteth my soul for Thee, O God," chorus, 299 "As when the dove," 19^ "At dawn of day on the first of May," chorus, 137 INDEX PRINCIPAL NUMBERS 477 "At eventide, cool hour of rest," recitative, 6 "At persecution I can laugh," duet, 007 "At Toggenburg all is in festive array," chorus, 361 "Auge schaut, Das," solo and chorus, I? "Author of peace," aria, 207 "Ave color vini clari," drinking-song, 124 "Ave Maris Stella," vesper hymn, 125 "Awake, O arm of the Lord!" chorus, 348 "Awake the harp," chorus, 229 "Awake the trumpet's lofty sound," chorus, 209 "Awake, thou that sleepest," chorus, 339 "Awake! ye workers, awake!" recitative, 371 "Ay, sweet indeed is love," 085 B 'BAAL, we cry to thee," double chorus, 316 'Be merciful," semi-chorus, 156 'Be not afraid," Mackenzie's "Bethlehem," 289 'Be not afraid," Mendelssohn's "Elijah," 317 'Be not extreme," soprano solo, 154 'Be of good comfort," 139 ''Be propitious, bounteous Heaven," trio and chorus, 232 'Be thou faithful unto death," tenor aria, 312 ''Be welcome, stranger, to Phocea's land," chorus, 113 ''Behold, a virgin shall conceive," 214 "Behold along the dewy grass," aria, *33 "Behold and see if there be any sorrow," tenor aria, 216 " Behold ! are not all these who speak Galileans?'" 340 "Behold! God the Lord passed by," chorus, 318 "Behold! He soon shall come," tenor recitative, 413 "Behold how he loved him!" chorus, 432 "Behold, I bring you good tidings," 3 "Behold! I will send my messenger," chorus, 279 "Behold my servant," chorus, 319 "Behold the Lamb of God," chorus, 215 "Belle pe'cheresse oublie, La," chorus, 292 "Beloved, let us love one another," chorus, 340 "Below the highest sphere four re- gents sit," chorus, 126 "Benedictus," Mozart's "Requiem," 320, 322 "Beside the cross remaining," quartette, 186 "Bethink ye, O my ministers," bass recitative, 127 "Bleak and kindless morning had broke on Althenay, A," chorus, 282 "Bless ye the Lord," chorus, 135 "Blessed are the faithful who in the Lord are sleeping," 97 "Blessed are the men who fear Him," chorus, 316 "Blessed are the mourners," 166 "Blessed are the poor in spirit," 189 "Blessed are they," Franck's "The Beatitudes," 168 "Blessed are they," barytone solo, Sullivan's "The Light of the World," 431 "Blessed are they that go mourning," chorus, 96 "Blessed are they which are perse- cuted," quartette, 281 "Blessed art thou among women," recitative, 430 "Blessed be," 165 "Blessed be the kingdom," chorus, 432 "Blessed be the Lord," chorus, 133, '35 478 INDEX PRINCIPAL NUMBERS "Blessed be the Lord God of Israel," 80, 82 "Blessed, ever blessed," soprano and barytone duet, 380 "Blessed shall thou be," chorus, 139 "Blessing and honor," chorus, 217 "Blessing, honor, glory, and power," tenor solo and chorus, 411 "Blessing on this noble house and all who in it dwell, A," old English carol, 281 "Blest are the departed," quartette and chorus, 413 "Blossoms born of teeming spring- time," chorus, 147 "Blow ye the trumpet," bass recita- tive, 132 "Bone pastor," hymn, 30x5 "Bounds we have reached of the deep flowing ocean, The," chorus, 112 "Break forth, O beauteous, heavenly light," chorale, 3 "Break his bands of sleep asunder," chorus, 196 "Breaking day and dusky night," chant, 147 "Bring the laurels," chorus and solo, 212 "But as for His people, He led them forth like sheep," chorus, 201 "But crimson now her rivers ran," chorus, 396 "But He her fears to cease," soprano solo, 335 "But, Lord, do Thou bring them evermore," soprano solo, 191 "But of the spotless Lamb," 185 "But Oh, sad Virgin, that thy power might raise!" aria, 198 "But our God abideth in heaven," chorus, 312 "But peaceful was the night," 336 "But sooner Jordan's stream, I swear," 206 "But the Lord is mindful of his own," alto arioso, 310, 313 "But the waters overwhelmed their enemies," chorus, 202 "But Thou didst not leave His soul in hell," soprano aria, 216 "But when the Son of Man," barytone recitative, 192 "But who is He, the King of Glory ?" chorus, 1 88 "But who may abide the day of His coming?" bass aria, 214 "By faith salvation comes, and by peace, consolation," quartette, 1 89 "By Thee with bliss," duet and chorus, 230 "CALLA stagion novella," canzonet, 2 55 "Calmly flow the equal hours," chorus, 359 "Campbells are coming, The," no "Can He now save himself?" male chorus, 1 86 "Capricious man, in humor lost," aria, 206 "Caro cibus," soprano solo, 300 "Cast thy burden upon the Lord," chorale, 316 "Cause a palace grand to rise," 175 "Cease not, I pray you," recitative and air for tenor with chorale responses, 77 "Celestial Jerusalem," instrumental, '93 "Certain man had two sons, A," tenor recitative and solo, 428 "C'est Theure ou conduisant de longues caravanes," 291 " Christ est vivant, ressusciteV' hymn, 293 "Christ is risen again," male chorus, 1 88 "Christ is risen from the dead," Easter hymn, 89 Christmas hymn, Luther's, 2 "Christmas tale, A," contralto solo and chorus, 281 "Church is built upon the foundation of the Apostles and prophets, The," chorus, 339 INDEX PRINCIPAL NUMBERS 479 Church Song, 262 "City of high renown," chorus, 347 "Clear resounded the trumpets of heaven," chorus, 374 "Come and trip it as you go," aria, 197 "Come, Beloved, into the garden of nuts," duet, 186 "Come, but keep thy wonted state," aria, 197 "Come, come, thou goddess fair," aria, 197 "Come, comrades, come," chorus, 1x5 "Come, gentle spring, ethereal mild- ness, come," chorus, 232 "Come, great Odysseus, hero of might," chorus, 113 "Come hither, ye whom I have taught," recitative, 149 "Come, let us garlands bring," tenor air, 147 "Come, let us go forth into the field," chorus, 286 "Come, O Israel," chorus, 81 " Come on ! let us down to earth now hasten," 371 "Come, pensive nun," recitative, 197 "Come with torches brightly flash- ing," chorus, 295 "Come, ye children," tenor recitative and aria, 429 "Come, ye daughters, weep for anguish," chorus, 5 "Cometh earth's latest hour," chorus, 346 "Comfort ye my people," recitative, 214 "Confutatis," bass solo, Verdi's "Manzoni Requiem," 444 "Confutatis maledictis," Mozart's "Requiem," 322 "Consume them all," bass solo, 310 "Crane, The," Russian song, 436 "Crucify him," 159 Crusaders' March, 262 "Crui fidelis, inter omnes," hymn, 274 "Cujus animam," tenor solo, 368 "Cujus clavis lingua Petri," 427 "DANCE of peasants," 88 "Dark brooded fear over the land," tenor solo, 165 "Darkness, hill and plain forsaking," cradle-song, 290 "Darkness o'er the earth is brood- ing," tenor solo, 289 "Daughter of mighty Jove, awake!" chorus, 1 6 "Daughter of Zion, The," chorus, 4 "Daughters of Jerusalem," solo, 433 "Dawn of an autumn day did creep, The," tenor solo, 130 "Day is approaching, The," 314 "Day of weeping, day of mourning," 191 "Day of wrath is near, The," bass recitative, 413 Dead March ("Saul"), 207, 212, 220 "Death and destruction fall upon his head," duet, 359 "Decorata novo flore," chorale, 262 "Deep within my heart was sorrowing and great affliction," chorus, 8 "Defunctos ploro!" 258 "Deign, great Apollo," bass aria, 17 "Denn ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit," chorale, 449 "Deposuit, potentes de sede," aria, 8 "Depths have covered them, The," chorus, 202 ''Der den Bund im Stunne festge- halten," recitative and quartette, '7 "Deserted stand God's sacred altars in the old forest," alto solo, 268 "Destroyed is Babylon," chorus, 413 "Dies Irar," Berlioz's "Requiem," 84-86 "Dies Irar," Berlioz's "Symphonic Fantastique," 93 "Dies Irae," Gounod's "Mors et Vita," 190, 191 "Dies Irae," Mozart's "Requiem," 320-322 480 INDEX PRINCIPAL NUMBERS "Dies Irae," Verdi's "Manzoni Re- quiem," 444, 445 "Dispelled by jealous rage is hope's fond dream," recitative, 358 "Divinest Melancholy," aria, 197 "Domine Jesu," Verdi's "Manzoni Requiem," 444 "Domine Jesu Christe," Mozart's "Requiem," 320, 322 "Dona eis requiem," Mozart's "Re- quiem," 322, 323 "Doubt not thy Father's care," chorus for sopranos and altos, 1 55 "Doubtless Thou art our Father," quintet, 431 "Down through the deep," chorus, 410 "Draw the thread and weave the woof," 136 "Dread on dread!" chorus, 112 "Dread power, that fillest heaven's high throne," chorus, 298 "Drei Lieder, Die," 394 "Dresden Amen," 308 "EAGLES were not so swift as they," chorus, 208 "Earth is dark, The," chorus, 165 "Earth swallowed them, The," chorus, 203 "Earthly knowledge," chorus, 167 "E'en if earth should wholly fail me," duet, 256 "Egypt was glad," chorus, 201 "Eia Mater," Dvorak's "Stabat Mater," 146 "Eia Mater," Rossini's "Stabat Mater," 368 "Eighteen long years of labor, doubt, and scorn," bass aria, 125 "Ein' feste Burg ist unser Gott," Luther's hymn, n, 308, 309 Elfenmarsch, 302 "Eli, Eli, lama sabachthani," 159 "Elizabeth, thou holy one," soprano solo, 262 "Enemy said, 'I will pursue,' The," bravura song, 203 "Enough of spring and pleasure," 394 "Enter, thrice-happy! enter, thrice- desired," chorus, 127 " Entsagung," 394 "Envy, eldest-born of hell!" chorus, 206 "Ere the day cool and the shadows flee away," 288 "Ere the wine-cup is dry," chorus, 409 "Es treten hervor die Scharen der Frauen," chorus and fugue, 17 "Esurientes implevit bonis," aria, 8 "Et exultavit Spiritus meus: in Deo salutari meo," aria, 7 "Et misericordia," duet, 7 "Europa steht," chorus, 17 "Evening song, The," quartette, 123 "Ever blessed are they," chorus for sopranos and tenors, 167 "Ever let the fancy roam," chorus, 336 "Every valley shall be exalted," tenor aria, 214 "Evil cannot stay," quintet, 1 68 "Extito lentos!" 258 "FAC me vere tecum flere," tenor solo and chorus, 146 "Fac ut ardeat cor meum," bass solo and chorus, 146 "Fac ut portem," Dvorak's "Stabat Mater," 146 "Fac ut portem," Rossini's "Stabat Mater," 368 "Faint and worn, Thou yet hast sought us," duet and chorus, 190 "Fair king, who all preserves," tenor solo, 337 Fairy March, 302 "Faithful, The," chorus, 4 "Fal, lal, la," minuet and vocal trio, 255, 256 "Fallen is the foe," chorus, 219 "Far be it from thy path," chorus, 312 INDEX PRINCIPAL NUMBERS 481 "Far from all resorts of mirth," aria, 198 "Father of Heaven, from Thy eternal throne," 220 "Father, reigning in Thy glory," chorus, 451 "Father, whose blessing we entreat," contralto aria, 77 "Faultless, yet hated," duet, 16 "Fear not," solo, 139 "Facit potentiam," chorus, 8 "Feed the flock of God," quartette, 340 "Fell rage and black despair," aria, 105 "Fierce raged the billows," chorus, 373 "Fire descends from heaven, The," chorus, 316 "Firm as the solid earth," 366 "Firm in faith," mezzo-soprano aria, 380 "First of his prophet's warriors he," 085 "Fired in His everlasting seat," double chorus, 21 1 "Flocks shall leave the mountain, The," trio, 195 "Floods stood upright as an heap, and the depths were congealed, The," 103 "Flow, ye tears, since days are hate- ful," 112 "For ages on your heads shall con- tempt be outpoured," 188 "For as in Adam all die," quartette with choral response, 217 "For blood must holy be," 396 "For everything there is a season," drinking-chorus, with solos, 133 "For He shall give His angels charge over thee," double quartette, 3 1 5 "For He the Lord our God," chorale, 3'5 " For I had gone with the multitude ; I went with them to the house of God," chorus, 299 "For my soul thirsteth for God," soprano solo, 299 "For one kind glance from out those eyes divine," 358 "For so hath the Lord Himself com- manded," tenor and bass duet, 3 1 2 "For the flame of love is as fire," 289 "For the flood is life-giving," chorus, 230, 251 "For the mountains shall depart," aria, 319 "For the promise is to you," 340 "For this my son was dead," bass aria, 429 " For unto us a child is born," chorus, "5 "For us the Christ is made a victim availing," chorale, 187 "For us to earth He coincth poor," chorale, 2 "For with a burst of joyous clangor," soprano solo, 365 "For with Thee is the Well of Life," chorus, 80 " For Zion lamentation make," chorus, Ml "Forever blessed be His power," 230 "Forget with the dwellers on earth all earthly woe," 251 "Forsake me not in this dread hour," soprano and tenor duet, 413 "Forth the royal banners go," 186 " Freedom ! afar from land upon the open sea," chorus, 267 "Friar's admonition, The," Wallen- stein symphony, 363 "Frithjof's departure from the North- land," 109 "Frithjof's return," instrumental in- troduction, 108 "Frithjof's revenge," 108 "From love unbounded," aria, 6 "From mighty kings he took the spoil," 219 "From our home," chorus, 77 "From out the fold the shepherd drives," aria, 232 "From the gold of the flaxen reel," contralto aria, 136 "From the mists of the valleyi," hunting-song, 260 482 INDEX PRINCIPAL NUMBERS "From the morning watch till the evening," double chorus, 190 "From Thy love as a father," soprano obligato solo, 1 88 "Full moon is beaming, The," recita- tive and aria, 409 "Funera plango!" 258 Funeral March, 96 "GALATEA, dry thy tears, Acis now a god appears," 195 "Gayly thro' forest," chorus, 148 "Gegriisst seid, Bruder, in des Herren Namen," chorus, 448 "Gens duce splendida," contralto solo, 347 "Gentle knight, a while delay," soprano solo and female chorus, 131 "Gently beaming, softly streaming," chorus, 373 "Gently, lo ! the warrior kneels," 131 "Gesang und Krieg," 394 "Gift of demons, raging fire," chorus, 359 "Gird on thy sword, thou man of might," chorus, 208 "Give ear, ye people, one is our God," solo, 148 "Give me thy son," 315 "Give the vengeance due to the valiant crew," recitative, 196 "Gloria," chorus, 8 "Glorious company of the Apostles praise Thee, The," quartette and chorus, 222 "Glory now unto God in the highest," chorus, 380 "Glory to God," chorus, Handel's "Messiah," 215 "Glory to God," chorus, Mackenzie's "Bethlehem," 289 "Glory to God in the highest," 3 "Glory to Him," chorus, 157 "Go, baffled coward, go," duet, 21 1 "Go forth upon thy journey," chorus, 156 "Go to Helas' dark abode," 108 "Go ye and teach," tenor arioso, 340 "God and King of Jacob's nation," martial hymn, 134 "God is a spirit," quartette, 81 "God is our hope and strength," quartette, 77 "God of all," tenor solo and chorus, 380 "God of light," chorus, 232 "God save the King!" chorus, 287, 288 "God, we praise Thee," chorale, 415 "Gods are ever near, The," chorus, 147 "Gods, from us their faces turning, The," chorus, 167 "God's own time is the best, ever best of all," chorus, 9 " Gods themselves as mortals, The," chorus, 312 "Golden Jerusalem," tenor solo, 347 "Golden visions wave and hover," 123 "Good news to you," 290 "Good-night, the lindens whisper," solo, quartette, and chorus, 345 "Graceful consort," duet, 231 "Gracious Father hears us when we call, The," recitative and aria, 451 "Grave cannot praise Thee, The," chorus, 432 Grave Song, 393 "Great and marvellous are Thy works," chorus, 341 "Great and wonderful are all Thy works," chorus, 413 "Great Dagon has subdued our foe," chorus, 211 "Great God! from early youth," quartette, 167 "Grief and pain," aria, 5 "Grief over all creatures," chorus, 166 "Guardian angels sweet and fair," chorale, 359 H "HA! Thou that didst declare," chorus, 1 86 INDEX PRINCIPAL NUMBERS 483 "Hail, bounteous Lord! Almighty, hail!" 231 "Hail Judaea, happy land," duet, 219 "Hail, O glorious sun!" trio and chorus, 232 "Hail, O Prometheus, hail!" chorus, 267 "Hail, our king," chorus, 17 "Hail thee, daughter from Elysium, thine enchantments bind to- gether," 74 "Hail thee, Joy, from Heaven descend- ing, daughter from Elysium!" quartette, 74 "Hail to Mahmoud!" chorus, 396 "Hail to the pleasure-giver!" chorus, 268 "Hail to thee, child of the earth!" chorus, 410 "Hail to thee, O man!" 374 Hailstone Chorus, 201 "Hallelujah," Handel's "Judas Mac- cabaeus," 220 "Hallelujah," Rubinstein's "Paradise Lost," 374 Hallelujah Chorus, Handel's "Mes- siah," 216 "Hallelujah, God's almighty Son," chorus, 14 "Hand of fire was on the wall, A," 256 "Hanover," hymn tune, 280 "Happy and blest are they," chorus, 310 "Happy are we, with such a Saviour," soprano solo and chorus, 190 "Happy nation, still receiving," tenor recitative and aria, 451 "Happy we," duet, 195 "Hark! hark! Who has come to watch ?" chorus, 251 "Hark! how the nightingale yet ngs," 345 "Hark! the deep tremendous voice," chorus, 233 "Hark! the morn awakes the horn," hunting-chorus, 358 "Hark! the mountains resound," chorus, 233 "Hark! the storm gathers from afar," 113 "Hark to me! Queen, or heaven- dwelling Goddess," 113 "Hark! what can be the noise?" chorus, 147 "Has! Irimiru Karabras," chorus, 9 1 "Haste thee, nymph, and bring with thee," 197 "Haste, ye shepherds, haste to meet Him," tenor aria, 3 "Hasten! Hasten! O ye spirits!" *57 "He gave them hailstones for rain," 201 "He has said to all the unhappy," quartette, 189 "He hath done only good to all," 6 "He is my God," 202 "He led them through the deep," 201 "He maketh the sun to rise," chorus, 43 "He sang Darius great and good," chorus, 196 "He saw a- greater sun appear," chorus, 336 "He sent a thick darkness over all the land," chorus, 201 "He shall feed His flock," aria, 215 "He smote all the first-born of Egypt," chorus, 201 "He that shall endure to the end," chorus, 318 "He trusted in God," choral fugue, 215 "He was despised," alto aria, 215 "He watching over Israel," chorus, 318 "He who death overcame," chorus, 1 88 "Hear and answer," 316 "Hear, Jacob's God," six-part chorus, 211 "Hear my prayer, O Lord," 134 "Hear our cry, O Baal !" chorus, 316 "Hear us, Justice Eternal," chorus, 1 68 "Hear us, O Lord!" chorus, 218 484 INDEX PRINCIPAL NUMBERS "Hear us, our God," chorus, 212 ''Hear ye, Israel," soprano solo, 317 ''Heathen furiously rage, The," 310 "Heavenly tones, why seek me in the dust?" 89 ''Heavens are telling, The," chorus, 229 ''Heil dir im Siegerkranz," old German national hymn, 98 "Heil und Gluck," 17 "Help, Lord!" chorus, 315 "Help, my comrades! see a legion," 295 'Hence with evil omen, 256 "Her dotage now I do begin to pity," 302 'Here am I too in the pious band," 427 'Here at your bidding," trio, 126 'Here life is quickly gone," quartette, 346 'Here 'neath the roof of want," chorus, 262 'Here, O Hermes, in midst of the island," chorus, 112 'Here on earth we have no continuing place, we seek now a heavenly one," barytone solo and chorus, 97 'Hie breve vivitur," quartette, 346 'Hide me from day's garish eye," canzonet, 198 'Hier kommt er ja selbst," 296 'Him hath God exalted," chorus, 433 'Him we worship and praise this day," duet, 260 'His salvation is nigh them that fear Him," tenor solo, 82 'His yoke is easy," chorus, 215 'Hohe Liebe," 394 'Hold not Thy peace and be not still, O God!" chorus, 134 'Holy and grand and free is the gift of heaven," double chorus, 267 'Holy, holy, Lord God of Hosts," chorus, 412 'Holy love, sweet pardon," 167 'Holy One of Israel be thy guide, The," 211 "Honor and arms scorn such a foe," bass solo, 211 "Honor the Lord," bass aria, 428 "Hora novissima," chorus, 346 "Horror! horror!" chorus, 372 "Horse is neighing, O page of mine, The," solo, 344 "Hosanna in Excelsis," Berlioz's "Requiem," 86 "Hosanna in Excelsis," Gounod's "Mors et Vita," 193 "Hosanna in the highest," chorus, 134 "Hosanna to the Son of David," three-part chorus, 432 "Hostias," Mozart's "Requiem," 322 "Hostias et Preces," 84, 86 "Hour is come, The," chorus, 433 "How beautiful are the feet," aria, 216 "How blessed then are they who still on God are calling," duet, 12 "How blest seem to me, vanished child of air!" solo, 395 "How bravely o'er the flood so bright," barytone recitative and aria, 108 "How brightly shines the morning star," chorale, 10 "How excellent is Thy loving kind- ness," 139 "How excellent Thy name, O Lord !" chorus, 204 "How fearful are the terrors Nature brings!" 451 "How lovely are the messengers that preach us the gospel of peace!" chorus, 311 "How lovely is Thy dwelling-place, O Lord of Hosts," chorus, 97 "How lovely shines the morning star !" chorale, 338 "How many hired servants of my father's," tenor aria, 429 "How mighty is Thy name," chorale for full chorus, 133 "How, mortal canst thou reach His presence?" 371 "How shall I fitly meet Thee and give Thee welcome due ?" chorale, 2 INDEX PRINCIPAL NUMBERS 485 "How shall we by ourselves have strength to roll away the stone ?" trio, 187 "How sweet and cool is yet the night !" solo, 344 "How the face of heaven is o'er- shadowed!" 372 "How wildly beats my heart!" recitative, 147 "How willing my paternal love," aria, 212 "Huic ergo parce Deus," Mozart's "Requiem," 322 Hungarian Air, 262 "Hurl him back!" 410 "Hush, ye pretty warbling choir!" '95 *I AM Alpha and Omega," chorus, 193 'I am going, O my people," 163 'I am going, O Nokomis," barytone solo, 163 'I am the good shepherd," solo, 155 'I am the Resurrection and the Life," 190 "I can no more," 156 'I cannot sleep," 426 'I cannot sleep, my fervid brain calls up the vanished past again," 123 'I dip my white breast in the soft- flowing tide," 175 'I gather in each soul immortal," 167 'I have cast all my care on God," hymn, 10 "I, I am He that comforteth," 317 'I indeed baptize you with water," aria, 279 'I know a blushing rosebud," duet, 393 'I know that my Redeemer liveth," 117 'I know the wealth hidden in every urn," 396 'I long indeed to see the light," quartette and chorus, 148 'I long with childlike longing," 147 "I love the rose," 411 "I melt, I rage, I burn," recitative, "95 "I praise Thee, O Lord, my God," bass solo with chorus, 311 "I rejoice in my youth," 280 "I see assembled round the throne," solo, 262 "I waited for the Lord," soprano and alto duet with chorus, 313 ''I went to sleep, and now I am refreshed," solo, 156 "I will call upon the Lord," chorus, 82 "I will depart," tenor solo, 128 'I will extol Thee, O Lord," 134 "I will love Thee, O Lord," soprano aria, 8 1 "I will pour my spirit," 431 "I will sing of Thy great mercies," soprano arioso, 311 ''I will sing unto the Lord, for He hath triumphed gloriously; the horse and his rider hath He thrown into the sea," chorus, 202 ''I will stay here beside Thee," cho- rale, 6 'If I the prophet's gift possess," chorus, 335 'If thou hadst known, O Jerusalem," barytone solo, 432 'If thou knewest the gift of God," bass solo, 80 'If with all your hearts," tenor aria, 3'5 'If with your whole hearts," chorus, 4'3 'If ye be risen with Christ," tenor solo, 433 'If ye then be risen," chorus, 340 'Ihr Seligen deren," 296 'I '11 to the well-trod stage anon," aria, 198 'In all her majesty shines on high the heaven," tenor recitative, 374 ''In Andalusia the nightingale," tenor recitative, 1 25 ''In days e'en minstrels now forget," soprano, bass, and chorus, 130 4 86 INDEX PRINCIPAL NUMBERS "In flames ascending," chorus, 114 "In hac mensa," quartette, 300 "In joy and peace I pass away when- ever God willeth," chorale, 10 "In lofty hall, with trophies graced," contralto solo, 131 "In lowly guise thy King appeareth," soprano solo, 392 "In my pleasant land of France," 255 "In native worth," aria, 230 "In Palestine, the Holy Land," chorus, 261 "In Rama was there a voice," chorus, 43 i "In remembrance everlasting," chorale, 192 "In rosy mantle appears," recitative, 230 "In sweetest harmony they lived," aria, 208 "In thankful hymns ascending," chorus, 122 "In the beginning was the word," 280 "In the earth right firmly planted," bass solo, 365 "In the smiling valley, 'mid the trees so green," duet, 393 "In the thick wood," male chorus, 393 "In this fair bower," 89 "In this, O vain, misguided man," aria, 234 "Infant raised by Thy command, An," aria, 204 "Inflammatus," soprano obligate, Rossini's "Stabat Mater," 369 "Inflammatus et accensus," alto solo, H7 "Ingemisco," tenor solo, 444 "Insensates! this wild delusion," 1 68 "Into Thy hands my spirit I com- mend," 10 "Intreat me not to leave thee," 139 "Invoke your forest gods and moun- tain deities," 316 "Iron tongue of midnight hath told twelve, The," 303 "Is not His word like a fire?" bass aria, 316 "Is not this He whom they seek to kill ?" chorus, 432 "Is not this Jesus?" chorus, 431 "Is there a man who all his ways," chorus, 206 "Is this He who in Jerusalem," chorus, 3 1 1 "It is a good thing to give thanks," chorus, 158 "It is enough," aria, 318 "It is nor virtue, valor, wit," aria, 210 "It is the lot of friends to part," quartette, 121 "It is the sea," 427 "It is the old decree, man, thou art mortal," 10 "It shines," chorus, 158 "It was the Winter wild," chorus, 335 J "JAM nox stellata," 90 "Jehovah's praise forever shall en- dure," 231 "Jerusalem, thou that killest the prophets," soprano solo, 310 "Jesu! by that shuddering dread," bass solo, 157 "Jesu, dulcis memoria," chorale, 121 "Jesu, Maria, I am near to death," tenor solo, 156 L ' Jesus my Redeemer lives," chorale, 340 ''Join with thee calm peace and quiet," chorus, 197 ''Joy, joy forever, my work is done!" 397 '' Joyful like her sons so glorious," 74 '' Joyful the liquor flows," chorus, 233 ''Joys of first love," 87 ''Judex," Gounod's "Mors et Vita," 192 'Judex ergo," Mozart's "Requiem," 3 21 'Just are the ways of God to man," aria, 210 INDEX PRINCIPAL NUMBERS 487 K "KiNG all glorious," 166 "King gave order that his town should keep high festival, The," bass solo, 126 ''King of Kings and Lord of Lords," 98 ''Klein miithige! HSrt an was jetzt der Geist zu Kiindea uns gebeut," 449 'Kneeling before thee, worshipping wholly," 138 'Know ye not a deed so daring," alto solo, 295 'Kyrie," Berlioz's "Requiem," 84 'Kyrie," Mozart's "Requiem," 320, 3". 3 2 3 'Kyrie," Verdi's "Manzoni Re- quiem," 444 'Kyrie Eleison," Buck's "The Golden Legend," 124 'Kyrie Eleison," Elgar's "The Dream of Gerontius," 156 'LABOR we prepare in earnest, The," chorus, 365 'Lachrymosa," Berlioz's "Requiem," 85 'Lacrymosa," Mozart's "Requiem," 322 'Lament of the sons of Usnach, The," old Irish song, 417 'Lament with a doleful lamentation," chorus, 135 'Lasciate ogni speranza," 277 'Laudis thema," chorus, 300 'Laudo Deum verum!" 257 'Laughing Springtime," tenor solo, 147 'Let all men praise the Lord," chorale, 314 'Let all the angels of God worship Him," chorus, 216 'Let his habitation be desolate," chorus, 161 'Let me find favor," duet, 139 Let me then depart in peace,"ii3 Let me wander not unseen," aria, 198 Let not your heart be troubled," tenor aria, 339 Let old Timotheus yield the prize," chorus, 196 Let the bright seraphim," 208, 212 Let the lutes play their loudest," chorus, 77 Let the people praise Thee," bass air with chorus, 132 Let the wheel move gayly," chorus, *34 Let their celestial concerts," chorus, 208, 212 Let us break their bonds asunder," chorus, 216 Let us, comrades, round her press- ing," 367 Let us eat and drink; to-morrow we die," chorus, 428 Let us go to pray before the Lord," chorus, 132 Let us now go even unto Bethlehem," male chorus, 430 Let us sing, the moonlit shores along," chorus, 409 Let your voices anthems raise," 360 Libera," Verdi's "Manzoni Re- quiem," 445 Lied des Deutschen Sangers," 394 Lift thine eyes," trio, originally a duet, 314 Lift thine eyes to the mountains," trio, 318 Lift up your heads, O ye gates!" chorus, 216 Light and life dejected languish," cavatina, 234 Light, light at last," 138 Light of the world," chorus, 155 Light out of darkness," chorus, 154 Like as a father," 139 Like beaten corn sheaves," tenor solo, 1 66 Listening to the nightingales," arietta, 411 Little children, all rejoice," duet, 281 4 88 INDEX PRINCIPAL NUMBERS "Lo! a vineyard hath Solomon at Baalhamon," solo, 288 "Lo! now, think ye we lay dream- ing?" 290 "Lo, once our prayer," bass recita- tive, 451 "Lo! the daughter of Herodias cometh in, she danceth !" chorus, 280 "Lo! the wrath of the King is as a messenger of death," chorus, 280 "Lo ! this is He of whom the prophets spake," quartette and chorus, 290 "Long smouldering hatreds," chorale recitative, 87 "Look down, O God!" recitative, 6 " Look where Jesus beckoning stands," aria with chorus, 6 "Lord Almighty, full of mercy," 451 "Lord Almighty, King all glorious," bass aria, 2 "Lord bless you, The," chorus, 140 "Lord, bow Thine ear to our prayer," soprano duet with chorus, 315 "Lord, cause Thy face to shine upon Thy servant," duet, 134 "Lord, for anguish hear us moan- ing," quartette and chorus, 190 "Lord, forever let light eternal," chorus, 191 "Lord, from my bed again I rise," 134 "Lord gave the word, The," chorus, 216 "Lord God, my Father, holy One," chorale, 10 "Lord God of Abraham," 316 "Lord God of heaven and earth," quartette and chorus, 413 "Lord God of Israel," 290 "Lord has done a wonder, The," chorus, 260 "Lord He has risen again, The," trio, 1 88 "Lord, if Thou hadst been here," 432 "Lord is a man of war, The," bass duet, 202 "Lord is faithful and righteous to forgive our sins, The," alto aria, 339 "Lord is good, The," chorus, 133 "Lord is great, The," chorus, 229 "Lord is mindful of His own, The," 310,313 "Lord is my shepherd, The," 287 "Lord is my strength and my song, The," soprano duet, 202 "Lord is nigh, The," quartette, 429 "Lord is risen, The," six-part chorus, 433 "Lord is strong in might, The," 372 "Lord Jesus, Thou to all bringest light and salvation," chorale, 186 "Lord, make me to know the measure of my days on earth," 96 "Lord of all power and might," IZ 5 "Lord of grace and truth unfailing," chorus, 392 "Lord said, The," recitative, 135 "Lord shall reign for ever and ever, The," chorus, 203 "Lord! Thou alone art God," chorus, 310 "Lord, Thou hast been our dwelling place," chorus, 138 "Lord, who hath believed our re- port?" solo, 431 "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," male quartette, 199 "Lord worketh wonders, The," aria, 219 Loud is the thunder's awful voice," tenor aria, 209 "Love in her eyes sits playing and sheds delicious death," aria, 195 Love is freighted with sorrow and care," 250 Love is so fleeting, night is so fair," 345 Love not the world," alto song, 429 Love sounds the alarm," 195 Love too deep for words to speak, The," love-song, 77 INDEX PRINCIPAL NUMBERS 489 "Love will cure these thin distempers," four-part song for tenors and basses, 127 ** Lovely appear over the mountains," chorus, 1 88, 189 "Lower! Lower! Hover down- ward!" 257 Luther's Christmas hymn, 2 "Lux aeterna," Verdi's "Manzoni Re- quiem," 445 M bright elf of dreamland," tenor solo and chorus, 87 "Macht'gen Spah'n verfolgt un* iiberall, Der," 448 ** 'Madmen,' he cried, 'your strife for- bear,' " bass solo, quartette, and chorus, 131 "Magnificat anima mea," chorus, 7 "Make a joyful noise unto the Lord, all ye lands," 287 "Man can receive nothing, A," 280 "Man goeth forth," chorus, 139 "Man who flies our sacrifice, The," 295 "Many rend the skies with loud ap- plause, The," chorus, 196 Marcia Funebre, 34, 35 "Marguerite's glorification," double chorus, 91 "Mark, ye serfs, your lord's com- mands," 359 "Master, get Thee out, and depart hence," 432 "Master's hand the mould may shatter, The," chorus, 366 "Mavis carols in the shaw, The," contralto solo, 255 May Night Fantasy, 342 "Meine Rub' ist hin," 90 "Men and brethren," chorus, Paine'* "Saint Peter," 340 "Men and brethren," chorus, Sulli- van's "The Light of the World," 433 "Men, brethren, and fathers!" solo, 310 "Merriest games with thee would we play," chorus, 260 "Merry pipe and pleasing string, The," 209 "Mid tears and solemn mourning," antiphonal chorus, 262 "Mid yon gloomy mountains," 359 "Midnight sun on the mountain burns," chorus, 108 "Mighty Lord, to us be gracious," chorus, 149 "Mighty Saviour, Jesus blest," quar- tette, 191 "Millions, loving, I embrace you," 74 "Mine the doom she hath spoken," 168 "Mirth, admit me of thy crew," aria, 197 "Miscreant! woe to thee," 113 "Mors stupebit," Mozart's "Re- quiem," 321 "Moses and the children of Israel sang this song," chorus, 202 "Most mighty, most holy," chorus, 346 "Mourn, Israel, mourn thy beauty lost," chorus, 208 " Mourn, ye afflicted children," chorus 218 "Must I my Acis still bemoan ?" 195 "My Beloved is mine, and I am his," 288 "My faith and truth, O Samson, prove," 210 "My genial spirits droop," recitative, 210 "My heart is glad and my spirit re- joiceth," bass aria, 338 "My heart with grief is heavy," 90 "My heart with sorrow overflowing," 108 "My Redeemer and my Lord," Buck's "The Golden Legend," 123 "My Redeemer and my Lord," Sul- livan's "The Golden Legend," 426 "My song shall alway be Thy mercy," soprano and tenor duet, 3'4 490 INDEX PRINCIPAL NUMBERS "My soul doth magnify the Lord," soprano solo, 431 "My soul rejects the thought with scorn," aria, 205 "My strength is from the living God," aria, 211 "My tears have been my meat," so- prano recitative, 299 "My Waldemar, how erred thine Eglantine?" 359 "My work is done, my task is o'er," solo, 156 N ''NATIONS are now the Lord's, The," five-part chorus, 311 r 'Ne absorbeat eas Tartarus," Mo- zart's "Requiem," 322 'Need is there for Thyself returning," chorus, 392 'Neither hath this man sinned," recitative, 154 'Nessun maggior dolore," 277 'Never before was known a deed like this," 285 'Never will my heart refuse Thee," soprano aria, 5 'Night is calm and cloudless, The," aria, Buck's "The Golden Legend," 124 'Night is calm and cloudless, The," solo, Sullivan's " The Golden Leg- end," 427 'Night is dark, The," recitative, 126 "Night is departing, The," chorus, 3H "Night retires to woods, The," chorus, 147 *No bliss can be so great," chorus, 359 'No evil shall befall thee," chorus, '35 'No, let the guilty tremble," aria, 207 'No one listens! My sad words echo but repeats," recitative, 225 'No ! 't is not vapor nor storm-clouds that gather," solo, 372 "No war or battle's sound was heard the world around," 335 "Noble maiden, low before thee Sayid bows," duet, 285 "Noch toset des Sturmes Gewalt," recitative and chorus, 296 "Nocte surgentes," Buck's "The Golden Legend," 123 "Nocte surgentes," Liszt's "The Bells of Strasburg," 258 Nocturne, in E Major, Mendelssohn, 302 "None but holy, lofty thoughts," 358 "Not unchastised shall this audacious band," 14 "Not yet," alto solo, 397 "Not yet defeated," 168 "Notre Pere, loue 1 soil nom radieux," 292 "Novissima hora est," 156 "Now all are ambassadors in the name of Christ," tenor and bass duet, 311 "Now all gives way," chorus, 148 "Now at the miller's," 393 "Now, behold ye the guard, this, your sleep-vanquished guard," chorus, 1 88 "Now cease the conflicts," trio and chorus, 233 "Now, Flora, deck thyself in fairest guise," chorus, 337 "Now he crosseth the floods of the salt desert waste," chorus, 109 "Now Heaven in fullest glory shone," aria, 230 "Now know I, Hubert, thou speakest true," quartette, 359 "Now morn is blushing in the sky," tenor narration, 397 "Now only unto Him," chorus, 312 "Now swift, ye horses," recitative, 345 "Now the hungry lion roars," 303 "Now there arose a new king over Egypt who knew not Joseph," tenor recitative, 200 "Now this man ceaseth not to utter blasphemous words," chorus, 310 INDEX PRINCIPAL NUMBERS 491 "Now wanders forth the Peri sigh- ing," tenor narration, 396 "Now we believe," chorus, 79, 82 "Nowhere abides such delight," 114 "Nun freut euch, lieben Christen G'mein," hymn, 80 O "O BEAUTT of holiness," 114 "O bien-aime sous la sombre cou- ronne," 093 "O blessed Jesus," chorale, 4 "O bone patria," soprano aria, 347 "O boundless Nature, spirit sublime !" 9 **O brothers, quick, arise!" male chorus, 289 "O Brothers, these tones no longer! Rather let us join to sing in cheer- ful measures a song of joyf ulness," barytone recitative, 74 "O come and see the pleasance of the spring," 127 "O country, bright and fair," so- prano aria, 347 "O Eden, how longeth for thee my heart!" 396 "O Eros, Allsieger im Kampf," 296 "O fairest of ten thousand fair," duet, 206 "O fasst Vertrau'n," chorus, 448 "O Father, whose almighty power," 218 "O gladsome light!" choral hymn, 426 "O gladsome light of the Father," 123 "O God, have mercy upon me," 311 "O god-like youth!" aria, 205 "O God, make them like a wheel," '34 "O God, my God, forsake me not," aria, 339 "O happy pair," recitative. 231 "O haste ye then," bass recitative, 3 "O Haupt, voll Blut und Wunden," hymn, 2 **O Head, all bruised and wounded!" chorale, 6 "O Himmel, welch" Entriicken," scena, with violin obligate and chorus, 17 "O holy Babe," 290 "O King indeed, though no man hail Thee," five-part chorus, 392 "O King, live forever!" chorus, 280 "O lady, never sit alone," 255 "O Lamb of God all blameless!" chorale, 5 "O Lord Almighty, God of Israel," 158 "O Lord, be gracious unto us," chorus, 288 "O Lord, I have labored in vain; oh, that I now might die!" 318 "O Lord, in Thee have I trusted," chorus, 222 "O Lord, incline us to consider that our days are numbered," tenor solo, 9 "O Lord Jesus Christ, King of Glory," 191 "O Lord, thou hast searched me out," contralto solo, Si " O Lord, whose mercies numberless," aria, 206 "O Lord, whose providence," 206 "O Love, thy car triumphal," 285 "O make a joyful noise," chorale, 134 "O man, bewail thy great sin!" chorale, 6 "O Man of God !" soprano solo, 340 "O meadow, dad in early green," tenor solo, 83 "O mes soeurs!" aria, 292 "O mourn, O mourn, strew choicest flowers," 88 "O my fatherland! blest remem- brance!" aria, 113 "O my God! my soul is cast down within me; all Thy waves and Thy billows are gone over me," soprano recitative, 299 "O my Lord, if I must grieve you," duet, 77 "O my soul, be content and be thou peaceful," chorus, 9 "Oraceof mortal men!" chorus, 335 492 INDEX PRINCIPAL NUMBERS 'O Rinaldo, come to never-ending bliss," 175 ''O sacrum convivium," antiphonal melody, 161 ''O, seht sie nah und naher treten," recitative and chorus, 17 'O sons of men, with gladness," trio with chorus, 14 'O Storm-King, hear us," chorus, 410 ''O summer night!" 344 'O sweet fancy, let her loose," chorus, 336 'O Thou, in heaven's dome," tenor solo, 154 'O thou my star!" tenor aria, 121 *O Thou that tellest," alto solo, 214 'O Thou, the true and only light," chorale, 311 'O thou who sittest on the throne," a S5 *O Thou whose life-blood streamed," 262 'O, 'tis delight when the land far appeareth," chorus, 108 'O triumph, all ye ransomed!" obli- gate with chorus, 14 'O wondrous light," 289 *O ye righteous!" 168 'Of all bright thoughts that bloom on earth," chorus, 269 'Of love, faith is the pledge and token," aria, 10 'Of wasted fields and plundered flocks," contralto solo, 131 'Offertorium," 84, 86 'Oft on a plat of rising ground," 198 'Oh! Atritone," aria, 113 'Oh, be gracious, ye immortals," chorus, 312 'Oh, beauteous land !" quartette, 396 'Oh, blessed are the meek," 166 'Oh, blessed be He!" chorus, 165 'Oh, blessed forever," chorus, 1 66 'Oh, blessed tears of true repent- ance!" quartette and chorus, 397 'Oh, blest are the pure," 167 'Oh ! come, every one that thirsteth," quartette, 319 "Oh, come, ye of my Father be- loved," 1 68 "Oh, day of mourning, day of sorrow!" aria, 261 "Oh, fatal consequence of rage!" chorus, 207 "Oh, fatal day, how low the mighty lie!" 208 "Oh, fill thou even with light of heaven," duet, 344 "Oh, first -created beam," chorus, 209 "Oh, give me faith, my Father!" chorale, n "Oh, grant me in the dust to fall," 148 "Oh, great is the depth of the riches of wisdom," chorus, 311 "Oh, guide me in the way!" 148 "Oh, happy he," 166 " Oh, joy ! foretaste of heaven's rest," quartette, 393 "Oh, let me only breathe the air, love!" 397 "Oh, lovely peace!" duet, 220 "Oh, may my life be spent in virtue," chorus, 335 " Oh, mirror of our fickle state," aria, 209 "Oh, pardon me, my God !" aria, 6 "Oh, pious frame of mind," 89 "Oh, pure in heart!" chorus, 427 "Oh, rest in the Lord," 310, 313, 318 "Oh, ruddier than the cherry!" 195 "Oh, tarry! oh, shorten not the hour," 261 "Oh, tender longing, hope delight- some," duet, 365 "Oh, that men would praise the Lord," chorus, 429 "Oh, that thou hadst hearkened," aria, 429 "Oh, the earth is fair in plain and glade," bass recitative and aria, 410 "Oh, the pleasures of the plains," chorus, 194 "Oh, we cannot, for around it," 257 "Oh, we cannot! the ArchangJ Michael flames from every win- dow," 258 INDEX PRINCIPAL NUMBERS 493 *Oh, welcome 'mid the blessed!" 397 'Oh, what delight when storm is crashing," drinking-song, 89 'Oh, wretched Israel," chorus, 119 'Old \V inter's hand is always free," 281 'Omnes generationes," chorus, 7 'Omnipotent Zeus! we call on thy name," duet, 113 'On Me then fall Thy heavy judg- ment," duet, 14 'On mighty pens," aria, 229 'On mossy bed her gentle form reposes," female chorus, 361 'On the flowery mead, girt by the dimpling tide," chorus, 113 'On Thee each living soul awaits," trio, 230 *One hope is thine," 396 'Only bleed, Thou dearest heart," aria, 5 * Onward! onward! With the night- wind," 258 'Open the heavens and send us relief," chorus, 317 'Open to me, my sister, my bride," 288 'Or let the merry bells ring round," aria and chorus, 198 'Ora pro nobis," 125 'Oracle, sweet-tongued of Zeus," chorus, 334 'Oro supplei et acclinis," Mozart's "Requiem," 322 * Orpheus himself may heave hii head," aria, 198 *Our home shall be on thi* bright isle," 410 *Our life is short and tedious," 159 'Our sails to the breezes," chorus, 113 'Over hill, over dale," 301 'Over the barren wastes shall flowen have possession," soprano solo, 1 88 "PAIN is over, The," semi-chorus, 261 "Pars mea, rex meus," chorus, 346 "People shall hear and be afraid, The," chorus, 203 "People that walked in darkness, The," aria, 215 "People victorious," contralto solo, 347 "Per mi si va nella citta dolente," recitative, 277 "Philistines, hark, the trumpet sound- ing," solo, 133 "Phoebus, arise, and paint the sable skies with azure, white, and red," chorus, 337 Pilgrim's Song, 262 "Pilgrims' March," Mendelssohn, 306 "Pious orgies," soprano solo, 218 "Pious youth was Fridolin, A," chorus, 358 "Poor children mine, let me mourn you," 88 "Poor human souls," chorus, 166 "Poor youth, thus deserted," mezzo- soprano solo, 397 "Populous cities please me then," solo with chorus, 198 "Praise His awful name," chorus, 412 "Praise the Almighty One," 374 "Praise the Lord," soprano solo with chorus, 77 "Praise the Redeemer's goodness," scena and aria, 14 "Praise thou the Lord, O my spirit!" semi-chorus, 313 "Praise to the Father," chorale, 340 "Praise to the Holiest in the height," '57 "Preserve him for the glory of Thy name," chorus, 206 "Presuming slave!" aria, 211 "Pro peccatis," bass aria, 368 "Proceed, thou hateful minion, on thy path," bass scena, 358 "Prometheus, woe to thee!" chorus, 6y "Pure as thy heart," chorus, 137 Berlioz's "Re- me, quiem," 85 494 INDEX PRINCIPAL NUMBERS "Quaerens me," Mozart's "Re- quiem," 322 "Quam olim Abrahae," Mozart's "Requiem," 322 "Quando corpus," quartette, Ros- sini's " Stabat Mater," 369 "Quando corpus morietur," quartette and chorus, 147 "Quantus tremor est futurus," 85 "Quia fecit mihi magna," aria, 7 "Quia respexit humilitatem ancillae suae," aria, 7 "Quid sum miser," Berlioz's "Re- quiem," 85 "Quid sum miser," Mozart's "Re- quiem," 321 "Quid sum miser," Verdi's "Man- zoni Requiem," 444 "Quis est homo," Dvorak's "Stabat Mater," 145 "Quis est homo," Rossini's "Stabat Mater," 368 "RADIANT, rejoicing, strong, Buddha arose," 128 "Raise now your song on high," chorus, 381 Rakoczy march, 88 "Rash adventurer, bear thee back," chorus, 131 "Recordare," Mozart's "Requiem," 322 "Recordare," Verdi's "Manzoni Re- quiem," 444 "Red is the wild revenge," chorus, 350 "Refrain thy voice from weeping," tenor aria, 431 "Rejected and sent from Eden's door," 397 "Rejoice greatly," soprano aria, 215 "Rejoice, O my soul, change weeping to smiling," aria, 9 "Remember, remember from whence thou art fallen," chorus, 339 "Remember the glories of Brian the brave," Irish song, 417 "Rene the king will ride forth from the gate," chorus, 411 "Repent, and believe the glad tidings of God," chorus, 338 "Repent ye, the kingdom of heaven is at hand," barytone solo, 279 "Reproaches, The," for chorus or quartette, 186 "Requiem," Mozart's "Requiem," 320, 321 "Requiem," Verdi's "Manzoni Re- quiem," 444, 445 "Requiem aetemam," Gounod's "Mors et Vita," 190 "Requiem aeternam dona eis," Berlioz's "Requiem," 84, 86 "Rescue him, O Lord," chorus, 156 "Restrained by might," hymn for bass solo and chorus, 295 "Return, return, O God of Hosts," 210 "Revels now are o'er, The," chorus, 87 "'Revenge, revenge!' Timotheus cries," aria, 196 "Rex tremendae majestatis," Berlioz's "Requiem," 85 "Rex tremendae majestatis," Mo- zart's "Requiem," 321 "Rex tremendae majestatis," Verdi's "Manzoni Requiem," ^^ "Right helpful is the might of fire," chorus, 366 "Righteous shall enter into glory eternal, The," soprano solo, 192 "Ring out, ye crystal spheres," chorus, 336 "Rise up! arise!" chorus, 311 "Rise up, rise up, my love," 286 "Roar, wind of the tempest, roar!" chorus, 410 "Rolling in foaming billows," 228 "Romeo too is there," contralto solo, 87 "Rouse thee, my fainting soul," tenor solo, 156 "Ruddy morning, it is my death, The," 345 "Rudello," 394 INDEX PRINCIPAL NUMBERS 495 "SACRIFICE of prayer and praise," chorus, 191 "Sacrifices of God, The," chorus, 4*9 "Sadly the skald walks before the train," chorus, 108 "Said I not unto thee," barytone solo, 43* "Salve me," Berlioz's "Requiem," 85 "Salve me," Mozart's "Requiem," 311 "Sanctify us through Thy truth," quartette and chorus, 339 "Sancta Maria," enthroned above," chorus, 359 "Sancta Mater," quartette, 368 "Sanctus," Berlioz's "Requiem," 84, 86 "Sanctus," Gounod's "Mors et Vita," 191, 193 "Sanctus," Mozart's "Requiem," 300, 3" "Sanctus," Verdi's "Manzoni Re- quiem," 444 "Sanctus fortis," Elgar's "The Dream of Gerontius," 156 "Saul, Saul, why persecuted thou Me?" 311 "Saviour of men," chorus, 187 "Say, have ye heard the tidings of joy?" chorus, 113 "Say, is it so ?" quartette, 397 "Say, sweetest Jesus," chorale, 5 "Say ye that in the night His disciples have come and stolen Him away," male chorus, 188 "See how gay the valley shines," trio and chorus, 41 1 "See the conquering hero comes," march chorus, 220 "See what love hath the Father," chorus, 312 "See with what a scornful air," aria, 205 "Seek first the kingdom of God," quartette and chorus, 160 "Seek Him," male chorus, 154 "Seid getrost, Ich bin euch nah, und Mein Geist ist mit euch," 449 "Seid uns gegriisst, ihr lieben Briider," 448 "Seraphim above Him cried one to the other, Holy, holy, holy, is God the Lord ! The," double chorus, 319 "Serpent in my bosom warmed, A," aria, 206 "Set in order thine house, for thou shah die and not live," aria, 10 "Seufzer eines Ungeliebten," song, 76 "Seuil est pare 1 de fleurs rares, Le," chorus, 292 "Shaded hyacinth, always sapphire queen," chorus, 336 "Shake the casements," 258 "She is moving, she is moving," chorus, 367 "She will bring in spite of frost," soprano solo, 336 "Shepherd donned his best array, The," chorus, 88 "Shepherds on the lawn, The," quartette, 336 "Shouldst thou, walking in grief," 318 "Sicut locutus est," five-part fugue, 8 "Sighing, mourning, sorrow, tears waste away my troubled heart," aria, 8 "Sin not, O king, against the youth," 206 "Since by man came death," quartette with choral response, 217 "Sing, O heavens, and be joyful, O earth," chorus, 289 "Sing the Lord, ye voices all," chorus, 131 "Sing unto God," chorus, Handel's "Judas Maccabaeus," 220 "Sing unto God," soprano and tenor duet, Paine's "Saint Peter," 341 "Sing yc praise, all ye redeemed of the Lord," recitative, 313 "Sing ye to the Lord, for He hath triumphed gloriously," 203 "Singers are before the altar, The," duet, 1 61 496 INDEX PRINCIPAL NUMBERS "Sink, scenes illusive, deep in dark abyss of doom!" 176 "Sitting upon the throne," chorus, I 9 2 "Slayer of darkness," 114 "Sleep, happy Faust," chorus, 89 ''Sleep in bower and hall," 138 "Sleep, my beloved, and take thy repose," cradle-song for alto, 3 "Sleep on," 397 "Sleep, sweet Babe, my cares be- guiling," cradle-song, 290 "Sleepers, wake! a voice is calling," chorale, 311 "Slowly, slowly up the wall," alto recitative, 426 "So near to perfect joy and peace," soprano solo, 350 "So persecute them," 134 "So rapid thy course is," 219 "Softly and gently, dearly ransomed soul," solo, 157 "Softly the Indian night sunk o'er the plain," chorus, 128 "Sometimes let gorgeous tragedy," recitative and aria, 198 "Son of honor, theme of story," male chorus, 131 "Son of man was delivered into the hands of sinful men, The," chorus, 339 "Song is resounding, dancers are bounding," chorus, 359 "Soon noble fruit by toil was won," tenor recitative and soprano solo, 45 "Sorrow and mourning shall flee away," 348 "Sorrows of death had closed all around me, The," tenor solo, 313 "Sound a\i alarm," 219 "Spe modo vivitur," bass solo, 346 "Speed us on to fight," 134 "Spirit of the Lord is upon me, The," barytone solo, Sullivan's "The Light of the World," 431 "Spirit of the Lord is upon me, The," soprano aria, Paine's "Saint Peter," 338 "Spring from the earth, red roses," 138 "Spring her lovely charms unfolding," duet with chorus, 232 "Stabat Mater dolorosa," Dvorak's "Stabat Mater," 145 "Stabat Mater dolorosa," Rossini's "Stabat Mater," 368 "Slant Syon atria," double chorus, 347 "Stately rises our work on high," 371 "Stone him to death," chorus, 310 "Storms wildly roar," soprano solo, 109 "Stoutly walled cities we fain would win," chorus, 90 "Strahl des Helios schonstes Licht," 296 "Straight mine eye hath caught new pleasures," aria, 198 "Stricken with sorrow," 168 "Strike the cymbals," 387 "Strike the harp," chorus, 223 "Sumit unus," solo and chorus, 300 "Sun goeth down, The," 161 "Sun in the sky now mounteth high," solo quartette, 109 "Surely He hath borne our griefs," chorus, 215 "Suscepit Israel puerum suum: re- cordatus misericordiae suae," ter- zetto, 8 "Susceptible hearts," chorus, 17 "Sweet bird that shun'st the noise of folly," 197 "Sweet is our welcome," solo, 396 "Sweet is the air with budding haws," duet, 427 "Sweet the angelus is ringing," duet and chorus, 411 "Sweet the balmy days of spring," chorus, 285 "Swing low, sweet chariot," negro jubilee melody, 152 'TAKE him away," 310 'Te decet hymnus," 444 INDEX PRINCIPAL NUMBERS 497 'Teach us then to come before Thee," duet, 374 'Tell ye the daughter of Zion," soprano solo, 432 ''Ten years now are past since Troy in the dust was laid," chorus, 113 'Thai, Das," 394 'Thanks be to God," 317 'Thanksgiving at harvest time," 139 'That hour I long for," duet, 149 'Their land brought forth frogs," mezzo soprano aria, 200 'Their sound is gone out into all lands," chorus, 216 'Then come, Lord Jesus," quartette, 4'3 'Then cometh Jesus to a city of Samaria," recitative, 80 'Then free from sorrow," solo, 209 'Then in her tears she slept," chorus, 128 'Then purge from your hearts," chorus, 167 'Then round about the starry throne," chorus, 210 'Then shall they know," chorus, 209 'Then shall we see His glory," chorus '39 'Then, then shall the righteous shine," tenor aria, 319 'There came a wind which lulled each sense aswoon," chorus, 128 'There falls a drop on the land of Egypt," soprano and tenor solos with chorus, 397 "There is joy in the presence of the angels of God," soprano solo, 428 'There let Hymen oft appear" aria, 198 'There once was a maiden in Melrose town," ballad, 255 'There shall come forth a rod out of the stem of Jesse," chorus, 430 'There stand those halls," double chorus, 347 "There was a king in Thule," ballad, 9 *There was a king once reigning, who had a big black flea," 89 "There was a rat in the cellar nest," 89 "There was not one of them left," 202 "There were shepherds abiding in the field," tenor recitative, 430 "Therefore let us cast off the works of darkness," 314 "Therefore the redeemed of the Lord shall return," alto solo and chorus, 348 "Therefore they shall come and sing," chorus, 8 1 "Therefore with joy shall ye draw water," chorus, 81 "These delights, if thou canst give," aria with chorus, 198 "They fly through the narrow straits of the valley as storms that force their way through the mountain gorges, like a falling star," 272 "They have profaned it," chorus, 133 "They loathed to drink of the river," chorus, 200 "They sing of Spring and love, of happy golden youth," 394 "Thine adorable, true, and only Son," chorus, 222 "Thine is the kingdom," 413 "This garment by day I weave in my sorrow," aria, 113 "This is, in truth, the noblest deed," 268 ''This is Jehovah's temple," chorus, 3 ''This is My Beloved Son," chorus, 280 "This is no earthly night," 262 "This is that happy morn," tenor solo, 337 ''This is the witness of God," chorus, 34 'This night I lift my heart to Thee," '35 ''Those whom the Highest One befriends," 78 "Thou art from first to last," trio, 381 "Thou art gone up on high," aria, 216 "Thou art lovely, O my friend, as Thirza," 287 498 INDEX PRINCIPAL NUMBERS "Thou art the Christ," recitative, 338 "Thou city great and high," quartette and chorus, 347 "Thou dear Redeemer," chorale, 5 "Thou Delphic rock, who can he be ?" chorus, 334 "Thou didst 'blow with the wind," soprano aria, 203 "Thou far-darting sun," recitative, "3 "Thou in Thy mercy," duet, 203 "Thou, O Lord, art our Father," chorus, Elgar's "The Kingdom," 162 "Thou, O Lord, art our Father," chorus, Sullivan's "The Prodigal Son," 429 "Thou ocean without shore," solo, quartette, and chorus, 347 "Thou only hast the words of life," arietta, 155 "Thou sendest forth Thy wrath," chorus, 202 "Thou shall at a glance behold the daisy and the marigold," barytone solo, 336 "Thou shall be with Me to-day in Paradise," arioso, 10 "Thou shall break them," aria, 216 "Thou shall bring ihem in," 203 "Thou shouldst mark iniquities," cantabile aria, 133 "Thou sweel Iwilight, be welcome," love-song, 90 "Thou too art a molher," aria, 261 "Thou, who once to our sires ap- peared," chorus, 167 "Though I should die wilh Thee," 339 "Though passion gives way," lenor solo, 365 "Though thousands languish and fall," 317 "Thousand active hands combining," chorus, 366 "Thousand hideous deaths I'd make him die, A," 358 "Through faith the soul has eagle's pinions," aria, n Through me pass on to horror's dwelling-place," 277 Through the night rings the horn's blast with power," chorus, 361 Thus by almighty power of God," chorus, 372 Thus departed Hiawatha," chorus, 164 Thus Nature ever kind rewards," terzetto and chorus, 233 Thus passed the three into ihe way of peace," irio, 129 Thus saith the Lord," bass solo, Mackenzie's "The Rose of Sharon," 288 Thus saith ihe Lord," chorus, Mendelssohn's "Sainl Paul," 311 Thus when ihe sun," aria, 211 Thus while she sang," soprano solo, r 3! Thy glorious deeds inspired my longue," bass bravura aria, 209 Thy rebuke hath broken His heart," recilative, 216 Thy righl hand, O Lord," chorus, 202 Thy servants faithful, tidings bear- ing." 39* Time is fulfilled, The," chorus, 338 'Tis he! Siddartha, who was lost," 129 'T is I ! my sins betray me," chorale, 5 'Tis I whose baneful spell," 167 'T is jolly to hunt in the bright moonlight," 83 To dust his glory they would tread," chorus, 210 To fame immortal go," chorus, 211 To fleeting pleasures make your court," aria, 210 "To God on high," chorale, 310 To him greatness arises from suffer- ing and anguish; the mantle of the helman will fall upon him, and all will bow before him," 272 "To molher earth our work com- mitting," chorus, 366 "To our great God," chorus, 220 INDEX PRINCIPAL NUMBERS 499 ''To song and dance we give the day," chorus, 211 ''To souls in error bring I knowledge," recitative, 148 ''To Thee all angels cry aloud," semi- chorus, in 'To Thee, cherubim and seraphim," chorus, 222 'To Thee, O Lord, I yield my spirit," chorale, 310 'To thee the pleasure of the chase belongs," recitative, 148 'To whom can I turn me?" 226 'To work," chorus, 371, yjz 'Toggenburg all is in mourning array," chorus, 362 'Torments, alas!" 209 'Total eclipse: no sun, no moon, all dark amidst the blaze of noon," aria, 209 'Tower whose lofty height was like my state, The," bass aria, 372 'Traitor to love," duet, 210 'Traveller stands perplexed, The," aria, 234 'Trees lift up their branches bare, The," 281 'Triglav who with threefold face," 147 'Trumpet shall sound, The," aria, 217 'Trust thou in God," 299, 300 *Tu pro nobis mater pia," hymn, 262 'Tu sine littore," solo, quartette, and chorus, 347 'Tuba minim," Berlioz's "Re- quiem," 85 'Tuba mirum," Mozart's "Re- quiem," 321, 322 'Tui nati vulnerati," chorus, 146 'Tune your harps," chorus, 219 'Turn Thee unto me," 133 'Turn you to the stronghold," solo, quartette and chorus, 159 'Twine ye a garland," march and chorus, 17 U 'UNDER the greenwood tree," ballad, 223 'Unfold! for lo, the King comes nigh!" chorus, 188 'Unfold, ye portals everlasting," chorus, 188 'Uns droht der Macht'gen Hass," chorus, 448 'Unto mine end thy love has led me," 262 'Up, up, O King, the horses wait," solo, 344 'Uplift a song of praise," chorus, 289 'Upon the quiet of the night," chorus, 289 'Uprose Yasodhara with joy," so- prano solo, 128 'Upspringing, the darkened air broke forth into radiant bright- ness," 373 'Urbs coelestis, Urbs beata," sacred song, 124 'Urbs Syon aurea," tenor solo, 347 'Urbs Syon inclyta," quartette and chorus, 347 'Urbs Syon unica," chorus, 347 "VAINEMENT tu pleures," chorus, 292 "Veil of the temple was rent in twain, The," chorus, 227 "Vengeance belongeth," 167 "Vieles Gewaltige lebt," 296 " Vielnamiger ! Wonn' und Stolz," 296 Vineyard Song, 286 "Virgin, who lovest the poor and lowly," 427 "Virgo, virgonum przclara," chorus, 146 "Vishnu, Vishnu, thou hast heard our cry!" chorus, 284 "Voice of joy is in the dwelling of the righteous, The," 162 "Voice of the Lord, The," chorus, 34 Vorspiel, Wallenstein symphony, 361 500 INDEX PRINCIPAL NUMBERS 'Vouchsafe, O Lord," bass solo, 222 'Vous qui fletrissez les erreurs des autres," aria, 292 W ''WATCHMAN! will the night soon pass?" recitative, 313 ''Watchmen, what of the night ?" 135 *We are the voices of the wandering wind," 127 "We come in bright array," chorus, 218 "We go before the face of the Lord," chorus, 338 "We hid our faces from him," chorus, 339 ''We never will bow down to the rude stock or sculptured stone," chorus, 219 "We now have passed the gate," 157 "We praise the men of the days long gone," 350 "We praise Thee, O God," chorus, 221 "We surely here shall find Him," chorus, 14 "We will praise Thee, O God," chorale, 140 "We will take the foies, the little foxes that ravage the vines" (Vineyard Song), 286 "Wealthy lord who long had loved, A," 234 "Weep, Israel, weep," 212 "Weep ye not for the dead," alto solo, 431 "Welch Brausen erfiillt die Luft," 449 "Welcome, blest season," soprano recitative and romance, 281 "Welcome, my little daughter," solo, 260 "Welcome the bride," chorus, 260 "Welcome, welcome, mighty king," chorus, 205 "Wends the weary wanderer," so- prano solo, 366 " Wer da glaubet und getauft wird," 10 "What God to Abraham revealed, He to the Shepherds doth accord to see fulfilled," bass recitative, 3 "What have I to do with thee?" 315 "What have these sounds to do with bridal robes ?" chorus and solo, 285 "What in the earth profoundly hidden," chorus, 365 "What mean these Zealots vile?" bass aria, 77 "What see I ? O heavens ! Unhappy me!" 226 "What seest thou, O King ?" 345 "What shall we do then ?" chorus, 279 "What thinks she now?" chorus, 744 "What thou seest when thou dost wake," 302 "What went ye out in the wilderness for to see ?" chorus, 281 "What will befall us in the time approaching?" chorus, 148 "When our hearts are oppressed," chorus, 165 "When stern and gentle troth have plighted," bass recitative, 365 "When such music sweet their hearts and ears did greet," soprano solo, 336 "When the health and strength arc gone," 298 "When the Son of Man shall come in His glory," barytone solo, 432 "When Thou the stormy sea art crossing," 392 "When to our waters the golden time shall come," 267 "Whence hath this man his wisdom ?" chorus, 431 "Where'er we stray, stern fate en- thralls us," tenor solo, 166 "Where have they laid Him?" 433 "Where is the maiden of mortal strain ?" 130 "Where my father rests," aria, 108 "Where sets the sun adown the crimson west," 284 "Wherefore are the nations raging?" chorus, 380 INDEX PRINCIPAL NUMBERS 501 "Wherefore is thy soul cast down ?" duet, 133 "Which once to Abraham," chorus, 191 "While my watch I am keeping," chorale, 186 "While the town rang with music," chorus, 128 "While the wicked are confounded," chorus, 191 "While yet the distant echoes roll," tenor recitative, 131 "While yet thy tide of blood runs high," hymn, 205 "Whither away, my heart ?" aria, 137 "Who belicveth and obeyeth will be blest forever," chorus, 10 "Who did sin ?" chorus, 154 "Who hath seen the troubadour?" quartette, 411 "Who is like unto Thee, O Lord," chorus, 203 "Who is the image of the invisible God," chorus, 81 "Whole earth is at rest, The," chorus, 43 ' "Whoso believeth and is baptised," 10 "Whosoever drinketh," bass solo, 81 "Why do the nations," bass aria, 216 "Why does the God of Israel sleep ?" aria, 209 "Why dost thou wait at the door of thy lover ?" serenade, 90 "Why hast Thou, O my God, in my sore need so turned Thy face from me ?" recitative and aria, 8 "Why hear ye Him?" chorus, 431 "Why, my soul, art thou cast down ?" 299 "Why, my soul, art thou vexed?" chorus, 8 "Why seek ye the living among the dead ?" Elgar's "The Apostles," '59 "Why seek ye the living among the dead ?" aria, Gounod's "The Re- demption," 187 "Why sound the horns so gayly ?" 393 "Wie fchon lencht uns der Morgen- stern," chorale, 10 "Wildest conflicts rage within my fevered soul, The," recitative and ballad, 359 "William of Nassau," troopers' song, 363 "Wind upon our quarter lies, The," male chorus, 124 "Winter has departed, Spring is here, The," 88 " Wir sind versammelt im Namen Jcsu Christi," 448 "With a laugh as we go round," chorus, 82 "With grief my spirit wrestles," solo, 261 "With His stripes we are healed," chorus, 215 "With honor let desert be crowned," aria, 220 "With joy the impatient husband- man," aria, 232 "With plaintive notes and am'rous moan, thus coos the turtle left alone," aria, 210 "With rage I shall burst, his praises to hear," aria, 205 "With the carol in the tree," soprano solo, 83 "With the faithful deign to place us," tenor solo, 191 "With the lark sweetly (tinging," chorus, 268 "With thunder armed," chorus, 211 "With turtle wing the amorous clouds dividing," chorus, 335 "With verdure clad," aria, 229 "Within the bower of inmost splendor," soprano solo, 128 "Within what gloomy depths of forest," recitative, 148 "Within yon gloomy manger lies," chorale, 3 "Woe! for false flew the shaft," double chorus, 396 "Woe! he tugs with all his might at the ring," chorus, 109 "Woe! O wicked deed," 108 502 INDEX PRINCIPAL NUMBERS "Woe ! see the storm-clouds," chorus, 45 ' "Woe to him!" chorus, 318 "Woe to the shepherds of the flock," solo and chorus, 155 "Woe to thee, Prometheus," chorus, 268 "Woe unto them!" alto arioso, Mendelssohn's "Elijah," 316 "Woe unto them !" alto recitative and chorus, Sullivan's "The Prodigal Son," 428 "Woe unto us, we are spoiled!" chorus, 135 "Woe! woe! the sacred sleep of the dead has been disturbed," chorus, 268 "Woman out of Galilee, A," 290 "Word is flesh become, The," hymn, 189 "Word that now we see fulfilled, The," chorale, 289 "Worthy is the Lamb," chorus, 217 "Wreathe into garlands the gold of the harvest," quartette and chorus, 45 1 "Wreathe ye the steps to great Allah's throne," chorus, 397 "Wretch that I am!" recitative, 207 "Wretched lovers." chorus, 195 "Wroth waxed the warrior," 131 'Yt Christian people, now rejoice," chorale for sopranos, 80 'Ye daughters of Israel, weep not for me," 1 86 *Ye gay and painted fair," duet, 233 'Ye lightnings, ye thunders !" chorus, 6 'Ye men of Judaea," Elgar's "The Kingdom," 161 'Ye men of Judaea," solo, Paine's "Saint Peter," 340 "Ye men of Spain, the time is nigh," barytone solo, 125 "Ye mortals, hear, all ye who would behold the face of God," recita- tive, 10 "Ye nations, offer to the Lord," fugued chorus, 314 "Ye now are sorrowful, grieve not," soprano solo and chorus, 97 "Ye sons of Israel, now lament," aria, 212 "Ye verdant plains and woody moun- tains," recitative, 194 "Ye who dwell in Thebes our city, fix on CEdipus your eyes," 335 "Yea, come, Lord Jesus," 10 "Yea, though I walk," quartette, 433 "Yet doth the Lord see it not," chorus, 315 " Yet none may with Fate supernal," female chorus, 366 ''Yet not alone of labor comes our plenty," soprano recitative and aria, 451 ''Yonder beckons the wood-crested harbor," chorus, 113 ''You spotted snakes, with double tongue," soprano duet with chorus, 302 'Your charms to ruin led the way," aria, 210 'Your thankful songs upraise," chorus, 451 'Youth, girl-playmates proudly leav- ing, The," tenor solo, 365 'Youth inspired by Thee, The," chorus, 204 is captive yet," bass solo, 346 'Zion now her head shall raise," 219 'Zitti, Zitti," 232 The University Press, Cambridge, U. S. A. OTHER WORKS BY GEORGE P. UPTON OTHER WORKS BY GEORGE P. UPTON Uniform \vith " The Standard Concert Guide " The Standard Operas Neva Revised Illustrated Edition Nearly one hundred and forty operas are described in this splendid new edition of Mr. Upton's Handbook. It is now in every respect the most complete, the most detailed, and the most interesting of all opera guides. In every case a careful resumd of the plot is given, with discriminating comments on the music, and a description of each number. Nearly one hundred pictures from photographs of famous singers are so placed as actually to illustrate the text, not merely to provide a gallery of celebrities. Twenty-six composers are represented. Finally, it is hardly necessary to speak at length of the author's qualifications as a writer on music, for his reputation has been established by a large number of standard and popular works. Over half the operas in this edition do not appear in the earlier forms. Among these might be mentioned Gounod's " Philemon and Baucis," HaleVy's " L' Eclair," Marschner's "Hans Heiling," Mascagni's "Iris" and " L' Ami Fritz," Masses " Paul et Virginie," Massenet's " Le Roi de Lahore," "Manon," and "Esclarmonde," Puccini's "La Boheme," Reyer's " Sigurd," Rubinstein's " Nero," Saint-Saens's " Samson and Delila," Richard Strauss's "Feuersnot," Tschaikowsky's "Eugen One'gin," and Siegfried Wagner's " Der Barenhauter." "It is undoubtedly the most complete and intelligent exposi- tion of this subject that has ever been attempted." St. Louis Republic. " The summaries of the plots are so clear, logical, and well written that one can read them with real pleasure, which cannot be said of the ordinary operatic synopses." The Nation, New York. Price, $1.75 A. C. McCLURG & CO., PUBLISHERS OTHER WORKS BY GEORGE P. UPTON Handbooks on Music Many of Mr. Upton's new readers will be interested in these earlier works, which, though published for a number of years, continue to enjoy their old popularity as musical reference works on their respective subjects. THE STANDARD OPERAS Tbelr Plots, their Music, and their Composers In this book it is the intention to present to the reader a brief but comprehensive sketch of the operas contained in the modern repertoire that are likely to be given during the regular seasons. In each case the author has given a brief sketch of the composer's life, the story of each opera, the general character of the music, and its prominent scenes and numbers the latter in the text most familiar to concert-goers. THE STANDARD LIGHT OPERAS Their Plots and their Music The present volume is a comprehensive and exceedingly useful little book, whose character and scope are exactly indicated by the title. Over seventy musical comedies and operas are included, representative of Auber, Sullivan, Planquette, DeKoven, Offenbach, Suppe, etc. THE STANDARD ORATORIOS Their Stories, their Music, and their Composers The same method of description which has proved so successful in the previous works has been employed to present a comprehensive sketch of the oratorios which may be called "standard." THE STANDARD CANTATAS Their History, their Music, and their Composers In his introduction Mr. Upton says: "The word 'Cantata' is so flexible and covers no wide an area in music that it has been a work of some difficulty to decide upon the compositions that properly belong in this volume. It is believed, however, that the most important of the modern cantatas have been included." THE STANDARD SYMPHONIES Their History, their Music, and their Composers For the regular patron of orchestral concerts this book is invaluable. All the masterpieces of this form of composition are clearly described, with portion! of the scores reproduced to illustrate or elucidate numerous passages. Bound In flexible cloth, 12mo, per volume, SI. 80 The five volumes, boxed, per set, $7.75 The same, half calf or half morocco, per set, $17.50 A. C. McCLURG & CO., PUBLISHERS OTHER WORKS BY GEORGE P. UPTON Musical Memories MY RECOLLECTIONS OF CELEBRITIES OF THE HALF CENTURY 1850 1900 No American writer on music has more real "musical memories" than Mr. Upton. During most of the latter half of the nineteenth century he was engaged in musical criticism. Almost all the artists of those " palmy days " he knew personally, and his attitude towards the great ones has always been an unusual combination of discerning judgment and sympathetic friendliness. In his Preface Mr. Upton says : " As the public is sufficiently familiar in these days of personal jour- nalism with artists still on the stage, I have confined these 'Memories' only to those who have retired into the shady nooks of life and to that other goodly company for whom, in the last words of Canio in ' I Pagiiacci/ ' La commedia e finita.' " With portraits, large 8vo, $2.75 net A. C. McCLURG & CO., PUBLISHERS OTHER WORKS BY GEORGE P. UPTON Theodore Thomas A Musical Autobiography , edited by George P. Upton Volume I, Life Work Volume II, Concert Programmes In a prefatory note the editor says: " The sudden death of Mr. Thomas, which occurred January 4, 1905, would have necessitated, from a strict biographical point of view, some changes in the manuscript which he furnished, and which he took such pleasure in writing last summer at Felsengarten, his New Hampshire summer home. I have preferred, however, to leave his preface and autobiography as he wrote them, feeling certain that if any incongruities appear, this explanation will account for them. Not having all his references with him, Mr. Thomas naturally touched briefly upon many events in his exceptionally long career, and in such instances I have sought to fill out his narrative with notes based upon authentic documents." A grateful feature, to Theodore Thomas's admirers, will be the Appendix of these volumes, containing some of the note- worthy tributes to his genius and his unique devotion to his art; another is the splendid series of portraits and other illus- trations with which the volumes are provided. " It will be treasured as the record of the life of a remarkable man and as an authentic history of musical development in this country." New York Times Review. "The 'Autobiography' has a permanent value that cannot be too strongly dwelt upon. . . . We hope that every musical American will study these important volumes, that he may realize the debt he owes to Theodore Thomas." Louis C. ELSON, in the Boston Advertiser. " The ' Autobiography ' is one of the most important contributions in years to the history of American music." Pittsburg Gazette. Sold singly, large 8vo, per volume, $2.50 net The two volumes boxed, per set, $5.00 net The same, half calf or half morocco, gilt top, $11.00 net The same, large-paper edition, limited, $25.00 net A. C. McCLURG & CO., PUBLISHERS OTHER WORKS BY GEORGE P. UPTON MUSICAL PASTELS ESSAYS ON QUAINT AND CURIOUS MUSICAL SUBJECTS The titles are: Nero, the Artist The Musical Small-coals Man Music and Religion The First American Composer The Beggar's Opera The First Opera Some Musical Con- troversies A Musical Royal Family The Bull-finch and the Nightingale The Man Beethoven. Of " Musical Pastels" the Chicago Record-Herald says : " In this volume he speaks as the music-lover rather than as the critic; browsing genially among the curious and half-forgotten lore of his rare musical library, content to be guided by fancy and to say only kindly things. The book will be treasured for its restful and pleasing companionship quite as much as for the information it contains." With 12 full-page Illustrations from rare engravings Square 8vo, $1.50 The same, half morocco, gilt edges, special $3.50 WOMAN IN MUSIC In a series of comparatively brief chapters Mr. Upton has given a kind of interior history of the domestic and heart rela- tions of such composers as Bach, Handel, Beethoven, Mozart, Schumann, Chopin, and Wagner. 16mo, gilt top, $1.00 The same, half morocco, gilt top, special $2.50 A. C. McCLURG & CO., PUBLISHERS OTHER WORKS BY GEORGE P. UPTON EDOUARD REMENYI Musician, Litterateur, and Man In collaboration with GWENDOLYN KELLEY With sketches of his life and artistic career, by friends and contemporaries to which are added critical reviews of his playing and selections from his literary papers and correspondence. The book is arranged in four parts. The first comprises the bit graphical matter by the editors and others; the second consists chiefly of anecdotes; the third is devoted to his own letters and sketches; and the fourth to appreciations by the press. Of this work the Musical Leader writes : "An addition of decided value to musical bibliography, which should find a place on the shelves of even the niodest musician's library." The Musical Courier finds it ' Kxcettlingly interesting to those who are interested in his personality, which was efier- vescent, kindly, and generous." With many illustrations from photographs 8vo, gilt top, $1.75 net The same, half calf or half morocco, gilt top, $4.00 net LIFE STORIES FOR YOUNG PEOPLE Translated from the German by GEORGE P. UPTON Four delightful musical biographies are Included In this series: BEETHOVEN, JOHANN SEBASTIAN BACH MOZART, and JOSEPH HAYDN A new and interesting set of biographical romances whose simple and fascinating presentation make them useful in the home as well as the music- school library. They retain the story form throughout, and embody in the several chapters some stirring event in the life of the hero. Though written primarily for children, they contain much of interest to readers of every age. Each volume is illustrated. "These volumes." says the Boston Transcript, "arc in every way u entertaining as the most aggressive romance aimed directly at the child fancy, and they have the very obvious merit of leading the youthful mmd toward the best of classic reading and the most accurate narratwes of human achievement." Small square I8mo, 60 cents net The same, hand colored. In special binding, $1.25 net A. C. McCLURG CO., PUBLISHERS University of California SOUTHERN REGIONAL LIBRARY FACILITY Return this material to the library from which it was borrowed. UC aOI/nCRN flEGKMM. UBRARY FAOUTY A 000 146 026 o MT 90 U71c