Chapter I: Pagliacci (6)

"Leave, ah, leave,
Leave me unlost,
Force on me not
Thy fiery nearness.
Shiver me not
With thy shattering will,
And lay me not waste in thy love."

What is preordained cannot be changed. Siegfried replies with growing passion, and Bruennhilde at last yields, and the two join in an outburst of exultant song:--

"Away, Walhalla,
In dust crumble
Thy myriad towers.
Farewell, greatness,
And gift of the gods.
You, Norns, unravel
The rope of runes.
Darken upwards,
Dusk of the gods.
Night of annulment,
Draw near with thy cloud.
I stand in sight
Of Siegfried's star.
For me he was,
And for me he will ever be."

With this great duet, which is one of the most extraordinary numbers in the trilogy for dramatic power and musical expression of human emotion, this division closes.

DIE GOETTERDAEMMERUNG.

The last division of the tragedy opens under the shade of a huge ash-tree where the three Fates sit spinning and weaving out human destinies. As they toss their thread from one to the other,--the thread they have been spinning since time began,--they foresee the gloom which is coming. Suddenly it snaps in their fingers, whereupon the dark sisters crowding closely together descend to the depths of the earth to consult with the ancient Erda and seek shelter near her. Meanwhile as day breaks Siegfried and Bruennhilde emerge from the glen where they have been reposing in mutual happiness. Bruennhilde has told her lover the story of the gods and the secrets of the mystic runes, but he is still unsatisfied. His mission is not yet fulfilled. He must away to perform new deeds. Before he leaves her he gives her the ring as his pledge of fidelity, and they part, after exchanging mutual vows of love and constancy.

In his search for further exploits, Siegfried arrives at the dwelling of Gunter, a powerful Rhenish chief, head of the Gibichungen, another race of heroes, where also resides Gutrune, his fascinating sister, and the evil Hagen, begotten by Alberich of Crimhilda, Gunter's mother, who was the victim of his gold. Alberich's hatred of the gods and all connected with them is shared by his son, who has been charged by the Nibelung to recover the gold. From this point the tragic denouement rapidly progresses. Siegfried's horn is heard in the distance, and he soon crosses Gunter's threshold, where his ruin is being plotted by the sinister Hagen. He is hospitably received, and at Hagen's bidding Gutrune pours out and offers him a draught so cunningly mixed that it will efface all past remembrances. He is completely infatuated with the girl's beauty, and as the potion takes effect, the love for Bruennhilde disappears. He demands Gutrune in marriage, and Hagen promises her upon condition that he will bring Bruennhilde as a bride for Gunter. Siegfried departs upon the fatal errand, and after taking from her the ring drags her by force to deliver her to Gunter. The Valkyr rises to a sublime height of anger over her betrayal, and dooms Siegfried to death in the approaching hunt, for by death alone she knows that she can regain his love.

The last act opens in a rocky glen on the banks of the Rhine, the ripple of whose waters is repeated in the melody of "The Rhinegold." Siegfried is separated from his companion, and while alone, the song of the Rhine-daughters is heard. They rise to the surface of the gleaming water and demand their gold, but Siegfried refuses to restore it. They warn him again to fly from the curse, but he proudly exclaims that his sword is invincible and can crush the Norns. Sadly they float away to the sound of harps shimmering over the water. Gunter's horn is heard among the hills, and Siegfried exultantly answers it. The huntsmen assemble and prepare for a feast. Siegfried relates his adventure with the Rhine-daughters, and when Hagen asks him if it is true that he can understand the language of the birds, he tells the whole story of his life in the "Rheinfahrt," a song built up of all the motives which have been heard in the "Siegfried" division,--the melody of the sword, the stir of the woods, the song of the mysterious bird, Mime's enticement, the love of Bruennhilde, and the flaming fire following each other in rapid and brilliant succession through the measures of the picturesque description. As the song dies away, two ravens, messengers of ill-omen, fly across the stage. The curse motive sounds gloomily through the orchestra. Hagen springs to his feet and suddenly and treacherously plunges his spear into Siegfried's back, then sullenly leaves and disappears among the rocks. The hero falls to the earth and dies, breathing Bruennhilde's name, for in the last supreme moment the spell of Hagen's draught passes away. With his last breath he breaks out in a death-song of surpassing beauty and majesty, in which the motives are those of the Volsung and the Valkyr, as well as of the destiny which is to reunite them in death. Once more he murmurs the name of Bruennhilde, and then his companions tenderly place him upon his shield, and lifting him upon their shoulders carry him to the misty summits and disappear in the cloud, to the mighty and impressive strains of a funeral march, built up on the motives of Siegmund, the love-duet of Siegmund and Sieglinde, the sword and Volsung motives, and Siegfried's great theme. In the interweaving of these motives and their sombre coloring, in massive fortissimo and crescendo effects, in expressive musical delineation, and in majestic solemnity, the Siegfried funeral march must take precedence of all other dirges. In truth it is a colossal and heroic funeral poem fit to celebrate the death of a demigod. In the last scene Siegfried's body is borne back to the hall of the Gibichungs amid loud lamenting. When Gutrune learns what has occurred, she bitterly curses Hagen and throws herself on Siegfried's corpse. Hagen and Gunter quarrel for the possession of the ring, and Gunter is slain; but when Hagen tries to take the ring, the hand of the dead hero is raised in warning. Then Bruennhilde solemnly and proudly advances in the light of the torches and bids the empty clamor cease, for "this is no lamenting worthy of a hero." She orders a funeral pyre to be built, and Siegfried is laid thereon. She contemplates the dead hero with passionate love and sadness, and then solemnly turning to those about her, exclaims: "Those who efface the fault of the gods are predestined to suffering and death. Let one sacrifice end the curse. Let the Ring be purified by fire, the waters dissolve it forever. The end of the gods is at hand. But though I leave the world masterless, I give it this precious treasure. In joy or in suffering, happiness can alone come from love." She seizes a burning brand, and invoking Loge, god of fire, flings it into the pyre. Her horse is brought to her, and she proudly mounts it:--

"Grane, my horse,
Hail to thee here!
Knowest thou, friend,
How far I shall need thee?
Heiaho! Grane!
Greeting to him.
Siegfried! See, Bruennhilde
Joyously hails thee, thy bride."

She swings herself upon her steed and dashes into the furious flames. At last they die away, and the Rhine rushes forward from its banks and covers the pyre. The exultant Rhine-daughters are swimming in the flood, for Bruennhilde has thrown them the ring. Hagen makes a last desperate effort to clutch it, but Woglinde and Wellgunde wind their arms about him, and as they drag him into the depths Flosshilde holds the ring above the waters, and the exultant song of the Rhine-daughters is heard above the swelling tide, while far in the distance a red flame spreads among the clouds. Walhalla is blazing in the sky. The Dusk of the Gods has come. Reparation has been made. The hero without fear is victorious. Free will, independent of the gods, will rule the world, and the gods themselves are lost in the human creation. Love is given to men, and conquers death.

PARSIFAL.

"Parsifal," a "Buehnenweihfestspiel" (festival acting-drama), words by Wagner, was concluded in 1879, and first produced at Baireuth, July 22, 1882, only about seven months before the distinguished composer's death, with Mme. Friedrich-Materna as Kundry, Herr Winckelmann as Parsifal, and Herr Scaria as Gurnemanz.

The theme of the opera is taken from the cycle of Holy Grail myths to which "Lohengrin" also belongs. The reader will remember that Lohengrin in his final address declares himself son of Parsifal, the King of the Grail; and it is with this Parsifal that Wagner's last work is concerned. Parsifal, like Siegfried, represents free human nature in its spontaneous, impulsive action. He is styled in the text, "Der reine Thor" (the guileless fool), who, in consonance with the old mythological idea, overcomes the evil principle and gains the crown by dint of pure natural impulse. The opera differs widely from "The Nibelung Ring." The composer has used the free instead of the alliterative form of verse, which he then contended was best adapted to musical setting. In "The Ring" the chorus is not introduced at all until the last division is reached, while in "Parsifal" it plays an important part in every act, in the second scene of the first act there being three choirs on the stage at a time. Still there is no trace of the aria, the duet, or the recitative, of the Italian style, though there is plenty of concerted music, which grows out of the dramatic necessities of the situations. When these necessities do not urge themselves, the music flows on in dialogue form, as in "The Ring."

The vorspiel is based upon three motives connected with the mystery of the Grail, which forms the key-note of the opera, though in a different aspect from that which the Grail assumes in "Lohengrin," where it can only be visible to the eye of faith, while in "Parsifal" it distinctly performs its wonders. Let it be remembered that the Grail is the chalice from which Christ drank with his disciples at the Last Supper, and in which his blood was received at the cross. The first of these motives is of the same general character as the Grail motive in the "Lohengrin" vorspiel; the second is an impressive phrase for trumpets and trombones, which will be heard again when the Knights of the Grail are summoned to their duties; and the third is a broad, dignified melody in the chorale form.

The action of the drama occurs in the north of Spain, and in the vicinity of Monsalvat, the Castle of the Holy Grail, where this chalice was brought by angels when Christianity was in danger. The curtain rises upon a lovely forest glade on the borders of a lake, at daybreak, and discovers the Grail Knight, Gurnemanz, and two young shield-bearers, guardians of the castle, sleeping at the foot of a tree. Trumpet-calls, repeating the motive first heard in the prelude, arouse them from their sleep; and as they offer up their morning prayer the chorale is heard again. As they wend their way to the castle, they meet two knights preceding the litter upon which the wounded Amfortas, King of the Grail, is carried. In the subsequent dialogue Gurnemanz tells the story of the King's mishap. He is suffering from a wound which refuses to close, and which has been inflicted by the sacred spear,--the spear, according to the legend, with which our Saviour's side was pierced. Klingsor, a magician, had aspired to become a knight of the Grail, but his application was refused; for only those of holy lives could watch the sacred vessel and perform its ministrations. In revenge, Klingsor studied the magic arts and created for himself a fairy palace, which he peopled with beautiful women, whose sole duty it was to seduce the Knights of the Grail. One of these women, a mysterious creature of wonderful fascinations, Kundry by name, had beguiled Amfortas, who thus fell into the power of Klingsor. He lost his spear, and received from it a wound which will never heal so long as it remains in the hands of the magician. In a vision he has been told to wait for the one who has been appointed to cure him. A voice from the Grail tells him the following mystery:--

"Durch Mitleid wissend,
Der reine Thor,
Harre sein'
Den ich erkor."

["Let a guileless fool only, knowing by compassion, await him whom I
have chosen."]

Meanwhile, as the shield-bearers are carrying Amfortas towards the lake, the savage, mysterious Kundry is seen flying over the fields. She overtakes Gurnemanz and gives him a balm, saying that if it will not help the King, nothing in Arabia can, and then, refusing to accept thanks or reveal her identity, sinks to the ground in weariness. The King takes the drug with gratitude; but she scorns thanks, and sneers at those about her with savage irony. Gurnemanz's companions are about to seize her, but the old Knight warns them that she is living incarnate to expiate the sins of a former life, and that in serving the Order of the Grail she is purchasing back her own redemption. As Gurnemanz concludes, cries are heard in the wood, and two knights, approaching, announce that a swan, the bird sacred to the Grail, which was winging its way over the lake, and which the King had hailed as a happy omen, has been shot. Parsifal, the murderer, is dragged in, and when questioned by Gurnemanz, is unaware that he has committed any offence. To every question he only answers he does not know. When asked who is his mother, Kundry answers for him: "His mother brought him an orphan into the world, and kept him like a fool in the forest, a stranger to arms, so that he should escape a premature death; but he fled from her and followed the wild life of nature. Her grief is over, for she is dead." Whereupon Parsifal flies at her and seizes her by the throat; but Gurnemanz holds him back, and Kundry sinks down exhausted. Parsifal answers to the "Thor," but it remains to be seen whether he is the "reine Thor." Gurnemanz conducts him to the temple where the holy rites of the Grail are to be performed, hoping he is the redeemer whom the Grail will disclose when the love-feast of the Saviour is celebrated.

The scene changes to the great hall of the castle and the celebration of the feast of the Grail. The scene is introduced with a solemn march by full orchestra, including trombones on the stage, accompanied by the clanging of bells as the knights enter in stately procession. They sing a pious chant in unison, the march theme still sounding. As the younger squires and pages enter, a new melody is taken in three-part harmony, and finally an unseen chorus of boys from the extreme height of the dome sing the chorale from the introduction, without accompaniment, in imitation of angel voices. The shield-bearers bring in Amfortas upon his litter, when suddenly from a vaulted niche is heard the voice of Titurel, Amfortas's aged father, and the founder of Monsalvat, now too feeble to perform the holy offices, bidding the Grail to be uncovered. Amfortas, mourning that he, the unholiest of them, should be called, opens a golden shrine and takes out the crystal vessel. Darkness falls upon the hall, but the Grail is illuminated with constantly increasing brilliancy, while from the dome the children's voices sing, "Take My blood in the name of our love, and take My body in remembrance of me." Parsifal watches the scene with bewildered eyes, but upon saying in reply that he does not understand the holy rite, he is contemptuously ejected from the place.

The second act reveals Klingsor's enchanted palace. The magician gazing into a mirror sees Parsifal approaching, and knows he is the redeemer who has been promised. He summons Kundry before him, and commands her to tempt him with her spells. She struggles against the task, for in her soul the powers of good and evil are always contending for the mastery. She longs for eternal sleep, and rest from her evil passions, but Klingsor holds her in his power. Parsifal enters, and the scene changes to a delightful garden filled with girls of ravishing beauty in garments of flowers. They crowd about him, and by their fascinating blandishments seek to gain his love, but in vain. He is still the "guileless fool." Then Kundry appears in all her loveliness, and calls him by name, the name he had heard his mother speak. He sorrowfully sinks at Kundry's feet. The enchantress bends over him, appeals to him through his longing for his mother, and kisses him. Instantly he comprehends all that he has seen, and he cries, "The wound burns in my heart, oh, torment of love!" Then quickly rising he spurns her from him. He has gained the world-knowledge. She flies to him again, and passionately exclaims, "The gift of my love would make thee divine. If this hour has made thee the redeemer, let me suffer forever, but give me thy love." He spurns her again, and cries, "To all eternity thou wouldst be damned with me, if for one hour I should forget my mission," but says he will save her too, and demands to know the way to Amfortas. In rage she declares he shall never find it, and summons the help of Klingsor, who hurls the sacred lance at Parsifal. The weapon remains suspended over his head. He seizes it and makes the sign of the Cross. The gardens and castle disappear. Parsifal and Kundry are alone in a desert. She sinks to the ground with a mournful cry, and turning from her, his last words are, "Thou knowest where only thou canst see me again."

In the third act we are again in the land of the Grail. Parsifal has wandered for years trying to find Monsalvat, and at last encounters Gurnemanz, now a very old man, living as a hermit near a forest spring, and the saddened Kundry is serving him. It is the Good Friday morning, and forests and fields are bright with flowers and the verdure of spring. Gurnemanz recognizes him, and in reply to his question what makes the world so beautiful, the aged knight makes answer:--

"The sad repentant tears of sinners
Have here with holy rain
Besprinkled field and plain,
And made them glow with beauty.
All earthly creatures in delight
At the Redeemer's trace so bright,
Uplift their prayers of duty.
And now perceive each blade and meadow flower,
That mortal foot to-day it need not dread."

Kundry washes "the dust of his long wanderings" from his feet, and looks up at him with earnest and beseeching gaze. Gurnemanz recognizes the sacred spear, hails him as the King of the Grail and offers to conduct him to the great hall where the holy rites are once more to be performed. Before they leave, Parsifal's first act as the redeemer is to baptize Kundry with water from the spring. The sound of tolling bells in the distance announces the funeral of Titurel, and the scene changes to the hall where the knights are carrying the litter upon which Amfortas lies, awaiting the funeral procession approaching to the strains of a solemn march. The knights demand he shall again uncover the Grail, but he refuses, and calls upon them to destroy him and then the Grail will shine brightly for them again. Unobserved by them, Parsifal steps forward, touches the king's wound with the spear, and it is immediately healed. Then he proclaims himself King of the Grail, and orders it to be uncovered. As Amfortas and Gurnemanz kneel to do him homage, Kundry dies at his feet in the joy of repentance. Titurel rises from his coffin and bestows a benediction. Parsifal ascends to the altar and raises the Grail in all its resplendent beauty. A white dove flies down from the dome of the hall and hovers over his head, while the knights chant their praise to God, re-echoed by the singers in the dome, whose strains sound like celestial voices:--

"Miracle of supreme blessing,
Redemption to the Redeemer."

WALLACE.

William Vincent Wallace was born at Waterford, Ireland, in 1815. He first studied music with his father, a bandleader, who afterwards sent him to Dublin, where he speedily became an excellent performer on the clarinet, violin, and piano. At the early age of fifteen he was appointed organist at the Cathedral of Thurles, and soon afterwards was engaged as a theatre director and concert conductor. At the age of eighteen he had a fit of sickness, and upon his recovery went to Australia for his health, and thence to Van Diemen's Land and New Zealand. He passed some time in the latter country, and then began a long series of wanderings, in the course of which he visited the East and West Indies, Mexico,--where he conducted Italian opera,--and the United States. He remained in New York a considerable period, and gave concerts which were very remunerative. In 1846 he returned to Europe, and shortly afterwards his pretty little opera, "Maritana," appeared, and made quite a sensation among the admirers of English opera. In 1847 "Matilda of Hungary" was produced, and met with success. Thirteen years of silence elapsed, and at last, in 1860, he produced his legendary opera, "Lurline," at Covent Garden. It gave great satisfaction at the time, but is now rarely performed. Besides his operas he also wrote many waltzes, nocturnes, studies, and other light works for the piano. After the production of "Lurline" he went to Paris for the purpose of bringing out some of his operas, and while in that city also composed the first act of an opera for London, but his health was too delicate to admit of its completion. He died at Chateau de Bayen, Oct. 12, 1865.

MARITANA.

"Maritana," a romantic opera in three acts, words by Fitzball, founded upon the well-known play of "Don Caesar de Bazan," was first produced at Drury Lane, London, Nov. 15, 1845. The text closely follows that of the drama. The first act opens in a public square of Madrid, where a band of gypsies are singing to the populace, among them Maritana, a young girl of more than ordinary beauty and vocal accomplishments. Among the spectators is the young King Charles, who after listening to her is smitten with her charms. Don Jose, his minister, to carry out certain ambitious plans of his own, resolves to encourage the fascinations which have so attracted the King. He extols her beauty and arouses hopes in her breast of future grandeur and prosperity. At this juncture Don Caesar de Bazan, a reckless, rollicking cavalier, comes reeling out of a tavern where he has just parted with the last of his money to gamblers. In spite of his shabby costume and dissipated appearance he bears the marks of high breeding. In better days he had been a friend of Don Jose. While he is relating the story of his downward career to the minister, Lazarillo, a forlorn young lad who has just attempted to destroy himself, accosts Don Caesar, and tells him a piteous tale of his wrongs. Don Caesar befriends him, and in consequence becomes involved in a duel, which leads to his arrest; for it is Holy Week, and duelling during that time has been forbidden on pain of death. While Don Caesar is on his way to prison, Don Jose delights Maritana by promising her wealth, a splendid marriage, and an introduction to the court on the morrow.

The second act opens in the prison, and discovers Don Caesar asleep, with his faithful little friend watching by him. It is five o'clock when he wakes, and at seven he must die. Only two hours of life remain for him, but the prospect does not disturb him. On the other hand he is gayer than usual, and rallies Lazarillo with playful mirth. In the midst of his gayety the crafty Don Jose enters and professes strong friendship for him. When Don Caesar declares that he has but one last wish, and that is to die a soldier's death instead of being ignominiously hanged, Don Jose says it shall be gratified upon condition that he will marry. The prisoner has but an hour and three quarters to live, but he consents. He is provided with wedding apparel, and a banquet is spread in honor of the occasion. During the feast Lazarillo brings in a paper to Don Jose containing the King's pardon for Don Caesar, but the minister promptly conceals it. Maritana, her features disguised by a veil, is introduced, and as the nuptial rites are performed the soldiers prepare to execute the penalty. At the expiration of the hour Don Caesar is led out to meet his fate, but Lazarillo has managed to abstract the balls from the guns. The soldiers perform their duty, and Don Caesar feigns death; but as soon as the opportunity occurs, he leaves the prison and hurries to a grand ball given by the Marquis and Marchioness de Montefiori at their palace, while the Marquis, who has had his instructions from Don Jose to recognize Maritana as his long-lost niece, is introducing her as such. Don Caesar enters and demands his bride. The astonished Don Jose, perceiving that his scheme to introduce Maritana at court is liable to be frustrated, offers the Marquis a rich appointment if he will induce his wife to play the part he shall suggest. The scheme is soon arranged, and the Marchioness, closely veiled, is presented to Don Caesar as the Countess de Bazan. Disgusted at "the precious piece of antiquity," as he terms her, and fancying that he has been duped, he is about to sign a paper relinquishing his bride, when he suddenly hears Maritana's voice. He recognizes it as the same he had heard during the marriage rites. He rushes forward to claim her, but she is quickly carried away, and he is prevented from following.

The last act opens in a palace belonging to the King, where Maritana is surrounded with luxury, though she is as yet unaware that she is in the royal apartments. Don Jose, fancying that Don Caesar will not dare to make his appearance, as he does not know of his pardon, carries out his plot by introducing the King to her as her husband. She at first rejects him, and as he presses his suit Don Caesar breaks into the apartment. The King in a rage demands to know his errand. He replies that he is in quest of the Countess de Bazan, and with equal rage inquires who he (the King) is. The King in confusion answers that he is Don Caesar, whereupon the latter promptly replies, "Then I am the King of Spain." Before further explanation can be made, a messenger arrives from the Queen with the announcement that she awaits the King. After his departure Don Caesar and Maritana mutually recognize each other, and upon her advice he resolves to appeal to the Queen to save her. He waits for her Majesty in the palace garden, and while concealed, overhears Don Jose informing her that the King will meet his mistress that night. He springs out, and denouncing him as a traitor to his King slays him, and then returning to Maritana's apartment finds the King there again, and tells him what has occurred. He has saved the King's honor: will the King destroy his? The monarch, overcome with Don Caesar's gallantry and loyalty, consigns Maritana to him and appoints him Governor of Granada. The appointment does not suit Don Caesar, for Granada is too near his creditors. The King, laughing, changes it to Valencia, a hundred leagues away, and thither Don Caesar conducts his happy bride.

The drama is one which is well adapted to bright, cheerful, melodious music, and the opportunity has been well improved, for "Maritana" is one of the sprightliest and brightest of all the English operas, and contains several ballads which for beauty and expressiveness may well challenge any that Balfe has written. The principal numbers in the first act are Maritana's opening song in the public square ("It was a Knight of princely Mien"); the romanza which she subsequently sings for Don Jose, "I hear it again, 'tis the Harp in the Air," which is one of the sweetest and most delicate songs in any of the lighter operas; the duet between Maritana and Don Jose, "Of fairy Wand had I the Power;" Don Caesar's rollicking drinking-song, "All the World over, to love, to drink, to fight, I delight;" and the tripping chorus, "Pretty Gitana, tell us what the Fates decree," leading up to the stirring ensemble in the finale, when Don Caesar is arrested. The first scene of the second act is the richest in popular numbers, containing an aria for alto, Lazarillo's song ("Alas! those Chimes so sweetly pealing"); a charming trio for Don Caesar, Lazarillo, and Don Jose ("Turn on, old Time, thine Hourglass"); Don Caesar's stirring martial song, "Yes, let me like a Soldier fall;" the serious ballad, "In happy Moments, Day by Day," written by Alfred Bunn, who wrote so many of the Balfe ballads; and the quartet and chorus closing the scene, "Health to the Lady, the lovely Bride!" The second scene opens with a pretty chorus in waltz time ("Ah, what Pleasure! the soft Guitar"), followed by an aria sung by the King ("The Mariner in his Bark"), and introduced by an attractive violin prelude. The finale is a very dramatic ensemble, quintet and chorus ("What Mystery must now control"). The last act falls off in musical interest, though it is very strong dramatically. It contains a few numbers, however, which are very popular; among them one of the most admired of all English songs ("Scenes that are brightest"), which Maritana sings in the King's apartments at the beginning of the act; the humorous duet between the King and Don Caesar when they meet; the love-duet between Don Caesar and Maritana ("This Heart with Bliss o'erflowing"); and Don Caesar's song, "There is a Flower that bloometh," which is in the sentimental ballad style. The freshness, brightness, and gracefulness of the music of this little opera, combined with the unusual interest and delicate humor of the story, have always commended it to popular admiration.

WEBER.

Carl Maria von Weber was born Dec. 18, 1786, at Eutin, and may almost be said to have been born on the stage, as his father was at the head of a theatrical company, and the young Carl was carried in the train of the wandering troupe all over Germany. His first lessons were given to him by Henschkel, conductor of the orchestra of Duke Friedrich of Meiningen. At the age of fourteen he wrote his first opera, "Das Waldmaedchen," which was performed several times during the year 1800. In 1801 appeared his two-act comic opera, "Peter Schmoll and his Neighbors," and during these two years he also frequently played in concerts with great success. He then studied with the Abbe Vogler, and in his eighteenth year was engaged for the conductorship of the Breslau opera. About this time appeared his first important opera, "Rubezahl." At the conclusion of his studies with Vogler he was made director of the Opera at Prague. In 1814 he wrote a cantata, "The Lyre and Sword," for a festive occasion, and it was greeted with the wildest enthusiasm. In 1816 he went to Berlin, where he was received with the highest marks of popular esteem, and thence to Dresden as Hofcapellmeister. This was the most brilliant period in his career. It was during this time that he married Caroline Brandt, the actress and singer, who had had a marked influence upon his musical progress, and to whom he dedicated his exquisite "Invitation to the Dance." The first great work of his life, "Der Freischuetz," was written at this period. Three other important operas followed,--"Preciosa," "Euryanthe," the first performance of which took place in Vienna in 1823, and "Oberon," which he finished in London and brought out there. Weber's last days were spent in the latter city; and it was while making preparations to return to Germany, which he longed to see again, that he was stricken down with his final illness. On the 4th of June, 1826, he was visited by Sir George Smart, Moscheles, and other musicians who were eager to show him attention. He declined to have any one watch by his bedside, thanked them for their kindness, bade them good-by, and then turned to his friend Fuerstenau and said, "Now let me sleep." These were his last words. The next morning he was found dead in his bed. He has left a rich legacy of works besides his operas,--a large collection of songs, many cantatas (of which "The Jubilee," with its brilliant overture, is the finest), some masses, of which that in E flat is the most beautiful, and several concertos, besides many brilliant rondos, polaccas, and marches for the piano.

DER FREISCHUETZ.

"Der Freischuetz," a romantic opera in three acts, words by Friedrich Kind, was first produced at Berlin, June 18, 1821. It is one of the most popular operas in the modern repertory. It was first performed in Paris, Dec. 7, 1824, as "Robin des Bois," with a new libretto by Castile Blaze and Sauvage, and many changes in the score, such as divertissements made up of the dance-music in "Preciosa" and "Oberon," and of "The Invitation to the Dance," scored by Berlioz. In 1841 it was again given in Paris, with an accurate translation of the text by Pacini, and recitatives added by Berlioz, as "Le Franc Archer." Its first English performance in London was given July 22, 1824, as "Der Freischuetz, or the Seventh Bullet," with several ballads inserted; and its first Italian at Covent Garden, March 16, 1850, with recitatives by Costa, as "Il Franco Arciero." So popular was it in England in 1824 that no less than nine theatres were presenting various versions of it at the same time. The original cast was as follows:--

AGATHA Frau CAROLINE SEIDLER.
ANNCHEN Frl. JOHANNA EUNIKE.
MAX Herr CARL STUEMER.
CASPAR Herr HEINRICH BLUME.
OTTAKAR Herr RUBINSTEIN.
KUNO Herr WANER.
HERMIT Herr GERN.
KILIAN Herr WIEDEMANN.

The text of the opera is taken from a story in "Popular Tales of the Northern Nations," and is founded upon a traditionary belief that a demon of the forest furnishes a marksman with unerring bullets cast under magical influences. Kuno, the head ranger to the Prince of Bohemia, too old to longer continue in his position, recommends Max, a skilful marksman, who is betrothed to his daughter Agatha, as his successor. The Prince agrees to accept him if he proves himself victor at the forthcoming hunting-match. Caspar, the master-villain of the play, who has sold himself to the demon Zamiel, and who also is in love with Agatha, forms a plot to ruin Max and deliver him over to Zamiel as a substitute for himself, for the limit of his contract with the Evil One is close at hand. With Zamiel's aid he causes Max to miss the mark several times during the rehearsals for the match. The lover is thrown into deep dejection by his ill luck, and while in this melancholy condition is cunningly approached by Caspar, who says to him that if he will but repeat the formula, "In the name of Zamiel," he will be successful. He does so, and brings down an eagle soaring high above him.

Elated with his success, Caspar easily persuades him that he can win the match if he will meet him at midnight in the Wolf's Glen, where with Zamiel's aid he can obtain plenty of magic bullets.

The second act opens in Kuno's house, and shows us Agatha melancholy with forebodings of coming evil. A hermit whom she has met in the woods has warned her of danger, and given her a wreath of magic roses to ward it off. An ancestral portrait falling from the walls also disturbs her; and at last the appearance of the melancholy Max confirms her belief that trouble is in store for her. Max himself is no less concerned. All sorts of strange sounds have troubled him, and his slumbers have been invaded with apparitions. Nevertheless, he goes to the Wolf's Glen; and though spectres, skeletons, and various grotesque animals terrify him, and his mother's spirit appears and warns him away, he overcomes his fright and appears with Caspar at the place of incantation. Zamiel is summoned, and seven bullets are cast, six of which are to be directed by Max himself in the forthcoming match, while the seventh will be at the disposal of the demon. Little dreaming the fate which hangs upon the seventh, Caspar offers no objections.

The third act opens, like the last, in Kuno's house, and discovers Agatha preparing for her nuptials, and telling Annchen a singular dream she has had. She had fancied herself a dove, and that Max fired at her. As the bird fell she came to herself and saw that the dove had changed to a fierce bird of ill omen which lay dying at her feet. The melancholy produced by the dream is still further heightened when it is found that a funeral instead of a bridal wreath has been made for her; but her heart lightens up again as she remembers the magic rose-wreath which the hermit had enjoined her to wear on her wedding day. At last the eventful day of trial comes, and the Prince and all his courtiers assemble to witness the match. Max makes six shots in succession which go home to the mark. At the Prince's command he fires the seventh, Zamiel's bullet, at a dove flying past. As he fires, Agatha appears to him as the dove, and he fancies he has slain her. The wreath protects her, however, and Zamiel directs the bullet to Caspar's heart. The demon claims his victim, and Max his bride, amid general rejoicing.

The overture, which is one of the most favorite numbers of its class in the concert-room as well as in the opera-house, is a masterpiece of brilliant and descriptive instrumentation, and furnishes us with a key to the whole story in its announcement of the leading themes. It opens with an adagio horn passage of great beauty, giving us the groundwork of the entire action; and then follow motives from Max's grand scena in the first act, the Incantation music, Agatha's moonlight scene, and other episodes connected with the action of Max and Caspar. Indeed, the frequent and expressive use of the _Leit motif_ all through the work seem to entitle Weber to the credit of its invention.

The first act opens with a spirited chorus of villagers, followed by a lively march and a comic song by Kilian, in which he rallies Max upon his bad luck. The next number is a trio and chorus, with solos for the principals, Max, Kuno, and Caspar ("O diese Sonne, furchtbar steigt sie mir empor"). Max laments his fate, but Kuno encourages him, while Caspar insinuates his evil plot. The trio is of a sombre cast at the beginning, but by a sudden change the horns and an expressive combination of the chorus give it a cheerful character. It is once more disturbed, however, by Caspar's ominous phrases, but at last Kuno and his men cheer up the despondent lover with a brisk hunting-chorus, and the villagers dance off to a lively waltz tempo. Max is left alone, and the next number is a grand tenor scene. It opens with a gloomy recitative, which lights up as he thinks of Agatha, and then passes into one of the most tender and delicious of melodies ("Durch die Waelder, durch die Auen"), set to a beautiful accompaniment. Suddenly the harmony is clouded by the apparition of Zamiel, but as he disappears, Max begins another charming melody ("Jetzt ist wohl ihr Fenster offen"), which is even more beautiful than the first. As Zamiel reappears the harmony is again darkened; but when despairing Max utters the cry, "Lives there no God!" the wood-demon disappears, and the great song comes to an end. In this mood Caspar meets him, and seeks to cheer him with an hilarious drinking-song ("Hier im ird'schen Jammerthal"), furious in its energy, and intended to express unhallowed mirth. The act closes with Caspar's bass aria of infernal triumph ("Triumph! die Rache, die Rache gelingt"), accompanied by music which is wonderfully weird and shadowy in its suggestions.

The second act opens with a duet ("Schelm! halt fest") in which Agatha's fear and anxiety are charmingly contrasted with the lightsome and cheery nature of Annchen, her attendant, and this in turn is followed by a naive and coquettish arietta ("Kommt ein schlanker Bursch gegangen") sung by the latter. Annchen departs, and Agatha, opening her window and letting the moonlight flood the room, sings the famous scena and prayer, "Leise, leise, fromme Weise," beginning, after a few bars of recitative, with a melody full of prayer and hope and tender longings, shaded with vague presentiment. It is an adagio of exquisite beauty, closing with an ecstatic outburst of rapture ("Alle meine Pulse schlagen") as she beholds her lover coming. The melody has already been heard in the overture, but its full joy and splendid sweep are attained only in this scene. In the next scene we have a trio ("Wie? was? Entsetzen?") between Max, Annchen, and Agatha, in which the musical discrimination of character is carried to a fine point; and the act concludes with the incantation music in the Wolf's Glen, which has never been surpassed in weirdness, mystery, and diablerie, and at times in actual sublimity. Its real power lies in the instrumentation; not alone in its vivid and picturesque presentation of the melodramatic scene with its hideous surroundings, but in its expressiveness and appositeness to the action and sentiment by the skilful use of motives.

The last act has an instrumental prelude foreshadowing the Hunters' Chorus. It opens with a graceful but somewhat melancholy aria of a religious character ("Und ob die Wolke sie verhuelle"), sung by Agatha, in which she is still wavering between doubt and hope, and succeeded by another of Annchen's arias, beginning with the gloomy romance, "Einst traumte meiner sel'gen Base," and closing with a lively allegro ("Truebe Augen, Liebchen"), which is intended to encourage her sad mistress. Then the bridesmaids sing their lively chorus, "Wir winden dir den Jungfern-Kranz," so well known by its English title, "A rosy Crown we twine for Thee." The pretty little number is followed by the Hunters' Chorus, "Was gleicht wohl auf Erden dem Jaegervergnuegen," which is a universal favorite. It leads up to a strong dramatic finale, crowded with striking musical ideas, and containing Agatha's beautiful melody in the closing chorus.

Few operas have had such world-wide popularity as "Der Freischuetz," and yet it is an essentially German product. The composer's son has aptly characterized it, in his Biography of his father: "Weber did not compose 'Der Freischuetz;' he allowed it to grow out of the rich soil of his brave German heart, and to expand leaf by leaf, blossom by blossom, fostered by the hand of his talent; and thus no German looks upon the opera as a work of art which appeals to him from without. He feels as if every line of the work came from his own heart, as if he himself had dreamed it so, and it could no more sound otherwise than the rustling of an honest German beech-wood."

OBERON.

"Oberon, or the Elf King's Oath," a romantic and fairy opera in three acts, words by J.R. Planche, was first produced at Covent Garden, London, April 12, 1826, in English. Its first Italian performance was given in the same city, July 3, 1860, the recitatives being supplied by Benedict, who also added several numbers from "Euryanthe." The original cast was as follows:--

REIZA Miss PATON.
FATIMA Mme. VESTRIS.
PUCK Miss CAWSE.
HUON Mr. BRAHAM.
OBERON Mr. BLAND.
SHERASMIN Mr. FAWCETT.
MERMAID Miss GOWNELL.

The librettist, Planche, in a tribute to Weber, gives the origin of the story of "Oberon." It appeared originally in a famous collection of French romances, "La Bibliotheque Bleue," under the title of "Huon of Bordeaux." The German poet Wieland adopted the principal incidents of the story as the basis of his poem, "Oberon," and Sotheby's translation of it was used in the preparation of the text. The original sketch of the action, as furnished by Planche, is as follows:--

Oberon, the Elfin King, having quarrelled with his fairy partner, vows never to be reconciled to her till he shall find two lovers constant through peril and temptation. To seek such a pair his 'tricksy spirit,' Puck, has ranged in vain through the world. Puck, however, hears the sentence passed on Sir Huon of Bordeaux, a young knight, who, having been insulted by the son of Charlemagne, kills him in single combat, and is for this condemned by the monarch to travel to Bagdad to slay him who sits on the Caliph's left hand, and to claim his daughter as his bride. Oberon instantly resolves to make this pair the instruments of his reunion with his queen, and for this purpose he brings up Huon and Sherasmin asleep before him, enamours the knight by showing him Reiza, daughter of the Caliph, in a vision, transports him at his waking to Bagdad, and having given him a magic horn, by the blasts of which he is always to summon the assistance of Oberon, and a cup that fills at pleasure, disappears. Here Sir Huon rescues a man from a lion, who proves afterwards to be Prince Babekan, who is betrothed to Reiza. One of the properties of the cup is to detect misconduct. He offers it to Babekan.

On raising it to his lips the wine turns to flame, and thus proves him a villain. He attempts to assassinate Huon, but is put to flight. The knight then learns from an old woman that the princess is to be married next day, but that Reiza has been influenced, like her lover, by a vision, and is resolved to be his alone. She believes that fate will protect her from her nuptials with Babekan, which are to be solemnized on the next day. Huon enters, fights with and vanquishes Babekan, and having spell-bound the rest by a blast of the magic horn, he and Sherasmin carry off Reiza and Fatima. They are soon shipwrecked. Reiza is captured by pirates on a desert island and brought to Tunis, where she is sold to the Emir and exposed to every temptation, but she remains constant. Sir Huon, by the order of Oberon, is also conveyed thither. He undergoes similar trials from Roshana, the jealous wife of the Emir, but proving invulnerable she accuses him to her husband, and he is condemned to be burned on the same pile with Reiza. They are rescued by Sherasmin, who has the magic horn. Oberon appears with his queen, whom he has regained by their constancy, and the opera concludes with Charlemagne's pardon of Huon.

The overture, like that of "Der Freischuetz," reflects the story, and is universally popular. Its leading themes are the horn solo, which forms the symphony of Sir Huon's vision, a short movement from the fairies' chorus, a martial strain from the last scene in the court of Charlemagne, a passage from Reiza's scene in the second act, and Puck's invocation of the spirits.

The first act opens in Oberon's bower with a melodious chorus of fairies and genii ("Light as fairy Feet can fall"), followed by a solo for Oberon ("Fatal Oath"), portraying his melancholy mood, and "The Vision," a quaint, simple melody by Reiza ("Oh! why art thou sleeping?"), which leads up to a splendid ensemble ("Honor and Joy to the True and the Brave"), containing a solo for Oberon, during which the scene suddenly changes from the fairy bower to the city of Bagdad. Huon has a grand scena ("Oh! 't is a Glorious Sight"), a composition in several movements beginning with a dramatic bravura illustrative of the scenes of the battlefield, and closing with a joyous, brisk allegretto ("Joy to the high-born Dames of France"). The finale begins with an aria by Reiza ("Yes, my Lord"), in the Italian style, passing into a duet for Reiza and Fatima, and closing with the chorus ("Now the Evening Watch is set.")

The second act opens with a characteristic chorus ("Glory to the Caliph"), the music of which has been claimed by some critics as genuinely Moorish, though it is probable that Weber only imitated that style in conformity to the demands of the situation. A little march and three melodramatic passages lead up to an arietta for Fatima ("A lovely Arab Maid"), beginning with a very pleasing minor and closing in a lively major. This leads directly to the lovely quartet, "Over the Dark Blue Waters,"--one of the most attractive numbers in the opera. It is a concerted piece for two sopranos, tenor, and bass, opening with two responsive solos in duet, first for the bass and tenor, and then for the two sopranos, the voices finally uniting in a joyous and animated movement of great power. The music now passes to the supernatural, and we have Puck's invocation to the spirits, whom he summons to raise a storm and sink the vessel in which the lovers have embarked. Puck's recitative is very powerful, and the chorus of the spirits in response, a very rapid presto movement, is in its way as effective as the incantation music in "Der Freischuetz." The storm rises, the orchestra being the medium of the description, which is very graphic and effective. Huon has a short prayer ("Ruler of this Awful Hour"), which is impressively solemn, and then follows Reiza's magnificent apostrophe to the sea ("Ocean, thou mighty Monster that liest curled like a green Serpent round about the World"). The scene is heroic in its construction, and its effective performance calls for the highest artistic power. It represents the gradual calm of the angry waters, the breaking of the sun through the gloom, and the arrival of a boat to the succor of the distressed Reiza. The immense effect of the scene is greatly enhanced by the descriptive instrumentation, especially in the allegro describing the rolling of the billows and the recitative and succeeding andante picturing the outburst of the sun. The mermaid's song ("Oh! 't is pleasant"), with its wavy, flowing melody, forms a fitting pendant to this great picture of elementary strife; and a delicate and graceful chorus closes the act.

The third act opens with a lovely song for Fatima ("Oh! Araby, dear Araby"), consisting of two movements,--an andante plaintively recalling past memories, and an allegro of exquisite taste. The song, even detached from the opera, has always been greatly admired in concert-rooms, and, it is said, was a special favorite also with the composer. It is followed by a duet for Sherasmin and Fatima ("On the Banks of sweet Garonne"), which is of a vivacious and comic nature in Sherasmin's part, and then passes into a tender minor as Fatima sings. The next number is a trio for soprano, alto, and tenor ("And must I then dissemble?"), written very much in the style of the trio in "Der Freischuetz," and yet purely original in its effect. Reiza follows with a smooth, flowing, and pathetic cavatina ("Mourn thou, poor Heart"), which is succeeded in marked contrast by a joyous rondo ("I revel in Hope") sung by Sir Huon. The next scene is that of Sir Huon's temptation, a voluptuous passage for ballet and chorus, interrupted at intervals by the energetic exclamations of the paladin as he successfully resists the sirens. The gay scene leads up to the finale. Sir Huon and Reiza are bound to the stake, surrounded by slaves singing a weird chorus. A blast from the magic horn sets them dancing, and a quartet for the four principal characters based upon the subject of the slaves' Chorus ensues. Oberon appears and takes his leave after transporting the whole company to the royal halls of Charlemagne. A stirring march opens the scene, a beautiful aria by Huon follows ("Yes! even Love to Fame must yield"), and a chorus by the whole court closes the opera.

EURYANTHE.

The opera of "Euryanthe" was written for the Kaernthnerthor Theatre, Vienna, where it was first produced Oct. 25, 1823, though not with the success which afterwards greeted it in Berlin, owing to the Rossini craze with which the Austrian capital was afflicted at that time. The libretto is by Helmine von Chezy, an eccentric old woman who proved a sad torment to the composer. The plot, which is a curious mixture of "Cymbeline" and "Lohengrin," was adapted from an old French romance, entitled "L'Histoire de Gerard de Nevers et de la belle et vertueuse Euryanthe, sa mie," and is substantially as follows:--