. . . . 5 Neither production was of artistic merit or financial success in spite of the fact that the roles wei-e sustained by world-re- nowned artists — Farrar, Rossoulier, and Planyon. 10 music to Goethe's complete "Faust," by Lassen, written at Weimar during the years 1874-1886. In "Faust" music the undisputed masterpieces (and therefore those worthy of serious consideration) , accord- ing to the categories already mentioned, are as follows : I. In dramatic music, embracing operas, lyric dramas, and choral scenes more or less complete : (1). The orthodox opera of Spohr, following in a general way the old Faust-legend. (2). The mystical Faust-Scenes of Schumann. (3) . The fantastic dramatic legend of Hector Berlioz, "La Damnation de Faust." (4). The human "Faust" opera of Gounod. (5). The free adaptation of the whole of Goethe's "Faust,"— "Mefistofele"— -by Boito. II. Incidental Music : (1). The huge setting of Prince Radziwill,^ to Goe- the's whole poem. (2). A similar work by Eduard Lassen, the Danish Composer. III. In Pure Music. (1). A "Faust Symphony in Character Pictures" by Franz Liszt, after Goethe. (2). "Zwei Episoden aus Lenaus Faust," by the same master. (3). Richard Wagner's "Faust Overture." (4). Faust, a musical Portrait," by Anton Ruben- stein. Two other notable works deserve to be mentioned in this connection: (a). The "Faust" setting of Henri Hugo Pierson,' a study of which is excluded from this dissertation on the ground of its singular lack of continuity of style. The Work is, however, not without merit, as is proven by the fact that the author received the Gold Medal for Art and Science from Lepold I of Belgium, to whom the piano- forte score was dedicated. It was performed at Frank- 6 This work embraces "29 numbers, 589 pages." A free analysis will be found in the A. M. Zeitung for 1836, pp. 601-617. Cf. Grove's Diet. Music, Vol. IV, p. 13. 7 Born Oxford, Ap.^12, 1815; died Leipzig, Jan. 28, 1873. 11 fort and other places on successive anniversaries of Goe- the's birthday. It failed to be appreciated because of the inordinate popularity of Mendelssohn. (b). Henry Charles Litolff's* "Three Scenes from Goethe's Faust" embraces: I. Faust in sienem Studier- zimmer, for tenor, bass, chorus and orchestra; II. Vor dem Thor, for tenor, baritone, chorus and orchestra, and III. Gretchen in der Kirche, for soprano, bass and chorus. This work, though containing beautiful and poetic ideas, is often marred by inequalities, repetitions, and a lack of color, "making one feel disappointed, after knowing the author's true capacity."* A complete historical and critical review of this large field is obviously a task which exceeds the limits of a sin- gle volume. The present dissertation will therefore con- fine itself to the first category, namely, the Faust-theme in dramatic music. The other categories will be treated in a later volume. The works will be examined in chro- nological order. Musical analysis has been avoided as far as possible, it being intelligible only to the musician. Such a treat- ment has been followed only where the inherent qualities of the music demand it, in order to make clear the com- poser's purpose; this is necessary in certain sections of Chapters II, III, IV, and V. But in the case of Spohr's opera, his music, while beautiful, lacks character in elu- cidation, and academic criticism would therefore be out of place. "Faust in Music" is the subject of an intelligent chap- ter" in Ernest Newmann's "Musical Studies"; I am in- debted to this discussion for its admirable philosophical treatment of Faust-music ; the work is, however, purely critical, offering no historical or illustrative information; and is dealt with strictly from the Goethean point of view, and is intelligible only to one familiar with the 8 Born London, Feb. 6, i8i8 ; died near Paris, Aug. 6, 1891. 9 Cf. Grove's Diet. Music, which contains an article on this work. 10 Ernest Newman: "Musical Studies": Chapt. II, Faust in Music. 12 scores discussed. Aujgust Iteissrhaiiri has intelligently analyzed" Schumann's "Faust Scenes" in the order of their composition, but only foi- the piiriiose of throwing light upon Schumann's biography; I am indebted to this work for its historical treatment. The samte might be said of Streatifield's chapter on Boito's djpera,^'' which woi-k deals with Italian masters, and its author is wisely coherent in his aim at a description of the logical develop- ment of Italian music. Again, some interesting descrip- tions of the Gounod opera are extant, written in pot)ular style and aiming to acquaint the opera-going public with the general history and argument of the bpera.^'* But all these works throw but little light upon how the mas- ters wrought, and do not enter, except in vague and gen- eral terms, into a treatment of the composer's interest in the literary or legendary "Faust" subject. The few essays that aim to be analytical seem to be rather a dogmatic maestro-worship,^* and therefore, while being a contribu- tion to Faust literature, they are not compi-eheiisive or conclusive. More to the point are some observations by Rudolph Wassermann in his Dissertation "Spohr als Opemkomponist" ;^° which deals inore with the techni- calities of operatic composition than with material of the opera itself.^* 11 August Reissmann; "Liie and Works of Robert Schumann," pp. 222-226. 12 Richard A. Streatfield; "Masters of Italian Music,'' p. 147-158. 13 E. g. Henry Edward Krehbiel, Book of Operas, pp. log, 127, 152, and Esther Singleton, Guide to the Opera, Chap, on "Faust." 14 E. g. Marie Anne de Boyet ; "Chas. Gounod, Life and Works," pp. 107-162; especially p. 141 S. 15 Rostocker Dissertation ; Munich, 1910. 16 A work has recently appeared entitled "Faust in der Musik," by J. Simon, in Berlin. I have not been able to secure a copy of this work on account of the present war in Europe. 13 CHAPTER I. ■it' SPOHR'S FAUST. It was in 1813, while Spohr was living in Vienna, that he had planned several operas in collaboration with the popular and talented Theodore Korner. But Korner's sudden decision to join Liitzow's Light Cavalry and fight for the liberation of Germany, and his untimely death, de- stroyed Spohr's hopes for an Opera-libretto from this gifted young poet. "Es kam mir daher gelegen, dass Herr Bemhard seine Bearbeitung des Faust mir zu Kom- position antrug. Einige Abanderungen, die ich wiinschte, wurden vom Dichter wahrend meiner Reise naeh Gotha vorgenommen, so dass ich nach meiner Riickkehr ange- blich beginnen konnte."" It was completed in less than four months from latter part of May to the beginning of September. He showed some scenes to Meyerbeer, who was at that time also in Vienna, and was much encour- aged. Meyerbeer took great interest in the work, and, later while at Berlin, he had it studied with great care and performed.^* Hummel and Sejrfried also, took great interest in the work, as did also Pixis, who prepared the pianoforte edi- tion for it. Count Palffy accepted it for the "Theater an der Wien." Spphr, while composing the work, wrote the part of Faust for Forti, of Mephistopheles for Weinmul- ler, of Hugo for Wild, of Franz for Gottdank, of Kuni- gunde for Mme. Campi, and of Rosa for Mile. Teiner, all prominent singers at that theater. "But some things es- ca,pe(^ my pen that 4i iriaj: afefairi, and finally Bniajbf., 32 Appendix I, No. 6. This recurs in the midst' of thfe cTiofUs, measures 23 and 32. 34 pously summons the Lemures, a chorus of tenors and altos^^ built in parallel sixths and thirds, sometimes weird (as in the unisons, measures 25-28, 71-72, or consecutive fifths, m. 66), but mostly imparting an etherial atmos- phere as of spirits. The scene is in 4/4 rhythm D-minor (excepting ms. 111-139 in A\) major). A fanfare of trumpets and horns announces Faust.^* The dialogue is here unified into indivisible outlines by a masterfully con- structed accompaniment ; at the point of Faust's death, — the whole scene is thoroughly characteristic — Schumann has sounded the depths, and we have fourteen measures of most effecting music, (descending syncopated triplets in the treble and tremolo chords in the bass, and one measure of tremolo C in contra octave) . At the close of Mephistopheles' "die Uhr steht still" there are heard the words "steht still, sie schweigt wie Mittemacht, der Zei- ger fallt, es ist voUbracht" in a chorus sung pianissimo, a very simple harmony for four parts, indescribably beautiful and effective. The third division begins with the chorus of the holy anchorites, a movement (the scene No. 1) constructed on simple lines but with keenly poetical insight, faithfully reproducing the airy incorporeal world of spirits, and re- flecting a vision governing the whole future development of the third part. It is arranged in four parts for mixed voices, and unites with a decoratively constructed but completely subjected accompaniment. The tenor solo (No. 2, D-minor 4/4 rhythm) by Pater Ecstaticus is an ethereal but winsome melody, to whoch is imparted the hither-and-thither-soaring idea by a realistic motif from a single violoncello'^ with a light accompaniment, faintly suggesting the harmonic background continuing through- out the whole number; there is however a rhythmic mo- notony here due to the following of the instrumental figure rather than the verse structure. A bass solo fol- lowing rather closely the verse structure interprets Pater 33 "Wo moglich mit Knabenaltstimmen zu bestzen." 34 App. I, No. 7- 35 Pater Ecstaticus motif, App. I, No. 8. 35 Profundus, beginning with a slow recitative style, but with the words "ist um mich her ein wildes Brausen" a more rapid tempo and a livelier melody is introduced, and quite properly reflects the attending emotions by the up- per register of the voice. A decided individuality is im- parted to the baritone solo interpreting Pater Seraphicus by a syncopated tempo in the accompaniment, though constructed in the same tonality. The chorus of "seliger Knaben" with simplicity and charm (two soprano solo voices later joined by an alto) unites with the baritone, moulding sometimes into quartet forms, and sometimes antiphony, and finally softly dies away. The fourth number ("Chor") is devoted to "Gerettet ist das edle Glied," a full chorus for mixed voices and solos. It be- gins without introduction, Ab major 3/4 rhythm, and at the end of twenty measures a soprano solo interprets (now in 2/4 rhythm) the "jene Rosen," which is then re- peated by soprano ("die jiigeren Engel") voices in unison (E-major) singing in triple against double rhythm in the accompaniment, and leading unbrokenly into a more elaborate chorus with the same rhythmic scheme. "Die seligen Knaben" — four solo voices^" — and then a rather lengthy chorus in the original key and tempo, constructed in free contrapuntal style at the beginning and later in massed harmony with an accompaniment reated chiefly in chords, (chorus of from four to eight parts) form a well rounded and fitting close to the number. The scene is organically well constructed, but there is a fall from the ideal sphere set in the earlier scenes, due more or less to a lack of figure treatment in the accompaniment. The fifth number — Doctor Marianus — with its charac- teristic motif" set in a highly colored accompaniment of oboe and harp, restores us once more to that sphere. It leads without interruption into the next number (No. 6) in which the angel choruses "are again derived from those radiant heights, showing somewhat of the artless fervor 36 Quartet form for I, II sop. I, II alto, Db maj. 2/4 rhythm. 37 Dr. Marianus (marked ten. or bar.) motif, vd. Append. I, No. 9, occurs meas. 18 and 19; 25 and 26; 42 and 43. 36 of the old hymns to the virgin."^* These choruses are a rich seven and eight part^^ harmony and are united with and by an onward flowing highly colored accompaniment. The unified song of the "three penitents," in spite of dif- ferent words, is a masterful treatment, more poetic than the poem would indicate ; for the three strophes are sung synchronously and properly unite on the words of the stanza marked "zu Drei." Gretchen's song continues from this point to the Mater Gloriosa without interrup- tion, the intervening choruses forming a part of the back- ground with the orchestration. The number closes with the prayer of Doctor Marianus, set to a simple and un- varying but effective melody, with an accompaniment of an unbroken series of triplets, and ending in modulating chords. The "Chorus Mysticus" forms the seventh number. In Goethe's poem it is a simple eight line verse-group which, though in content forms the climax of his work, is techni- cally a "sequel." Schumann has constructed of these lines a lengthy chorus with an elaborate thematic develp- ment, varying the vocal score by means of a rich poly- phonic style; that is, there is not a contiiiuous four-part harmonic structure, but a double chorus each of four parts, to which is added a quartet of solo voices. This, coming after the noble fifth scene, which in itself is a cli- max so far as Faust is concerned, becomes neither a cli- max nor a "sequel," but produces rather the effect of an anticlimax, especially in the latter half. The opening few pages (in 4/2 rhythm, C-major), soon modulate into F- major, in which it continues to the end. Schumann re- wrote this latter section for reasons explained above.*" The second version is longer and more elaboi-ate, but the first is usually given the preference, because "its more 38 Reissmann, Schumann, p. 226; I do not however agree with his next ph(rase, "in contrast with which the'O neige dich' of t;he peiiitent Margai-et seems studied and unnatural," for the simple reason that, in spite of the inspired and exalted treatment of the No. 6. (Pt, ill) there rettiains a: sort of cliopped and hurried' effect not pre.sent in thft."Z winger" scene. 39 Peiriale, M^le. ?,p;«l Mixfed. 40 See page 27 above. 37 concise setting is more consistent with the character of the whole work, and more closely akin to the sublime in- troduction, corresponding better to the requirements of a hjTnn in which the whole world is to join."*^ The whole chorus, though not breathing the "pure serene" of the other numbers, is "noble music, vast in scale, lofty in spirit, a worthy interpretation of the great poem that summoned it into being."*^ 41 Reissmann, Schumann, p. 226. 42 Hadow, Stud, in Mod. Mus., p. 225. 38 CHAPTER III. LA DAMNATION DE FAUST. — BY HECTOR BERLIOZ. The choral dramatic legend "La Damnation de Faust," by Hector Berlioz, is shaped in the form of a symphonic cantata. This work was inspired by the composer's ad- miration for Goethe's Faust, which from his first reading of the poem (Gerard de Nerval's translation) made "a deep and wonderul impression on his mind."^ He made his first acquaintance with Goethe's work in 1828. He was fascinated with it instantly, and, as he himself re- lates, "always carried it about with me, reading it any- where and everywhere — at dinner, in the theater, even in the streets I yielded to the temptation of setting some of its songs; and no sooner was this difficult task ended than I was foolish enough to have them printed — at my own expense without even having heard a note of them."^ These fragments he published in Paris under the name "Huit scenes de Faust."^ Marx, a Berlin theo- rist and critic of renown, wrote the author a letter of appreciation, which gave him great pleasure and encour- agement, coming as it did from Germany. Berlioz, how- ever, not blinded to the many and grave defects of the work, withdrew it from circulation and destroyed as many copies as he could lay hands on. This early work is of importance in that it contained elements which he re- tained and developed later in his "La Damnation de Faust." They include (1) Chants de la fete de Paques; (2) Paysans sous les tilleuls; (3) Concert des Sylphes; (4 and 5) Traveme d' Auerbach, with the two songs of the rat and the flea; (6) Chanson du Roi de Thule; (7) Romance de Marguerite, "D' Amour, 1' ardente flamme" ; 1 Berlioz, Autobiography, Vol. I, p. 135. 2 Ibidem. 3 "Huit Scenes de Faust," Tragedie de Goethe, traduites par Gerard. Musique dediee a Monsieur le Vicomte de Larochefou- cauld, Aide de Camp du Roi, Directeur-general des Beaux Arts & composee par Hector Berlioz. 39 and choeur des soldats; (8) Serenade de Mephistopheles, — ^that is to say, the most celebrated and characteristic pages of the Damnation.* The subject again aroused his interest seventeen years later (1845)' during a concert tour in Austria, Hungary and Bohemia, when he began work once more upon the theme. At Vienna an amateur handed him a copy of some melodies and said "If you want to please the Hun- garians compose a piece on one of their national airs." Taking the hint, Berlioz arranged the famous Kakoczy March and used it with tremendous success in Pesth. He relates "while travelling around Germany in my old post- chaise I composed my Damnation de Faust. Each move- ment is punctuated by memories of the ploce where it was written. For instance the Peasant's Dance was written by the light of a shop gas-jet one night when I had lost myself in Pesth, and I got up in the middle of the night in Prague to write the angelic choir song."" At Breslau he wrote the words and music of the Students' Latin Song "Jam Nox Stellata." The rest he composed in Paris — in his house, at a cafe, in the Tuileries Gardens, even on a stone in the Boulevard de Temple; he touched up the early Eight Scenes and incorporated them in the work. He published the new work under the title "La Damnation de Faust," and dedicated it to Franz Liszt. Nearly the whole of the libretto is his own work. Evi- dence of this is found on the title page of the original score, which bears these words : "Some portions of this libretto are taken from the French translation of Goe- the's 'Faust' by M. Gerard de Nerval ; parts of scenes I, IV, VI and VII are by M. Gandonniere ; the remainder of the words are by Hector Berlioz."^ The work was first produced Dec. 6, 1846. Unable to obtain the hall of the Conservatoire, Berlioz hired the Opera Comique for 16,000 francs, and engaged his own orchestra, chorus and soloists. The latter included 4 Romain Rolland, Musiciens D'Aujourd 'hui, p. 30. 5 Boult, Lffe Berlioz, p. 193. 6 Berlioz, Autb. I, 136. 7 F. G. Edwards, Introd. to Novello Ed. of Berlioz' "Faust." 40 Roger, Hermann, Leon, Henri and Mme. Dufflot-Maillard, "who had no better comprehension of the music than the public."^ The second performance was given on Sunday, the 20th before an equally small house, "with a tenor who had to omit the invocation to nature."^ The critics were hostile and the public indifferent. The debts incurred by the production were settled by his financial successes in St. Petersburg and Berlin ; at the latter place the work elicited recognition from the sovereign and the Princess of Prussia. The work was produced in Vienna in 1864 in honor of the composer's birthday,^" and again, this time with tremendous success, in 1866." Another notable performance of the complete work took place in Man- chester Feb. 5, 1880 (twice repeated in London, May 21 and 22) under the direction of the composer's old friend and comrade Charles Halle. Its success in other coun- tries finally aroused the interest of the Parisians, and the work so little appreciated at first had at last an amazing success, and proved an irresistible attraction for the crowd. The "Damnation de Faust" is now considered the masterpiece^^ of a man "who, with all his faults, is the strongest and most original representative of an ar- tistic nation."^^ Glinka, having heard the work, wrote home to Russia, saying, (and posterity upholds him in it) "In the domain of fancy no one has such colossal inven- tions, and his combinations have, beside all their other merits, that of being absolutely novel. Breadth in the ensemble, abundance in details, close weaving of harmo- nies, powerful and hitherto unheard of instrumentation, are the characteristics of Berlioz's music."" This work, now known as Opus 24 of Berlioz's work, 8 Adolphe Jullien, Berlioz, Fam. Comp. Series, Vol. 22, p. 680. 9 Ibid. 10 Berl. Letter to Mad. Ernst, Dec. 14, 1864. Boult, p. 275. 11 Berl. Letter Ernst Reyer, Dec; 17, 1866. "I had a chorus of 300, orchestra of 150 and splendid soloists." Cf. Boult, p. 286. 12 Hadow, Stud, in Mod. Music, I, p. 141. This also the verdict of Rom. Rolland in Op. Cit., Chapt. I, and Harvey in French music of the XIX Cent., p. 84 ff. 13 A. Jullien, Op. Cit., p. 684. 14 Dole, Fam. Comp. Vol. II, p. 480. 41 is composed for orchestra, chorus of men and women, and four solo voices. The main characters are : Margaret Mezzo Soprano Faust Tenor Mephistopheles Baritone or Bass^^ Brander Bass There are twtenty scenes, the whole divided into four parts. Although inspired by Goethe's poem, Berlioz played "fast and loose in the most serene way with the drama as a whole, rejecting or altering it just as suited his musi- cal scheme."" The result is a work which is a not very serious perversion of the main Faust legend, — a fact quite obvious from the following resume of the action. On the other hand Berlioz has portrayed the central prob- lems of the character of Faust, and so long as this is done it matters very little through what incidents the composer chooses to bring them home to us. And Berlioz really has a very strong grip upon the inner meaning of the legend.^' The "fast and loose" playing confronts us at the very opening of the work. There is no overture nor any or- chestral introduction. Faust is wandering alone at sun- rise in a plain in Hungary. The composer has placed his hero in that locality simply to make way for the intro- duction of the Rakoczy March, which had met with such great success at Pesth." Moral criticism would be wasted on one so naked and unashamed as this! The first scene contains Faust's placid air, rejoicing that "spring is here, winter's reign is o'er, and again nature laughs with pleasure," and he longs to dwell forever with nature, far from human throngs. This love of nature is one of the characteristics of Berlioz and particularly of the "Damnation."^® The second half of the scene is IS The part of Mepjiistopheles is written to suit either voice. i6 E. Newman, Musical Studies, p. 95. 17 Newman, p. 95. 18 Vd. supra. 19 Roland (in Op. Cit.) : "Berlioz' love of nature is the sbul of the Damnation. No musician with the exception of Beethoven has loved Nature so profoundly. Wagner himself did not realize the intensity of emotion which she aroused in Berlioz and how this feeling impregnated the music of the Damnation." 42 purely orchestral, developing thematically but loosely, the melody of Faust's air.^" The second scene is a chorus and dance of peasants. The score is for four part mixed voices, opening with unison for altos, gaily celebrating the dance, who are soon joined by the full "tra-la-la-la" chorus. A presto movement changes the rhythm from triple to double, and introduces a fantastic gypsy rondo form. The words are from Goethe's Vor dem Thor, "Tanz und Gesang," omit- ting the second stanza (lines 949 to 980). Faust is at- tracted by these sounds of mirth, and when the tra-la-la theme recurs, he regrets that his lonely heart cannot share in their pleasure. The original unison theme — now in the tenor score — introduces a repetition of the full chorus and closes the scene with the rondo movement. An army advances. Faust is disturbed by warlike sounds, and the strains of the Hungarian March are heard,^^ at first softly but with increasing power as the troops approach. Faust retires. The music becomes more intense and stirring and develops a powerful climax made still more effective by a change of key" (A-minor to A-Major). The stirring rhythm is continued to the end, and the piece closes with a strong coda in A-minor, maintaining to the closing chords the dynamic forte de- veloped near the beginning. This scene closes the first part of the work. The fourth scene,— ^the first of Part II, — opens with Faust alone in his study "in North Germany." The first of its three sections is devoted to an aria, "Sad at Heart I Return." Faust has left all the fair smiling valleys without regret. Even in his own native mountains he has found but langour and pain. "Oh the anguish I suf- fer in this dark lonely chamber, when night enfolds the world in a horror of silence, that steals like death on my sorrowful soul!" Long has he sought rest, but in vain; and at last, even though in hesitation, he decides to end 20 6/8 rhythm, D major, conventional rhythms. 21 Vd. Appendix I, No. lo. 22 With its realistic cannon shots, ms. 13 and 14 in the third section (i. e. the resumption of A min.) See Appendix I, No. 11. 43 it all. He summons to his aid "the draught of deadly power:" "In thy virtues I trust! Let me gaze on the light, or be lost in the dust!" He raises the cup to his lips, but suddenly stops, startled by the opening chords of an Easter hsmin. This scene portrays Faust's dissatisfaction with the world in general and his decision to leave it, as in Goe- the ; but there is none of the Goethean search for knowl- edge, nor familiarity with powerful spirits, nor even the firm and logical resolution to die. This hesitation and fear of annihilation at the crucial moment is character- istic of Berlioz. He too had often desired death, but his atheistic principles and scoffing attitude toward revealed religion afforded him no hope, and he dreaded to look be- yond the grave.^' The words of the Easter Hymn, "Christ hath risen again" are not Goethe's. Musically, it is developed at length. It opens with three measures of women's voices with the words of the title. Then follows the invocation and victory over death, set for four-part men's voices. The second, or Hosanna section, unites two-part women's with the men's voices, forming a rich and massive harmo- nic structure, free from antiphony throughout. It con- tinues in one key (F-major) to the end, closing with a pianissimo cadence on the word "hosanna." The accom- paniment is rather dependent, consisting mostly of arpeg- giated chords of the vocal harmony, and marks the main rhythms. Sweet remembrance is awlakened in Faust's soul, and he "longs to seek the skies on wings of holy song." His slumbering faith awakens, and he is brought back to his happy childhood, when it was sweet to kneel in prayer. Holy thoughts have now conquered his despair and turned him from his madness. In the recitative which follows the Easter hymn, he welcomes the latter as a sign from Heaven to turn him from his sin : 23 Rom. Rolland ; Op. Cit. p. 23 dwells at length upon this phase of Berlioz' character. 44 "Let the change now begin, Heaven aid my endeavor ! Ring on sweet sounds, forever. Ye raise my thoughts from earth And point me to the skies !" The next scene, a free recitative, introduces Mephisto- pheles, iwho suddenly interrupts Faust's holy resolution with words of mockery. Meph. Sweet sentiments indeed, and fit for any saint! My respects, worthy sir! So these soft pious songs with their sweet into- nation Have elated your soul with hopes of salvation? Faust. Say, who art thou, that breakest upon my dream, Whose mocking words, whose eyes of glowing fire Burn deep into my being? Speak, I charge thee, who art thou ? Meph. Really, from one so learned the question is sur- prising ! For I can give you alj that your heart can desire, Yes, all those glowing joys to which your dreams aspire. Faust. Thy words, spirit, are bold. Canst thou show me thy power? Meph. Gladly, thou shalt see much within this very hour. Here in this dreary cell, shut in like any book- worm, How canst thou hope to live? Come with me, far away! Faust. Be it so ! Meph. Let's be gone ! To the world returning. Leaving far behind All this dusty old learning! At this point they both depart.^* 24 Schirmer's edition, ed. by Leop. Damrosch, says : "They both disappear in the air." p. 47. 45 Faust is taken first to "Auerbachs Keller" in Leipzig, as is shown in the next scene (Scene VI). Here Me- phisto introduces him to a jolly set of fellows making merry with wine and song. First, a rousing four-part drinking song^^ is noisily sung, and then someone else is urged to sing. Brander, who is quite typsy, avers he is sober, and offers a "good song," — ^he has made it him- self, so he knows! Amid shouts of "Bravo!" he offers the "Song of the Rat."^« This follows the words of Goe- the, inverting the order of the first two pairs of lines in each stanza (11. 2126-2149) including the refrain of the chorus at the close of each stanza.^^ "Requiescat in pace, amen," is droned by the bases. Brander then suggests that they all "hammer out a good fugue for the end." Mephisto remarks casually to his comrade, "Now listen well to this, and you will plainly see how tedious and ab- surd these learned jokes can be!" Then follows the ironical fugue on the word Amen skillfully constructed upon the theme of Brander's song.^' It is scored for four parts for men, Brander singing with the baritones, and confines itself strictly to the conventional thirty-two measures. Mephistopheles finds the fugue so "convinc- ing" that he almost "imagined we were all at prayers." He then asks permission to sing, and promises to offer a theme which, like theirs, is quite pathetic. A short chorus then follows with the words: What a sneer upon his pallid face, who is this fellow? What haggard features, and see how he limps about ! No matter, very good ! Give us your song, — begin ! Mephisto's air^' "Once on a Time" follows Goethe's "Song of the Flea" (11. 2211-2238) with a "bravo" refrain at the end. This song — and it is true of all the lyrics of the early "Eight Scenes" — is thus skillfully bound into the work with extraordinary beauty and richness of ef- fect. The orchestra introduces the melody, but when this ite taken up by the voice, it forms a realistic accom- 25 Key Eb, 3/4 rhythm ; cf. Append. I, No. i2. 26 Ajpp. I, No. 13. 27 The order here is Goethe thus : b, a, d, c, e, f, g. 28 App. I, No. 14. 29 App. I, No. 15. 46 paniment, suggesting faintly the capriciousness of a flea. Faust soon grows weary of these "besotted fellows, their noisy songs and their bestial mirth" ;^'' he desires softer joys, and to be made to forget all the tumult of the earth. Mephisto agrees to grant his wish, and bids Faust follow him. They spread their mantle and take flight. The orchestrated accompaniment continues through fifty-five measures, opening with a light "de- parture motif," somewhat similar to the departure from Faust's study, near the close of the fifth scene;" this gradually shades off into a dreamy andantino movement, which is in the spirit of, and leads into, the following scene (the Vllth) the scene of Faust's dream. To prepare Faust for his much desired joys Mephisto- pheles has brought him to the wooded meadows on the banks of the Elbe. The scene opens with the idyllic aria of Mephistopheles, "Within these Bowers."^^ Within these bowers Fragrant with new blown flowers, Here thy couch I will spread. Soft airs shall play round thy head ! . . . . Oh listen for the spirits of earth and of air To lap thy soul in bliss their enchantments prepare. A dream-chorus of gnomes and sylphs lulls Faust to sleep, and exerting a subtle charm over his dreams, causes him to see a vision of Margarita, This slumber chorus is a delightful piece of music. Although origin- ally sketched for six solo voices, the composer finally de- cided to have it sung by a chorus to give it more intensity. Its most striking technical feature is the double melody, set at first by the altos and first-tenors, then taken up by two other voices, the remaining four voices forming a gentle accompaniment in which the first half of each measure forms a figure in the lower voices, the higher ones answering in the last half. Mephisto joins the bari- tones in the motif announced by the tenors. About the 30 Vd. supra, Faust's disgust with the dance at the opening of Spohr's "Faust," p. 10. 31 Allegro leggiero; App. I, No. 19a. 32 App. I, 19b. 47 middle of the scene Faust joins with the words, "Ah, o'er my heart what a subtle charm is stealing! Margarita, Margarita!" At the close Mephistopheles thanks his nimble spirits for having done their best, but bids them ere they go, to lull gently to rest the disturbed slumberer. Hereupon follows the exquisite orchestral number, the "Dance of the Sylphs." This ballet of the sylphs is an allegro movement scored for instruments in waltz form. The melody is con- structed upon the theme set by the altos at the opening of the sylph-chorus, and is in the same key. A pedal point for violoncellos con sordino on low D runs throughout the whole 108 measures of the number. A dainty melodic accompaniment runs through the central voices as far as the 68th measure. At this point the spirits of the air hover a while round the slumbering Faust, then disap- pear one by one. From here on the central voices take up the melody, and the higher instruments form a dainty accompaniment in the upper registers. The whole number is played very softly, and the final meas- ures die away with a few short chords, first in the. harps, then the tympani, and finally the clarinets. A recitative follows, in which Faust, suddenly awak- ing, is impatient to see the fair creature of his vision: "Where dwellest thou? I feel the purest bliss since I dreamt thee, O angel!" Mephisto then bids him arise and follow again: "To the modest chamber I'll bring thee, where she, thy mistress, sleeps. Of thy dream thou shalt see the truth! Here comes a jolly party of stu- dents and soldiers ; they'll pass before thy beauty's dwell- ing. Keep we upon their heels! With such a merry throng surely the way will not seem long! Calm your ardour I pray! List, and learn to obey!" A chorus of soldiers forms the first section of theVIIIth scene. It is scored for first and second tenors and bass. It is written in B^ major, in 6/8 rhjrthm. The accompa- niment forms a stirring rhjrthmic background for the voices, and yet with more or less independence. A stu- dent's song with Latin words — Jam nox stellata vela- mina pandit — ^follows immediately. It is sung almost 48 entirely in unison ;^= it is in the same key as the soldiers' chorus, but in 2/4 time. The third section follows this, and forms a skillful weaving of the two preceding choruses, being technically, a simultaneous rendition of both, and with strong effect. Faust and Mephisto join with the students. A march by the instruments con- tinues after the crowd has passed by, and gradually dies away as it passes out of sight. Part III deals with the search for Margaret and closes with the love duet and trio, — scenes IX to XIV. It opens with an instrumental introduction, which, with drums and trumpets, sounds the retreat — presumably of the students and soldiers in whose trail Faust and Mephisto have been brought to Margaret's dwelling. Scene IX is an aria. It is even- ing, and Faust is in Margaret's chamber. He is thrilled with a passion "sweet as the breeze from the pure morn- ing skies. How wonderful the silence here! Can para- dise itself be more pure? Innocent angel, — how can I prove me worthy of such a peerless maid ?" " 'Tis here she sits and ponders, here she kneels at her prayers ! At last through the long night of horror now breaks the dawn." He slowly walks up and down and examines the room with passionate curiosity. In Scene X Me- phisto enters hurriedly, announces Margaret's approach, and bids Faust hide behind the curtains, while he and his spirits will make "ready to sing a pretty wedding an- them." In the next scene (XI) Margaret enters with a lamp in her hand. Her sleep has been disturbed with visions of a lover fair and strong, and she cannot rid her thoughts of him, though she knows 'tis folly. She plaits her hair and begins to sing. "The King of Thule" song'* then follows (Goethe, 11. 2759-2782), a melody of those free and unheard of rhythms for which Berlioz was noted,'^ and yet in the form of a pure German "Lied."'° The next scene (Scene XII, Evocation)" is a recitative in which Mephistopheles summons first the spirits of 33 It is scored for second tenors and bar'itoiies. 34 A'pp. I, Nd! i6. 35 RoUand, Mus. d'Auj. p. 47. ,, 36 RoUahd, Op.' Cit. p. 42; this is markecl "Goethe Song." 37 "BeSChworving" in the SchirtnfeT Editioti. 49 "flickering flame" to his aid'* — ^this demand is quickly obeyed. A short but realistic and highly colored orches- tral movement heralds their sudden appearance ; this be- comes still brighter and more "flaming" at the fiend's de- mand for haste. He next summons the Will-o-the-whisps that "haunt the nearby places" : "Ye must lure to her doom this fond and simple maid. Now dance in the name of the devil ! If one fail to join in the revel I'll put you all to rout, And blow your lanthorns out!" A minuet/* "Dance of the Will-o-the-whisps" follows this immediately. This is another fascinating orchestral movement, built upon simple figures, yet with charming effect, especially when the upper voices forming the melody run in thirds. At the 125th measure a melody is introduced which becomes later the theme of Me- phisto's serenade. At the close of this "Irrlichtertanz" the fiend decides to sing "to our fair one a nice moral ditty, that shall move her the more to thoughts of love." He sings the famous serenade," with its guitar-like ac- companiment, and its punctuation at the close of each verse with a short fiendish "ha !" by the chorus of spirits. This number is one of the most famous written by Ber- lioz, and stamps him as a writer of enduring melody*^ in spite of opinions to the contrary.*^ The character of Mephistopheles seems to have capti- vated the imagination of the young Romantic Berlioz from the first,*' and, in this ironic serenade to Margaret, the character as he conceived it is already fully sketched. Berlioz's devil is then, perhaps, the only operatic Me- phistopheles that carries anything like conviction; he never, even for a moment, suggests the inanely grotesque figure of the pantomime. Of malicious, saturnine devilry 38 For Beschworungsmotif, cf. Appendix I, No. 17. 39 Appendix I, No. 18. 40 Appendix I, No. 19. The words are Goethe's (11. 2681-3697). 41 Daniel Gregory Mason, Romantic Composers, Chap. II. 42 Hervey: "Berlioz and the Romantic Movement" in French Musicians of the XlXthe Century, p. 85 ff. 43 This serenade being one Of the early "Eight Scenes." 50 there is plenty in him; "no one except Liszt could com- pete with Berlioz on this ground."** But there is more than this in the character. In such scenes as that on the banks of the Elbe where he lulls Faust to sleep, there is a real suggestion of power, of dominion over ordinary things, "that takes Mephistopheles out of the category of the purely theatrical, and puts him in that of the phi- losophical."*^ It is quite proper to make these observa- tions at this point, because, by the close of this twelfth scene, we have a complete portrayal of the character of Mephistopheles. The Will-o-the-whisps have vanished at Mephisto's be- hest, and all is "silent ! Now to see how our turtle doves will coo !" Within the dwelling, Margaret suddenly discovers Faust, and she realizes that he is the one of her dreams. This discovery is portrayed by the short recitative at the opening of Scene XIII. Then follows a long lyric num- ber, marked "Trio, Purest maid," which is, for the rest of this scene, a love-duet by Faust and Margaret, and be- comes a trio at the entrance of Mephistopheles at the be- ginning of Scene XIV. This is an extremely tender love-duet, in which the voices, graphically portraying the depths of passion, flow spontaneously onward, and form the one lyric "Aufschwung" of the work.*' The entrance of Mephisto to warn the lovers of the approach of dawn and the spying of neighbors (Scene XIV), is portrayed in dialogue form — not the free recitative used earlier in the work, but a rhythmic melody which is in keeping with the lyric spirit of the whole number. A crowd of neighbors in the street cry "Hello, good Mistress Mar- tha! What is your daughter doing alone with such a fine young man?" The lovers, interrupted, linger upon their words of farewell, and while Faust sees in his loved one "the light of his darkened soul, and a star of love that will guide him on his way," Margaret yearns for his speedy return on the morrow, and Mephisto reflects that 44 E. Newman, Musical Studies, p. 96. 45 Op. Cit. p. 96. 46 The tenor has several "high C's" in this number. 51 his own hour of triumph is approaching in which Faust's proud soul will be his "for aye." The trio then unites with a full chorus" forming a grand finale, the close of Part III. Part IV, the last part, "is from beginning to end, abso- lutely above criticism.** It opens with Margaret's sad lament, interrupted by the chorus of students, and leads up to the sublime invocation of nature, the fantastic ride to the abyss, and finally to the lovely song of the seraphim after the furious suggestion of hell." Scene XV is the Romance in which Margaret, alone and heavy-hearted, laments her happy days gone by. She watches in vain for her lover's return, and passionately yearns for the heavenly bliss "within his arms reclining." A chorus of soldiers (sung by a semi-chorus behind the scenes, upon the theme of the chorus in Scene VIII), and later of students, interrupts her reflections, but she re- members that these voices were the heralds of yore that first led her beloved Faust to her dwelling. The earlier drum and trumpet motif recurs here, and, as she reflects that he "comes no more," it slowly dies away, and the scene closes with "a long pause, and a long silence after the pause."*' In the next scene (the XVIth. Woods and Caverns.) sung "very broad and with deep solemnity," is Faust's Invocation to Nature.*^" The whole scene is purely sym- phonic; and it is one of Berlioz's flnest, — he has wielded his orchestral forces here with lofty poetic inspiration. Mephistopheles, climbing among the rocks, interrupts Fausts's musings, and informs him that Margaret has been imprisoned. Meph. In yon star-spangled vault, say, friend, canst thou discover The star of constant love? If such a star there be, let us haste to invoke it! While you dream at your ease, the poor forsaken Margarita ! 47 Full chorus in Berlioz, always means six-part harmony, — i. e., 2-part female and 4-part male voices. 48 JuUien, in Fam. Comp., p. 685. 49 Novello edition, p. 260. 50 This seems to have been suggested by Goethe, 1. 3217, ff., but does not follow him. 52 Faust. No more ! Meph. No doubt the tale's unpleasant, yet you must hear. They've dragged the wretched girl to prison From criminal's cell she must go to the gallows ! FAUST. What! Meph. "The hunter's horn is heard on the hill !" At this point a hunting song is heard, its motif set by trumpets. Faust. Nay tell me! Margarita in prison? Meph. There was, if you remember, a certain little phial. A simple sleeping draught, to make the mother slumber, While you two were busy with love — The rest you may guess ! In her zeal for your safety, Margarita, poor child. Did use it every night. Once too often she gave it, and the old woman died. There's no more to be told. Faust. Horrible thought! Meph. You see then that her passion for you was the cause. Faust. Thou must save her, thou must save her, thou monster ! Meph. Ah, the fault is mine then ! You men are all the same since the world first began ! No matter! I am your servant still, and I must needs obey you. But what reward have I for services so great? Faust. What wouldst thou have? Meph. What reward? 'Tis but the merest trifle — You shall sign this bond. And Margarita's life shall be spared, If you swear that from tomorrow mom you will obey my will. 53 Faust. What care have I for tomorrow, in the pain of the present? Give it to me! (He signs) There is my name ! Now away to the prison, where my darling lies ! the torture of waiting! Margarita, I come! Meph. Come forth my trusty steeds! (Here is heard a motif of assembling horses, and im- patient stamping). See my coal-black horses are impatiently neigh- ing! Away, fleet as the wind ! Justice brooks no delaying ! Faust has been deceived. Instead of signing a bond that will free Margaret from the cell, he has in reality signed away his soul to hell, and in the next scene, when he has mounted one of the black steeds of Mephisto that stand waiting, he does not ride to the prison, but to the infernal abyss. The "Ride to the Abyss" (Scene XVIII) is an allegro movement, symphonically constructed. The accompani- ment forms a realistic portrayal in which one hears the galloping of horses.'^ The technical means here em- ployed are rather simple, but effective; written in Ejj 4/4 rhythm, a melody formed with an eighth followed by two sixteenth notes to each "beat" runs through the whole movement, the bass, as a rule, marking the rhythm, and a counter melody at times appearing in the higher voices.^^ This scheme continues uninterruptedly throughout the whole number, with but two short varia- tions,' — first, in the 73rd to 77th measures, "screaming birds" are heard.^^ and secondly, when Mephistopheles reins in his steeds, the rhythm is interrupted by intro- ducing triplets into the upper voices and continuing the earlier "galloping" motif in the mass.'* The argument 51 Appendix I, No. 20, the "'ride to the abyss." 52 E. g. 3d and 4th measures. 53 Appendix I, No. 21. "Screaming birds.'' 54 Appendix I, No. 22. 54 of this scene is, in short, the following : Faust and Me- phisto are galloping on black horses. Faust hears as he rides the voice of one lamenting, and cries aloud, "O hap- less Margarita!" A chorus of peasants kneeling at a wayside cross, sing a "Sancta Maria ora pro nobis." Faust begs his conductor to give heed to these women and children, but the fiend cries: "Never heed them, but on !" at which the worshippers disburse with cries of horror. Faust and Mephistopheles ride on for a few moments without words, when some horrible thing at Faust's ear shrieks aloud, and the air is full of monstrous birds, beating with their wings upon his forehead. Me- phisto, reining in his steed, says he hears the passing- bell tolling for Margarita; "Shall we stop or return?" "Nay, mock me not, but on !" cries Faust, and the horses double their pace. On every side skeleton phantoms leer with horrible eyes, and mock with hollow laughter. Me- phisto urges the steeds, and punctuates Faust's rising terror with cries of "On, on !" Our horses are panting and trembling with terror, The curb of the rein no longer they know ! The whole earth is reeling. And thunder is pealing From caverns below! 'Tis raining blood! Faust soon knows his doom, for Mephisto, in a thun- dering voice, (rising by semitones from C to E^) calls out to the awaiting fiends. Ye legions of the devil ! In triumph now begin your hellish revel, His soul is mine! Mine forevermore! and with a few faint cries of horror from Faust, they fall into the abyss. A chorus of devils in snarling tones (Scene XIX, Pandemonium), rejoice about Mephisto. The words of their weird and unknown tongue'^ heighten 55 Cf. Boult, p. 128. Swedenborg's "Infernal Language," says Mason, Romantic Composers, p. 298. 55 the music emotionally. The "pandemonium" of the ac- companiment consists in systematically arranged se- quences of tremolo and rapid scale passages. The princes of darkness (12 bass voices in unison) hail Mephisto- pheles : Mighty master of evil ! Tell us now, Is this proud soul thine own to the end? "He is mine to the end" answers he. Then did Faust with consent sign the deed That delivers his soul to the flames? ask they. "With consent he did sign," is the reply, and the chorus of fiends resumes its song of rejoicing, with its weird words and weird rhythms, finally resolving into ah allegro waltz movement, enclosing with a "round and noisy" climax. At the close of this scene there is an "Epilogue on Earth" in which six bass voices chant in unison : The gates of hell were closed — And still the dolorous sound Of seething lakes of fire, — The hellish laugh of fiends exulting in the tor- ture Were heard in awful murmurs. But in the depths profound. Who can say what foul horror was wrought. The chorus then adds pianissimo in sotto voce — "0 De- spair !" The final scene (No. XX.) is "In Heaven." With a master hand Berlioz changes his colors, and the harp- like accompaniment forms a fitting background for the chorus of praise, — a chorus of four parts, soprano, alto,- first tenor and second tenor. The latter voices are used adeptly, giving with their muffled lower tones a more velvety foundation for the softly sung "hosannas." "She hath loved much, O Lord," is heard from the sopranos, 56 and then a single voice (from behind the scenes) pro- claims "Margarita." Then follows the Celestial Chorus, the apotheosis of Margaret, with its modest beginning in three-part voicing.^^ The words are: Thou ransomed soul, Rest from thy sorrow! Hapless maiden, through love didst thou stray; Now freed from earth, for thy love shalt thou borrow Robes of brightness that fade not away ! Come the Seraphim await thee ! At this point a chorus of children's voices (soprano and altos, singing with the sopranos and altos) is added, also another part for second tenors, giving the effect of a ponderous vocal organ in which the master adds now and then a stop of brighter and grander colors. Come! The Seraphim await thee! Thy sisters, by the throne abiding They shall dry thine eyes. They shall claim thine earthly fears In heavenly love confiding, Thou shalt smile through thy tears. Come, Margarita! The finale is constructed upon the words of this last line. Two parts, — first and second bass — are added, and the single voice as above continuing behind the scenes, with the word "Margarita." The rest of the voices form a massive harmonic structure with prolonged fun- damental dominant, then tonic, chords — all sung pianis- simo — with charming effect, a wonderful close to a won- derful work. In 1893 Raoul Gunsbourg, director of the Opera at Monte Carlo, revised Berlioz's work into an operatic form, by adding action and pictures. It was first pre- sented in Paris, in 1903, at the Theatre Sarah Bernhardt, and in New York in the Metropolitan Opera House, in S6 Sopranos, Altos, and First Tenors. 57 1906, with Farrar, Rossoulier and Plangon in the main roles. "Despite its high imagination, its melodic charm, its vivid and varied colors, its frequent flights toward ideal realms, its accents of passion, its splendid pictur- esqueness, it presented itself as a thing of 'threads and patches.' "" The reason for this is that Berlioz never intended his work for the stage, as is shown in its lack of concatenated form, and also by his own production of the work in concert form, and then, too, because some of its best music belongs wholly in the realm of the ideal.^* He was "in his soul a poet, in his heart a symphonist, and intellectually (as many futile efforts proved) inca- pable of producing a piece for the boards."^' The Gunsbourg version of the work makes some de- cisive changes in the scenes, but holds quite closely to the original music, as will be revealed in the ensuing review of the work. Instead of Faust wandering alone on a plain in Hun- gary, he is found (in the Gunsbourg work) at the open- ing of the First Act ("Glory") in a "medieval castle, with a view through a window with a sally port." Here Faust soliloquizes. Under the window we hear the peas- ants' song and dance, and the soldiers march off through a huge gateway to battle to the music of the Rakoczy March. Suddenly they halt, for a solemn benediction of the standards, and then "to the peroration, they run, not as if eager to get into the battle, but as if in inglorious retreat.""" In the scene in Faust's study (Act II, "Faith") where the despondent hero is about to drain the cup of poison, the rear wall of his study rolls up, and we see the interior of a church, where a kneeling congregation and three priests chant the "Easter Chorus." Concert and not operatic conditions are essential for this number. Me- 57 Krehbiel, p. 152. 58 In New York, where, on its introduction, it created the pro- foundest sensation ever witnessed in a local concert room, it was performed 14 times with the choral parts sung by the oratorio society, before that organization admitted it into its lists. Kreh- biel, p. 153. 59 Krehbiel, p. 153- 60 Op. Cit. p. 156. 58 phistopheles suddenly appears upon the vanishing of Faust's poodle, which had lain by the hearth. The Auerbach Cellar scene makes no changes from the suggestions of the original work, which lends itself quite well to operatic conditions. It forms Scene III in Act II. At the close, a trap door opens in the center of the stage, whence comes a shaft of flame. By it Faust and Me- phisto disappear. But in the next scene, where Faust is entranced by the fairy waltz of gnomes and sylphs, the river bank be- comes a floral bower, "rich as the magical garden of Klingsor.""^ During the chorus, roses on the right and left change themselves into dancing girls. They pass in front of the sleeping Faust with voluptuous poses. Then to the music of the elfin waltz, others enter, who have, seemingly, cast off the gross weight which holds mortals in contact with the earth. With robes aflutter like wings, they dart upward and remain suspended in mid-air, or float in and out of the transporting picture, while a vision of Margarita is presented to Faust. The detached scenes which follow are united in the operatic version into Act IV, for the sake of the stage act. An exterior and interior view of Margaret's cham- ber is shown at the same time. But her chamber is a semi-enclosed arbor, and she carries a lantern instead of a lamp, to light her way as she comes from the street. The soldiers and students walk about in the street, and Faust is shown the house of Margaret by Mephisto who opens for him the door to the trellised enclosure. After the "King of Thule" song a bit of realism is added. Beau- tiful electric effects materialize the ghostly flames into a mob of hopping flgures and then follows an irrelevant pantomime scene, which interferes with the effect of the music. This scene is what Margaret dreams, having fal- len asleep in her arm-chair. She is torn by conflicting emotions, of love and duty, the latter being symbolized by a vision of Faust and the glowing of a cross on the fagade of a church,'^ all her actions being dominated by 6i Krehbiel, p. 158. 62 Cf. Op. Cit. 59 Mephistopheles. "But we see her awake, not asleep, and it is all foolish and disturbing stuff, put in to fill time and to connect two of Berlioz's scenes. Margaret returns to the room which she had left only in her dream.""^ Act V follows the suggestions of the original work, beginning with Part IV, except when Margaret, hearing the stu- dents' song and the last echo of drums and trumpets, rushes to the window, and, overcome, rather unaccount- ably, by remorse and grief falls in a swoon. The final scene shows Faust in a mountain gorge, and to him Mephistopheles brings his parchment, and obtains the signature — all as Berlioz suggests. The ride to hell on the infernal steeds. Vortex and Giaour, is portrayed in a moving panorama showing the visions of birds of night, dangling skeletons, a hideous and bestial phantasma- goria, at the end of which horses and riders fall into the abyss. The picture then changes. During the Hosanna Chorus the scene grows brighter, and the roofs and tow- ers of the town are seen. Angels descend from heaven and disappear as if they were going into the interior of the city, later reappearing, carrying the body of Marga- ret, the group ascending slowly toward heaven during the final chorus of angels : Ascend to heaven, simple soul. Whom love did crave. Come! Put on thy primitive beauty. Which an error spoiled ; Come, celestial virgins, Thy sisters, the Seraphim, Will dry thy tears. Drawn from thee by earthly sorrows The Eternal forgives thee; His vast clemency Perhaps unto Faust some day will extend. Live yet in hope. Smile in thy happiness. Come, Margarite, come! 63 Krehbiel, p. 160. 60 CHAPTER IV. GOUNOD'S "PAUST." We are now concerned with the most popular of all musical Fausts, a work which is, whether justly or un- justly, probably destined to give many people the final idea of Favst. For there are multitudes who know only this work in the Faust literature. This is due to the su- pernatural qualities of the character of the piece, a char- acter which, (together with the many numbers in it which are of winsome tunefulness, qualities which lay hold of the masses), has called forth criticisms ranging from "a masterpiece deserving of its brilliant, prolonged and universal success"^ to the epithet of "laughter-moving monstrosity."^ These opinions, by the way, are both jus- tified, depending entirely upon the point of view one as- sumes in considering the piece, as will be shown in the present chapter. The text of this opera was written by Jules Barbier and Michel Carre, whose acquaintance Gounod made in 1856. The composer found no difficulty in enlisting their collaboration in the production of an opera. In fact their enthusiastic acceptance of the Faust theme, when Gounod proposed it to them is little to be wondered at; because Barbier had already written a Faust, had offered it to Meyerbeer, and had been refused. Meyerbeer said that "Faust is the ark of the covenant, a sanctuary not to be approached with profane music."' On the other hand, Gounod himself had been deeply interested in Goe- the's Faust — Gerard de Nerval's translation, as in the case of Berlioz — as early as during his student days in Rome.* The details of the composition and production 1 Famous Cotnp., p. 722, Pougin. 2 Newman, Musical Studies, p. 72. 3 Edwards, Lyrical Drama, Vol. I, p. 176. 4 Gounod, Memoirs, p. 81. 61 of "Faust" do not concern us here,° except to say, that the work was finally produced at the "Opera Comique," March 19, 1859, in the style of a work such as that' theater would accept.® The original cast, as presented at this first performance, were: Faust, M. Barbot; Me- phistopheles, M. Belanque ; Valentine, M. Ismael ; Marga- rita, Mme. Miolan-Carvalho, wife of the manager, sang this role at her own request; Siebel, Mile. Faivre; and Martha, Mme. Duclos, — all of which parts were filled with "Masterly qualities of execution and style," to the great satisfaction of the composer.^ The "work was not fully understood at first; the critics stood hesitating and undecided in the presence of a work so new in form, and the public itself was of two minds regarding the value of the work, some applauding with enthusiasm, while others harshly criticized But gradually people began to understand and appreciate the beauties abounding in this exquisite score, and at last its success was brilliant, complete, and incontestable, spread- ing first throughout France, then over Europe, then over the entire world."^ In Germany it completely dethroned Spohr's "Faust," which had reigned there supreme, and was received in a triumphal manner.^ The opera in its first form Was given thirty-seven times at the Opera Comique.^" It was later revised, giving the spoken dialogue a place in the recitatives of the score, and produced at the request of the managers of the Opera, March 3, 1869." after which it was incorporated into the repertoire of that theatre. Mile. Christine Nilsson having' now taken up the role of Margarita. "No opera has since equalled the popularity of 'Faust' in Paris. Twenty- eight years after its first performance Gounod was privi- leged to join hands with his friends in a celebration of its 5 For these details see the "Memoirs," p. 194, ff., and Krehbiel's "Book of Operas," pp. iiS-ii9- 6 Op. Cit. p. 19s, and Pougin, in "Fam. Cpnap." pp. 722-3. 7 Ditto. 8 Pougin, p. 723. 9 Do. fo Over 400 in all. II Grove's Diet. Vol. IV, «2 500th representation. That was in 1887. Eight years after, the 1000 mark was reached, and the 1250th Pari- sian representation was reached in 1902!"i2 It was first given in America November 25, 1863, in New York at the Academy of Music. The parts were sung by the fol- lowing artists: Margarita, Miss Clara Louise Kellogg; Siebel, Miss Henrietta Sulzer; Martha, Miss Fannie Stockton; Faust, Francesco Mazzoleni; Mephistopheles, Hannibal Blachi ; Valentine, G. Yppolito ; Wagner, D. Co- letti. It was sung in Italian.^^* The argument of the opera is as follows : The opening reveals Faust in his study, grown weary with his una- vailing search for truth regarding the mysteries of na- ture and her creator. He has now grown old, and marks no result from his life-long efforts. It is morning, and after a night-long study, he declares this morning shall be his last on earth, for he longs for death. He is about to quaff a cup of poison, but is interrupted by a compa ny of riiaj^ns_whose_joyfuI songs Jloat in to him by the open w indow. Thia..S0JDg lell s of the biauties and joys in nature, her inspirations, and th e joy of Iiv!ng~and loving. Mysteriously and unaccountably~his~hand "Si^mbles ; but he resolutely resolves on death, and lifts the cup again. But again he pauses, this time to listen to a song of reap- ers from the fields, a song of joyful appreciation of earth's bounty and rejoicing and prayer. These sounds exasperate the philosopher. He curses earth's riches, prayer, science, religion, even the dreams of love and hap- piness itself, and finally he curses the patience with which he so long endured fruitless endeavor. He cries to the powers if ill, and then suddenly his cry is answer- ed. For Mephistopheles now appears, dressed in the gay garb of a cavalier. Faust, however, is irritated by his bold bearing, and bids him begone. But the fiend 12 Krehbiel, p. 119. 13 Esther Singleton in "Guide to the Operas" p. 231 thus_ sums up the important premieres of this work: (i) Theater Lyrique — Mar. 19, 1859; (2) Academie Imperial de Musique, Mar. 3, 1869; (3) Her Majesty's Theater, London, June 11, 1863; (4) In Germany as "Faust," Darmstadt, 1861; (5) As "Margarethe, Berlin, 1863; (6) New York, Academy of Music, Nov. 25, 1863. 63 tries to allure him with promises of riches, power and reputation, and when Faust will have none of these, he promises him what he most desires, — "youth without measure, the warm current of blood in every vein." But Faust still hesitates, and then Mephistopheles causes a vision of a beautiful maiden — Margaret — ^to appear, and Faust, whose ardor is inflamed, now quickly signs a com- pact by which the fiend bargains to grant all these pleas- ures of youth, passions and desires, — in short the devil will serve Faust here; but below the relations shall be re- versed. Mephistopheles offers him a goblet, Faust drains it, and is transformed into a young man ; immediately he desires to see "her again," the fair one in the vision, and Mephistopheles promises. He is first led by his companion to a fair. There are joyful songs by the soldiers, telling of conquests ; of stu- dents delighting in drink; of old men and maidens. All finally join in a merry round of song. One of the sol- diers, Valentine, entrusts his sister Margarita to her young lover, Siebel. A gay young soldier, Wagner, starts a song, but Mephistopheles cuts short the noisy celebration by singing one himself, a "better" song. All join in the refrain, and call for wine. Mephistopheles, dissatisfied with what they have to offer him, strikes the Bacchus-head on the sign of the Inn, and draws by magic liquor to each one's taste. He then proposes a toast "to the fairest of the fair ones, our Margarita!" Valentine resents this insult to the fair name of his sister, but his sword is shattered in a skirmish with the fiend, and by this all present become aware of the true character of their visitor. They hold up their cross-shaped sword hilts toward him, and he is much embarrassed by the charm. Faust at this moment demands to see "that darling child whom I saw as in a dream !" The women, who had meanwhile departed, return, a merry waltz is sung, and Faust espies Margarita crossing the market- place. He gallantly offers her escort, but is gently (not rudely as in Goethe) refused.^* He is now convinced 14 Cf. Goethe, 11, 2605 ff. More of this later. 64 that she is the maiden conjured up previously in his study, and he becomes deeply enamoured of her. Me- phistopheles now says he "must teach him to woo !" So he leads him to the garden near Margarita's house. Here they find Siebel plucking flowers for his loved one, first putting them in holy water to break the spell which Me- phistopheles invoked during the fair, a prophecy that all the flowers he would touch thereafter would wither. By his song they know that this is the dwelling of Margarita. Faust is lost in admiration for this lovely abode, but he withdraws at the behest of Mephistopheles, for the girl is approaching. She spies the box of jewels which Faust placed beside the nosegay of Siebel, and she inter- rupts her recollections of the handsome young man in the market-place to ornament herself with these jewels, and admires them with girlish delight, as well as her royal appearance. The jewels have paved the way for an acquaintance. For a neighbor, Martha, encourages the girl in the belief that they are from some noble admirer. Faust and Me- phistopheles enter and find her in her innocent pleasure with these jewels. Mephisto leads Martha away, in or- der to leave Faust unmolested in his wooing. He is suc- cessful. They embrace, and time speeds in their new ecstasy. Tender vows are sworn, and they say their farewells till the morrow. Faust is about to depart,/ when at the behest of Mephisto, he returns and Marga- rita falls into his arms, with a cry of delight. Later Margarita, alone in her chamber, deceived, is cast down by the jeering attitude of former companions. Siebel seeks her out and tries to comfort her, but he finds that her heart is still Faust's. Her brother Valentine, having returned with the victorious soldiers, learns that she has become the talk of the town gossips. These evil reports enrage him, and as he is about to enter his house and learn the truth, he encounters Faust and Mephisto- pheles while the latter is singing a mocking serenade outside. A fight is precipitated, and Faust, with the as- sistance of Mephisto's magic, makes a fatal thrust. Val- 65 entine dies cursing his sister for causing his death, and denounces her conduct. Margarita, as she has just told Siebel, seeks to rectify her wrong before the cross, but even in the church, the fiend with a chorus of demons, mocks her and when he reveals himself in his true form, she faints and falls. In her distraction she has slain her child, and we at last see her in prison, awaiting death. Faust enters the prison by the assistance of Mephisto's magic, and en- deavors to have her flee with him. But he finds her mind wandering, and she is occupied with reminiscences of her first meeting with Faust and the love-making in the gar- den. Faust repeats his declarations of sincerity, and begs her flee with him. The poor girl catches sight of Mephistopheles and then in horror turns away from her lover, and passionately prays for pardon from heaven. Her agony overcomes her, and at last she sinks lifeless to the floor, her last words being "Go, I am not thy prey !" Mephistopheles is about to triumph over his victim when a chorus of angels proclaim her redemption, and while prostrating himself in prayer, Faust sees the fiend re- coiling in terror from the avenging sword of the arch- angel. From this treatment of the subject we see at once that the librettists have fastened upon one episode in the Goe- the poem. That episode is the one feature of the whole work that is carried to a logical conclusion, namely the Gretchen episode. There is in the Goethe Faust a treat- ment which lifts the hero "Far above the plane of indi- vidual limitation,"!^ and he therefore becomes typical of humanity in general.'" To construct a drama, much less a libretto, upon this wide scope would have been impos- sible, especially if any degree of strictness was to be ob- served in the unities. Such treatment of the whole poem might be done into a series or a trilogy (as e. g. Wagner did "vvith the Nipbelungen Ring) , but a discussion of that ppssibiUty WPVld Ipaji jig astray of ouy subject. Goiinod'si librettists therpfore did p^e pbyjous |hin|. T^ey^ chose 15 Cf. Theo. Baker, in his introduction to Schirmer ed. p. iv. 16 A full treatment of this is found in Thomas' ed. of Goethe's Part I, in the introduction, pp. Ix ff. and Ixxiv S. 66 from Goethe's series of scenes and episodes that one epi- sode which is carried to a "natural, logical, inexorable, 'dramatic' conclusion," the episode of Faust's love for Gretchen. From the nature of their task, and the char- acter of Goethe's work, they were compelled to make some changes in the sequence of the work, as well as omissions. What they succeeded in accomplishing, how their work compares with that of Goethe, and where the finished product stands from a psychological point of view, — these questions cannot be answered until we have seen the complete work, — the work of librettists and composer united into the "lyric drama." In the case of Spohr such examination of words in unison with music is not necessary; for Spohr, a conservative, composed at a time when an opera was not necessarily a union of ver- bal and musical spirit, but rather a tuneful presentation of the lyrical features of a libretto, and the dialogue made into a recitativo socco. In the case of Schumann, the treat- ment is completely musical, and the only question there, was how did he succeed with what Goethe intended, as was indicated in Chapter II. The case of Berlioz, too, has been shown to be a treatment of certain Goethean scenes, with a "fast and loose" playing in their choice and union. Our next step is therefore an examination of Gounod's treatment of the text with which Barbier and Carre provided him.^^ The orchestral introduction forms a short overture of a mysterious and rather gloomy character, emblematic of Fausts's morbid broodings and unhappy condition of mind. Set in AJ7 major, 4/4 time, it begins with heavy string passages, with occasional hopeful spots from oboes and flutes, and then suddenly introduced by long harp scale passages, a bright melody^-the melody later be- coming the theme of Valentine's departure for war — is heralded by the wind section. After eighteen measures 17 The work comprises a short overture and five acts. Act. I is a prelude introducing Faust in his study with Mephistopheles ; Act 11 is the Kermesse introducing Margaret; Act III is the Gar- den Scene leading to her fall; Act IV is the cathedral scene, and the death and curse of Valentine; Act V is the prison scene, and her death and apotheosis. - 67 of this, a peaceful close set by cadences for horns, clari- nets, flutes, oboes and viols in turn, ends the overture. The first number, "Scene and Chorus," begins orches- trally. The accompaniment in A-minor, 4/4 time, is in keeping vpith the spirit of the brooding philosopher, vpho is disclosed on the rising of the curtain at the 15th meas- ure. He learns in vain, and he can not break the dreary chain that binds him to mournful life. A 6/8 movement in C major sounds the motif of the chorus of maidens,^^ and then after this oboe solo, he resumes his recitativo stromentato. The chorus of girls is sung behind the scenes ; it is a unison movement for sopranos in A major, 6/8 rhythm. Tenors and bass then sing of the joys of nature (the sentiment of nature is a strong characteris- tic vpith Gounod, as with Berlioz)" in unison, except at the close, — all in D major, — closing with prolonged pianissimo chords, with strings and wind accompanying alternately.^" The second number, "Scena and Duet," written in 4/4 time and opening in F major, continues the recitative, and Faust pronounces his curses to a mysterious tremolo ac- companiment of strings. The second character is now introduced, portrayed by a bass voice. The scheme of voices in this opera is : Faust Tenor Mephistopheles Bass Margarita Soprano Valentine Baritone Siebel Mezzo-Soprano Martha Contralto This introduction of Mephistopheles, coming as it does after the agitated string passage depicting Faust's ex- citement, is very effective with its sudden change of key into Eb major. Faust declares that the joys he desires are those of youth in a 6/8 timed G major passage, quite melodious and calm. After Mephistopheles has dictated i8 Appendix I, No. 23. „ ^ ., , „, , 19 Cf. Marie Anne de Bovet's Gounod's Life and Works, p. 141 20 The whole chorus has a drone bass in the accompaniment. 6§ his terms, he shows the Margaret vision, a girl at thg spinning wheel, the whir of which is portrayed on the violins, with a mysterious harp accompaniment; and occa- sipnal veiled notes from the horns. This theme become^ the "Spinning Wheel" motif in the third act.'' Ther^ follpys^s the duet, constructed upon the theme of Faust's desire for youth, now a half tone higljer, and Mephisto- pheles joining the same melody, formipg an undercurreijt of mockery." Act II begins with a few measures of instrumental rpusic, wherein the theme of the chorijs appears, and the curtain rises at the 23rd measure. First basses forni the §t;udent song, a new theme being then introduced by Wag- ner, Dr. Faust's pupil, who has jjust enlisted. A military strain then follows, and this is followed by the soldiers' song in the second basses. The song of the old men with tlieir cracked voices is given by the first tenors. A new theme is then taken up by the girls and this in turn by the yoiang students in a hjsher key (second tenqrs), and again by the matrons in a low key (F major). The whole number is then brought to a close by a coda which involves the themes of the six various melodies just finished, ending with the theme with which Jt was begun. Number 4, "Scena, Recitative, Cavatina and Song," in- troduces Valentine, announced by the trombones. After a dialogue (a free recitative) with Wagner, and later Sie- bel, he dispels his melancholy feelings engendered by hav- ing to leave his sister while he goes to war, by singing a song (Cavatina) — one of the best known in the whole opera — and listening to one from Wagner. Wagner has just started the "Rat Song," with some variations in senr timent from that of Goethe (Cf. the same ip Berlioz, Ap- pendix I, No. 13),=' when Mephj^topheles signs his "Song of the Golden Calf," with its allusion to Beelzebub as con4uctoF Pf the worship. The chprus jpins in the second stanza, t}i§ tepors with a. separq,te part, and Mephisto- pheles enjoys their unconscious approval. 21 Appendix I, Np. 24. 22 Appendix I, No. 25. 69 The fifth number, "Scena and Chorus," — or in other words a free conversational recitative, portrays the for- tune telling qualities of Mephistopheles. After being in- vited to drink he foretells that Wagner will lose his life in his first fight, that Siebel's touch will wither flowers, that Valentine will perish in a duel. The drawing of wine from the in-sign is accompanied with rapid "rushing" passages in the orchestra. The drawing of swords is an- other occasion for "excited" scale and tremolo accompa- niment, and when the chorus learns the fiend's true char- acter, they sing a chorale, and advance, singing, with cross-shaped hilts held before them. After their depart- ure, Mephistopheles is joined by Faust, and the melodic recitative reveals his desire for acquaintance with Mar- guerite.^* When his "servant" promises this ,we hear excerpts of a waltz motif sounded by the viols, and this leads into the next scene, the "Waltz and Chorus." Here we have a waltz song from the chorus, representing the revels of the Kermesse, while fiddlers play for the danc- ers. There is a separate theme, with separate phrasing in accompaniment. A new theme is introduced in the latter, when the dialogue is resumed by Faust and Me- phistopheles, and when the coy maids invite the shy Sie- bel to joiti their dance, but the first theme returns with the resumption of the dance chorus. The rhjrthm of the waltz continues throughout Faust's declaration to Mar- garita, and (with only a change of key from G to B ma- jor) Mephisto's exhortation to a different form of woo- ing. The waltz song then grows into a coda, in the ori- ginal key and theme, and closes with an instrumental finale, the original melody occurring in the bass, and end- ing with a reposeful cadence, at which the curtain falls. The third act opens upon the garden scene (No. 7, "In- termezzo and Song") disclosing a high wall at the back, through which Siebel enters by a gate. The curtain hav- ing risen at the change of key from E}) to C major, Siebel is introduced by the violoncellos and he sings his love song while plucking flowers, and is delighted when he finds 24 There is no uniform spelling. 70 that dipping his hand in holy water destroys the "wither- ing-spell" pronounced by Mephistopheles. This melody is one of the most widely known and loved of melodies.^^ The next movements of the characters are described in free recitative, until Faust, having deposited the jewels near the flowers of Siebel, becomes enraptured with the simple beauty of the girl's dwelling, and gives vent to his feelings in the "cavatina" (No. 8). This charming melody, in A\) major, 4/4 rhythm, introduced by a quasi recitative, is one of chaste and exquisite tenderness, "the profound and caressing emotion,"^'' with the counter melodies in the violins, leading into an excited arpeggio passage and then into tremolo figures in the bass, the upper melody set by the flutes. At the resumption of the opening theme this counter melody is carried by flutes and clarinets, only joined by the violins at the point where the voice discontinues.^' In the original score this cavatina was not introduced by the andante recitative.^* Number 9 (Scena and Aria) opens with clarinets and violins faintly suggesting the song later to be sung by Margarita. She reflects in a monotone recitative upon the events which just occurred in the market place. Then follows the "King of Thule" song, interrupting her song now and then, while speaking to herself about the gentle bearing and kind voice, and her own embarrassment. She first catches sight of the flowers of Siebel, but leaves them when she sees the casket of jewels. She examines them and then noticing their real beauty she ventures to put them on, an accompanied recitative with rapid arpeg- gio flgures forming the accompaniment. Then while proving her appearance before the mirror she vents her joy in an allegretto movement in waltz time (E major) — forming the celebrated "Jewel Song,"^' with its aria di bravura ending. 25 Appendix I, No. 27. 26 Scudo, in "Revue des Deux Mondes,'' Nov. 1859. 27 Appendix I, No. 28. 28 Beginning "My agitated heart's revealing,'' at opening of No. 10. 29 Appendix I, No. 29. 71 Then (No. 10, Scena and Quartet-Recitative) with the appearance of Martha, and later of Mephistopheles and Faust, the quartet is gradually built up ; Martha and her flirting campanion forming the one pair, and Faust and Margarita the other. Walking about, these characters form an original musical quartet. "The musical phrases are full of distinction, and the instrumentation is very rich and highly colored, for the violins, harps and wind instruments are well blended."^" The recitative is intro- duced by a return of the former theme of Siebel, this time on the violins instead of the cello. Mephistopheles conceals himself until he is dismissed by Martha, and then follows Mephistopheles incantation song (beginning "Good Night!")- This scene is usually omitted as far as this point. The accompaniment of this song to the night was originally scored for eight cellos and harp, but it is rarely executed thus, on account of lack of executants. In this song Mephisto bids the flowers charm and be- wilder with their fragrance the senses of Marguerite.^^ The next number (No. 11), Mephistopheles having now retired, is the grand duet of Faust and Margarita. This number opens with an andante movement in F major 3/4 rhythm, in which Margarita repeats Faust's phrases note for note. An effective abligato melody runs through the accompaniment, taken up in turn by flutes, clarinets and violins, faintly suggesting the melody of the "Jewel Song" theme, while a pedal point is sustained alternately in the horns and bassoons. This movement becomes gradually more intensely passionate to the point where the lovers swear eternal faith, in which the accompani- ment becomes a quiet arpeggio passage on the harp. A change of key into Db major, and then Ab major, marks her yielding to Faust, violins, horns and cello forming the orchestral background. Another movement (allegro agitato in F minor) portrays her agitated beseachings 30 Singleton, p. 236. 31 Scudo (Op. Cit.) saw in the quartet only choice and refined harmonies, with sudden gusts of penetrating sweetness, remind- ing him of Mozart, and ended with "Is this a system, or only poverty of ideas?" 72 thjtt her lover depart till the morrow, and closes with Faust's melody with an obbligato by a cello, which plays the theme bf the "Salut, Demeure" cavatina. Mephisto's urging to Faust to remain and hear her "message of love she sends to the planets" is followed by a 9/8 larghetto movement in Gb rriajor. Margarita opens her window and sings her love to the stars in a very melodious recita- tive, to which there is an obbligato in the flute and oboe alternatively, with a tt-emolo accompaniment in the other instruments, all played very softly. Faust at last rushes to her with a cry of joy and Mephistopheles gives a de- monical laugh of triumph. The melody of Margarita's song df love continues in the orchestra while the curtain falls. The opening of Act IV is sounded in the spinning wheel motif in the lower instruments, while flutes and clarinets prepare the way for Margarita's next song. A crowd of jeerers (chorus behind the scenes) sings in mocking laughter. Number 12 is the "Spinning Wheel" song, with its realistic accompaniment of strings and oc- casional flights of melody in the flutes. Siebel comes to comfort his sad loved one, and sings a melody (known popularly as the "Romance"), andante in 4/4 rhythm A major.^= No. 13 is the soldiers' chorus, with its two movements^ broken by the return of Valentine, and each one introduced by martial music announcing the themes of each,^^ and the second followed by a grand finale on the wind section. This soldiers' chorus is a beautiful piece of music, but jtist what its pomp and length adds to the dramatic situation is hard to see ; one is tempted to accuse Gounod bf gallery-playing. A closing recitative tells of Valentine's desire to be welcomed home again, as well as the reappearance of Faust and Mephistopheles. The lat- ter has a guitar, and proposes to sing a song that will bring the girl out of her house. This serenade (Nd. 14) is accompanied to good effect with strings, imitating the guitar of the singer. His words are insulting, and with their demoniac laughter at the close, cause the appear- 32 Appendix I, No. 29, Siebel's Romance. 33 Same, No. 30a and No. 30b, two themes of Soldiers' Chorus. 73 ance of Valentine instead of his sister. Valentine smashes Mephisto's guitar, and the fight ensues, as well as a very melodic trio (Faust, Valentine and Mephisto- pheles). The next number (16) is the death of Valen- tine. A chorus (the mob of neighbors) beg Valentine to forgive, but his curse and dying words reflect the melody of the cavatina in the first act, and are continued for a few measures by the instruments in the orchestral close.^* Margaret then goes into the church. She begins her prayer but is interrupted by a chorus of demons (behind the scenes) reproaching her with mocking repetitions of her name. A tomb opens and discovers Mephistopheles, who bends towards Margaret's ear, and in a melodious fashion reproaches her with recollections of days gone by w'hen she was of "the right and of the altar."^^ A chorus of priests (sopranos, tenors and basses in unison, behind the scenes, singing a medieval chorale) with organ ac- companiment add to the effect of overwhelming the peni- tent with grief, but she at last succeeds in rising above the demon and, joining her voice with the worshippers, cries aloud for forgiveness. At this the fiend, pronounc- ing her forever accursed, disappears. The musical de- velopment of this scene is a succession of various situa- tions depending on the dialogue, yet is artistically woven, with its free recitative and spontaneous flow of orches- tral effects. It closes with a movement for organ. The order of the last two scenes is usually reversed in the presentation of the opera, reasons for which are given by the composer himself: "The dramatic order observed by Goethe exacts that the scene of Valentine's death pre- cedes the scene of the church, and it is thus that I also feonceived my work. However, certain considerations of stage setting have inverted this order, and to-day at the Grand Opera, it is Valentine's death that ends the fourth act. It is found to be of advantage to end an act with musical masses instead of with two characters."'^ 34 Based on Goethe's "Naeht," 11., 3620-3775, but with iriore melodramatic effects. 35 Goethe's "Dom" 11, 3776-3834, developed freely. 36 Gounod, Memoirs, Chapt. IV. Also, Singleton, p. 239, note. 74 At the beginning of the fifth act, the original score contains a ballet, depicting Mephistopheles in his own kingdom, into which he has brought Faust. It is Wal- purgis night in the Harz Mountains. A peculiar chorus of Will-o-the-whisps opens the scene, sung "well and wildly, with shrill short phrases, dropped from every quarter of the heaven, as it were by unseen singers," Faust wants to leave but is restrained by Mephistopheles, w'ho suddenly casts a brilliant light over the scene, re- vealing within the mountain a brightly lit dining room in a sumptuous palace, with a crowd of famous courtesans of antiquity. But Faust recalls Margarita, and when the palace and its inmates again disappear at the ap- proach of night, Faust finds himself once more in the craggy Brocken, and a vision of Margarita, sad and pale, appears on a rock. Faust in anger, insists upon seeing her, and drags Mephistopheles through the crowd of op- posing monsters and demons. Then follows a dance and chorus of witches, about a fiery cauldron. This scene is rarely given, except in France,^^ for with the 1869 pre- sentation came a new ballet, written at the suggestion of Faure. The ballet together with the first chorus of Will- o-the-whisps, occupies three scenes. It is in seven move- ments,^^ and the action, in brief, is as follows : the courte- sans, including Phryne, Lais, Aspasia, Cleopatra, and Helen of Troy, invite Faust and Mephistopheles to join in a feast ; surrounding Faust, they try to entice him, but are not successful until Phryne, completely veiled, adds her charms in the attempt. Her veils disappear one by one, and at last she appears in her dazzling beauty. The jealousy of the others is aroused, and the fete degenerates into a carousal. The dancers fall upon their cushions, and 37 Cf. Stage directions to said scene. 38 Cf. Grove, Diet. Mus., vol. IV, also Krebbiel, p. 126, also Singleton. Note to p. 241 39 The seven movements are as follows : (i) Allegretto, a waltz in A major, with an introduction, two themes and a coda. (2) An agagio in Eb major. (3) A dainty allegretto in G minor. (4) A moderato maestoso in Bb major common time, one theme. (5) A tuneful moderato con moto in D major, 6/8 time, with an intro- duction. (6) An allegretto (2/4 rhythm) in G major, in three movements. (7) An allegro vivo in E minor, three movements. 75 at last Faust, subjugated by Phryne, hold his cup to her. The score, as usually published, e. g., the Schrimer edi- tions, begins the fifth act with a melancholy orchestral prelude, during which the curtain rises upon the prison scene. The music of this scene is reminiscent, first bringing in the theme of the moderato movement near the close of No. 12, but this time in 4/4 instead of 3/4 time, and with a plaintive cello obbligato melody, which changes to the violin when Faust speaks. This reminis- cent character in the orchestra introduces the early waltz theme (as in Act II) and, as the case with the andantino movement in G, the theme of her first acquaintance with Faust, and again, there are excerpts from the love-duet in the garden. In the 19th number the composer rises at one flight to the supreme heights of pathos. The repulse which Faust meets when Margarita sees the fiend is a melody in G major, harp accompaniment of rapid arpeg- gios,*" but when Faust persists in trying to have her flee with him, the same melody occurs, now in a higher key, A major. Mephisto joins, bidding them haste away, and the melody is heard again, still another tone higher, B major, but this time with a wilder accompaniment, and closing with a simple ending, after which, in a short reci- tative, Margarita exclaims "But why thy hand covered with blood ! I am not thy prey !" Mephisto's final words, "Accursed thou," are almost cut short by the finale, a chorus within, representing a chorus of angels. This be- gins in unison, with the word "Redeemed," with harp ac- companiment, then bursts forth in full six-part harmony for mixed voices (2 for female, 4 for male, the same ef- fective scheme with which Berlioz sets this scene), with an alternative organ and orchestral accompaniment, all in 4/4 time, C major. A pianissimo cadence of 10 meas- ures in the orchestra closes. the work. We have now seen what the librettists have con- structed, and have examined the composer's method of treatment. Our next problem is a consideration of the finished product ; in other words, what have these collabo- rators accomplished, how does it compare with Goethe's 40 Appendix I, No. 31. 76 poem, and how does it compare with other masterpieces in its field? We have already shown that, by the nature of their source and in consideration of their purpose, our libret- tists have been compelled to rearrange and prune. As a result of this treatment we have a drama whose action falls into four successive phases: (1) Faust's invoca- tion to the purity which he prizes so highly, only to sully it; he invokes it tenderly, with a shade of melancholy. (2) The work of seduction begins with the appearance of Margarita ; it is a love of two human creatures, Mephis- topheles representing original sin ; the hour of her fall is hastened by diabolical intervention. (3) The church scene: madness of love has passed, and the pain of be- trayal has cooled the ardor of passion ; the agony of re- morse and terror is portrayed in the alternating choruses of the faithful, the diabolical chantings of Mephistophe- les with his infernal chorus, and the wail of Margarita. Finally, (4) the prison scene with itsjnystical final trio and the chorus with its assurance of divine forgiveness : sin is wiped out by repentance, that is, the faults of love have been expiated oy love. Gounod's work is therefore a strictly human Faust, as compared with gehu- mann's mystical, Berlioz's fantastic,^^ and Goethe's syn- thetic product, and the librettists "have taken from Goe- the's masterpiece all that which pertained to the action and to the dramatic passion, and left judiciously alone all the psychological, philosophical and metaphysical dis- sertations."*^ The criticism has been advanced*^ that Gounod's work contains too little of development and relief to the fan- tastic side of the subject, and that the philosophical and mystical elements have been dwarfed to the advantage of the elegiac element, thus placing it in opposition to Ber- lioz's and Schuinknn's. But this judgment is a misap- prehension of the character Of the work; Gounod is the 41 Spohr's sensual work does not enter here, having been in- spired by the legendary and not the literary Faust. 42 Arthur Pougin, in Famous Composers, p. 728. 43 Ernest Newmann, Musical Studies, p. 72 ff. 77 tone ppet par excellency of the tender passion; and It must be for the special temperam^pt of each author to guide him to the view that appeals to his heart. But in addition to these qualitative restrictions, there are quantitative considerations that Goethe-inspired lib- rettists and cpmposerp must observe. In the literacy product we have at first a tragedy of thought and of soul, then later, of passion, love, conscience, and remorse. The hero strives, strains, inquires, acts, sins, — suffers. Me- phistopheles is the embodiment of denial, of blindness to goodness, truth, nobleness and beauty. He represents the terribly grotesque, irony, sneering, filth, evil, mock- ery. He speaks with Martha in order to indulge his ir- repressible grin, — ^his hellish, gross, cynical, bitter hu- mor. Gretchen is the naivp, simple German girl of hum- ble birth, a character free of all complicating elements, and innocent. Of all the cosmic qualities of Goethe's poem, allowing a wide range of choice, the Gounod work con- tains a fair amount, b^t^ hPt more tlfi^Ji would repder it admirably cut for the stage. If a few strains of the overture and the Valentine scenes are the only ones that png true from a Goethean standpoint, that is no condem- nat;ion of the work, nor sufficient reason to call it a "laughter-moving monstrosity." In short, the product from the pen of Gounod and his collaborators is a new in- terpretation of Faust, and it is justified; because (1) the fact that Goethe's Faust inspired Gounod's Faust is no demand that the latter be aiJ interpretation of the former; (2) as already stated, it is for the speciaj tem^ perament of each author to guide him to the view that appeals to his heart; and (3) when literature interferes with music, it errs. Bpt there are points o^ contact with the work of Goe- the** as we have hinted at the close of a discission of the actfpn her^tPr*' As alre^fjy stated, the work cep^rs about the Gretchen episode, and really begins ^t the pojnl; where the Ipamed Poptpr disppyers that scieriee cannot 44 We shall speak henceforth of the welded libretto and music. 45 yi4. sijpra, K- (^5. 78 unravel the mysteries of creation. All other previous considerations are situations of the "Vorgeschichte." At this weak point Mephistopheles lays hold of him and car- ries him away. The Wagner of the opera is not the Wag- ner of the literary Faust, and Martha is not a gossiping neighbor, but a character who, with her contralto voice, becomes necessary for the vocal quartet. The character of Margarita oears more similarity to Gretchen than any of the other characters, for Gounod's characterization is that of simplicity, innocence and "absence of all compli- cating elements" ; she is however more modern and town- bred, and, as interpreted by Nilsson, Melba, etc., is a good deal of a grande dame, but this does not do violence to the conception of uretchen. Mephistopheles is too melodramatic to be judged Goethean ; he is too absurd to be a devil, too stagy in idiom and brain. The only touch of sardonic mockery is the serenade, and he is nowhere the spirit of denial. The points of contact in the action may be briefly summed up as follows : (1). No. 1, corresponds to Goethe's Nacht, ga. 1. 730 ff., the ''Ghor der Engel" becoming a chorus of citizens. (2) . No. 2, developed from Goethe's 1. 1320 ff., and the latter part from Goethe's "Studierzimmer" (ga. 2050), and the "Spinning Wheel" vision, from Goethe's 11. 2445 ff . (3). The "Kermesse" corresponds to "Vor dem Thor," but with a dissimilar development and spirit. (4). No. 4, the Valentine scene before the inn is a parallel of "Auerbachs Keller in Leipzig," Brander be- coming Wagner, and Valentine introduced to highten the effect of his sister's later fall. The "Song of the Golden Calf" takes the place of the "Song of the Flea." (5). No. 5 is a continuation of No. 4, original with the librettist. (6). No. 6, from the andantino movement, is Goe- the's "Strasse." (7) . No. 8, corresponds to "Abend," 11. 2678 ff. (8). The aria of No. 9 and the "Thule Song" corre- sponds to lines 2759 ff. (9). No. 10 is constructed out of Goethe's "Garten" 79 and "Gartenhauschen." These are also the inspiration of No. 11, (10). The "Spinning- wheel" ballad corresponds to Goethe's "Gretchen's Zimmer," 11. 3475 ff. (11). Nos. 14, 15, 16, are built upon the "Nacht. Strasse vor Gretchen's Thiire," 11. 3620 ff. (12). No. 17 is an elaborate development of the "Dom" scene. (13) . Act V is a counterpart of Goethe's "Kerker." All other actions and situations are inventions. Comparison with Berlioz's work is rather difficult, be- cause of the dissimilarity in the natures and aspirations of these two artists. Berlioz has treated the energetic and picturesque features of the drama, while Gounod chose rather to "reproduce the love-poetry, the exalted reverie, and that mystic and supernatural perfume which characterizes Goethe's poem."*" As to picturesque sen- timent, Berlioz has surpassed Gounod in the various and typical episodes of his "Damnation de Faust," such as the Students' Latin Song, the Soldiers' Chorus, the Hun- garian March, the "Song of the Flea," the Rat Song, the Thule Song, the "Ballet of Sylphs, the Military Retreat, the Chorus of Sylphs and Gnomes, and the Pandemonium scene (which however does not occur in Gounod's Faust) ; w'hile on the other hand, "whatever is tender and emo- tional, dreamy and poetic, has been admirably treated by Gounod."*^ The character of his work is at once tender and dreamy, mysterious and fascinating, melancholy and passionate. The work is, moreover, an embodiment of Gounod's intellectual tendencies, his youthful sympathies, his leanings toward a religious and monastic life, quali- ties which make his work obvious in all its interpreta- tions, free from all hidden and profound characteristics. A contemporary critic** has said of Gounod's Faust opera as a whole (a criticism of acute and delicate pene- tration) : "it is of an unfailing distinction of style, per- 46 Pougin, p. 728. 47 Pougin, p. 728. 48 Scudo, musical critic of the Revue des Deux Mondes, Nov. and Dec. 1859. 80 feet tact and details, happy coloring, supreme elegance, discreet sobriety in the instrumentation, revealing the hand of a master who has slaked his thirst at pure and sacred springs and borrowed from Mozart his chaste and profound harmonies traversed by subdued sighs." The great popularity of Gounod's "Faust" is due to the obvious qualities of his musical treatment, and the win- some melodiousness of several individual numbers. These numbers are: The Kermesse choruses and the Waltz chorus, the Song of the Golden Calf, Faust's cavatina, the Bijou Song, the Duet, the Spinning-wheel Song, the Thule Song, the Soldiers' Chorus, Valentine's cavatina, Siebel's romanza, the Senerata, and the final trio, to which might be added the duet of Faust and Mephisto "Be Mine the Delight," and the Duel Trio. The first and fourth numbers of the ballet music are also widely known. 81 CHAPTEE V. BOITO'S "MEPHISTOPELE," It is seldom that a man attains distinction both in lit- erature and music, but such distinction has been attained by Arrigo Boito. His literary inclinations, which led to his being the author of the librettos of several well known operas,^ are the cause of his early interest in Goe- the's "Faust" ; and his musicianship made possible a set- ting of this classic, and seemed to herald the advent of an Italian Wagner. For Boito, paraphrasing such sections from Goethe's whole poem as suited his needs, was au- thor of both words and music of the work which we are now about to consider. It was during a visit to his sister in Poland, whither he had gone after his disappointment in literary fields in Paris, that Boito took advantage of undisturbed quiet, and sketched plans for his "Mefistofele." Having blood of the northern barbarians in his veins,^ it is natural that the philosophical elements of Goethe's masterpiece should lay strong hold of his reflective powers, and that his work should emphasize that feature. While at work on these plans (he intended to call his opera "Faust"), the man- agers of the Scala Theater at Milan called upon him, de- sirous of producing the coming work, and urged him to have it completed for the season close at hand. He con- sented to their producing it, and as a result of this deci- sion he was obliged to hasten his work, and finish in a few months what he should have had a year or more to polish ; furthermore, Gounod's Faust appeared about this time,^ and in order to avoid comparative criticism, Boito was 1 Boito is a literary critic, has written several volumes of poems, and the librettos of the following operas: Ero e Leandro (set by Bottesini, the celebrated double-bass player) ; Alessandro Farnese; Le Maschere; Italian adaptations of Rienzi and Tristan and Isolde, and the librettos of Verdi's operas Otello and Falstaff. 2 His father was an Italian, but his mother was a Pole. 3 I. e. at the Teatro alia Scala. 82 obliged to make some changes in the plan of his work, and thought best to give it another name, — Whence its present title "Mefistofele." Mefistofele wtas produced March 5, 1868, and was a complete failure. It was played before a crowded house, by musicians, both instrumentalists and singers, who were in complete sympathy with Boito's ideals,* but this did not prevent the failure to which his work was doomed. The opera required six hours for its completion, and this, together with his having broken radically with ancient Italian melodic forms, the inadequacy of his leading ar- tists and his introduction of symbolism in the fourth act, was the cause of its sad reception by the public.^ The opera in its original form has not been published, but our knowledge of this premiere is comparatively sufficient,"' thanks to certain critics who were present at la Scala,' and who have reported their impressions. Giannandrea Mazzucato* has assigned the following reasons for its failure : "There is no denying that the original Mefisto- fele, though poetically and philosophically admirable, was, taken as an opera, both incongruous and amorphous. It was an interminable work, with very deficient and fee- ble orchestration, no dramatic interest, and composed without the most distant thought of pleasing the taste of opera goers. The conception was sublime and the out- line bold and startling; but it was little more than a sketch, or a cartoon for a fresco, and the real work was absolutely wanting. It would have taken at least a year to get it ready if the author had chosen to follow up the original scheme." But Boito was not discouraged. He had the rare virtue of submitting partially to. the wishes of the public, the patience to wait till his time should arrive, and leis- 4 There were in all 52 partial and general rehearsals. 5 The reception was prolonged and enthusiastic. Boito was recalled six times after the Prologue. But after that things_ went from bad to worse, until at the close, Boito was literally hissed out of the house. ((He directed his work in person). 6 Not however for the serious student of music. 7 E. g. Sr. Muzzucato, quoted above. 8 Grove's Diet. V. I, p. 355- 83 ure to submit his work to a uiorough revision. His time arrived in 1875. His work was presented at Bologna and applauded. In 1881 it reappeared at Milan, and its author was received with enthusiasm. "The author was feted by numerous artists, critics and men of letters as- sembled at Milan on the occasion of the national exposi- tion, and from there his work began to make the tour of the theaters of the two worlds, being everywhere received with equal favor. The chief points of his revision were : reduction to prologue, epilogue and four acts ; change in the hero from a baritone to a tenor, now provided with two tuneful romances ; important change in the Brocken scene; omission of a symphonic intermezzo between the third and fourth acts, depicting the battle between the emperor and the pseudo-emperor; complete revision of the orchestration, and from being one of the weakest, this feature became one of the strongest in the work." At the Bolognese performance, Sr. Campanini sang the role of Faust, Nannetti that of Mephistopheles, and Signora Borghi-Mamo Margarita.^ At the premiere of this work in America" (New York, 1881), the following artists were represented: Mephistopheles, Sig. Novara; Faust, Sig. Campanini ; Margarita and Elena, Mile. Val- leria; Martha and Pantalis, Miss Anna L. Carey; Wag- ner and Nereus, Mr. Francis; Musical Director, Sig. Arditi. Mme. Christine Nilsson is considered the best in- terpreter of the dual role of Margarita and Helena ; and since her retirement from the stage, Boito's opera "has been heard less and less often, and there seems a danger of its dropping out of the current European repertoire altogether."" The work embraces a fantastic paraphrase of Goethe's Prologue in Heaven, a fragment of his Easter scene, a smaller fragment of the scene in Faust's study, a bit of the garden scene, the scene of the witches' gathering on the Brocken, the prison scene, the classical Sabbath in 9 Streatfleld, Masters Italian Music, p. isa. 10 Introduction to RuUman's Libretto '*Mefistofele," New York, i88o. 11 Streatfleld, p. IS3- 84 which Faust "is discovered in an amour with Helen of Troy,"" and the death and salvation of Faust as an old man. It is therefore evident that this work, with its va- riety of scenes, is not, and can not be made into a logical, consistent, concatenated unit, but that it is as frequently termed, a thing "of threads and patches." Criticism of just what it is, however, can only follow when we have fully described the work. The first section, the "Prologue in Heaven," consists of four parts, and opens with a prelude, representing the sounding of the seven trumpets; this motifs' is set by trumpets behind the curtain. The scene is clouds, be- hind which, invisible, the mystic chorus sings. Typical phrases, not in the manner of Wagner, but with Wagner's fundamental purpose, are used, the significance of which is obvious from their employment. For example a theme first occurring in this prelude, sounds loudly when the mystic chorus puts the question "Knowest thou Faust?" and, as it begins the prologue, it also ends the epilogue at the close of the work.^* The mystic chorus then sings its praises to the Creator. This is effected by two choirs, representing the first and second phalanx of angels, sing- ing unaccompanied at first, then with heavier support until the close, where the voices die softly away, one hears the trumpet-motif behind the clouds. This chorus is written with ponderous harmonies, giving the effect of massive grandeur, but is hardly a realization of Goethe's idea. Then follows an instrumental scherzo, introducing Mephistopheles, as well as the musical theme of his song, and forms the opening of the second section of the pro- logue. Mephistopheles suddenly appears, "standing upon the skirt of his cloak on a cloud," and addresses the Lord :" 12 Krehbiel, p. 133. 13 Appendix I, No. 32. 14 Appendix I, No. 33. 15 Boito's word "Lord" is translated into English by Marzials, by Barker, and by Florio by "spirits," to conform with the scene, but Boito does not follow thus. 85 Hail! Sovereign Lord! Forgive me if my bawling, Somewhat behind is falling, Those sublime anthems sung In Heavenly places; Forgive me if my face is Now wanting the radiance That, as with a garland. The cherub legion graces; Forgive me, if in speaking. Some risk I'm taking Of irrev'rent outbreaking! The trio of his song now changes into Bt) from D major, and continuing the spirit of the scherzo stromentale ac- companiment, he continues: The puny king of puny earth's dominions Erreth through wrong opinions. And like a cricket, with a long leap rushing, 'Mid stars his nose in pushing; Then, with superb fatuity tenacious Trills with pride contumacious ! Vain, glorious atom ! Proud 'mid dire confusion Phantom of man's delusion! And with like shams, Puts he forth the mad illusion. He reason names as right! All right! Ah ! In such deep degradation Is fallen the master, lord of the whole creation. No more have I the will, while in that station, Him to tempt to ill. "Knowest thou Faust?" is then heard from the mystic choir within, bass voices in minor sixths (C major, tonic chord), and the shrill notes of the "chorus mysticus" motif are immediately heard. This brings forth more disdainful remarks from Mephistopheles, and finally brings about the wager. The scene of this wager forms a dramatic interlude in the prologue, and is set in recita- 86 tive, broken only by the Mephistopheles motif, i. e., the theme of the scherzo. The heavenly phalanx resumes its songs of praise, and the number closes with Mephisto's monotonous chant, the words of which are quite similar to Goethe's." The third movement is a vocal scherzo, a chorus of cherubs (marked "Chorus of boys, within"), who sing "in fugacious thirds and droning dactyls." Me- phistopheles is disgusted with their humming. " 'Tis the soft droning of winged cherubs ; like bees, I hold them in great detestation !" says he, and disappears. The cherub chorus continues, now in E^ minor (having begun in E^ major), and antiphonally chants its "learning and turn- ing" twitter, which, with its swinging modulations, give the impression of "auf und abschwebend." An effect of distance and mystery is added by the slow and pianissimo ritomella at the close of the number. The fourth and final section of the prologue is a psalmodic finale, in which a chorus of penitents from the earth supplicate the virgin, the cheruDs join their tAvittering, and finally unite with both celestial phlanxes in singing praises to the Cre- ator, closing with the theme with which the prologue opened. Trumpets in the clouds join with the orchestra in sounding the trumpet motif. The substitution of the chorus mysticus for the Crea- tor in this prologue, was a stage shift, to make up for the dramatic impossibility of representing the Lord. But for that matter Boito's whole prologue is scenically im- possible. There is much beautiful music, as well as much that has nothing to do with Faust. To be sure, the change in name and hero to Mephistopheles (in the au- thor's original plans) may lend appearance of more con- t6 Boitd has ffellowed Goethe more literally than Mr. Kreh- biel reports (see page 137 of his Book of Operas). The cause of this is the mistranslation of Boito's Italian verse. I submjt Goefhe and Boito in theif Original, and the reader can draw his own conclusions: Von zeit zu zeit seh' ich den alten gern und hiite mich mit ihm zu brfechen. Es ist gar hiibsch von einem Grossen Herrn so mennschlich iriit dem Teuffel selbst zU sprecheri; Goethe II. 350-53, while Boito's verses here are the following: D| tratto in tfatto m'e piaiievbl cosa vedere il vecchio e dal guastarmi seCo molto tni guardo; e bello udir I'eterno c6l diavolo parlaf si umanamente. 87 nection with his subject in the elaborate musical develp- ment of the prologue, but even then it is doubtful whether the third and fourth parts have anything to do with the dramatic action &f the piece. To get Boito's point of view, however, we have recourse to the notes which he appended to his opera, and here we find these words quoted from Blaze de Bury's essay on Goethe: "Le mo- tif glorieux que les immortelles phalanges chantent dans r introduction de la premiere partie de 'Faust' revient a la fin enveloppe d' harmonie et de vapeurs mystiques. Goethe a fait eette fois, comme les musiciens, comme Mozart, qui ramene a la demiere scene de Don Jtuin la phrase imposante de I'ouverture." But the impression still remains that Boito took a great deal of pains to im- press upon his hearers these "imposing phrases, so that they would not fail to recognize them at the close !" And more than this, in spite of "massive grandeur of the choral writing, the prologue cannot be pronounced an ef- fective realization of Goethe's idea." The dramatic action really begins with the first act. Goethe's order of scenes is here changed, so that the first scene is Easter Sunday at Frankfort-on-the-Main, peo- ple of all conditions are leaving the city in groups, and One hears the noise and murmur of the crowd, as well as bells which are ringing in celebration of the holiday. These bells are set in the opening notes of the orchestra.^^ The orchestral prelude aims to portray the confusing noises and the joy of the crowd; it is written in C major, but with continued changes in rhythm from triple to dou- ble, and sometimes common. Students and burghers, then two huntsmen, pass by, and then a group of singing girls. Criers and a herald now pass along, and announce the approach of the Elector's cavalcade. Martial music is heard in the orchestra, and the bell motif recurs sev- eral times. The crowd stands aside for the Elector, and sings merrily in his honor, finally disbursing, while the holiday bells ring. Faust and Wagner" approach from 17 Appendix I, No.^ 34. 18 The Ricordi edition does not state whose voice chants the recitative at this point (p. 60), but one is informed by consulting the Ditson edition, p. 69. 88 above, and rejoice that spring has come, and "that sweet hope again takes bud in the valleys," but these medita- tions are broken by the approach of the crowd of peas- ants, whose coming is heralded in the orchestra in an allegro focoso movement of noisy and animated charac- ter. Wagner is "sickened at this mass of people," and he withdraws with his maestro to the rear. The chorus of peasants in mixed voices begins its "Juhe, Juheisa, heisa He!" and forming a circle, begins the piquant ohertas, which continues wildly and confusedly for some time, musically forming a rather beautiful and inspired number. As the day darkens the crowd disperses, to the same wild orchestral theme which brought them together, and Faust and Wagner sit down upon a stone to observe the belfries gleaming in the sunset as "the day declineth." Tenors behind the scenes softly sing the departure of the crowd. Suddenly one sees a grey friar standing in the meadow, still as a statue. One hears the scherzo stro- mentale theme^^ in the orchestra, and the friar comes "slowly and spectrally towards Faust." He soon ap- proaches in a circle and Faust becomes terrified — all this in the recitative movement after the "Obertas" chorus, occasional bits of which are heard from the receding so- prano voices. Here there is a change of scene. We are now in Faust's study, night has fallen, and afar, almost inaudibly, one hears the last notes of the tenor voices of the chorus. Deep and prolonged notes in the orchestra remind one that it is night "with its sacred and mystic calm," a sentiment reflected in the ensuing "Romanza" of Faust. Faust has entered, followed by the friar who hides in the alcove. Faust meditates (shown in the melody of the romance) as follows : From the fields, from the grove,^" Where the moonlight is flowing My heart is still glowing With heavenly love. ig I. e. the Mephistopheles motif. 20 One of the arias added when Faust was converted into a tenor. This conversion was a wise one, as an opera without a tenor character is rather dull acoustically. 89 Over vale, over wood, does the calm of the night Shed a mystic and sacred delight, The turbulent thoughts in my breast. Give way to an exquisite rest. My mind is all given To love for my neighbor and yearning for heaven. Ah, from the fields and the grove I return to read some ancient volume. And 'tis the holy Fathers I shall meditate. He opens a volume placed on a high lectern, but his meditation is broken by the friar's shriek as he issues from the alcove. In answer to Faust's doubtful inter- pretation of the friar's shriek the mysterious intruder throws off his disguise, and Mephistopheles appears in the garb of a knight with a black cloak on his arm. The reader will notice that Boito here develops his Mephisto- pheles from a friar, as in the old Faust legends, consider- ing the change from Goethe's poodle rather difficult for stage representation. Mephistopheles then reveals him- self to Faust, the accompanying figures being mostly se- lected from the scherzo motif. He declares that he is but one living part of that great "power that to all eter- nity thinketh evil, worketh good." Faust is bewildered by such language, and Mephistopheles enlarges in a musi- cal number ("Son lo spirito che nega!") which is as striking as it is bombastic, and gives the impression of Mephistopheles being transported bodily from the buffo stage,^^ with its shrieking, laughing and violent whistl- ing: I'm the spirit that denieth All things, always; Stars or flowers — That by sneers and strife supplieth Cause to vex the heavenly powers. I'm for naught, and for creation Ruin universal, death! And my life and my breath 21 Boito uses the following vocal scheme in the first part: Faust, Tenor; Mephistopheles, Bass; Wagner, Tenor; Margarita, Soprano; Martha, Contralto. 90 Is what thfey here call transgression, Sin and Death ! Shouting and laughing out this word I throw: "No!" Wasting, roaribg, hissing on I go — "No!" Wasting, howling, hissing on I go : Whistling ! Part am I of that condition. Of the Whole Obscurity, Child of Darkness and Ambition, Shadows hiding wait for me. If the light usurps, contending, On my rebel scepter's right. Not prolonged will be the fight. Over sun, over earth, Over sun and earth is pending Endless Night ! Shouting and laughing, etc as above At the close of this Mephistopheles whistles violently. Faust finds him a strange offspring of night ! But if Faust desires to be his companion, right gladly will he assent, — either compeer, servant or slave. Faust demands to know to what bargain he must agree, in this rather sud- den and strange proposition. "I bind myself in every way to serve you without ceasing in all your wishes," says Mephisto; "But below (understand me) we shall change our parts." The other life, however, never troubles Faust's thoughts, and in a slow but emphatic cantabile he makes known what desire is really in his heart: "If thou canst grant me but one brief blessed hour wherein to calm my yearning, if thou canst reveal to me my own heart and creation, if I can say once, once to the flying moment: 'Stay; stay for thou art lovely,' then let me perish, and the pit may engulf me! Where is the con- tract?" "That's well; top! 'tis concluded," agrees Me- phistopheles, and they shake hands* Then follows a duet (rather commonplace, by the way, in its melody) in which they decide to go forth in quest of this happiness at once. Mephistopheles stretches forth his cloak, and declares, " 'Tis by the air itself we shall travel." The curtain falls, closing the act, during an orchestral finale, "grandiosamente ailagrando con tutta forza," — an act 91 "in which the composer seems hardly to have risen to the dignity of the situation."^^ The first scene of the second act is a rustic garden, and the characters are Faust (now known as Henry), Me- phistopheles, Martha and Margarita. The scene is in- spired by Goethe's scene in Martha's garden, and becomes a masterpiece of brilliant pathos, portraying Margarita's ineffable simplicity of character with astonishing success. "The contrast between her girlish purity and the volup- tuous sentiment of Gounod's heroine cannot fail to be patent to the most careless listener."^' Faust and Mar- garita pass about arm in arm, and she inquires With grace and almost childlike simplicity how so great and learned a cavalier can love a village maiden with her sim- ple country way, and would bid him cease kissing her poor rustic hand. "Do you believe in Heaven, quite sin- cerely, Henry?" asks she, thinking that she "must first move him to holy matters." "I would not vex the con- science of one I love so dearly ; let this suffice, sweet maid, with my heart and soul I love you," replies Faust, and says, "What man would dare affirm the saying, 'I be- lieve.' " In a typical Italian melody (andante, C major, 4/4 time) with a true lyric ring he sings : Flood thou thy heart with all the bliss That from true and ardent love doth proceed. And call that rapturous ecstacy as Nature ! Life and Heaven ! Love and Mystery ! Both are but empty notions ; Tested by sense and wisdom. They are but words, emotions ! Margarita then speaks of the humble duties of her house- hold, and excitedly confesses that if her mother were to hear his protestatiotis ti love, she would die of chagrin, and she may not receive him because her mother sleeps but lightly. Faust produces a phial which she accepts, 22 Streatfield, History of Opera, p. 282, and Italian Masters of Music, same author, p. 156. 23 Ibid. 92 promising to administer its contents to her mother when she learns it is harmless. Meanwhile Martha has been trying to seduce the devil into an avowal of love. One cannot escape noticing the bantering nature of the music of the gossip duet in contrast with the purely lyric and passionate quality in the Faust-Margarita duet. The scene closes with a quartet, in which the four characters scurry about in a double chase among the flowers and bushes of the garden, the music to which is delightfully playful and tender, culminating in a hysterical burst of laughter, — a bit of composition which is as profoundly true as it is dramatically impossible.^* The second scene, the Witches' Sabbath, is quite a con- trast to the idyllic garden scene, and is quite effective when properly staged. It takes place on the upper sum- mits of the Brocken; there is a red moonrise, the wind whistles through the openings of caverns, and Faust and Mephistopheles are climbing upward among the black rocks, whose outlines show dark against the grey sky. The climb is portrayed mostly in the orchestra, with its chromatic progressions and occasional phrases of the scherzo motif. Mephistopheles bids Faust keep on climb- ing, and his exhortations are echoed by a chorus of basses within. As the ascent grows steeper Faust becomes Wearied, but lambant flames appear in front of him, and he seems to enjoy the weird chase, as shown in the "wild- fire duet," a rapid and queerly constructed duet, sung by Faust and Mephistopheles, as they come out on a solitary eminence overlooking a valley in which shrill voices re- sound. . The infernal chorus draws nearer, and Mephis- topheles becomes wildly excited at the approach of the witches, who are singing and dancing King Beelzebub's dance with the vdzards. Vile orgies are in progress by the bestial crew as they burst frantically upon the scene ; the orchestral movement continues the excitement in a turbinosamente succession of rapid half scale figures. The chorus proclaims Mephistopheles king, and he re- ceives their homage with grim joy, as this "race of cor- 24 Streatfield, p. 156. 93 ruption" kneels in a circle about him. The next move- ment is orchestral, and forms the musical background of the witches' dance. Mephisto seats himself on a rock-shaped throne, and watches them as they dance about a chaldron at the back of the scene. The dance theme now recurs in another key, and at last a witch pre- sents the king with a globe of glass, representing the "world entire." Mephistopheles holds forth the globe of glass and sings a wildly bombastic song, which becomes a vehicle for the composer for further exposi- tion of the character and philosophy of the devil. The words of this "Ecco il Mondo" song are as follows :^^ Lo, the world here Stands, a bright sphere. Rising, setting. Whirling, glancing. Round the sun in circles dancing, Trembling, toiling. Yielding, spoiling. Want and plenty by turns enfold it; This world, behold it! On its surface. By time abraded, Dwelleth a vile race, defiled, degraded. Abject, haughty, cunning, naughty. Carrying war and desolation From the top to the foundation Of creation. For them, Satan hath no being, They scorn with laughter A hell hereafter. And heavenly glory As idle story. Powers eternal! I'll join their laugh infernal. Thinking o'er their deeds diurnal ; Ah! ah! ah! ah! Lo ! The world here ! 25 I have here used the translation in the Ditson edition. See Appendix I, No. 35 for the theme of this number. 94 At this point he throws down the globe and dashes it to pieces, and excites the rabble to dancing and more excited singing. Faust, however, is not interested in the antics of the vile crew, for his eyes are fixed upon a vision of his beloved Margarita, which appears in the distance against the murky sky ; her feet are fettered, her body shrunken like a corpse's, and a crimson line encircling her throat. "Turn your glances," cries Mephistopheles^" "from that Medusa's head." He then stirs the witches to further singing and dancing, and the Saba, saboe" chorus fol- lows, with its dizzy 6/8 revolving rhythms,^^ and flute scale accompaniment, all in celebration of their carous- ings ; this chorus closes in A major, with a presto move- ment, one prolonged chord continuing during the fall of the curtain. Again we are compelled to have recourse to Goethe to understand Boito's scheme. For the third act takes us to the cell in which Margarita is imprisoned, and the sit- uation is here dramatically motivated by the intervening events of Goethe's poem, as shown in his scenes between the Garden and the Prison scenes. We are prepared for the pathos of Margarita's death by the orchestral pre- lude, a movement in B\) major, common time, in which we feel that something ominous and pathetic is about to occur. It is night, and there is a lighted lamp hanging by the wall, not far from a grating in the rear. Marga- rita is on a heap of straw, and the poignant pathos of the poor maniac's broken utterances is well described in the following words of Streatfield : "I must be pardoned for dwelling upon one exquisite point in the 'Nenia' with which the scene opens, because I once saw a criticism in which it was urged that Boito had injured the effect of this beautiful song by introducing a commonplace ca- denza at the close. Margarita sings : La mesta anima mia Come il passero del bosco Vola via. 26 This theme is important. See Appendix I, No. 36. It recurs. 37 These strange words were inspired by Le Loyer's les Spec- tres cf. Boito's Appended Notes. 28 Indicated "Round and infernal fugue," in the score. 95 At the word "vola" her voice wanders up and down the scale of E minor, alighting at the close upon an F sharp pianissimo, while her thoughts wander hack to h^,ppier days. But the terrible present suddenly breaks upon her. A crashing minor chord dispels her tender memo- ries. She gasps out, "Ah, di me pieta," and falls swoon- ing to the ground. Could anything be more subtly con- ceived?"^^ Faust and Mephistopheles appear without the prison, the latter promising to do what he can to save her. He opens the grating, and Faust enters the prison. He urges her to fly, but he finds her mind all awry, and to his dismay learns that she will not go; she recollects scenes of their first meeting, their former love, and thinks that someone had drowned her child. She begs Faust to "lay my mother in the fairest comer in all the church- yard, and removed, not too far, you must dig me mine. My little baby you will place on my breast." Faust ten- derly embraces her, and they sing the languorous "Lon- tano, lontano" duet, a movement which Boito borrowed from his unfinished "Ero e Leandro," — Away, far from strife and commotion. O'er waves of a widespreading ocean, 'Mid perfumes exhaled by the sea, 'Mid palna trees and flowers in profusion, The portal of peace and seclusion. The blue isle seems waiting for me. There, skies in their beauty transcendent, Seem girt with a rainbow resplendent. Reflecting the sun's loving smile. The flight of all hearts that are loving. And hopeful and moving and roving. Is turned toward that life-giving island ! Away to that island far distant ! It is a duet in which the voices move in thirds and sixths (Djj major, 12/8 rhythm), the soprano in mezzo voce and 29 Streatfleld, Masters Italian Music, p. iS7- 96 the tenor in the upper register, ending "VVVP," morendo, — a movement as entrancing as the chorus of sylphs in Berlioz's "La Damnation de Faust." Their reveries are suddenly broken by the raucous warning from Mephisto- pheles that day is approaching. "Ah ! 'Tis Satan roar- ing," cries Margarita, and at the sight of him her mind again wanders : she sees the executioner's axe in her de- lerium, and pitifully prays God to sustain her ! Tremolo figures in the upper registers of the violin over a pedal point in B major accompanies the approach of dawn; Mephistopheles goes to examine the grating, and Marga- rita falls exhausted and fainting in the arms of Faust. As morning brightly breaks upon them, she recollects that this should have been their bridal day ; but "all with life now is ending," and she prays for pardon. As she mentions the word "Lord" the theme of the "praise" chorus of the celestial phalanxes as in the prologue is heard in the orchestra. Mephistopheles cries "E giudi- cata," but the voices of the celestial phlanx proclaim in its massive harmony "She's saved!" Mephistopheles hurries Faust away just as the executioner appears with his escort in the background. The curtain falls as the orchestra ends with the praise motif, and closes the act in descending chromatic figures. The fourth act is taken from Goethe's second part. It is the scene of the Classical Sabbath, and hardly serves a dramatic purpose more than the Scene on the Brocken. It contains many beautiful musical elements, and as an intermezzo its scheme is profoundly poetical. Boito's purpose is made clear in the notes to his opera. He says : "In this all-classical part of the tragedy we have tried the experiment of transporting into the Italian language the Greek system of versification, so as to give an air of greater poetic truth to the scene."'" But his poetical 30 Boito continues thus : "Rhyme, the discovery of the Ro- mantic poets, was unknown to the Greek muse. Helen, still singing in classic verse, seeks the secret of this rhyme, this "ineffable echo," and loves in learning it. Here is a myth both deep and beautiful. Helen and Faust represent Classic^ and Romantic art gloriously wedded, Greek beauty and Germanic beauty gleaming under the same aureole, glorified in one embrace, and generating an ideal poesy, eclectic, new and powerful." 97 emotions are heightened more obviously in the music. The opening instrumental number reveals a sort of pas- toral atmosphere, and foreign in spirit with its rising and descending melody supported by series of consecutive fifths, each figure repeated in a lower register tremolo. The scene is the shore of Peneus in the vale of Tempe, with its clear stream and thickets of laurel and oleander. The moon at the zenith sheds an enchanting light upon the scene. Faust lies asleep on a bed of flowers near a Doric temple, and in the background Helen and Pantalis, surrounded by a group of nymphs, languidly sing in peculiar rhythms of the beauties of the night :" Motionless floating, the moon Floods the dome of night With rays of pallid light. Odors balsamic, the boughs. From the dews distill. And all the warm air fill. Goldfish and sylphides light, Nereids and cygnets white, Swim on the reedy stream. Softly the winds blow, Full is the moon now. Sing on, O siren, sing on now thy serenade. Faust in his sleep sings "Helena, Helena, Helena." The strange duet continues, each part alternately taking up the melody while the other sustains in harmony the word "Sing": Move we now languidly, Nearing the tranquil shore Whose waves moan evermore! Faintly the spirit song woos thee still, Flow'rs fair and fragrant the pathways fill. Sweetly the sirens are singing. Those graces fair, born of the sea. Softly the winds blow, etc. 31 Appendix I, No. 37. 98 As they pass out, Mephistopheles approaches Faust and assures him that good fortune is in store for him, that he is in the land of Greece, and that they would now have to depart, each seeking fortune in a different path. Faust retires, and Mephistopheles knows himself no longer here among these strange shadows, longing for the hags of the north among whom he knows how to make all obey. But, anxious to miss nothing in this strange land of culture, he tarries while a chorus of choretids en- ter and engage in a round choraic dance. Mephistophe- les is annoyed by their gentle grace and the idyllic music, and he retires. At the close of the dance Helena enters, followed by a chorus. A vision of the destruction of Troy appears to her, and she is profoundly disquieted. The chorus of Choretids seek to calm her, but the pangs of her conscience are only allayed at the approach of Faust. Richly clad in the costume of a knight of the fif- teenth century, he kneels before Helen, while Mephisto- pheles, Nereus and Pantalis, and fauns and sirens fol- low at a distance. He declares his love for her in rhymed couplets, and she is "happy to linger over these sweet ac- cents." A quintet (Helen, Pantalis, Faust, Nereus and Mephistopheles) with the accompaniment of the chorus of choretids (four part mixed-voice harmony) then fol- lows, portraying Faust's more exalted love and Helen's happiness, while Mephistopheles tries to silence the chore- tids. At the retirement of the chorus Faust promises to teach Helena the rhyming art, and the duet shows their mutual passion. Down in Arcadia lies a calm placid val- ley. There together they will live, and have for shelter the grottos of the wood nymphs, and for a pillow the meadow flowers. As they disappear through the bowers the curtain slowly falls, and one hears again the strains of the opening theme, as set in the prelude of this act.^^ Faint notes of the choretid chorus are heard within, and this concludes the act. The epilogue is concerned with Faust's death and sal- vation. The published version, as already stated, omits 32 Appendix I, No. 38. 99 the symphonic intermezzo portraying the battle between the Emperor and the pseudo-emperor, and reminds us that the original version was perhaps clearer than the present treatment. But recourse to Boito's notes clari- fies the composer's method of treatment. He says : "Goe- the places around Faust at the commencement of this scene four ghostly figures who utter strange and obscure words. What Goethe has placed on the stage we place in the orchestra, submitting sounds instead of words, in order to render more incorporeal and impalpable the hal- lucinations that trouble Faust on the brink of death." The scene is Faust's laboratory as in the first act, but here and there dilapidated by time. Magic voices are in the air. Faust meditates, huddled in a large chair. Me- phistopheles stands behind him like an incubus. It is night and the lamp burns dimly. The Holy Volume lies open as in the first act. This picture continues through the prelude. Faust suddenly starts as if seized by an ecstatic vision, and rejoices that the power of memory still abides with him ; he has wandered through the world, proved all mortal mysteries, the Ideal and the Real. Now Mephistopheles asks why he does not say to the fiying moment, "Stay for thou art blissful!" But Faust an- swers that he has experienced the love of maidenhood, and of the higher goddess, yet the real was sorrow, and the ideal but a dream. But now his soul has been wan- dering forth in a delightful vision: as king of a placid region unknown to care and striving, he found a faithful people. "Under careful legislation, I saw new towns arising ; a happy prosperous nation with homes and flocks surprising ! Ah ! would that this fair vision could be my last dream !" As the vision grows brighter Faust sings in a figure which recurs each time in a higher'' key, Me- phistopheles mockingly repeating it a fifth lower while attempting to conjure up strength within him for the conflict between Good and 111, a conflict which he realizes is at hand. One hears the celestial trumpet motif and an echo of it in the orchestra. Mephistopheles seeks to di- 33 Appendix I, No. 39. 100 vert Faust's attention by holding forth his cloak for a swift trip through the air, chanting in the theme of the final words of Act I under similar conditions. He calls Faust by name, but is interrupted by the distant music of the celestial choir singing "Hail Sovereign Lord," a theme which Mephistopheles himself heard in the pro- logue scene in heaven. But Mephistopheles is undaunt- ed, and throwing spells around the alcove, he calls forth the sirens to seduce Faust, and reminds him of Helen in the melody of the Faust-Helen duet. The cherubs add their chant to the tones of the celestial phalanx and Faust in ecstacy cries, "O stay thee! thou are hlissfvl!" Me- phisto seeks to turn his glances (in the theme of the Witches' Sabbath), but Faust with a powerful gesture seizes the sacred volume, and falls, uttering a prayer to be saved from the snares that enslave him. He catches a vi- sion of the heavenly singers and prays that the moment may stay! He dies as the music of the chorus grows stronger. Mephistopheles stands near by hoping to seize the soul of Faust in its flight, but a shower of roses from the cherubs falls upon Faust's body, and under the bright- ness and the shower of roses, he gradually sinks into the earth. The music of the chorus breaks forth in full power, and as the final vocal cadence is sustained we hear the slow and ponderous theme of the trumpet motif — the motif of the opening notes of the opera and in the same key. From this description of the work we are able to detect the reasons for its failure. "Boito thinks like a sympho- nist, and his purpose is profoundly poetical, but its ap- preciation asks more than the ordinary opera-goer is willing or able to give." The gaps in the dramatic de- velopment between the acts can only be filled in by a knowledge of Goethe's poem; otherwise the listener will become hopelessly confused in the succession of unmoti- vated scenes. Also, Boito has averred that his scheme is a philosophical one; this being proven in our description of his work, we can readily see that the Martha episode mars the ideal atmosphere, and is perilously near the buffo. The Walpurgis night with all its bombast has too 101 much Mephistopheles and ''not enough of Faust to let us grasp the bearing of the scene upon the evolution of his soul. -^The third act is Boito's best work. But the fourth act gives the impression that by the sudden appearance of Helen and Faust they had rather suddenly fallen in love, and the whole scene adds nothing to character develop- ment. Also in the Epilogue, there is hardly anything to ^how the connection with the earlier Faust, or why he should d ie just then. The ending is a good one operatic- ally butnoTin a spiritual sense, there being no hint of the bearing of his death upon his life. "In place of the great motives and the profoundly moving scenes of the poetic drama — Faust's scenes of human happiness, the poor old couple and their little house on the shore, the conversation with the four grey women, the blinding and death of Faust, the coming of Mephistopheles with the lemures to dig the grave, the pathetic death-scene, the transportation of the purified Faust into that diviner air where he meets the purified Margaret — instead of all this we have Faust back again in the old laboratory of the first act, Mephistopheles holding out banal operatic temp- tations to him, . . and Faust clinging for salvation to the Bible and going straight off to Heaven on his knees in the most approved fashion of the novelette."'* On the other hand We have in this work surpassing beauty in some of the individual scenes. Such are the ponderous chorus of the prologue anthem, the music of the Polish dance (i. e. the obertas), the stra;nge "Son lo spirito che nega" in the first act, the quartet, the Ballad of the World, the whole scene of the deatth of Margaret, but especially the "Lontano, lontano" duet, the Helen- Pantalis serenade, the choraic dance, the quintet, and the Faust-Helena duet. These purely musical scenes are suf- ficient, in my opinion, to warrant a continuation of this opera in modern repetoire. 34 Newman, Musical Studies, p. 79. 102 Appendix 1. No. I. Beoit. of Boschen, p. 122. Et ^ E ^^ *^ Sie or Faust, p. 9. sind fiir ewig nun ver - bun - -•- ^ f- -^ -^ f- den, eti -f- Ir- p /"•T \j "■ -r. w^ .. -ffi4^i =1 ^i_ \y ■ L'-- *1 U : Hin-weg ! mit ek - ler Sat - ti - gung be - lad - en sie, etc. cf. also Kecits. of Fanst, m. 10, p. 17, and of MepMst. m. 1, 2, p. 18. No. 2. Motif of the Witches, p. 108, Act. II, 1. No. 3. Viola motif, Zwinger, Schmnaim, Fanst-Scenen, No. 2. p. 14. No. 4. Op. cit. p. 16. f-p- $ ^ also p. 16, ms. 21, 22. -^^ n ± ^=^ Auf) Hilf, Ret te mich von Schmoch und Tod! No. 5. Boser G-eist Motif. Op. cit. p. 17, i^ fc^ of -^ f j^^y:^T:r 103 8vo. mM^M sf m r=E ■ft- * — -* i^^t -w -t'-Jl »f No. 6. Mephistopheles Motif, Op. cit. p. 66. rX- "m =s * — *- ist- ±: Trumpets. t- =*:2=i= J iL * ^ ^ m. 23. m. 26. No. 7. Faust quasi Motif. Op. cit. p. 70. ms. 78, fE. fe B l^ g=i^ i -4: * I ^-^ =fi^==S: a_ ji (Trumpets mg=^|Pg^^ ^ m Horns etc. No. 8. Pater Ecstaticus. p. 82. ("aut xmd ab schwebend.") $ '^ ^ . ! S =e^ ^' r-^^ ^•^p* Violoncello solo. 104 m^-f-f^^He-^^m^ t^=i^^=H etc. No. 9. Doctor Mariantis Motif, p. 113, ms. 18, 19;— 25, i **'. *^ ci. ir r Oboe (Harp aoo.) No. 10. Bakoczy Maich. Allegro. (1=*,?.) U H« ■^ tST cJ i i2- :&: $ U ^ t-X-^^Xk rfr- -^^H^ e(c. No. II. (NoveUo Ed. p. 29. 1. 4.) Caimon. No. 12. Drinking Song, Anerbachs Kellar. (Men's Voices.) ^ ^^ [ i T^' ' ' "V ^ ^F# 18= ^ Oh, is rare, when win ter f ^ I t=tzi=t J I _„ — ,. -S — -1 — a- g L-4^ ' I Jg= storms are loud ly roar-ing, When storms are roar-ing 105 No. 13. Biander's "Song of the Bat.' Allegro. ^ ^^ ^a m^^ -ft- In a pan try all a - mong the eyJ-Z l J i r l ^'V M I I » but - ter there lived once a jol ly rat. No. 14. Fagne upon the theme of Brander's Song. pj^ L 4 r :?=t: E_ § ^ fel men, g j * t-F^ r ^^ ffr=^ men, A No. 15. Mephistopheles' "Song of the Flea." tfea-if ,'C ^^P' c^g g | ^ '^'1^ Once on a time a King, Sirs, lov'd a flea pass-ing well; No. 16. Margarita's " King of Thnle " Song. 4^ :^ *=# E^ Sr Once in far Thul - e, fam'd of m ->, K ^^ ^ X 1 old, There lived a mon - arch, loy - al heart - ed. 106 No. 17. Mephktopheles' Beschwornngs motif: Fire Motif. tr fv H=ri i ig^ P^^gTnr^::^:^: No. 18. Minuet of the " WiU-o-the-Wisps." m % n *— % ' w p 'rj - flutes and piccolo. S B^ -» — ! V »■ etc. No. 19. Mephistopheles' Serenade. ^^m fe? ■It— f f- -^ J-«L 1=*^ =tit=t (A«.) Why, fair maid, wilt thou -^^2 — r^^'^-tJ- pM 1,, — 1 — — •-^ — ^ 1 1? — -^"ffftH ^ aJ '^ 1 loi ter when day - light is done, in the ^ -^ =^ P H • F 1 F • j- ; ^ i* ^ i ,^ I H - -|2- «(C. shade by the door of thy lev er, 107 No. 19. (a) Departare of Faust and Mephisto. -/P fi ^ =i ==-» — =t— -;^^ — *^--^ ^^ ? ' ^^ T^ . -> ' — i ^ L£«ran^ :^^^T P r^ ef- hear; Meph. ^m^^s Now I bathe in the red =£g= FFfr tit * ^ ^ tr Up tempi er, Tempter up, play your part. 113 APPENDIX II. BIBLIOGRAPHY. Berlioz, Hector; Treatment of Orchestration; London, 1894. Berlioz, Hector ; Autobiography ; 2 vols. ; New York, 1894. Boult, Katherine F. ; Life of Berlioz from his Letters and Memoirs; New York, 1903. De Bovet, Marie Anne; Charles Gounod, His Life and Works; London, 1891. Champlin and Apthorp; Enclycopedia of Music and Mu- sicians, 2 vols. ; New York, 1888. Charles, M. (i. e. Max Chop) ; Zeitgenossische Tondich- ter; 2 vols.; Leipzig, 1888-90. Carlyle, Thomas; Goethe's Helena in Vol. I of Critical and Miscellaneous Essays; London, 1839, '69, '94. Crowest, James Frederick; Great Tone Poets; London, 1891. Dole, Nathan Haskell; Famous Composers; 2 vols.; Lon- don, 1905. Edwards, Henry Sutherland; The Faust Legend, Its Origin and Development from the Living Faustus of the First Century to the Faust of Goethe. Edwards, Henry Sutherland ; The Lyrical Drama ; 2 vols. ; London, 1881. Engel, Carl; Das Volkspiel, Dr. Johann Faust, in Deutsche Puppenkomodien ; Oldenburg, 1874, '86. Engel, Louis; From Mozart to Mario; 2 vols.; London, 1886. Fink, Gottfried Wilhelm; Wesen und Geschichte der Oper; Leipzig, 1838. Forkel, Johann Nicolaus ; Musikalisch-kritische Biblio- thek; 2 vols. ; Gotha, 1778. Friswell, James Haim ; Rare Readings from Rare Books ; Dr. Johann Faustus; London, 1866. FuUer-Maitland, John Alexander; Schumann, in Great Musicians Ser. ; London, 1895. ii4 Gleich, Ferdinand; Charakterbilder aus der neueren Geschichte der Tonkunst ; 2 vols. ; Leipzig, 1863. Goethe, J. W. von ; Faust ; Edited Calvin Thomas ; 2 vols. ; New York, 1892, 1897. Gounod, Charles; Memoirs of an Artist; Account of his Life to the Production of Faust, in 1859; tr. A. F. -Xlr2ck£.r; New York, 1895. Grove, Sir George; Dictionary of Music and Musicians; Ed. by J. A. Fuller-Maitland ; London and New York, 1904. Hadow, William Henry; Studies in Modern Music; 2 vols. ; London, 1901. Hadow, Fuller-Maitland and Wooldridge; The Oxford History of Music ; 5 vols. ; Oxford, 1901. Hervey, Arthur; French Music in the XlXth Century; London, 1903. Hauptmann, Mo'ritz ; Briefe an Ludwig Spohr und and. ; Leipzig, 1876. Jullien, Adolphe; Berlioz's Faust, in Famous Composers' Series ; Boston. Kelterborn Louis ; Op. Cit. Schumann's "Faust." Krehbiel, Henry Edward; Book of Operas; Their Histo- ries, Plots and Music ; New York, 1909. Langhans, Wilhelm; Die Musikgeschichte in zwolf Vort- ragen ; Leipzig, 1879. Liszt, Franz; Briefe. Herausg. La Mara; 8 vols.; Leip- zig, 1905. Lypsius, Marie (nom de plume. La Mara) ; Musikalische Studienkopf e ; 3 vols.; Leipzig, 1874-75. Mason, Daniel Gregory; Romantic Composers; New York, 1906. Morley, James; Medieval Tales. Naumann, Emil ; History of Music ; trans. F. A. G. Ous- ley ; 2 vols. ; London. Neumann, Wilhelm ; Componisten der neueren Zeit. ; Cas- sel, 1854-55. Newman, Ernest; Musical Studies; London and New York, 1910. Oswald, Eugene ; Legend of Fair Helen ; London and New York, 1905. 115 Pougin, Arthur ; Gounod's "Faust" in Fam. Comp. Series. Pougin, Arthur ; Boito's Mefistof ele, Op. Cit. Reissmann, August; Life and Works of Robert Schu- mann; London, 1886. Rinne, Dr. Karl Friedrich; Die Faustsage, nach ihrer Entstehung, Gestaltung, und dichterischen Fortbild- ung, insbesondere durch Goethe; Seitz, 1859. RoUand, Romain ; Musiciens d'Aujourd'hui ; Trans. Mary Blaiklock ; New York, 1914. Singleton, Esther; A Guide to the Opera; New York, 1906. Schumann, Robert; Gesammelte Schriften iiber Musik und Musiker; Leipzig, 1854. (Trans. Fannie Ray- mond Ritter ; New York, 1877) . Scudo ; Musical Critic of the "Revue des Deux Mondes" ; November and December, 1859 ; Paris. Spohr, Louis; Autobiography; London, 1865; Vdl. I, (2 vols.) Streatfield, Richard A. ; Masters of Italian Music : Chapt. II on Boito ; New York, 1895. Towers, John; Dictionary-Catalogue of Operas and Ope- rettas; Morgantown, 1910. Wasielewski, Joseph Wilhelm von; Robert Schumann; Dresden, 1869. Wilson, Henry Schultz; Studies in History, Legend and Literature; Chap. V, Facts and Fancies About Faust; New York, 1884. 116 APPENDIX III. MUSICAL SETTINGS OF THE FAUST THEME. Fausta Bandini, P Italian 1859 Le faux Faust Barbier, F. E French 1829-1889 La Damnation de Faust Berlioz, L. H. ..French 1803-1869 Faustina Bernhardi, E Italian 1838-igoo Faust (Fausto ?) . .Bertin, Louis A. ...French 1805-1877 Faustus Bishop, H. R English .... 1786-1855 Faust Blum, K. L German . . . .1786-1844 Mefistofele Boito, A., Italian 1842 Faust Bungert, A German 1846 Mefistofeles Cereceda, G Spanish 1840 Faust Clarke, J. H. S English .... 1840 Mefistofele Conti, N Italian i8S3 (?) Mefistofele II ? ? ? La Faustina Cordelia, Gere Italian 1770 ? - Faust Dachauer, L German (?) ? Fausta Donizetti, G Italian 1797-1848 A damnacao do Fausto Freitas-Gazul, F. Portugese ..i860? Fausto Gordigiani, L Italian 1806-1860 Der Moderne Faust^ .Genee, F. F. R. .German .-..1823-1895 Faust (Margarethe) Gounod, Chas. F. ..French 1818-1893 Dr. Fausts (Zaabergurtel)i Hanke, K. . German i754-i83S La Petit Faust ...Herve, "Roger," ...French 1825-1892 Dr. Fausts Zauberkappchen . Herbenstreit, P.German .1813? Faust Hennebert, P. D. ..Belgian ? ..1805 ? Faustine^ Hoffmann, E. T. A. German 1776-1822 Faust Kistler, C German 1848-1907 Faust Kugler, V German 1802 ? Faust Lassen, E Dane 1830-1904 Doctor Faust Levenston, P. M. Irish ? 1862 ? Fausts Leben, Thaten u. Hollenfahrt-Lickel, G. C. German 1769-1843 Faust Lindpaintner, P. J. German 1791-1856 Faust Symphony" .Liszt, Franz German 1811-1886 Faust and Margarite Lutz, W. Meyer .German 1829-1903 Faust Meyer, C. H German- 1784-1837 Doktor Faust^ Mtiller, Wenzel German 1767-183S Dr. Faust's Mantel Miiller, Wenzel German 1767-183S 1 Operetta. 2 Operetta. 3 Purely orchestral. 4 Symphonic Cantata. 117 Faust Peelaert, A. P. M. G. Belgian . 1793-1876 Faust Pierson, H. H. English German 1815-1873 Dr. Faust's Zaubergiirtel Phanty ? German ....1766- ? II Fausto arrive . . .Raimondi, P Italian 1786-1853 Faust RietZ; J German 1812-1877 Faust Roda, F German .... 1815-1876 Faust, Tone Poem^ Rubinstein, A Russian 1830-1894 Faust Ruta, M Italian 1827-1896 Faust Seyfried, I. X German 1776-1841 Faust-Scenen" Schumann, Robert .German 1810-1856 Faust Schumann, K German i860 ? Faust Spohr, L. . German .... 1784-1859 Fausts's Leben und Thaten Strauss, Jos. German 1793-1866 Fausto Valente, G Italian 1814 ? Dr. Fausts Vetteri.. Saint-Lublin French 1805-1856 (?) Faust M. Stephan (Beaucourt) French 1800- ? Faust-Sceneno Litolff, Henry German 1818-1891 Goethe's Faust^ .. . .Radziwill, Prinz ...German Faust Overture^ ...Wagner, Richard ..German 1813-1883 Doktor Faust Walter, I Bohemian . .1759-^822 Faust Wenneberg, G Swede 1817 Faustolo Wilderer, J. H German ....1683 (?) Faust Zoellner, H. . . German 1854 Harlequin, Dr. Faustus Gaillard, John Ernest English 1854 Harlequin and Faustus Arnold, Samuel . .English 1740-1802 Twardowsky Verstowsky Polish Faust (with ballet) Adam, Adolph French 1803-1856 Faust et MargueritcCohen, Henri French 5 Operetta. 6 Three scenes from Goethe's Faust. 7 The only musical setting of Goethe's Faust complete. 8 Purely orchestral. 118 APPENDIX IV. EDITIONS OF MUSICAL WORKS USED IN THE PREPARATION OF THIS DISSERTATION. Goethe's Faust, Edited by Calvin Thomas, 2 vols.; New York, 1892, '97. Berlioz's "La Damnation de Faust" : (i). Breitkopf and Hartel, German Edition, No. 1790. (2). Breitkopf and Hartel, English tr. by Holbroke, No. 1968. (3). G. Schirmer, Ed. by Leopold Damrosch, No. 4153. (4). Novello and Co., Eng. version by Paul England, with an Introduction by F. G. Edwards. Boito's Mefistofele : (i). Mephistopheles ; G. Ricordi and Co. English adapt, by Theo. Marzials. Pianoforte arr. by Michele Saladino; (New York, London, etc.) (2). Mefistofele; Oliver Ditson and Co.; Boston, 1880. Tr. and adapt, by Theodore T. Barker. (3). Mephistopheles (Libretto only), Eng. version by Caryl Florio. Copyrt. F. Runciman ; New York, 1880. Gounod's "Faust": (i). G. Schirmer Editions; Italian and Eng., French and Eng., and German and Eng., edited by Henry Krehbiel. Also It. and Eng. edition with Introd. by Theo. Barker, English versions by H. T. Chorley. All contain Ballet Music complete. Spohr's "Faust"; Peters, Leipzig. German and Italian texts. No. 1462. Schumann's "Faust Scenen"; Breitkopf and Hartel; Leipzig, No. 654. .rW #^ P * % • *i ■«^« '?i* * •] »TJf