Chapter VII: The Great Oblation (1)

"Father, into Thy hands I commend my spirit."

_Chorus_: "Into Thy hands, O Lord."

Following immediately after the last number the whole spirit of the music changes with the chorus, "The Veil of the Temple was rent in twain," a presto movement, sung fortissimo, describing the darkness, the quaking of the earth, the rending of the rocks, the opening of the graves, and the arising of the bodies of the saints who slept, with all that vividness in imitation and sublimity of effect which characterize so many of the composer's passages in "The Creation" and "The Seasons." Haydn was by nature a deeply religious man, and that he felt the inspiration of the solemn subject is shown by the manner in which he conceived it, and by the exalted devotion of the music which accompanies the last words of the Man of Sorrows. The lines which Bombet quotes from Dante in this connection are hardly exaggerated:--

"He with such piety his thought reveals,
And with such heavenly sweetness clothes each tone,
That hell itself the melting influence feels."

Ariadne.

The cantata "Ariana a Naxos" was written in 1792, and is for a single voice with orchestra. As an illustration of the original cantata form, it is one of the most striking and perfect. Its story is an episode familiar in mythology. When Minos, King of Crete, had vanquished the Athenians, he imposed upon Ægeus, their king, the severe penalty that seven youths should be annually sent to Crete to be devoured by the Minotaur. In the fourth year the king's son, Theseus, was among the number. He was more fortunate than his predecessors, for he slew the Minotaur and was rescued from the labyrinth by following the thread of Ariadne, daughter of Minos, who had conceived a violent passion for the handsome warrior, conqueror of Centaurs and Amazons. Upon his return to Athens she accompanied him as far as the island Naxos, where the ungrateful wretch perfidiously left her. It is this scene of desertion which Haydn chose for his cantata.

Ariadne is supposed to have just awakened from sleep and reclines upon a mossy bank. The first number is a recitative and largo in which she hopefully calls upon Theseus to return. The melody is noble and spirited in style, and yet tender and fervent in its expression of love for the absent one. In the next number, a recitative and andante ("No one listens! My sad Words Echo but repeats"), hopefulness turns to anxiety. The contrast between the blissful longing of the one and the growing solicitude expressed in the other number is very striking. The next melody, an _allegro vivace_,--

"What see I? O heavens! Unhappy me!
Those are the sails of the Argosy! Greeks are those yonder!
Theseus! 'Tis he stands at the prow,"--

is remarkable for its passionate intensity and dramatic strength. The clouds of despair close over her, and she calls down the vengeance of the gods upon the deserter. In the next two numbers, an adagio ("To whom can I turn me?"), and an andante ("Ah! how for Death I am longing"), the melodies closely follow the sentiment of the text, accompanied by very expressive instrumentation. An _allegro presto_, infused with the very spirit of hopeless gloom and despair, ends the cantata:--

"Woe's me! deceived, betrayed!
Earth holds no consolation."

In the mythological version, however, consolation came; for Bacchus, "ever young," and full of pity for lorn maids, married her, and gave her a crown of seven stars, which after her death was placed among the constellations. The music presents many difficulties for a singer, as it requires the noblest style of declamation, peculiar refinement of sentiment, and rare musical intelligence, as well as facility in execution to give expression to its recitative and strongly contrasting melodies, which have no unity of key, but follow the varying sentiments, with their changes of tone-color, as closely as Theseus followed his thread.

HILLER.

Ferdinand Hiller, one of the most eminent of modern German composers, and a writer of more than ordinary ability, was born at Frankfort-on-the-Main, Oct. 24, 1811. His musical talent displayed itself so early that in his tenth year he appeared in concerts. In 1825 he began his studies with Hummel, and two years afterwards accompanied him on a concert-tour to Vienna, where he published his first work, a piano-forte quartet. He next went to Paris, where he remained until 1835, occupying for a time the position of professor in Choron's "Institution de Musique," but principally devoting himself to piano-playing, composition, and concerts. In 1836 he returned to Frankfort, and for more than a year conducted the concerts of the Coecilienverein. He then went to Milan, where he met Rossini, and with his assistance brought out his opera "Romilda" at La Scala, but without much success. About the same time he began his oratorio "The Destruction of Jerusalem," one of his most important works. In 1841 he made a second journey to Italy and gave particular attention to church music. On his return he first resided at Frankfort, but was soon in Leipsic, where he conducted the Gewandhaus concerts (1843-44), and after that time in Dresden, where he produced two more operas, "Traum in der Christ-nacht" and "Conradin." In 1847 he was appointed municipal capellmeister at Düsseldorf, and three years later took a similar position at Cologne, where he organized the Conservatory. In that city he exercised a widespread influence, not alone by his teaching, but also by his direction of the famous Lower Rhine festivals. He also made many musical tours which increased his fame. In 1852-53 he conducted opera in Paris; in 1870, gave a series of successful concerts in St. Petersburg; and in 1871-72 visited England, where he produced his works both in public concerts and festivals. His compositions are very numerous, including among the most prominent, five operas, four overtures, a festival march for the opening of the Albert Hall, the Spring Symphony, the oratorios "Destruction of Jerusalem" and "Saul," and the cantatas "Heloise," "Night," "Loreley," "O weint um Sie," "Ver sacrum," "Nala and Damajanti," "Song of Victory," "Song of the Spirits over the Water," "Prometheus," and "Rebecca." He has also enriched musical literature with many important works, among them, "Aus dem Tonleben unserer Zeit" (1867), "Personalisches und Musikalisches" (1876), "Recollections of Mendelssohn" (1874), and "Letters to an Unknown" (1877). He died in May, 1885.

Song of Victory.

The "Song of Victory," a cantata for soprano solo, chorus, and orchestra, was first produced at the Cologne Festival of 1871, and was written to celebrate the victorious conclusion of the Franco-German war of 1870. It consists of eight numbers, all of which are sacred in character, though their purpose is to express gratitude and joy over the triumph of the German arms.

The opening number is a vigorous, jubilant chorus ("The Lord great Wonders for us hath wrought"). It begins with a slow movement in massive chords, gathering animation as it proceeds, and closing pianissimo on the words, "There is none that searcheth or understandeth." The second number is a soprano solo and chorus ("Praise, O Jerusalem, praise the Lord") declamatory in style. The third ("The Heathen are fallen in the Pit") is assigned to chorus, and is the most dramatic in the work, describing as it does the terrors of war. In the fourth ("See, it is written in the Book of the Righteous"), a short soprano solo, the melody is a tender lament for the dead. The fifth ("He in Tears that soweth") is a soprano solo with chorus of first and second sopranos and altos. In this number lamentation gives way to hope and gladness, leading up to the last three numbers,--the six-part chorus ("Mighty is our God"), full of effective sustained harmony, and the soprano solos and choruses of praise and hallelujah which resume the triumphant style of the opening chorus with increased power and enthusiasm.

HOFMANN.

Heinrich Karl Johann Hofmann was born Jan. 13, 1842, at Berlin. In his younger days he was a scholar at the Kullak Conservatory, and studied composition with Grell, Dehn, and Wüerst. Prior to 1873 he devoted himself to private instruction, but since that time he has been engaged exclusively in composition. Among his works which first attracted public attention by their intrinsic excellence as well as by the knowledge of orchestration which they displayed, were an "Hungarian Suite" and the "Frithjof Symphony." Among his piano compositions are the following four-handed pieces, which have been remarkably popular: "Italienische Liebesnovelle," "Liebesfrühling," "Trompeter von Säckingen," "Steppenbilder," and "Aus meinem Tagebuch." His choral works are "Nonnengesang," "Die Schöne Melusine," "Aschenbrödel," and "Cinderella." Among his operas are "Cartouche" (1869), "Armin" (1878), and "Annchen von Tharau" (1878). He has also written several works for mixed chorus and männerchor, piano pieces, songs, duets, a violoncello concerto, piano trios and quartets, and a string sextet.

Melusina.

The beautiful story of Melusina has always had an attraction for artists and musicians. Moritz von Schwind, the painter, has illustrated it in a cycle of frescos; Julius Zellner has told it for us in a series of orchestral tone-pictures; and Mendelssohn has chosen it as the subject of one of his most charming overtures. The version which Hofmann uses in his cantata entitled "The Fable of the Fair Melusina" (written in 1875) runs as follows: Melusina, the nymph of a beautiful fountain in the Bressilian forest, and Count Raymond have fallen in love with each other. They declare their passion in the presence of her nymphs, and plight their troth. Melusina engages to be his dutiful wife the first six days of the week, but makes Raymond promise never to inquire or seek to discover what she does on the seventh, which, she assures him, shall "never see her stray from the path of duty." On that day she must assume her original form, half fish and half woman, and bathe with her nymphs. Raymond promises, calls his hunters, introduces his bride to them, and the wedding cortège moves joyfully on to the castle. In the second part Raymond's mother, Clotilda, and her brother, Sintram, intrigue against Melusina. They denounce her as a witch, and the accusation seems to be justified by a drought which has fallen upon the land since the marriage. The suffering people loudly clamor for the surrender of the "foul witch." After long resistance Raymond is induced to break into the bathing-house which he had erected over the fountain. Melusina and her nymphs, surprised by him, call upon the king of the water-spirits to avenge his treason. The king appears and consigns him to death. Seized with pity, Melusina intercedes for him, and the king agrees to spare his life upon condition that they shall separate. Raymond once more embraces her, neither of them knowing that it will be fatal to him, dies in her arms, and the sorrowing Melusina returns to the flood.

The prologue describes Melusina's fountain, and contains a leading motive which characterizes Raymond. The chorus part is very romantic in its style, and is set to a graceful, poetical accompaniment. The opening number introduces Melusina and her nymphs in a chorus extolling their watery abode ("For the Flood is life-giving"). In the second number she describes the passion she feels when thinking of Raymond. The song is interrupted by horn signals indicating the approach of her lover and his hunters, who join in a fresh, vigorous hunting-song and then disperse. In the fourth number Raymond gives expression to his love for Melusina, followed by a fervid duet between them, in which the lovers interchange vows of constancy. The sixth number, describing their engagement in presence of the nymphs, and concluding with a stirring chorus of nymphs and hunters, closes the first part.

The second part begins with a theme from the love-duet, followed by a significant theme in the minor, ominous of approaching danger. In the eighth number the people clamor in furious chorus for the witch. In the ninth, a trio and chorus, Clotilda warns her son of the misery he has brought upon his house and people, and urges him to discover what his wife does on the seventh day. The next number introduces Melusina and her nymphs in the bath, the former singing a plaintive song ("Love is freighted with Sorrow and Care"). A noise is heard at the gate, and the nymphs join in a chorus in canon form ("Hark! hark! Who has come to watch"). As Raymond appears, the scene grows very dramatic. The king of the water-spirits is summoned; but before he rises from the water Melusina, in very melodious recitative, laments her lover's treason. The scene culminates in the sentence, "Let Death be his lot." He is spared by her intercession, but she is commanded to return to the flood. Raymond appeals for forgiveness, and a part of the love-duet is repeated. The final embrace is fatal to him, and he dies in her arms. The chorus repeats the melody of the opening number ("For the Flood is life-giving"), and she bids her dead lover a last farewell, and disappears with the nymphs and water-spirits, singing, "Forget with the Dwellers on Earth all earthly Woe." The epilogue is substantially the same as the prologue.

LESLIE.

Henry David Leslie was born in London, June 18, 1822, and in his sixteenth year began his musical studies with Charles Lucas, a famous violoncellist and for a long time principal of the Royal Academy of Music. Like his master, Leslie played the violoncello several years in the concerts of the Sacred Harmonic Society, subsequently becoming its conductor,--a position which he held until 1861. In 1855 he organized the famous Leslie choir of one hundred voices, which took the first prize at the international competition of 1878 in Paris. In 1863 he was chosen conductor of the Herefordshire Philharmonic Society, and in the following year became principal of the National College of Music. In 1874 he was appointed conductor of the Guild of Amateur Musicians in London. He has been a prolific and very popular composer, among his works being the following: Te Deum and Jubilate in D (1846); symphony in F (1847); anthem, "Let God arise" (1849); overture, "The Templar" (1852); oratorio, "Immanuel" (1853); operetta, "Romance, or Bold Dick Turpin" (1857); oratorio, "Judith," written for the Birmingham Festival (1858); cantata, "Holyrood" (1860); cantata, "The Daughter of the Isles" (1861); and the opera "Ida" (1864). In addition to these he has written a large number of songs, anthems, part songs, madrigals, and piano pieces, besides music for his choir.

Holyrood.

"Holyrood" was written in 1861, and was first produced in February of that year at St. James's Hall, London. Leslie's collaborator was the accomplished scholar Chorley, who has certainly prepared one of the most refined and attractive librettos ever furnished a composer. The story represents an episode during the period of Queen Mary's innocent life, overshadowed in the close by the dismal prophecy of the terrible fate so rapidly approaching her. The characters are Queen Mary (soprano), Mary Beatoun (Beton), her maid of honor (contralto); Rizzio, the ill-fated minstrel (tenor); and John Knox (bass). The scene is laid in a court of the palace of Holyrood, and introduces a coterie of the court ladies and gentlemen engaged in one of those joyous revels of which Mary was so fond. In the midst of the pleasantry, however, the Queen moves pensively about, overcome with sadness, as if her thoughts were far away. Her favorite maid tries in vain to rouse her from her melancholy with a Scotch ballad. The minstrel Rizzio is then urged to try his skill. He takes his lute and sings an Italian canzonet which has the desired effect. The sensuous music of the South diverts her. She expresses her delight, and seizing his lute sings her new joy in a French romance. It is interrupted by a Puritan psalm of warning heard outside. The revellers seek to drown it; but it grows in power, and only ceases when the leader, John Knox, enters with stern and forbidding countenance. The Queen is angry at first, but bids him welcome provided his mission is a kindly one. He answers with a warning. As he has the gift of prophecy, she orders him to read her future. After the bridal, the murder of the bridegroom; after the murder, battle; after the battle, prison; after the prison, the scaffold, is the tragic fate he foresees. The enraged courtiers call for his arrest and punishment, but the light-hearted Queen bids him go free:--

"Let him go, and hear our laughter!
Mirth to-day, whate'er come after."

The cantata opens with a chorus for female voices in three divisions, with a contralto solo, in the Scotch style:--

"The mavis carols in the shaw,
The leaves are green on every tree,
And June, whose car the sunbeams draw,
Is dropping gold on bank and lea;
The hind is merry in the mead,
The child that gathers gowan flower,
The Thane upon his prancing steed,
The high-born lady in her bower,--
Gay, gay, all are gay,
On this happy summer day."

After a short recitative passage in which Mary Beatoun appeals to the revellers to lure the Queen from her loneliness, and their reply ("O Lady, never sit alone"), the maid sings a very characteristic and engaging Scotch ballad:--

"There once was a maiden in Melrose town
(Oh! the bright Tweed is bonny to see!)
Who looked on the best in the country down,
Because she had lovers, one, two, three.
The first was a lord with his chest of gold,
The second a ruddy shepherd so tall,
The third was a spearsman bluff and bold,--
But Pride, it goeth before a fall.

"One hour she smilèd, the next she wept
(Oh! the bright Tweed is bonny to see!)
And with frowns and blushes a chain she kept
Round the necks of her hapless lovers three.
For the lord in her lap poured wide his gold,
And the shepherd ran at her beck and call,
And the spearsman swore she was curst and cold,
But Pride, it goeth before a fall.

"At last it fell out on a bleak March day
(Oh! the bright Tweed is bonny to see!)
There sate at her window the maiden gay
And looked o'er the frost for her lovers three.
But the lord had to France sailed forth with his gold,
And the shepherd had married her playmate small,
And the spearsman in battle lay stark and cold,--
So Pride, it goeth before a fall."

As might have been expected, this mournful ditty fails to rouse the Queen from her melancholy, whereupon Rizzio takes his lute and sings the canzonet "Calla stagion novella," a very slow and graceful movement, closing with a sensuous allegro, written in the genuine Italian style, though rather Verdi-ish for the times of Rizzio. The canzonet has the desired effect, and is followed by a delightful French romance, sung by the Queen, in which a tender minor theme is set off against a fascinating waltz melody, closing with a brilliant finale:--

"In my pleasant land of France
There is gladness everywhere;
In the very streams a dance,
Full of life, yet debonair,
Ah, me! ah, me!
To have left it was a sin,
Even for this kind countrie.
But we will not mourn to-day,
Bid the harp and rebec play,
Merrilie, merrilie,
Sing and smile, and jocund be;
If my father's land is dear,
Mirth and valor still are here;
Maidens faithful, champions gay,
France has melted far away
Beyond the sea."

At the close of the pretty romance, the revel begins with a stately minuet and vocal trio ("Fal, lal, la") for the Queen, Mary Beatoun, and Rizzio. It is interrupted by the unison psalm-tune of the Puritans, a stern, severe old melody set to a "moving bass" accompaniment:--

"O thou who sittest on the throne
And wilt exalt thine horn on high,
While captive men in prison groan,
And women poor of hunger die,
Beware! albeit a Haman proud,
Served by thy slaves on bended knee,
The heaven can speak in thunder loud
And rend to dust both them and thee."

There is a temporary pause in the revels, but at the Queen's command they are resumed with a quick-step introduced by the pipes and full of the genuine Scotch spirit and bustle, the "Fal lal" trio and chorus still accompanying it. It is interrupted afresh by a repetition of the psalm ("A Hand of Fire was on the Wall"), after which John Knox enters. With his entrance the gay music closes and the work assumes a gloomy tragic cast as the dialogue proceeds and the terrible incidents of the prophecy are unfolded. It is a relief when they join in a hopeful duet ("E'en if Earth should wholly fail me") which is very quiet and melodious. It leads to the Queen's farewell, a quaintly-written bit, with an old-fashioned cadenza, followed by the final chorus, which takes up a theme in the same joyous spirit as the opening one:--

"Hence with evil omen,
Doleful bird of night,
Who in tears of women
Takest chief delight!
Think not to alarm her,
As with mystic power;
Nought shall ever harm her,
Scotland's lily flower."

LISZT.

Franz Liszt, the most eminent pianist of his time, who also obtained world-wide celebrity as a composer and orchestral conductor, was born at Raiding, Hungary, Oct. 22, 1811. His father was an accomplished amateur, and played the piano and violoncello with more than ordinary skill. He was so impressed with the promise of his son that he not only gave him lessons in music, but also devoted himself to his artistic progress with the utmost assiduity. In his ninth year Liszt played for the first time in public at Oedenburg. His performances aroused such enthusiasm that several Hungarian noblemen encouraged him to continue his studies, and guaranteed him sufficient to defray the expenses of six years' tuition. He went to Vienna at once and studied the piano with Czerny, besides taking lessons in composition of Salieri and Randhartinger. It was while in that city that his first composition, a variation on a waltz of Diabelli, appeared. In 1823 he went to Paris, hoping to secure permission to enter the Conservatory; but Cherubini refused it on account of his foreign origin, though Cherubini himself was a foreigner. Nothing daunted, young Liszt continued his studies with Reicha and Paer, and two years afterwards brought out a two-act opera entitled "Don Sancho," which met with a very cordial reception. The slight he received from Cherubini aroused popular sympathy for him. His wonderful playing attracted universal attention and gained him admission into the most brilliant Parisian salons. He was a favorite with every one, especially with the ladies. For two or three years he made artistic tours through France, Switzerland, and England, accompanied by his father, and everywhere met with the most brilliant success. In 1827 the father died, leaving him alone in the world; but good fortune was on his side. During his stay in Paris he had made the friendship of Victor Hugo, George Sand, Lamartine, and other great lights in literature and music, and their influence prepared the way for his permanent success. From 1839 to 1847 he travelled from one city to another, arousing the most extraordinary enthusiasm; his progress was one continued ovation. In 1849 he went to Weimar and accepted the post of conductor at the Court Theatre. He made that city the musical centre of Europe. It was there that his greatest compositions were written, that the school of the music of the future was founded, and that Wagner's operas first gained an unprejudiced hearing; and it is from Weimar that his distinguished pupils, like Von Bülow, Tausig, Bendel, Bronsart, Klindworth, Winterberger, Reubke, and many others date their success. In 1859 he resigned his position and after that time resided at Rome, Pesth, and Weimar, working for the best interest of his beloved art, and encouraging young musicians to reach the highest standards. Few men of this century have had such a powerful influence upon music, or have done so much to elevate and purify it. His most important works were the "Divina Commedia" and "Faust" symphonies, the twelve symphonic poems, the six Hungarian rhapsodies, the "Graner Mass," the "Hungarian Coronation Mass," and the oratorios "Christus" and "The Legend of the Holy Elizabeth." Besides these he wrote a large number of orchestral pieces, songs, and cantatas, and a rich and varied collection of piano-forte solos, transcriptions, and arrangements. He died July 31, 1886.

Prometheus.

Liszt's cantata "Prometheus," composed in 1850, is based upon the poem of the same name, written by Johann Gottfried von Herder, the court preacher of Weimar. The poem closely follows the well-known legend of Prometheus' punishment for stealing fire from heaven, and his ultimate rescue by Hercules from the vulture which preyed upon his vitals. The poet pictures the victim in the midst of his sufferings, consoled by the knowledge that he has been a benefactor to the human race. The spirits of the ocean mock and menace him, but the harvesters and tillers of the soil praise him for the bounteous gifts he has given to the earth. Ceres and Bacchus, protectors of the soil and its products, also pay their tribute of sympathy to him and thank him for the blessing of fire. Hercules at last releases him from his torture by killing the vulture and breaking the chains which bind him to his rock. The sufferer is brought before Themis, who announces that the divine wrath has been appeased by his long punishment, and that the gods forgive him.

In building up his cantata Liszt has introduced several prologues from the poem without music, which serve as narrators explaining the situations, linking and leading up to the musical numbers, which are mainly choral. Thus the opening prologue pictures the sufferings of Prometheus, the crime for which he is forced to endure such a terrible penalty, and the patience, hope, and heroism of the victim. The closing lines,--

"Now through the hush of night burst well-known voices
Upon his ear. From out the slumbering ocean,
Fanning his cheek with breath of the sea waves,
The daughters of Oceanus approach,"--

introduce the opening chorus of sea-nymphs ("Prometheus, Woe to thee"), for female voices, arranged in double parts, and set to a restless, agitated accompaniment, expressive of fear and despair. The second prologue, reciting the wrath of Oceanus "on his swift-winged ocean steed," that mortals should have dared to vex his peaceful waters, and the reply of Prometheus that "on the broad earth each place is free to all," introduces the choruses of Tritons and Oceanides. The first is a mixed chorus full of brightness and spirit ("Freedom! afar from Land upon the open Sea"). Their exultant song is followed by a fascinating melody ("Hail! O Prometheus, hail!") for female chorus, with short but expressive solos for soprano and alto ("When to our Waters the golden Time shall come"), the number closing with double chorus in full rich harmony ("Holy and grand and free is the Gift of Heaven"). Thereupon follows the third prologue:--

"Scarcely has ceased the Ocean's song of joy,
Which, breathing peace unto Prometheus' soul,
Wakens within his breast long-buried hope,
When once again the sound of lamentation
Bursts on his ear and fills the air with sighs.
Seated within a lion-drawn chariot comes
The founder of his race--Gæa herself--
With her a train of wood-nymphs, loudly weeping."

It introduces a chorus of Dryads ("Woe to thee, Prometheus") of the same general character as the opening chorus of sea-nymphs, and containing a very dramatic and declamatory alto solo ("Deserted stand God's sacred Altars in the old Forest"). A dialogue follows between Gæa and Prometheus, in which the latter bravely defends his course. As the Dryads disappear, Prometheus soliloquizes:--

"'This is, in truth, the noblest deed
Mortal has ever dared. Beat high, my heart!
On this foundation built I up my race,--
On deathless friendship and fraternity.
Courage, Alcides! Bravely fight thy fight.
Conquer, and thou shalt free me.' From his dreams,
Roused is the Titan by a song of joy.
Before him, crowned with the rich harvest, stands
Ceres with her train of reapers."

A mixed chorus of gleaners follows ("With the Lark sweetly singing"), which can hardly be excelled for grace and loveliness of melody. In the next prologue Ceres consoles Prometheus, and while she is speaking a shout of gladness rises and Bacchus appears. He smites the rock, and at his touch a bower of grape-vines and ivy boughs interlaces over the head of the Titan and shadows him. This serves to introduce the chorus of Vine-dressers ("Hail to the Pleasure-giver"), a lively strain for male voices with an effective solo quartet. As Prometheus resumes his soliloquy, Hermes approaches, leading Pandora, and seeks to allure him from his purpose by her enchantments, but in vain:--

"The Titan conquers, and he feels the hour--
The fated hour--draw near. Above his head
The vulture hovers, fearing to approach;
While the earth trembles, and the rocks are shaken.
Voices are heard from out the gloomy depths."

The voices are those of the spirits in the lower regions singing a very melodramatic chorus ("Woe! woe! the sacred Sleep of the Dead has been disturbed"). An _allegro moderato_ for orchestra follows, preluding the approach of Hercules, who bends his giant bow and kills the vulture, strikes the fetters off and bids him "Go hence unto thy Mother's Throne." The scene introduces the seventh number ("All human Foresight wanders in deepest Night"), an expressive and stately male chorus with solo quartet. The last prologue describes the scene at the throne of Themis, the pardon of Prometheus, and her assurance that "Henceforth Olympus smiles upon the Earth." Pallas presents him with a veiled figure as the reward of his heroism, "who will bring to thy race the richest blessing,--Truth." The goddess unveils her and declares her name "Agathea. She brings to man the purest, holiest gift,--Charity." The closing chorus of the Muses follows:--

"Of all bright thoughts that bloom on earth,
That raise poor mortals high as heaven,
The holiest, the blessedest is Charity.
Hail, Prometheus! Hail to mankind!"

The Bells of Strasburg.

"Die Glocken des Strassburger Münsters" ("The Bells of Strasburg Cathedral") was written in 1874, and is dedicated to the poet Longfellow, from whose "Golden Legend" the composer took his theme for musical treatment. The cantata, however, does not deal with the beautiful legend itself as related by the old minnesinger, Hartmann von Aue, which Longfellow has told so powerfully in his "Christus," but simply with the prologue, describing the futile attempt of Lucifer and the Powers of the Air to tear down the cross of the Strasburg Cathedral during the night storm. It was a subject peculiarly attractive to Liszt, as it offered him free scope for his fancies and unlimited opportunity for the display of his unique and sometimes eccentric orchestration. The work is written for barytone solo and mixed chorus, and is divided into two parts,--a short prelude which is entitled "Excelsior" (_andante maestoso_), and in which this word is several times repeated by the chorus with gradually increasing power from piano to fortissimo; and "The Bells," which comprises the principal part of the work.

The second part opens with a massive introduction (_allegro agitato assai_), in which the bells, horns, and trumpets play an important part, leading up to the furious invocation of Lucifer:--

"Hasten! Hasten!
O ye spirits!
From its station drag the ponderous
Cross of iron that to mock us
Is uplifted high in air!"

Without a break comes the response of the spirits, first and second sopranos, altos, and tenors ("Oh! we cannot, for around it"), followed by the Latin chant of the bells sung by tenors and basses, with a soft tremolo accompaniment:--

"Laudo Deum verum!
Plebem voco!
Congrego clerum!"

Again with increasing power Lucifer shouts his command:--

"Lower! Lower!
Hover downward!
Seize the loud, vociferous bells, and
Clashing, clanging to the pavement,
Hurl them from their windy tower!"

As before, the chorus responds in a sweet harmonious strain ("All thy Thunders here are harmless"), again followed by the slow and sonorous chant of the bells:--

"Defunctos ploro!
Pestem fugo!
Festa decoro!"

Lucifer reiterates his command with constantly increasing energy:--

"Shake the casements
Break the painted
Panes that flame with gold and crimson;
Scatter them like leaves of autumn,
Swept away before the blast."

In its response this time the chorus is full of energy and impetuosity as it shouts with great power, "O, we cannot! the Archangel Michael flames from every window." The chant of the bells is now taken by the basses alone:--

"Funera plango!
Fulgura frango!
Sabbato pango!"

Lucifer makes his last appeal with all the strength that voice and orchestra can reach:--

"Aim your lightnings
At the oaken
Massive, iron-studded portals!
Sack the house of God, and scatter
Wide the ashes of the dead."

In the choral response ("The Apostles and the Martyrs wrapped in Mantles") the sopranos and altos are in unison, making with the first and second tenors a splendid effect. For the last time the first and second basses sing the chant of the bells:--

"Excito lentos!
Dissipo ventos!
Paco cruentos!"

With no abatement of vigor the baffled Lucifer sounds his signal for retreat, and the voices reply, sopranos and altos in unison:--

"Onward! onward!
With the night-wind,
Over field and farm and forest,
Lonely homestead, darksome hamlet,
Blighting all we breathe upon."

As the voices die away, choir, organ, and orchestra join with majestic effect in the intonation of the Gregorian chant:--

"Nocte surgentes
Vigilemus omnes!
Laudemus Deum verum."

The cantata shows Liszt's talent rather than his genius. It is a wonderful mosaic-work of fancies, rather than an original, studied composition with definite purpose. Its motives, while not inspired, are finely conceived, and are presented not only gracefully, but in keeping with the spirituality of the subject.

MACFARREN.

George Alexander Macfarren, one of the most prominent of modern English composers, was born in London, March 2, 1813. He began the study of music under the tuition of Charles Lucas in 1827. Two years later he entered the Royal Academy of Music, and in 1834 became one of its professors. The latter year dates the beginning of his career as a composer, his first work having been a symphony in F minor. During the next thirty years his important works were as follows: overture, "Chevy Chace" (1836); "Devil's Opera," produced at the Lyceum (1838); "Emblematical Tribute on the Queen's Marriage" and an arrangement of Purcell's "Dido and Æneas" (1840); editions of "Belshazzar," "Judas Maccabæus," and "Jephthah," for the Handel Society (1843); the opera "Don Quixote" (1846); the opera "Charles II." (1849); serenata, "The Sleeper Awakened," and the cantata "Lenora" (1851); the cantata "May Day," for the Bradford Festival (1856); the cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque "Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the last year his sight, which had been impaired for many years, failed. His blindness, however, did not diminish his activity. He still served as professor in the Royal Academy, and dictated compositions,--indeed some of his best works were composed during this time of affliction. In 1873 appeared his oratorio "St. John the Baptist," which met with an enthusiastic reception at the Bristol Festival of that year. In 1875 he was elected professor of music at Cambridge, to fill the vacancy occasioned by the death of Sterndale Bennett, and in the same year was also appointed principal of the Royal Academy of Music. In 1876 his oratorio "The Resurrection" was performed at the Birmingham Festival, and in 1877 the oratorio "Joseph" at Leeds, besides the cantata "The Lady of the Lake" at Glasgow. Grove catalogues his other compositions as follows: a cathedral service, anthems, chants, psalm-tunes, and introits for the Holy Days and Seasons of the English Church (1866); "Songs in a Cornfield" (1868); "Shakspeare Songs for Four Voices" (1860-64); songs from Lane's "Arabian Nights," and Kingsley's and Tennyson's poems: overtures to "The Merchant of Venice," "Romeo and Juliet," "Hamlet," and "Don Carlos;" symphonies, string quartets, and a quintet; a concerto for violin and orchestra; and sonatas for piano-forte alone, and in combination with other instruments. As lecturer, writer, and critic, Sir George Macfarren also holds a high place, among his important works being "Rudiments of Harmony" (1860); six Lectures on Harmony (1867); analyses of oratorios for the Sacred Harmonic Society (1853-57), and of orchestral works for the Philharmonic Society (1869-71); and a "Musical History," being a reprint of an article on this subject contributed by him to the Encyclopædia Britannica.

Christmas.

"Christmas," the poem by John Oxenford, was written in 1859, and was first performed at one of the concerts of the Musical Society of London, on the 9th of May 1860. The poem itself contains no story. It is merely a tribute to the season; but at the same time it is not destitute of incident, so that it possesses considerable dramatic interest.

After a short instrumental introduction the cantata opens with a double chorus in antiphonal style, in which both the bright and the dark sides of winter are celebrated. The second choir takes up the theme:--

"The trees lift up their branches bare
Against the sky:
Through the keen and nipping air
For spring's return they seem to cry,
As the winds with solemn tone
About them sadly moan;"

and the first choir replies:--

"Old Winter's hand is always free,
He scatters diamonds round;
They dart their light from every tree,
They glisten on the ground.
Then who shall call the branches bare,
When gems like those are sparkling there?"

The two then join and bring their friendly contest to a close:--

2nd Choir.--"Come in, and closely shut the door
Against the wintry weather;
Of frost and snow we'll think no more,
While round the fire we sit together."

1st Choir.--"Rush out from every cottage door,
'Tis brave and bracing weather;
A madder throng ne'er met before,
Than those which now have come together."

This double number, which is very effective, is followed by a soprano recitative and romance ("Welcome, blest Season"), tender and yet joyous in character, which celebrates the delight of friendly reunions at Christmas tide, and the pleasure with which those long absent seek "the old familiar door." In the next number, an old English carol ("A Blessing on this noble House and all who in it dwell"), Christmas is fairly introduced. It is sung first in unison by full chorus, then changes to harmony, in which one choir retains the melody, and closes with a new subject for orchestral treatment, the united choirs singing the carol. Christmas would not be complete without its story; and this we have in the next number for contralto solo and chorus, entitled "A Christmas Tale." It is preceded by recitative, written in the old English style, and each verse closes with a refrain, first sung as a solo, and then repeated in full harmony by the chorus:--

"A bleak and kindless morning had broke on Althenay,
Where shunning Danish foemen the good King Alfred lay;
'In search of food our hunters departed long ago,
I fear that they have perished, embedded in the snow.'
While thus he sadly muses, an aged man he sees,
With white hair on his forehead like frost upon the trees.
An image of the winter the haggard pilgrim stands,
And breathing forth his sorrows, lifts up his withered hands:
'The Heavenly King, who reigns on high,
Bless him who hears the poor man's cry.'

"'Our hearts are moved with pity, thy sufferings we deplore,'
Said Alfred's queen, the gentle, 'but scanty is our store;
One loaf alone is left us.' 'Then give it,' said the King,
'For He who feeds the ravens, yes, He will fresh abundance bring.'
The wind was roaring loudly, the snow was falling fast,
As from the lofty turret the last, last loaf he cast.
An image of the winter, the haggard pilgrim stands,
And Alfred's welcome pittance he catches with his hands.
'The Heavenly King, who reigns on high,
Bless him who hears the poor man's cry.'

"The snow is thickly falling, the winter wind is loud,
But yonder in the distance appears a joyous crowd.
The hunters bring their booty, the peasants bring their corn,
And cheering songs of triumph along the blast are borne.
Before another morning down-stricken is the foe,
And blood of Danish warriors is red upon the snow.
Amid the conquering Saxons the aged pilgrim stands,
And like a holy prophet exclaims with lifted hands,
'The Heavenly King, who reigns on high,
Bless him who hears the poor man's cry.'"

A graceful little duet for female voices ("Little Children, all rejoice"), picturing the delights of childhood and its exemption from care, follows the Saxon story and leads up to the finale, which is choral throughout, and gives all the pleasant details of Christmas cheer,--the feast in the vaulted hall, the baron of beef, the boar with the lemon in his jaw, the pudding, "gem of all the feast," the generous wassail, and the mistletoe bough with its warning to maids. In delightfully picturesque old English music the joyous scene comes to an end:--

"Varied sports the evening close,
Dancers form in busy rows:
Hoodwink'd lovers roam about,
Hope to find the right one out,
And when they fail how merry is the shout!
Round yon flickering flame of blue
Urchins sit, an anxious crew;
Dainties rich the bold invite,
While from the fire the timid shrink with fright.
Welcome all, welcome all.
'Tis merry now in the vaulted hall,
The mistletoe is overhead,
The holly flaunts its berries red,
The wassail-bowl goes gayly round;
Our mirth awakes the echoes sound,
All eyes are bright, all hearts are gay;
Thus ends our Christmas day."

MACKENZIE.

Alexander C. Mackenzie, one of the very few successful Scotch composers, was born at Edinburgh, in 1847. His father was a musician, and recognizing his son's talent, sent him to Germany at the age of ten. He began his studies with Ulrich Eduard Stein at Schwartzburg-Sondershausen, and four years later entered the ducal orchestra as violinist. He remained there until 1862, when he went to England to study the violin with M. Sainton. In the same year he was elected king's scholar of the Royal Academy of Music. Three years later he returned to Edinburgh and established himself as a piano-teacher. The main work of his life, however, has been composition, and to this he has devoted himself with assiduity and remarkable success. Grove catalogues among his works: "Cervantes," an overture for orchestra; a scherzo, for ditto; overture to a comedy; a string quintet, and many other pieces in MS.; piano-forte quartet in B., op. 11; Trois Morceaux pour Piano, op. 15; two songs, op. 12; besides songs, part-songs, anthems, and pieces for the piano. This catalogue can now be increased by four of the most important works he has produced: a Scotch Rhapsody, introduced into this country by the Theodore Thomas orchestra; the oratorio "Rose of Sharon" (1884); an opera, "The Troubadour" (1885), and the cantata, "The Story of Sayid" (1886), which forms the subject of the subjoined sketch.

The Story of Sayid.

"The Story of Sayid," a dramatic cantata in two parts, the libretto by Joseph Bennett, was first produced at the Leeds Triennial Festival, Oct. 13, 1886. Its story is founded upon that of a poem in Edwin Arnold's "Pearls of the Faith," and embodies a myth which is current among nearly all Oriental nations. The characters are Ilmas, daughter of Sâwa (soprano); Sayid, an Arab chief (tenor); Sâwa, a Hindoo prince (barytone); a watchman (tenor or barytone); and a horseman (barytone). The opening scene pictures the desolation of the land of Sâwa, caused by the invasion of an Arab band, led by their chieftain, Sayid. In the midst of the popular lamentations a messenger announces the defeat of the Arabs and the capture of their leader, who is brought to the city and sentenced to death on the spot. As Sayid prepares to meet his fate, he is recognized by Sâwa as his rescuer at a time when he was hunting in the hills and perishing with thirst. He offers him any boon he may ask except that of life. Sayid entreats that he may be allowed to visit his aged father, promising to return afterwards and suffer his fate. When Sâwa asks who will be hostage for him, his own daughter, Ilmas, offers herself. Moved to pity for the Arab, she persists in her offer, and her father at last reluctantly consents. The second scene opens in Ilmas's palace, and we discover that pity has grown into passion for Sayid during his absence. She is interrupted in her meditations by Sâwa, who enters with his counsellors, and announces that lightnings have flashed from the altars of Siva, and that the gods have demanded that the hostage must suffer in the absence of Sayid. Ilmas bids her attendants array her in bridal robes, and in the next scene appears in an open space near the city gate, surrounded by the court retinue and soldiers, and accompanied by her maidens, strewing flowers in her path. Ilmas is led to the centre of the space and kneels down, the executioner standing over her and awaiting the signal to be given by the watchman when the sun sets. Before that time comes the latter excitedly announces the rapid approach of an Arab horseman. While the crowd stand eagerly waiting his arrival, Sayid gallops through the gateway and presents himself to the Prince. He then turns to Ilmas, who warmly receives him, and affirms that whatever fate may overtake him she shall always cherish his memory. Sâwa relents, bids the Arab live and be his friend, and we infer the happiness of the lovers from the invocation of "Love the Conqueror," which brings the Damon and Pythias story, to a close.

A very brief orchestral prelude introduces the opening chorus with solos:--

"Alas! our land is desolate,
The children cry for bread;
Around, fierce fire and sword devour,
Our women wail their dead.

"We pray for vengeance on the foe,
To death consign them all;
Siva, arise and fight for us,
Or see thine altars fall."

As the expressive chorus comes to a close, an allegro movement leads to a dialogue between the people and the watchman, and subsequently with the horseman, who announces the approach of the victorious army, followed by a second chorus of the people invoking Siva ("Vishnu, Vishnu, thou hast heard our Cry!"). The scene is very dramatic throughout, and is accompanied by vigorous and suggestive music. The next number is a triumphal march, remarkable for its local color, and gradually increasing in power and effect as the army approaches the city. It is followed by an excited dialogue between Sâwa and Sayid, with choral responses, and leads up to a beautiful melody for Sayid:--

"Where sets the sun adown the crimson west
My native valley lies;
There by a gentle stream that murmurs rest
My father's tents arise.

"Fearing no harm, the happy peasant tills,
The woolly flocks increase;
The shepherd's pipe is heard upon the hills,
And all around is peace."

Another dramatic scene follows, in which Sâwa consents to Sayid's return to his father, and accepts Ilmas as his bondswoman, which leads to a very spirited and elaborate melody for the latter ("First of his Prophet's Warriors he"). The first part closes with the departure of Sayid and a repetition of the choral invocation of Siva.

The second part opens in an apartment of Sâwa's palace, and discloses Ilmas sitting with her maidens, as a thunderstorm dies away in the distance. The latter join in a graceful chorus, which is one of the most beautiful numbers in the cantata:--

"Sweet the balmy days of spring,
And blushing roses that they bring;
But sweeter far is love."

Ilmas answers them in a broad and exultant strain ("Ay, sweet indeed is Love"). As the song ends, Sâwa and attendants enter, and the scene closes with a very dramatic chorus and solos, accompanying the preparations for death. The second scene opens with a solemn march for orchestra, preparing the way for the climax, and leading up to a chorus and solo for Ilmas ("What have these Sounds to do with bridal Robes?"). As she kneels, awaiting her fate, an orchestral interlude, set to the rhythm of the gallop, indicates the rapid approach of Sayid. A short and agitated dialogue follows between the watchman and the people. Sayid declares his presence, and a graceful duet with Ilmas ensues ("Noble Maiden, low before thee Sayid bows"), leading to a powerful choral finale ("Never before was known a Deed like this"), closing with a stirring outburst for all the voices:--

"O Love, thy car triumphal
Rolls round the subject world
More glorious than the chariot
Of the sun.

"We hail thee, Love victorious!
Ride on with strength divine,
And quench all mortal passion
In thine own."

Jubilee Ode.[29]

This work, upon which Dr. Mackenzie has been engaged for some time past, is now complete, and on its way to several distant parts of the Empire, where arrangements are making to perform it in celebration of the Jubilee. Primarily, as our readers know, the Ode was intended for the Crystal Palace only, but it will be given also in Canada, Australia, Trinidad, Cape Colony, etc.; thus standing out from all its fellows as in some sort an Imperial work.

Without anticipating the criticism which will follow upon performance, we may here give some idea of the scope and character of the Ode. Mr. Joseph Bennett, the writer of the words, has kept strictly in view the exigencies of a musical setting. He has obviously prepared, not a short poem for readers, but one for musical hearers. Hence a variety of rhythm and structure which otherwise would certainly not have been ventured upon. From the same cause arises also the manner in which the subject is laid out, with a view to contrast of musical effect. We may indicate the nature of this arrangement. In the first vocal number, a chorus, the news of the Jubilee is proclaimed, and its diffusion throughout the Empire called for. The second number, a tenor solo, conveys to the Queen the affectionate greetings of her home-lands, declaring that, to keep the feast with unanimity, all weapons of party warfare are laid aside. In the third number the Colonies and Dependencies pay their homage, the idea worked out being that of a procession passing before the throne. First comes the Dominion, followed by Australia, the smaller colonies and islands, and, lastly, by India. Each of these divisions has a section of the chorus to itself. The fifth number, a soprano solo, dwells upon the personal virtues of the Sovereign; while the sixth, and last, opening with a choral prayer for the Empire, continues with lines leading to the National Anthem, for which a new second verse has been written. How far the writer has been guided by consideration for musical opportunities need not, after this outline sketch, be indicated. The spirit in which Mr. Bennett has approached his theme best appears, perhaps, in the opening verses:--

"For fifty years our Queen!
Victoria! hail!
Take up the cry, glad voices,
And pass the strain
O'er hill and plain,
Peaceful hamlet, roaring city, flowing river,
Till all the land rejoices.
Wild clanging bells and thund'rous cannon
With your loudest shock the air, and make it quiver
From Dee to Tamar, Thames to Shannon.

"For fifty years our Queen!
Victoria! hail!
Take up the cry, old ocean,
And hoarsely shout
The words about.
British ships and world-wide British lands will cheer them,
Rouse an Empire's full devotion.
O blowing wind, come hither, bearing
Answering voices, loud acclaiming. Hark! we hear them.
They our loyal pride are sharing."

In setting the words to music, Dr. Mackenzie has necessarily to consider the place of performance and the number of performers. This, however, was an amiable and fortunate obligation, since the result has been to give us a work built upon broad lines, and marked by plainness of structure to an extent unusual with the composer. We think that the music will be found to have a true festive ring, and a majestic solidity befitting the occasion. In the solos, with their more subdued expression, Dr. Mackenzie has kept contrast in view, without sacrifice of simplicity; but it is in the choruses that he best shows himself a master of bold and striking effects. Every bar goes straight to the point, while avoiding the commonplaces that naturally suggest themselves in the writing of festive music. The procession chorus is, in this respect, most noteworthy of all, and may be found no mean rival of that in the "Rose of Sharon."

[29] As the score of Mr. Mackenzie's Ode has not yet reached this
country, the author has taken the liberty of transferring the above
analysis of it to his work from the London "Musical Times" for May,
1887. Although its local character may preclude its performance here,
it is not improbable that the composition of a composer so eminent
will attract attention among American musicians.

MASSENET.