sunlight will bring him pain and harm. The dallying King replies, "Hark!
how the Nightingale yet sings." A small chorus intervenes with the
warning, "Love is so fleeting, Night is so fair." The Queen appeals to
him, "What seest thou, O King?" To which Trojan replies with agitation,
"The ruddy Morning, it is my Death." Again comes the Page's warning. The
King springs up in alarm and hastens to his steed. In a choral presto
movement the ride back is described. The King conceals himself in a dark
thicket, hoping to escape, but the night has vanished and the day has
begun. Its beams penetrate his refuge, and with a last despairing cry
("Accursed Light, I feel thee now") he expires. A short choral passage,
with harp accompaniment, brings this very dramatic and fanciful
composition to a close:--
"And from his horse the king now falls,
He was but king of the night;
The sunlight sparkles, the sunlight shines,
But death comes with morning light."
PARKER.
James C. D. Parker, an American composer, was born at Boston, Mass., June
2, 1828. He received his primary education in the schools of that city,
was graduated from Harvard University in 1848, and immediately thereafter
began the study of law. His love for music, however, was irresistible,
and he soon dropped law-books and entered upon a thorough course of
musical instruction, at first in Boston, and afterwards at the
Conservatory in Leipsic, where he finished the regular course. He
returned to Boston in 1854, and at once devoted himself to musical work
in which he took a prominent part, and made an excellent reputation as
pianist, organist, and teacher, as well as composer, though he has not as
yet attempted any very large or ambitious works. In 1862 he organized an
amateur vocal association under the name of the Parker Club, which has
performed several works by Gade, Mendelssohn, Berlioz, Schumann, and
others, with success. His most important composition is the "Redemption
Hymn," which he wrote for the Boston Handel and Haydn Society during the
period he was its organist. He has also held the position of organist and
choir-director of Trinity Church in that city, and of Professor of the
College of Music connected with the Boston University. During his
unostentatious career he has earned an enviable reputation as an earnest,
honest musician deeply devoted to his art.
The Redemption Hymn.
"The Redemption Hymn," for alto solo and chorus, was written for the
Fourth Triennial Festival of the Handel and Haydn Society, and was first
given on that occasion, May 17, 1877, Anna Louise Cary-Raymond taking the
solo. The words are taken from Isaiah li. 9-11.
Chorus:--"Awake, put on strength, O arm of the Lord!
"Awake as in the ancient days, in the generations of old.
"Art thou not it that hath cut Rahab and wounded the dragon? Awake, put
on strength, O arm of the Lord!
Solo and Chorus:--"Art thou not it that hath dried the sea, the waters
of the great deep, that hath made the depths of the sea a way for
the ransomed to pass over? Therefore the redeemed of the Lord shall
return and come with singing unto Zion, and everlasting joy shall
be upon their head; they shall obtain gladness and joy, and sorrow
and mourning shall flee away."
The work opens with a brief but spirited orchestral introduction, which
leads to an exultant chorus ("Awake, O Arm of the Lord"), changing to a
well-written fugue in the middle part ("Art thou not it?"), and returning
to the first theme in the close. The next number is an effective alto
solo ("Art thou not it which hath dried the Sea?") alternating with
chorus. It is followed by a slow movement for alto solo and chorus
("Therefore the Redeemed of the Lord shall return"), which closes very
gracefully and tenderly on the words, "Sorrow and Mourning shall flee
away." This little work has become a favorite with singing societies, by
the scholarly and effective manner in which it is written.
RANDEGGER.
Alberto Randegger was born at Trieste, April 13, 1832, and began the
study of music at an early age with Lafont and Ricci. In his twentieth
year he had written numerous minor pieces of church music, several masses
and two ballets which were produced with success in his native city. From
1852 to 1854 he was engaged as a conductor in the theatres of Fiume,
Zera, Brescia, and Venice. In the latter year he brought out a grand
opera in Brescia, called "Bianca Capello," shortly after which he went to
London, where he has since resided and made a world-wide reputation as a
teacher. In 1857 he conducted Italian opera at St. James's Theatre; in
1864 brought out a comic opera, "The Rival Beauties," at the Theatre
Royal, Leeds; in 1868 was appointed Professor of Singing at the Royal
Academy of Music, in which he has since become a director; in 1879-80 was
conductor for the Carl Rosa English Opera Company at Her Majesty's
Theatre, London; and has since been appointed conductor of the Norwich
Festival in the place of Benedict. His principal works, besides those
already mentioned, are: "Medea," a scena, sung by Madame Rudersdorff at
the Gewandhaus, Leipsic (1869); the One hundred and fiftieth Psalm, for
soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin"
(1873); soprano scena, "Saffo" (1875); funeral anthem for the death of
the Prince Consort; and a large number of songs which are great favorites
on the concert-stage.
Fridolin.
"Fridolin, or the Message to the Forge" was written for the Birmingham
Triennial Musical Festival of 1873. The words, by Mme. Erminia
Rudersdorff, are founded on Schiller's ballad, "Der Gang nach dem
Eisenhammer." The _dramatis personæ_ are Waldemar, Count of Saverne;
Eglantine, Countess of Saverne; Fridolin, page to the Countess; and
Hubert, squire to the Count. The story closely follows that of Schiller.
The preface to the piano score gives its details as follows:--
"Fridolin and Hubert are in the service of the Count of Saverne.
Hubert, aspiring to win the affections of his beautiful mistress,
conceives a violent hatred of Fridolin, whom he regards as an obstacle
in his path. Taking advantage of Fridolin's loyal devotion to the
Countess, Hubert excites the jealousy of the Count, and prompts a stern
revenge. The Count forthwith writes to some mechanic serfs, ordering
that whoever comes asking a certain question shall be at once thrown
into their furnace. Fridolin, innocent of wrong and unconscious of
danger, receives the 'message to the forge;' but, ere setting out, he
waits upon his mistress for such commands as she might have to give.
The Countess desires him to enter the chapel he would pass on his way
and offer up a prayer for her. Fridolin obeys, and thus saves his own
life; but vengeance overtakes the traitor Hubert, who, going to the
forge to learn whether the plot has succeeded, himself asks the fatal
question, 'Is obeyed your lord's command?' and himself becomes the
victim. Fridolin subsequently appears, and is about to perish likewise,
when the Count and Countess, between whom explanations have taken
place, arrive on the scene, to preserve the innocent and to learn the
fate of the guilty."
The cantata opens with a short but stirring prelude, introducing the
declamatory prologue-chorus:--
"A pious youth was Fridolin,
Who served the Lord with zeal,
And did his duty faithfully,
Come thereby woe or weal.
For this when subtle foe conspired
And sought o'er him to boast,
About his path in direst need
Kept guard the angel host."
The cantata proper opens with a recitative by Fridolin ("Arising from the
Lap of star-clad Night"), leading up to the quiet, dreamy air, "None but
holy, lofty Thoughts." It is followed by a bass scena for Hubert
("Proceed thou, hateful Minion, on thy Path") which opens in an agitated
manner, but grows more reposeful and tender in style as the subject
changes in the passage, "For one kind Glance from out those Eyes divine."
Again the scena changes and becomes vigorous in the recitative,
"Dispelled by jealous Rage is Hope's fond Dream," set to an imposing
accompaniment, and leading to a brilliant fiery allegro ("A thousand
hideous Deaths I'd make him die"). The next number is a very graphic and
spirited hunting-chorus ("Hark! the Morn awakes the Horn"), introduced
and accompanied by the horns, and full of breezy, out-door feeling. A
long dialogue follows between Hubert and the Count, somewhat gloomy in
character, in which the former arouses his master's jealous suspicions.
The gloom still further deepens as Hubert suggests the manner of
Fridolin's death ("Mid yon gloomy Mountains"). Then follows the message
to the forge by the Count in monotone phrases ("Mark, ye Serfs, your
Lord's Commands") and the scene closes with a very dramatic duet ("Death
and Destruction fall upon his Head"). In striking contrast with these
stormy numbers comes the charming, graceful chorus of the handmaidens
("Calmly flow the equal Hours"), followed by a very expressive song for
the Countess ("No Bliss can be so great"). A short scene in recitative
leads up to a tender duet ("Above yon Sun, the Stars above") for Fridolin
and the Countess, closing with a powerful quartet for the four principal
parts ("Now know I, Hubert, thou speakest true").
The ninth scene is admirably constructed. It opens with an animated and
picturesque dance and chorus of villagers ("Song is resounding, Dancers
are bounding"), which swings along in graceful rhythm until it is
interrupted by a solemn phrase for organ, introduced by horns, which
prepares the way for a chorale ("Guardian Angels sweet and fair"),
closing with Fridolin's prayer at the shrine, interwoven with a beautiful
sacred chorus ("Sancta Maria, enthroned above"). In a recitative and
ballad ("The wildest Conflicts rage within my fevered Soul") the Count
mourns over what he supposes to be the infidelity of his wife, followed
by a long and very dramatic scene with the Countess ("My Waldemar, how
erred thine Eglantine?"). The last scene is laid at the forge, and after
a short but vigorous prelude opens with a chorus of the smiths ("Gift of
Demons, raging Fire"), in which the composer has produced the effect of
clanging anvils, roaring fire, and hissing sparks with wonderful realism.
The chorus closes with passages describing the providential rescue of
Fridolin and the fate of Hubert, and an _andante religioso_ ("Let your
Voices Anthems raise"). The epilogue is mainly choral, and ends this very
dramatic work in broad flowing harmonies.
RHEINBERGER.
Joseph Gabriel Rheinberger was born at Vaduz, in Lichtenstein, March 17,
1839, and displayed his musical talent at a very early age. He studied
the piano in his fifth year, and in his seventh was organist in the
church of his native place. At the age of twelve he entered the Munich
Conservatory, where he remained as a scholar until he was nineteen, when
he was appointed one of its teachers; at the same time he became organist
at the Hofkirche of St. Michael, and afterwards director of the Munich
Oratorio Society. In 1867 he was appointed professor and inspector of the
Royal Music School, and since 1877 has been the royal Hofkapellmeister,
directing the performances of the Kapellchor, an organization similar to
that of the Berlin Domchor. He is a very prolific composer, nearly two
hundred works having proceeded from his pen. Among them are the
"Wallenstein" and "Florentine" symphonies; a Stabat Mater; two operas,
"The Seven Ravens" and "Thürmer's Töchterlein;" incidental music to a
drama of Calderon's; a symphony-sonata for piano; a requiem for the dead
in the Franco-German war; theme and variations for string quartet; a
piano concerto; five organ sonatas; the choral works, "Toggenburg,"
"Klärchen auf Eberstein," "Wittekind," and "Christophorus;" and a large
number of songs and church pieces, besides much chamber music.
Christophorus.
"Christophorus," a legend, as Rheinberger calls it, was written in 1879,
and is composed for barytone, soprano, and alto solos, chorus, and
orchestra. Its subject is taken from the familiar story of the giant who
bore the infant Christ across the flood. The chorus acts the part of
narrator, and in its opening number relates the legend of Christophorus'
wanderings and his arrival before the castle whose master he would serve.
He offers his services, but when they are accepted as an offering from
the gods he haughtily declares that he only serves "for fame and
chivalry." A voice thereupon in an impressive solo ("Trust not this
loud-voiced Stranger") warns him away as an envoy of Satan, and the
chorus repeats the warning. The giant departs with the intention of
drawing his sword in Satan's cause,--
"For he alone must be lord of all,
Whose name doth so valiant a monarch appall."
In a very picturesque number the chorus describes his wanderings among
the mountain crags and rocks where Satan weaves his spells about him; and
then suddenly changing to a tender, delicate strain ("Over us Stars
shine") anticipates the Voice, which in a sensuous aria ("Who is the
sovereign Lord of the Heart?") sings the power of love. In graceful
chorus the spirits taunt him, whereupon he once more resolves to fly and
to abandon the cause of Satan, but is thwarted by them. A weird chorus
closes the first part ("Satan a-hunting is gone"), ending with an
impressive strain:--
"Stormily falleth the night:
Frightened maidens fleeing,
Demon hordes all around.
'A cross, see, upraised!
Fly, master! too far we have come.
Hallowed is the ground.'"
The second part opens with a reflective soliloquy by the giant, followed
by a plaintive chorus ("All now is lone and silent") describing the
suffering of our Saviour on the cross and the sadness of a hermit gazing
upon the scene. The giant approaches the latter, and a dialogue ensues
between them, in which the identity of the victim on the cross is
revealed. Having found the King of the universe, Christophorus determines
to devote himself to His cause, and inquires how he may serve Him. He is
informed he must go to the swiftly-rolling river and carry the pilgrims
across. A chanting chorus ("As flows the River seawards, so onward glide
the Years") describes the work of the faithful toiler. Then comes a voice
calling him, and he beholds an Infant waiting for him. He takes Him upon
his shoulders and bears Him into the flood, but as he advances, bends and
struggles beneath his load "as though the whole world he bore." He
inquires the meaning, and the Voice replies:--
"Thou bear'st the world and bearest its Creator:
This Child is Jesus, God's own Son.
Soldier of Christ!
Thine arms were charity and mercy,
The arms of love.
Now mayst rejoice:
The prize of thy faith is won."
A joyful, exultant chorus, ("Blessed of Rivers, the Child embrace")
closes this very graceful little "legend."
Toggenburg.
"Toggenburg," a cycle of ballads, was written in 1880. The music is for
solos and mixed chorus, the ballads being linked together by motives,
thus forming a connected whole. The story is a very simple one. The
bright opening chorus ("At Toggenburg all is in festive Array") describes
the pageantry which has been prepared to welcome the return of Henry,
Knight of Toggenburg, with his fair young Suabian bride, the Lady Etha.
The chorus is followed by a duet and alto or barytone solo, which
indicate the departure of the Knight for the wars, and the Lady Etha's
loss of the wedding ring. The next number, a solo quartet and chorus
("Ah! Huntsman, who gave thee the Diamond Ring?"), is very dramatic in
its delineation of the return of the victorious Knight, who, observing
the ring on the finger of the huntsman, slays him, and then in a fit of
jealousy hurls the Lady Etha from the tower where she was waving his
welcome. The next number is a female chorus ("On mossy Bed her gentle
Form reposes"), very slow in its movement and plaintive in character. It
is followed by a weird and solemn chorus ("Through the Night rings the
Horn's Blast with Power"), picturing the mad ride of the Knight through
the darkness, accompanied by the dismal notes of ravens and mysterious
sounds like "greetings from the dead," which only cease when he discovers
the corpse of his lady with the cross on its breast. A short closing
chorus, funereal in style, ends the mournful story:--
"Toggenburg all is in mourning array,
The banners wave, the gate stands wide,
Count Henry returns to his home this day,
In death he anew has won his bride.
Once more for their coming the hall is prepared,
Where flickering tapers are ranged around,
And far through the night in the valley are heard
The chants of the monks with their mournful sound."
Though the work has somewhat both of the Schumann and Mendelssohn
sentiment in it, it is nevertheless original and characteristic in
treatment. The melodies are pleasing throughout, and cover a wide range
of expression, reaching from the tenderness of love to the madness of
jealousy, and thence on to the elegiac finale.
ROMBERG.
Andreas Romberg was born April 27, 1767, at Vechte, near Münster. At a
very early age he was celebrated as a violinist. In his seventeenth year
he made a _furor_ by his playing at the Concerts Spirituels, Paris. In
1790, with his cousin Bernhard, who was even more celebrated as a
violoncellist (indeed the Rombergs, like the Bachs, were all musicians),
he played in the Elector's band, and also went with him to Rome, where
the cousins gave concerts together under the patronage of one of the
cardinals. During the next four years Andreas travelled in Austria and
France, and during his stay at Vienna made the acquaintance of Haydn, who
was very much interested in his musical work. In 1800 he brought out an
opera in Paris which made a failure. He then left for Hamburg, where he
married and remained many years. In 1820 he was appointed court
capellmeister at Gotha, and died there in the following year. Among his
compositions are six symphonies; five operas, "Das graue Ungeheuer," "Die
Macht der Musik," "Der Rabe," "Die Grossmuth des Scipio," and "Die Ruinen
zu Paluzzi;" and several cantatas, quartets, quintets, and church
compositions. Of all his works, however, his "Lay of the Bell" is the
best known. A few years ago it was the stock piece of nearly every choral
society in Germany, England, and the United States; and though now
relegated to the repertory of old-fashioned music, it is still very
popular.
Lay of the Bell.
The "Lay of the Bell" was composed in 1808, the music being set to
Schiller's famous poem of the same name, whose stately measures are well
adapted to musical treatment. It opens with a bass solo by the Master,
urging on the workmen:--
"In the earth right firmly planted,
Stands well baked the mould of clay:
Up, my comrades, be ye helpful;
Let the bell be born to-day."
The full chorus responds in a rather didactic strain ("The Labor we
prepare in Earnest"), and as it closes the Master gives his directions
for lighting the fire in the furnace and mixing the metals. In this
manner the work progresses, the Master issuing his orders until the bell
is ready for the casting, the solo singers or chorus replying with
sentiments naturally suggested by the process and the future work of the
bell. The first of these responses is the chorus, "What in the Earth
profoundly hidden," a smoothly flowing number followed by a soprano solo
("For with a Burst of joyous Clangor"), a pleasantly-rippling melody
picturing the joys of childhood, and a spirited tenor solo ("The Youth,
Girl-playmates proudly leaving") indicating the dawn of the tender
passion which broadens out into love, as the two voices join in the
charming duet, "O tender Longing, Hope delightsome." The bass still
further emphasizes their delight in the recitative, "When stern and
gentle Troth have plighted," leading up to a long but interesting tenor
solo ("Though Passion gives way") which describes the homely joys of
domestic life. The male chorus thereupon takes up the story in a joyful
strain ("And the good Man with cheerful Eye"), and tells us of the
prosperity of the happy pair and the good man's boast,--
"Firm as the solid earth,
Safe from misfortune's hand,
Long shall my dwelling stand;"
to which comes the ominous response of the female chorus:--
"Yet none may with Fate supernal
Ever form a league eternal;
And misfortune swiftly strides."
The Master now gives the signal to release the metal into the mould,
whereupon follows a stirring and picturesque chorus ("Right helpful is
the Might of Fire") describing the terrors of fire, the wild alarm, the
fright and confusion of the people, the clanging bells and crackling
flames, and the final destruction of the homestead, closing the first
part.
The second part opens with the anxious orders of the Master to cease from
work and await the result of the casting. The chorus takes up a slow and
stately measure ("To Mother Earth our Work committing") which closes in a
mournful finale describing the passing funeral train, followed by a
pathetic soprano solo which tells the sad story of the death of the good
man's wife, while "To the orphaned Home a Stranger comes unloving Rule to
bear." The scene now changes from a desolate to a happy home as the
Master bids the workmen seek their pleasure while the bell is cooling. A
soprano solo takes up a cheery strain ("Wends the weary Wanderer"),
picturing the harvest home, the dance of the youthful reapers, and the
joys of evening by the fireside, followed by a tribute to patriotism,
sung by tenor and bass, the pleasant scene closing with an exultant full
chorus ("Thousand active Hands combining"). The Master then gives the
order to break the mould, and in contemplation of the ruin which might
have been caused had the metal burst it, the chorus breaks out in strong,
startling phrases picturing the horrors of civil strife ("The Master's
Hand the Mould may shatter"). The work, however, is complete and
successful, and in the true spirit of German Gemüthlichkeit the Master
summons his workmen:--
"Let us, comrades, round her pressing,
Upon our bell invoke a blessing.
'Concordia,' let her name be called:
In concord and in love of one another,
Where'er she sound, may brother meet with brother."
The cantata closes with a last invocation on the part of the Master,
followed by a jubilant chorus ("She is moving, She is moving").
SCHUBERT.
Franz Peter Schubert was born in Vienna, Jan. 31, 1797, and received his
first musical lessons from his father and his elder brother Ignaz. In his
eleventh year he sang in the Lichtenthal choir and shortly afterwards
entered the Imperial Convict School, where for the next three or four
years he made rapid progress in composition. In 1813 he returned home,
and to avoid the conscription entered his father's school as a teacher,
where he remained for three years, doing drudgery but improving his
leisure hours by studying with Salieri and devoting himself assiduously
to composition. His life had few events in it to record. It was devoted
entirely to teaching and composition. He wrote in almost every known form
of music, but it was in the Lied that he has left the richest legacy to
the world, and in that field he reigns with undisputed title.
Unquestionably many of these songs were inspirations, like the "Erl
King," for instance, which came to him in the midst of a carousal. The
most famous of them are to be found in the cycluses "Müllerlieder," "Die
Gesänge Ossians," "Die Geistlichen Lieder," "Die Winterreise," and "Der
Schwanengesang." They are wonderful for their completeness, their
expression of passion, their beauty and grace of form, the delicacy of
their fancy, and their high artistic finish. Among the other great works
he has left are the lovely "Song of the Spirits over the Water," for male
voices; "Die Allmacht;" "Prometheus;" "Miriam's War Song;" the eight-part
chorus "An den Heiligen Geist;" the "Momens Musicale;" impromptus and
Hungarian fantasies for piano; the sonatas in C minor and B flat minor;
nine symphonies, two of them unfinished; the trios in B flat and E flat;
the quartets in D minor and G major; the quintet in C; two operas,
"Alfonso and Estrella" and "Fierrabras;" the mass in G, which he wrote
when but eighteen years of age, and the mass in E flat, which was his
last church composition. His catalogued works number over a thousand. He
died Nov. 19, 1828, and his last wish was to be buried by the side of
Beethoven, who on his death-bed had recognized "the divine spark" in
Schubert's music. Three graves only separate the great masters of the
Symphony and the Lied in the cemetery of Währing.
Miriam's War Song.
The majestic cantata, "Miriam's War Song," was written in March, 1828,
the last year of Schubert's life,--a year which was rich, however, in the
productions of his genius. The beautiful symphony in C, the mass in E
flat, the string quartet in C, the three piano sonatas dedicated to
Schumann, the eight-voiced "Hymn to the Holy Ghost," the 92d Psalm, a
"Tantum Ergo," and several songs, among them "Am Strom," "Der Hirt auf
den Felsen," and a part of the "Schwanengesang," all belong to this year.
The authorities differ as to the time of the first performance of
"Miriam's War Song." Nottebohm in his catalogue says that it was first
sung at a concert, Jan. 30, 1829, given for the purpose of raising funds
to erect a monument in memory of the composer, who died on the 19th of
the previous November. Others assert that Schubert was induced to give a
concert, March 26, 1828, the programme being composed entirely of his own
music, and that it was first heard on that occasion.
The work is for soprano solo and chorus, the words by the poet
Grillparzer, and the accompaniment, for the piano, as Schubert left it.
He had intended arranging it for orchestra, but did not live to complete
it. The work, however, was done a year or two afterwards by his friend
Franz Lachner, at that time officiating as Capellmeister at the
Kärnthnerthor Theatre in Vienna.
The theme of the cantata is Miriam's hymn of praise for the escape of the
Israelites, and the exultant song of victory by the people, rejoicing not
alone at their own delivery but at the destruction of the enemy. It opens
with a spirited and broad harmony, "Strike the Cymbals," changing to a
calm and graceful song, describing the Lord as a shepherd leading his
people forth from Egypt. The next number, depicting the awe of the
Israelites as they passed through the divided waters, the approach of
Pharaoh's hosts, and their destruction, is worked up with great power. As
the sea returns to its calm again, the opening chorus is repeated,
closing with a powerful fugue. The cantata is short, but it is a work of
imperishable beauty.
SCHUMANN.
Robert Schumann was born at Zwickau, in Saxony, June 8, 1810. In his
earliest youth he was recognized as a child of genius. His first teacher
in music was Baccalaureus Kuntzch, who gave him piano instruction. He
studied the piano with Wieck, whose daughter Clara he subsequently
married, now world-famous as a pianist. In 1830, in which year his
artistic career really opened, he began the theoretical study of music,
first with Director Kupsch in Leipsic and later with Heinrich Dorn, and
at the same time entered upon the work of composition. Schumann was not
only a musician but an able critic and graceful writer; and in 1834, with
Schunke, Knorr, and Wieck, he founded the "Neue Zeitschrift für Musik,"
which had an important influence upon musical progress in Germany, and in
which the great promise of such musicians as Chopin and Brahms was first
recognized. He married Clara Wieck in 1840, after much opposition from
her father; and in this year appeared some of his best songs, including
the three famous cycluses, "Liederkreis," "Woman's Life and Love," and
"Poet's Love," which now have a world-wide fame. In the following year
larger works came from his pen, among them his B minor symphony,
overture, scherzo, and finale in E major, and the symphony in D minor.
During this period in his career he made many artistic journeys with his
wife, which largely increased the reputation of both. In 1843 he
completed his great "romantic oratorio," "Paradise and the Peri," set to
Moore's text, and many favorite songs and piano compositions, among them
the "Phantasiestücke" and "Kinderscenen," and his elegant piano quintet
in E flat. In 1844, in company with his wife, he visited St. Petersburg
and Moscow, and their reception was a royal one. The same year he
abandoned his "Zeitschrift," in which "Florestan," "Master Raro,"
"Eusebius," and the other pseudonyms had become familiar all over
Germany, and took the post of director in Düsseldorf, in the place of
Ferdinand Hiller. During the last few years of his life he was the victim
of profound melancholy, owing to an affection of the brain, and he even
attempted suicide by throwing himself into the Rhine. He was then removed
to an asylum at Endenich, where he died July 20, 1856. The two men who
exercised most influence upon Schumann were Jean Paul and Franz Schubert.
He was deeply pervaded with the romance of the one and the emotional
feeling of the other. His work is characterized by genial humor, a rich
and warm imagination, wonderfully beautiful instrumentation, especially
in his accompaniments, the loftiest form of expression, and a rigid
adherence to the canons of art.
Advent Hymn.
In a letter to Strakerjan, Schumann writes:--
"To apply his powers to sacred music is the artist's highest aim. But
in youth we are all very firmly rooted to earth, with its joys and
sorrows; in old age the twigs tend upwards. And so I hope that that day
may not be too far distant from me."
The first of his works indicated in the above words to his friend was the
"Advent Hymn," written in 1848, based upon Rückert's poem. It was
followed later by a requiem and a mass, these comprising his only sacred
music.
The "Advent Hymn" describes the entry of Christ into Jerusalem,
reflectively considers his peaceful career as compared with that of
earthly kings, and appeals to His servants to bear tidings of Him
throughout the world, closing with a prayer that He will bring His peace
to all its people. It is a hymn full of simple devotion and somewhat
narrow in its limitations; but Schumann has treated it with all the
dignity and breadth of the oratorio style. It opens with a melodious
soprano solo ("In lowly Guise thy King appeareth"), with choral responses
by sopranos and altos, leading to an effective five-part chorus ("O King
indeed, though no Man hail Thee"), begun by first and second tenors and
basses, and closing in full harmony with the added female voices. The
soprano voice again announces a subject ("Thy Servants faithful, Tidings
bearing"), which is taken up by full chorus, in somewhat involved form,
though closing in plain harmony. The third number ("When Thou the stormy
Sea art crossing") is given out by the soprano and repeated by the female
chorus with a charming pianissimo effect. A few bars for male chorus
("Lord of Grace and Truth unfailing") lead into full chorus. The fifth
number ("Need is there for Thyself returning"), also choral, is very
elaborately treated with interchanging harmonies and bold rhythms,
leading up to the final choruses, which are very intricate in
construction, but at the close resolve into a double chorus of great
power and genuine religious exaltation.
There are other works of Schumann's which are more or less in the cantata
form, such as "The King's Son," op. 116, set to a ballad of Uhland's;
"The New Year's Song," op. 144, poem by Rückert; "The Luck of Edenhall,"
op. 143, poem by Uhland; "Of the Page and the King's Daughter," op. 140,
poem by Geibel; the "Spanish Love Song," op. 138; the "Minnespiel," op.
101; and the "Ritornelle," op. 65.
The Pilgrimage of the Rose.
"The Pilgrimage of the Rose," for solo and chorus, with piano
accompaniment, twenty-four numbers, was written in the spring of 1851,
and was first performed May 6, 1852, at a Düsseldorf subscription
concert. The story is taken from a somewhat vapid fairy-tale by Moritz
Horn, and has little point or meaning. It turns upon the commonplace
adventures of a young girl whose origin is disclosed by a rose which was
never to fall from her hand.
The principal numbers are the opening song, a joyous hymn to spring, in
canon form, for two sopranos; the dancing choruses of the elves, for two
sopranos and alto; the male chorus, "In the thick Wood," which is very
effective in harmony; the exultant bridal songs, "Why sound the Horns so
gayly?" and "Now at the Miller's;" the duet, "In the smiling Valley, 'mid
the Trees so green;" the Grave Song; the quartet, "Oh, Joy! foretaste of
Heaven's Rest;" and the duet, "I know a blushing Rosebud."
The work as a whole has never attained the popularity of his "Paradise
and the Peri," though detached numbers from it are frequently given with
great success. The inadequacy of the poem has much to do with this; and
it must also be remembered that it was written at a time when Schumann's
powers had begun to weaken under the strain of the mental disorder which
finally proved fatal. Reissmann, in his analysis of the work, says:--
"The man who had hitherto refused to allow even the simplest
composition to flow from any but a distinct idea, who constantly strove
to enter into relations with some distinct movement of the heart or the
imagination, here grasped at a poem utterly destitute of any rational
fundamental idea, and so arbitrary in execution, so tasteless in parts,
that the musical inspiration it offered could never have moved any
other composer to set it to music."
The Minstrel's Curse.
"The Minstrel's Curse," for solo voice, chorus and orchestra, was written
in 1852, and first performed in the same year. Its text is based upon
Uhland's beautiful ballad of the same name, which was adapted for the
composer by Richard Pohl. The libretto shows numerous variations from the
original text. Some of the verses are literally followed, others are
changed, and many new songs and motives are introduced. Several of
Uhland's other ballads are assigned to the minstrel, the youth, and the
queen, among them "Die Drei Lieder," "Entsagung," and "Hohe Liebe," as
well as extracts from "Rudello," "Lied des Deutschen Sängers," "Gesang
und Krieg," and "Das Thal." Instead of the beautiful verse in the
original poem:--
"They sing of spring and love, of happy golden youth,
Of freedom, manly worth, of sanctity and truth.
They sing of all emotions sweet the human breast that move,
They sing of all things high the human heart doth love.
The courtly crowd around forget to sneer and nod,
The king's bold warriors bow before their God.
The queen, to pleasure and to melancholy willing prey,
Down to the singers casts the rose which on her bosom lay,"--
which leads up to the tragedy, it is the singing of the "Hohe Liebe"
which is made the motive by Pohl, who from this point on follows the
story as told by Uhland.
The work contains fourteen numbers. The first two verses, describing the
castle and its haughty monarch, are sung by the narrator, and are
followed by an alto solo, very bright and joyous in style, which tells of
the arrival of the two minstrels. The fourth number is a Provençal song,
full of grace and poetical feeling, sung by the youth, followed by full
chorus. The King angrily interposes in the next number, "Enough of Spring
and Pleasure," whereupon the harper sings a beautiful ballad interpolated
by the librettist. The queen follows with a quiet, soothing strain,
appealing for further songs, and in reply the youth and harper once more
sing of spring. The youth's powerful song of love, which changes to a
trio in the close, the queen and harper joining, indicates the coming
tragedy, and from this number on the chorus follows the story as told by
Uhland, with great power and spirit. The general style of the work is
declamatory, but in many of its episodes the ballad form is used with
great skill and effect.
SINGER.
Otto Singer was born in Saxony, July 26, 1833, and attended the Leipsic
Conservatory from 1851 to 1855, studying with Richter, Moscheles, and
Hauptmann. In 1859 he went to Dresden and for two years thereafter
studied with Liszt, of whom he was not only a favorite scholar but always
a most zealous advocate. In 1867 he came to this country to take a
position in the Conservatory at New York, then under the direction of
Theodore Thomas and William Mason. In 1873, upon Mr. Thomas's suggestion,
he went to Cincinnati and became the assistant musical director of the
festival chorus of that city, a position which he filled with eminent
ability for several years. At the festival of 1878 he conducted the first
performance of Liszt's "Graner Mass" in this country, and also his own
"Festival Ode" set to a poem by F. A. Schmitt, and written to commemorate
the dedication of the new Music Hall. In the same year the Cincinnati
College of Music was organized, and he was engaged as one of the
principal instructors, a position which he still holds, and in which he
has displayed signal ability. Mr. Singer has written many compositions
for piano and orchestra, and besides his "Festival Ode," the cantata
"Landing of the Pilgrims" (1876).
The Landing of the Pilgrims.
"The Landing of the Pilgrims," written in 1876, was Mr. Singer's
Centennial offering to the patriotic music of that year. The text of the
cantata is the familiar poem written by Mrs. Felicia Hemans, which was
first set to music by her own sister, Miss Browne, though in somewhat
different style from this work of the modern school.
The cantata opens with an instrumental prelude which gives out the
principal motive as we afterwards find it set to the words, "With their
Hymns of lofty Cheer;" and truly lofty cheer it is, that antique, strong
melody. Breathed softly at first, as from afar, it is repeated after a
rapid crescendo with the whole weight of the orchestra, to melt away
again on an organ point in more subdued tone-color. In the second
movement (andante) it appears in quadruple time, augmented in its cadence
by a chromatic harmony which serves well to enrich the working-up of this
fine piece of orchestral writing. A short interlude containing the germ
of a second theme, which afterwards appears at the words, "This was their
Welcome Home," now prepares the entrance of the voices. To the words,
"The breaking Waves dashed high," the basses and tenors give out the
first motive, and after declaiming the stormy opening lines of the poem
break forth in unison with "When a Band of Exiles moored their Bark on
the wild New England Shore." The time again changing, the composer very
happily contrasts the phrases, "Not as a Conqueror comes" and "They the
true-hearted came." Soon, however, the ever-pliable principal theme falls
into a martial stride, and a very effective setting of the words, "Not
with the Roll of stirring Drums," concludes the opening male chorus. Here
follows the Centennial Hymn as given out in the beginning, sung first by
an alto voice, and repeated by the full chorus of mixed voices. After the
close, the orchestra, dreaming along in the spell, as it were, seems to
spiritualize the sturdy Pilgrim Fathers into meek Pilgrims of the
Cross,--a piece of exquisite tenderness, Liszt-Wagnerish, and yet
beautiful. After some alto recitatives and short choral phrases, the
leading theme once more enters with heavy martial step to the words,
"There was Manhood's Brow," etc. The musical setting of the question,
"What sought they?" etc., is cast in simpler form, and the response,
"They sought a Faith's pure Shrine," is given in six measures, _a
capella_, for five voices. This brings us to the last movement, _andante
maestoso_. The leading motive, now contracted into one measure, is tossed
about in the double basses as on the waves of a heavy surf until it
reaches the climax on the words "Freedom to worship God." The cantata
forms a valuable addition to our musical literature, and was first sung
by the Cincinnati Harmonic Society, of which Mr. Singer was leader at the
time.
SMART.
Henry Smart, one of the most prominent of the modern English composers,
was born in London, Oct. 26, 1813. Though almost entirely self-taught, he
soon made his mark as a musician of more than ordinary ability. For many
years he was principally known as an organist and organ-writer. He wrote
numerous compositions for that instrument, which are still largely in
use, and from 1836 to 1864 was famous in London for his contributions to
the church service. In 1855 his opera, "Bertha, or the Gnome of
Hartzburg," was produced with success in that city. Among his festival
works were the cantatas, "The Bride of Dunkerron," for Birmingham (1864);
"King René's Daughter" and "The Fishermaidens," for female voices (1871);
the sacred cantata "Jacob," for Glasgow (1873); and two anthems for
solos, chorus, and organ, for the London Choral Choirs' Association
Festivals of 1876 and 1878. As a writer of part-songs he has also
achieved a wide reputation. Grove states that he also was "a very
accomplished mechanic, and had he taken up engineering instead of music,
would no doubt have been successful. As a designer of organs he was often
employed." Shortly after 1864 he lost his sight and thereafter composed
entirely by dictation. His services for music secured him a government
pension in June, 1879, but he did not live to enjoy it, dying July 6 of
the same year.
The Bride of Dunkerron.
"The Bride of Dunkerron," words by Frederick Enoch, was written for the
Birmingham Festival of 1864, and is based upon a tradition, the scene
located at the Castle of Dunkerron, on the coast of Kerry, which has also
been made the subject of a ballad by Crofton Croker. The story is a very
simple one. The Lord of Dunkerron becomes enamoured of a sea-maiden, and
as she is unable to leave her element he follows her to her abode. She
seeks the Sea-King to obtain his consent to their union, but returns to
her lover with the sad message that she is doomed to death for loving a
mortal. He in turn is driven from the Sea-King's realm, and is cast back
by the tempest to the shores of the upper world; and the work closes with
the laments of the sea-spirits for the maiden, and of the serfs for their
master.
After an expressive orchestral introduction the cantata opens with a
chorus of the serfs (tenors and basses) ("Ere the Wine-cup is dry"),
followed by a very romantic chorus of sea-maidens, the two at times
interwoven and responsive,--the one describing Lord Dunkerron's nightly
vigils on the seashore, and the other the melody of the maidens which
tempts him. A charming orchestral intermezzo, full of the feeling of the
sea, ensues, and is followed by recitative and aria ("The full Moon is
beaming") for Dunkerron, which is very simple in style but effective as a
song, even apart from its setting. It leads up to another chorus of the
sea-maidens ("Let us sing, the moonlit Shores along") and a long love
dialogue between Dunkerron and the Maiden. The next number is a very
spirited and picturesque chorus ("Down through the Deep") describing the
passage of the lovers to the Maiden's home, which is followed by a
sturdy, sonorous recitative and aria for bass voice ("Oh, the Earth is
fair in Plain and Glade") sung by the Sea-King. Two very attractive
choruses follow, the first ("O Storm King, hear us") with a solo for the
Sea-King, and the second ("Hail to thee, Child of the Earth") by the
sea-maidens. Another graceful melody, "Our Home shall be on this bright
Isle," is assigned to the Maiden, leading to a duet with Dunkerron, in
which she announces her departure to obtain the Sea-King's consent to
their union. A chorus of the storm-spirits ("Roar, Wind of the Tempest,
roar") indicates her doom and leads up to the finale. A powerful trio for
the Maiden, Dunkerron, and Sea-King, followed by the angry commands of
the latter ("Hurl him back!"), tells of the death of the lovers, and the
work closes as it opened, with the intermingled choruses of serfs and
sea-maidens, this time, however, full of lamentation over the sad
tragedy.
King René's Daughter.
"King René's Daughter," a cantata for female voices only, the poem by
Frederick Enoch, was written in 1871. The story is freely adapted from
Henrik Hertz's lyric drama. Iolanthe, the daughter of King René, Count of
Provence, was betrothed in her infancy to the son of the Count of
Vaudemont. When but a year old she was stricken with blindness. She has
been reared in ignorance of her affliction by a strict concealment from
her of all knowledge of the blessings of sight. A wandering magician
agrees to cure her by the use of an amulet, provided she is first
informed of the existence of the missing sense; but her father refuses
permission. Her betrothed has never seen her, but wandering one day
through the valley of Vaucluse, singing his troubadour lays, he beholds
her, and is captivated by her beauty. His song reveals to her the faculty
of which she has been kept in ignorance, and the magician, his condition
thus having been fulfilled, restores her to sight.
The work is divided into thirteen numbers, the solo parts being Iolanthe
(soprano), Martha (mezzo-soprano), and Beatrice (contralto). In the third
number another soprano voice is required in a trio and chorus of
vintagers; and in the sixth number, a soprano and contralto in the
quartet, which acts the part of narrator, and tells of the troubadour's
rose song to Iolanthe. It is unnecessary to specify the numbers in
detail, as they are of the same general character,--smooth, flowing, and
graceful in melody throughout. The most striking of them are No. 3, trio
and chorus ("See how gay the Valley shines"); No. 5, arietta for Martha
("Listening to the Nightingales"); No. 6, quartet ("Who hath seen the
Troubadour?"); No. 8, Iolanthe's song ("I love the Rose"); No. 11, duet
and chorus ("Sweet the Angelus is ringing"); and the finale, with the
jubilant chorus:--
"René the king will ride forth from the gate
With his horsemen and banners in state;
And the trumpets shall fanfaron ring
To René, to René, the king.
Then with rebec and lute and with drum
The bride in her beauty will come;
And the light of her eyes, they will say, has surpassed
The diamonds that shine at her waist,--
The diamonds that shine in her long golden hair,--
King René's daughter the fair."
SULLIVAN.
Arthur Seymour Sullivan was born in London, May 13, 1842. His father, a
band-master and clarinet-player of distinction, intrusted his musical
education at first to the Rev. Thomas Hilmore, master of the children of
the Chapel Royal. He entered the chapel in 1854 and remained there three
years, and also studied in the Royal Academy of Music under Goss and
Sterndale Bennett, during this period, leaving the latter institution in
1858, in which year he went to Leipsic. He remained in the Conservatory
there until 1861, when he returned to London and introduced himself to
its musical public, with his music to Shakspeare's "Tempest," which made
a great success. The enthusiasm with which this was received, and the
favors he gained at the hands of Chorley, at that time musical critic of
the "Athenæum," gave him a secure footing. The cantata "Kenilworth,"
written for the Birmingham Festival, the music to the ballet "L'Île
enchantée," and an opera, "The Sapphire Necklace," were produced in 1864.
In 1866 appeared his first symphony and an overture, "In Memoriam," a
tribute to his father, who died that year. The next year his overture
"Marmion" was first performed. In 1869 he wrote his first oratorio, "The
Prodigal son," in 1873 "The Light of the World," and in 1880 "The Martyr
of Antioch;" the first for the Worcester, the second for the Birmingham,
and the third for the Leeds festival. The beautiful "Overture di Ballo,"
so frequently played in this country by the Thomas orchestra, was written
for Birmingham in 1870, and the next year appeared his brilliant little
cantata, "On shore and Sea." On the 11th of May, 1867, was first heard in
public his comic operetta, "Cox and Box." It was the first in that series
of extraordinary successes, really dating from "The Sorcerer," which are
almost without parallel in the operatic world, and which have made his
name, and that of his collaborator, Gilbert, household words. He has done
much for sacred as well as secular music. In addition to his oratorios he
has written numerous anthems, forty-seven hymn tunes, two Te Deums,
several carols, part-songs, and choruses, and in 1872 edited the
collection of "Church Hymns with Tunes" for the Christian Knowledge
Society. His latest works are the opera "Ruddygore" and the cantata "The
Golden Legend," both written in 1886. He received the honorary degree of
Doctor of Music from Cambridge in 1876, and from Oxford in 1879, and in
1883 was knighted by the Queen.
On Shore and Sea.
The cantata "On Shore and Sea" was written for the London International
Exhibition of 1871. The solo parts are allotted to La Sposina, a Riviera
woman, and Il Marinajo, a Genoese sailor. The action passes in the
sixteenth century, at a port of the Riviera and on board of a Genoese and
Moorish galley at sea. The cantata opens with a joyous sailors' chorus
and the lament of the mothers and wives as the seamen weigh anchor and
set sail. The scene then changes to the sea. On board one of the galleys,
in the midnight watch, the Marinajo invokes the protection of Our Lady,
Star of the Sea, for the loved one left behind. The scene next changes to
the return of the fleet, triumphant in its encounters with the Moorish
vessels. The women throng to the shore, headed by La Sposina, to welcome
the sailors back, but the galley on board which her lover served is
missing. It has been captured by the Moors, and in a pathetic song she
gives expression to her sorrow. In the next scene we find him toiling at
the oar at the bidding of his Moorish masters. While they are revelling
he plans a rising among his fellow-captives which is successful. They
seize the galley and steer back to the Riviera, entering port amid
choruses of rejoicing. The cantata is full of charming melodies, the
instrumentation is Oriental in color, and the choruses, particularly the
closing ones, are very stirring.
The Golden Legend.
"The Golden Legend" was first produced at the Leeds Musical Festival,
Oct. 16, 1886. The story of the legend has already been told in the
description of Mr. Buck's cantata by the same name, which took the
Cincinnati Festival prize in 1880. The adaptation of Mr. Longfellow's
poem for the Sullivan cantata was made by Joseph Bennett, who while
omitting its mystical parts, except the prologue, has confined himself to
the story of Prince Henry and Elsie. All the principal scenes, though
sometimes rearranged to suit the musical demands of the composer, have
been retained, so that the unity of the legend is preserved.
The prologue, representing the effort of Lucifer and the spirits of the
air to tear down the cathedral cross, is used without change. The part of
Lucifer is assigned to the barytone voice, the spirits of the air to the
sopranos and altos, and the bells to the tenors and basses, the whole
closing with the Gregorian Chant. The orchestral accompaniment is very
realistic, particularly in the storm music and in the final number, where
the organ adds its voice to the imposing harmony. The first scene opens
with the soliloquy of Prince Henry in his chamber ("I cannot sleep"),
followed by a dramatic duet with Lucifer, describing the temptation, and
closes with a second solo by the Prince, accompanied by a warning chorus
of angels. The second scene opens before the cottage of Ursula at
evening, with a short alto recitative ("Slowly, slowly up the Wall") with
pastoral accompaniment, followed by a very effective choral hymn ("O
Gladsome Light") sung by the villagers ere they depart for their homes,
the Prince's voice joining in the Amen. The remainder of the scene
includes a dialogue between Elsie and her mother, in which the maid
expresses her determination to die for the Prince, and a beautiful prayer
("My Redeemer and my Lord") in which she pleads for strength to carry out
her resolution, closing with her noble offer to the Prince, which he
accepts, the angels responding Amen to the blessing he asks for her.
The third scene opens with Elsie, the Prince, and their attendants on the
road to Salerno where the cure is to be effected by her sacrifice. They
fall in with a band of pilgrims, among whom is Lucifer in the disguise of
a monk. The two bands part company, and as night comes on the Prince's
attendants encamp near the sea. The continuity of the narrative is varied
by a simple, graceful duet for the Prince and Elsie ("Sweet is the Air
with budding Haws"); the Gregorian music of the pilgrims in the distance
("Cujus clavis lingua Petri"); the mocking characteristic song of Lucifer
("Here am I too in the pious Band"), interwoven with the chant; the song
of greeting to the sea by the Prince ("It is the Sea"); and a very
effective solo for Elsie ("The Night is calm and cloudless"), which is
repeated by full chorus with soprano obligato dwelling upon the words
"Christe Eleison." The fourth scene opens in the Medical School at
Salerno, and discloses Lucifer disguised as the physician Friar Angelo,
who receives Elsie and takes her into an inner apartment, notwithstanding
the protests of the Prince, who suddenly resolves to save her, and
finally effects her rescue. The music to this scene is very dramatic, and
it also contains a short but striking unaccompanied chorus ("O Pure in
Heart").
The fifth scene is short. It passes at the door of Ursula's cottage,
where a forester brings the mother the news of Elsie's safety and of the
Prince's miraculous cure. The dialogue is followed by a prayer of
thanksgiving ("Virgin, who lovest the Poor and Lowly"). The last scene
opens on the terrace of the castle of Vautsberg. It is the evening of the
wedding day, and amid the sound of bells heard in the distance the Prince
relates to Elsie the story of Charlemagne and Fastrada, at the close of
which the happy pair join in an exultant duet. The cantata ends with a
choral epilogue, worked up to a fine fugal climax in which Elsie's "deed
divine" is compared to the mountain brook flowing down from "the cool
hills" to bless "the broad and arid plain."
WAGNER.
Richard Wagner, who has been sometimes ironically called the musician of
the future, and whose music has been relegated to posterity by a
considerable number of his contemporaries, was born at Leipsic, May 22,
1813. After his preliminary studies in Dresden and Leipsic, he took his
first lessons in music from Cantor Weinlig. In 1836 he was appointed
musical director in the theatre at Magdeburg, and later occupied the same
position at Königsberg. Thence he went to Riga, where he began his opera
"Rienzi." He then went to Paris by sea, was nearly shipwrecked on his way
thither, and landed without money or friends. After two years of hard
struggling he returned to Germany. His shipwreck and forlorn condition
suggested the theme of "The Flying Dutchman," and while on his way to
Dresden he passed near the castle of Wartburg, in the valley of
Thuringia, whose legends inspired his well-known opera of "Tannhäuser."
He next removed to Zurich, and about this time appeared "Lohengrin," his
most popular opera. "Tristan and Isolde" was produced in 1856, and his
comic opera, "Die Meistersinger von Nürnberg," three years later. In 1864
he received the patronage of King Louis of Bavaria, which enabled him to
complete and perform his great work, "Der Ring der Nibelungen." He laid
the foundation of the new theatre at Baireuth in 1872, and in 1875 the
work was produced, and created a profound sensation all over the musical
world. "Parsifal," his last opera, was first performed in 1882. His works
have aroused great opposition, especially among conservative musicians,
for the reason that he has set at defiance the conventional operatic
forms, and in carrying out his theory of making the musical and dramatic
elements of equal importance, and employing the former as the language of
the latter in natural ways, has made musical declamation take the place
of set melody, and swept away the customary arias, duets, quartets, and
concerted numbers of the Italian school, to suit the dramatic exigencies
of the situations. Besides his musical compositions, he enjoys almost
equal fame as a littérateur, having written not only his own librettos,
but four important works,--"Art and the Revolution," "The Art Work of the
Future," "Opera and Drama," and "Judaism in Music." His music has made
steady progress through the efforts of such advocates as Liszt, Von
Bülow, and Richter in Germany, Pasdeloup in France, Hueffer in England,
and Theodore Thomas in the United States. In 1870 he married Frau Cosima
von Bülow, the daughter of Liszt,--an event which produced almost as much
comment in social circles as his operas have in musical. He died during a
visit to Venice, Feb. 13, 1883.
Love Feast of the Apostles.
"Das Liebesmahl der Apostel" ("The Love Feast of the Apostles"), a
Biblical scene for male voices and orchestra, dedicated to Frau Charlotte
Emilie Weinlig, the widow of the composer's old teacher, was written in
1843, the year after "Rienzi," and was first performed in the
Frauen-Kirche in Dresden at the Men's Singing Festival, July 6 of that
year.
The work opens with a full chorus of Disciples ("Gegrüsst seid, Brüder,
in des Herren Namen"), who have gathered together for mutual help and
strength to endure the persecutions with which they are afflicted. The
movement flows on quietly, though marked by strong contrasts, for several
measures, after which the chorus is divided, a second and third chorus
taking up the two subjects, "Uns droht der Mächt'gen Hass," and "O fasst
Vertrau'n," gradually accelerating and working up to a climax, and
closing pianissimo ("Der Mächt'gen Späh'n verfolgt uns überall").
In the next number the Apostles enter (twelve bass voices) with a
sonorous welcome ("Seid uns gegrüsst, ihr lieben Brüder"), reinforced by
the Disciples, pianissimo ("Wir sind versammelt im Namen Jesu Christi"),
the united voices at last in powerful strains ("Allmächt'ger Vater, der
du hast gemacht Himmel und Erd' und Alles was darin") imploring divine
help and the sending of the Holy Ghost to comfort them. At its close
voices on high are heard ("Seid getrost, ich bin euch nah, und mein Geist
ist mit euch"). The Disciples reply with increasing vigor ("Welch Brausen
erfüllt die Luft"). The Apostles encourage them to steadfast reliance
upon the Spirit ("Klein müthige! Hört an was jetzt der Geist zu Künden
uns gebeut"), and the work comes to a close with a massive chorale ("Denn
ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit"), worked up with
overpowering dramatic force, particularly in the instrumentation. Though
but a small composition compared with the masterpieces for the stage
which followed it, it is peculiarly interesting in its suggestions of the
composer's great dramatic power which was to find its fruition in the
later works from his pen.
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 Waldmädchen," which
was performed several times during the year 1800. In 1801 appeared his
two-act comic opera, "Peter Schmoll and his Neighbors," and during these
two years he also frequently played in concerts with great success. He
then studied with the Abbé Vogler, and in his eighteenth year was engaged
for the conductorship of the Breslau opera. About this time appeared his
first important opera, "Rubezahl." At the conclusion of his studies with
Vogler he was made director of the opera at Prague. In 1816 he went to
Berlin, where he was received with the highest marks of popular esteem,
and thence to Dresden as hofcapellmeister. This was the most brilliant
period in his career. It was during this time that he married Caroline
Brandt, the actress and singer, who had had a marked influence upon his
musical progress, and to whom he dedicated his exquisite "Invitation to
the Dance." The first great work of his life, "Der Freischütz,"
was written at this period. Three other important operas
followed,--"Preciosa," "Euryanthe," the first performance of which took
place in Vienna in 1823, and "Oberon," which he finished in London and
brought out there. Weber's last days were spent in the latter city, and
it was while making preparations to return to Germany, which he longed to
see again, that he was stricken down with his final illness. On the 4th
of June, 1826, he was visited by Sir George Smart, Moscheles, and other
musicians who were eager to show him attention. He declined to have any
one watch by his bedside, thanked them for their kindness, bade them
good-by, and then turned to his friend Fürstenau, and said, "Now let me
sleep." These were his last words. The next morning he was found dead in
his bed. He has left a rich legacy of works besides his operas,--a large
collection of songs, many cantatas (of which the "Jubilee" and "Kampf und
Sieg" are the finest), some masses, of which that in E flat is the most
beautiful, and several concertos, besides many brilliant rondos,
polaccas, and marches for the piano.
Jubilee Cantata.
The "Jubilee Cantata" was written in 1818 to celebrate the fiftieth
anniversary of the reign of King Friedrich August of Saxony. The King
having expressed a desire that there should be a court concert on the day
of the anniversary, September 20, Count Vitzthum commissioned Weber to
write a grand jubilee cantata. The poet Friedrich Kind supplied the
words. While engaged in its composition Weber was informed by friends
that other arrangements were being made for the concert, and on the 12th
of September the information was confirmed by a letter from the Count
which informed him that notwithstanding his personal protests, the
Jubilee Cantata was not to be given. The son in his biography of his
father intimates that the change was the result of intrigues on the part
of his Italian rivals, Morlacchi, Zingarelli, and Nicolini. The same
authority says that the cantata was finally produced in the Neustadt
church for the benefit of the destitute peasantry in the Hartz mountains,
Weber himself conducting the performance, and that only the overture to
the work, now famous the world over as the "Jubel," was played at the
court concert. The best authorities, however, now believe that the Jubel
overture is an entirely independent work, having no connection with the
cantata. The text of the cantata, which commemorates many special events
in the life of the King, being found unsuitable for general performance,
a second text was subsequently written by Amadeus Wendt, under the title
of "Ernte-Cantata" ("Harvest Cantata") which is the one now in common
use, although still another version was made under the name of "The
Festival of Peace," by Hampdon Napier, which was used at a performance in
London under the direction of the composer himself only a few days before
his death.
The cantata is written for the four solo voices, chorus, and orchestra.
It opens after a short allegro movement with a full jubilant chorus
("Your thankful Songs upraise"), the solo quartet joining in the middle
part with chorus. The second number is a very expressive recitative and
aria for tenor ("Happy Nation, still receiving"). The third is
characterized by quiet beauty, and is very devotional in spirit. It
begins with a soprano recitative and aria ("Yet not alone of Labor comes
our Plenty"), leading up to a second recitative and aria ("The gracious
Father hears us when we call"), which are very vivacious in style,
closing with a tenor recitative ("The Air is mild and clear and grateful
to the Reapers"). These prepare the way for a short but very powerful
chorus ("Woe! see the Storm-Clouds"). In the next number ("How fearful
are the Terrors Nature brings") the bass voice moralizes on the powers of
Nature, followed by a plaintive strain for two sopranos, which leads up
to a majestic prayer for chorus ("Lord Almighty, full of Mercy"). A bass
recitative ("Lo, once our Prayer") introduces a beautiful quartet and
chorus of thanksgiving ("Wreathe into Garlands the Gold of the Harvest").
They are followed by a tenor recitative and soprano solo ("Soon noble
Fruit by Toil was won"), and the work comes to a close with a stately
chorus of praise ("Father, reigning in Thy Glory").
Kampf und Sieg.
In June, 1815, Weber arrived in Munich and during his stay made the
acquaintance of Fraulein Wohlbrück, the singer, which led to an
introduction to her father, who was both an actor and a poet. On the very
day that he met Wohlbrück, the news came to Munich of the victory of the
Allies at Waterloo, the whole city was decorated and illuminated, and a
great crowd, Weber with them, went to St. Michael's Church to listen to a
Te Deum. While there the idea of a grand cantata in commemoration of the
victory came into his mind. On his return home he met Wohlbrück and
communicated his purpose to him. The enthusiastic poet agreed to furnish
the words. About the first of August the text was placed in Weber's
hands, and he at once set it to music. It was first produced on the 22d
of December at Prague, and made a profound impression by its stirring
military character and vivid battle-descriptions.
The cantata is written for the four solo voices, chorus of sopranos,
altos, two tenors, and basses and orchestra. A stirring orchestral
introduction leads up to a people's chorus which describes the
disappearance of dissensions heralding the approach of victory. No. 3 is
a bass solo entitled "Faith," with a delightful violoncello
accompaniment. In No. 4, Love (soprano) and Hope (tenor) join with Faith
in a song full of feeling. No. 5 is a soldiers' chorus of an enthusiastic
and martial character, while in the distance is heard the Austrian
Grenadier's march mingling with it. In the next number the approach of
the enemy is heard as the chorus closes with the majestic phrase, "Mit
Gott sei unser Werk gethan." The lively march of the enemy comes nearer
and nearer, interwoven with the next chorus, which is set to Körner's
prayer "Wie auch die Hölle braust." Then follows the opening of the
battle, with the roar of cannon, the shouts of the soldiers, and the
cries of the wounded, through which is heard the French national air
defiantly sounding. Another soldiers' chorus follows. It pictures the
advance of the Prussian Jägers ("Ha! welch ein Klang"), followed by the
simple strains of "God save the King!" In No. 9 the fight is renewed, the
music reaching a pitch of almost ferocious energy, until the joyous cry
is heard, "Hurrah! Er flieht," and the triumphant march of victory
emphasizes the exultant pæan, "Heil dir im Siegerkranz." The rest of the
cantata is purely lyrical in style. Once more the voices of "Faith" and
"Love" are heard, leading up to the final majestic chorus, "Herr Gott,
Dich loben wir," accompanying a solo voice chanting the theme "Gieb und
erhalte den Frieden der Welt."
WHITING.
George Elbridge Whiting was born at Holliston, Mass., Sept. 14, 1842. He
began the study of the piano at a very early age, but soon abandoned it
for the organ. His progress was so rapid that at the age of thirteen he
made his public appearance as a player. In 1857 he went to Hartford,
Conn., where he had accepted a position in one of the churches, and while
there organized the Beethoven Society. In 1862 he removed to Boston, but
shortly afterwards went to England, where he studied the organ for a year
with Best. On his return he was engaged as organist of St. Joseph's
Church, Albany, N. Y., but his ambition soon took him to Europe again.
This time he went to Berlin and finished his studies with Radecke and
Haupt. He then returned to Albany and remained there three years, leaving
that city to accept a position at the church of the Immaculate
Conception, Boston. In 1874 he was appointed organist at the Music Hall,
and was also for some time at the head of the organ department of the New
England Conservatory of Music. In 1878 he was organist for the third
Cincinnati May Festival, and in 1879 accepted a position in the College
of Music in that city, at the same time taking charge of the organ in the
Music Hall, with what success those who attended the May Festivals in
that city will remember. He remained in Cincinnati three years and then
returned to his old position in Boston. Mr. Whiting ranks in the first
class of American organists, and has also been a prolific composer. Among
his vocal works are a mass in C minor (1872); mass in F minor (1874);
prologue to Longfellow's "Golden Legend" (1873); cantatas, "Dream
Pictures" (1877), "The Tale of the Viking" (1880); a concert overture
("The Princess"); a great variety of organ music, including "The
Organist," containing twelve pieces for that instrument, and "the First
Six Months on the Organ," with twenty-five studies; several concertos,
fantasies, and piano compositions, and a large number of songs.
The Tale of the Viking.
"The Tale of the Viking" was written in competition for the prize offered
by the Cincinnati Musical Festival Association in 1879, and though
unsuccessful, is still regarded as one of the most admirable and
scholarly works yet produced in this country. The text of the cantata is
Longfellow's "Skeleton in Armor," that weird and stirring story of the
Viking, which the poet so ingeniously connected with the old mill at
Newport.
The work comprises ten numbers, and is written for three solo voices
(soprano, tenor, and barytone), chorus, and orchestra. A long but very
expressive overture, full of the dramatic sentiment of the poem, prepares
the way for the opening number, a short male chorus:--
"'Speak! speak! thou fearful guest
Who, with thy hollow breast
Still in rude armor drest,
Comest to daunt me!
Wrapt not in Eastern balms,
But with thy fleshless palms
Stretched, as if asking alms,
Why dost thou haunt me?'"
Next comes a powerful chorus for mixed voices ("Then from those cavernous
Eyes"), which leads up to the opening of the Viking's story ("I was a
Viking old"), a barytone solo, which is made very dramatic by the skilful
division of the song between recitative and the melody. In the fourth
number the male chorus continues the narrative ("But when I older grew"),
describing in a vivacious and spirited manner the wild life of the
marauders on the sea and their winter wassails as they told the Berserker
legends over their cups of ale. In the fifth the soprano voice tells of
the wooing of "The blue-eyed Maid" in an aria ("Once, as I told in Glee")
remarkable for its varying shades of expression. At its close a brilliant
march movement, very sonorous in style and highly colored, introduces a
vigorous chorus ("Bright in her Father's Hall"), which describes the
refusal of old Hildebrand to give his daughter's hand to the Viking. A
dramatic solo for barytone ("She was a Prince's Child") pictures the
flight of the dove with the sea-mew, which is followed by a chorus of
extraordinary power as well as picturesqueness ("Scarce had I put to
Sea"), vividly describing the pursuit, the encounter, and the Viking's
escape with his bride. A graceful but pathetic romance for tenor ("There
lived we many Years"), which relates her death, and burial beneath the
tower, leads to the closing number, a soprano solo with a full stately
chorus, admirably worked up, picturing the death of the Viking, who falls
upon his spear, and ending in an exultant and powerful burst of harmony,
set to the words:--
"'Thus, seamed with many scars,
Bursting these prison bars,
Up to its native stars
My soul ascended;
There from the flowing bowl
Deep drinks the warrior's soul,
_Skoal_! to the Northland! _skoal_!'
Thus the tale ended."
APPENDIX.
The following alphabetical list has been prepared to present the reader
with the titles of the more important cantatas by well-known composers
and the dates of their composition. To make an exhaustive catalogue of
works of this class would be impossible, as a great number have been lost
entirely, and hundreds of others are now only known by name; but the
writer believes that those subjoined will provide musical students, as
well as the general reader, with as complete a reference list as can be
desired.
Adam, Adolphe.
Le Premiers Pas (1847);
La Fête des Arts (1852);
Chant de Victoire (1855);
Birth of the Prince Imperial (1856).
Anderton, Thomas.
The Song of Deborah and Barak (1871);
The Wreck of the Hesperus (1882);
The Norman Baron (1884);
Yuletide (1885).
Arnold, Samuel.
Sennacherib (1774).
Aspa, Edward.
The Gypsies (1870);
Endymion (1875).
Astorga, Emanuele.
Quando penso (1706);
Torne Aprile (1706);
In questo core (1707);
Dafni (1709).
Bach, John Sebastian.
Two hundred and twenty-six sacred cantatas, of which the following
are most commonly sung: Ich hatte viel Bekümmerniss; Festo
Ascensionis Christi; Ein' Feste Burg (Reformation festival of 1717);
Aus tiefer Noth schrei ich; Christ unser Herr zum Jordan kam; Ehre
sei Gott in der Höhe (Christmas cantata); Gottes Zeit ist die
allerbeste Zeit (mourning cantata); Lobe den Herrn (New Year's Day);
O Ewigkeit, du Donnerwort; Gott ist mein König; Wie schön leucht uns
der Morgenstern.
Twenty-eight birthday, funeral, and secular cantatas: among them,
Komische cantate, Kaffee cantate, Bauern oder Hochzeit's cantate.
Balfe, Michael.
Mazeppa (1862);
The Page (?).
Barnby, Joseph.
Rebekah (1870).
Barnett, John Francis.
The Ancient Mariner (1867);
Paradise and the Peri (1870);
Lay of the Last Minstrel (1874);
The Good Shepherd (1876);
The Building of the Ship (1880).
Beethoven, Ludwig von.
Der Glorreiche Augenblick (1814);
Meeresstille und glücklich Fahrt (1815).
Bendall, Wilfred.
Parizadeh (1870);
The Lady of Shalott (1871).
Benedict, Julius.
Undine (1860);
Richard Coeur de Leon (1863);
Legend of St. Cecilia (1866);
Legend of St. Elizabeth (1867);
St. Peter (1870);
Graziella (1882).
Bennett, William Sterndale.
May Queen (1858);
International Exhibition Ode (1862);
Cambridge Installation Ode (1862).
Berlioz, Hector.
Sardanaple (1830);
Romeo and Juliet (dramatic symphony with solos and chorus) (1839);
Damnation of Faust (dramatic scenes) (1846);
L'Imperiale (1855);
Le Cinq Mai (1857).
Bishop, Henry.
The Seventh Day (1840).
Boito, Arrigo.
Ode to Art (1880).
Brahms, Johannes.
Rinaldo (1868);
Rhapsodie (1870);
Schicksalslied (1871);
Triumphlied (1873);
Gesang der Parzen (1877);
Boadicea (1878).
Bridge, John Frederick.
Rock of Ages (1880);
Boadicea (1880).
Bristow, George Frederick.
Daniel (1876).
Bronsart, Hans von.
Christmarkt (1876).
Bruch, Max.
Die Birken und die Erlen (1853);
Jubilate-Amen (1856);
Rinaldo (1858);
Rorate Coeli (1861);
Frithjof's Saga (1862);
Salamis (1862);
Die Flucht der heilige Familie (1863);
Gesang der heiligen drei Könige (1864);
Römischer Triumphgesang (1864);
Römische Leichenfeier (1864);
Schön Ellen (1869);
Odysseus (1872);
Arminius (1873);
Normannenzug (1874);
Song of the Bell (1876);
Achilleus (1885).
Brüll, Ignaz.
Die Gesternähren (1875).
Buck, Dudley.
Forty-sixth Psalm (1872);
Don Munio (1874);
Centennial Cantata (1876);
The Nun of Nidaros (1878);
Golden Legend (1880);
Voyage of Columbus (1885);
Light of Asia (1886).
Caldicott, Alfred James.
La Primavera (1880);
The Widow of Nain (1881);
Rhine Legend (1883);
Queen of the May (1885).
Carissimi, Giacomo.
Jephthah (1660).
Cherubini, Marie Luigi.
La Pubblica Felicità (1774);
Arnphion (1786); and seventeen others.
Cimerosa, Domenico.
La Nascita del Delfino (1786); and one hundred others.
Clay, Frederick.
The Knights of the Cross (1866);
Lalla Rookh (1877).
Corder, Frederick.
The Cyclops (1880);
The Bridal of Triermain (1886).
Costa, Michael.
The Dream (1815);
La Passione (1827).
Cowen, Frederick Hymen.
The Rose Maiden (1870);
The Corsair (1876);
St. Ursula (1881);
The Sleeping Beauty (1885).
Cummings, William Hayman.
The Fairy Ring (1873).
Damrosch, Leopold.
Ruth and Naomi (1870);
Sulamith (1877).
David, Félicien César.
The Desert (1844).
Dvorák, Anton.
Patriotic Hymn (1880);
The Spectre's Bride (1885).
Erdmannsdorfer, Max.
Prinzessin Ilse (1870);
Die Schneewittchen (1871).
Foote, Arthur.
The Legend of Hiawatha (1879).
Foster, Myles Birkett.
The Bonnie Fishwives (1880).
Fry, William Henry.
The Fall of Warsaw (1858).
Gabriel, Virginia.
Dreamland (1870);
Evangeline (1873).
Gade, Niels Wilhelm.
Comala (1843);
Spring Fantasie (1850); The Holy Night (1851);
Erl King's Daughter (1852);
Frühlingsbotschaft (1853);
Kalamus (1853);
Psyche (1856);
Zion (1860);
The Crusaders (1866).
Gadsby, Henry Robert.
Alice Brand (1870);
Lord of the Isles (1880);
Columbus (1881).
Garcia, Manuel.
Endimione (1822).
Gaul, Alfred Robert.
Ruth (1881);
The Holy City (1882).
Gernsheim, Friedrich.
Odin's Meeresritt (1860).
Gilchrist, William Wallace.
Forty-seventh Psalm (1882);
The Rose (1886).
Gleason, Frederick Grant.
God our Deliverer (1878);
The Culprit Fay (1879);
Praise of Harmony (1886).
Glover, Ferdinand.
The Fire Worshippers (1857).
Glover, William.
The Corsair (1849).
Glover, William Howard.
Tam O'Shanter (1855).
Gluck, Christoph Willibald.
Alexander's Feast (1753);
De Profundis (1760);
The Last Judgment (finished by Salieri) (1761).
Goetz, Hermann.
By the Waters of Babylon (1874);
Noenia (1875).
Goldmark, Karl.
Frühling's Hymne (1876).
Gounod, Charles François.
Marie Stuart et Rizzio (1837);
Daughters of Jerusalem (1838);
Fernand (1839);
À la Frontière (1870);
Gallia (1871).
Grieg, Edward.
Land Kennung (1865).
Halévy, Jacques Fromental.
Les Plages du Nil (1850);
Italie (1850).
Hamerik, Asger.
Friedenshymne (1868).
Handel, George Frederick.
Passion (1704);
twelve called "Hanover" (1711);
seventy-nine written in Italy (1706-1712);
Acis and Galatea (1720);
Sei del cielo (1736);
Alexander's Feast (1736);
Ode on St. Cecilia's Day (1739);
L'Allegro, il Penseroso, ed il Moderato (1740).
Hatton, John Liphot.
Robin Hood (1856).
Hauptmann, Moritz.
Herr, Herr! wende dich zum Gebet (1840);
Die lustigen Musikanten (1842).
Haydn, Joseph.
Birthday of Prince Nicholas (1763);
Applausus Musicus (1768);
Die Erwahlung eines Kapellmeisters (1769);
Ah! come il core mi palpito (1783);
Invocation of Neptune (1783);
An die Freude (1786);
Das Erndtefest (1786);
Deutschland's Klage auf den Tod Friedrichs der Grossen (1787);
Des Dichter's Geburtsfest (1787);
Hier liegt Constantia (1787);
Ariadne a Naxos (1792);
Ombra del caro bene (1798);
Der Versohnung's Tod (1809).
Heap, C. Swinnerton.
The Maid of Astolat (1885).
Hesse, Adolph Friedrich.
Sei uns gnadig, Gott der gnaden (1831);
Von Leiden ist me in Herz bedrängt (1832).
Hiller, Ferdinand.
Die lustige Musikanten (1838);
O, weint um Sie (1839);
Morning of Palm Sunday (1839);
Whitsuntide (1840);
Israel's Siegesgesang (1841);
Song of the Spirits over the Water (1842);
Prometheus (1843);
Rebecca (1843);
The Night of the Nativity (1843);
Heloise (1844);
Loreley (1845);
Die Nacht (1846);
Ostermorgen (1850);
Richard Löwenherz (1855);
An das Vaterland (1861);
Song of Victory (1871);
Song of Heloise (1871);
Nala und Damajanti (1871);
Pentecost (1872);
Prince Papagei (1872).
Himmel, Friedrich Heinrich.
La Danza (1792);
Hessan's Söhne und Prussien's Töchter (1797);
Das Vertrauen auf Gott (1797);
Funeral Cantata (1799).
Hofmann, Heinrich K.
J. Deutschland's Erhebung (1874);
Aschenbrödel (1875);
Song of the Norns (1875);
Melusina (1876);
Cinderella (1879).
Hummel, Johann Nepomuk.
Diana ed Endimione (1818).
Isouard, Nicolo.
Hebe (1813).
Jackson, William.
Lycidas (1767);
The Praise of Music (1770);
The Year (1785).
Jensen, Adolf.
Jephtha's Daughter (1864);
Donald Caird ist wieder da (1875);
The Feast of Adonis (1881).
Krug, Arnold.
Nomadenzug (1877);
Sigurd (1882).
Kücken, Friedrich.
Friedenshymne (1870).
Kuhlau, Friedrich.
Die Feier des Wohlwollens (1818).
Lachner, Franz.
Die vier Menschenalter (1843);
Der Sturm (1845);
Sixty-third Psalm (1849);
Des Krieger's Gebet (1851);
Siegesgesang (1852);
Mozart Fest Cantate (1852);
Sturmesmythe (1853);
Bundeslied (1854);
One Hundred and Fiftieth Psalm (1854).
Lahee, Henry.
Building of the Ship (1869);
The Blessing of the Children (1870).
Lassen, Edward.
Les Flamands sous van Arteveldt (1854);
The Artists (1861);
Fest Cantate (1874).
Lefébvre, Wély Louis.
Après le Victoire (1863).
Leslie, Henry David.
Judith (1858);
Holyrood (1860);
The Daughter of the Isles (1861).
Lindpaintner, Peter Joseph von.
Widow of Nain (1846).
Liszt, Franz.
Prometheus (1850);
Ave Maria (1851);
Pater Noster (1852);
Schiller Cantata (1859);
Die Seligkeiten (arranged from "Christus") (1863);
Eighteenth Psalm (1867);
Beethoven Festival Cantata (1870);
Requiem (1870);
One Hundred and Sixteenth Psalm (1873);
The Bells of Strasburg (1874);
An den heiligen Franziskus (1874);
St. Cecilia (1875);
Thirteenth Psalm (1877).
Lloyd, Charles Harford.
Hero and Leander (1884);
The Song of Balder (1885);
Andromeda (1886).
Macfarren, George Alexander.
Lenora (1852);
May Day (1857);
The Soldier's Legacy (1857);
Christmas (1860);
Songs in a Cornfield (1868);
The Lady of the Lake (1877);
Outward Bound (1877).
Mackenzie, Alexander Campbell.
The Bride (1880);
Jason (1882);
Story of Sayid (1886).
Massenet, Jules Émile Frédéric.
David Rizzio (1863);
Paix et Liberté (1867);
Mary Magdalen (1873);
Eve (1875);
Narcisse (1877).
Mendelssohn, Bartholdy Felix.
Christe, du Lamm Gottes (1827);
Ach Gott von Himmel (1827);
Humboldt Fest Cantate (1828);
Walpurgis Night (1831);
As the Hart pants (1838);
Friedrich August Fest Cantate (1842);
Lauda Sion (1846);
To the Sons of Art (1846).
Mercadante, Saverio.
L'Unione delle belli Arte (1818);
The Seven Words (1821).
Meyerbeer, Giacomo.
Seven sacred Cantatas from Klopstock (1810);
God and Nature (1810);
March of the Bavarian Archers (1816);
The Genius of Music at the Grave of Beethoven (1830);
Gutenberg Cantata (1836);
Le Festa nella Corte di Ferrara (1843);
Maria und ihr Genius (1851).
Mozart, Wolfgang Amadeus.
Grabmusik (1767);
Davidde penitente (1783);
Die Seele (1783);
Die Maurer freude (1785);
La Betulia liberata (1786);
Eine Kleine Freimaurer Cantate (1791).
Neukomm, Sigismond.
Napoleon's Midnight Review (1828);
Easter Morning (1829).
Oxenford, Edward.
Crown of Roses (1886).
Pacini, Giovanni.
Dante Centenary (1865).
Paer, Ferdinand.
Bacco ed Ariadna (1804);
La Conversazione Armonica (1804);
Il Trionfo della chiesa Cattolica (1805);
Europa in Creta (1806);
Il S. Sepolcro (1815).
Paine, John Knowles.
Oedipus (1881);
Phoebus Arise (1882);
The Nativity (1883);
Realm of Fancy (1884).
Paine, Robert P.
From Death unto Life (1883);
Great is the Lord (1884);
The Lay of the Last Minstrel (1884);
A Day with our Lord (1885).
Paisiello, Giovanni.
Peleus (1763);
Achille in Sciro (1783);
Giunone Lucina (1784).
Parker, James C. D.
Redemption Hymn (1877);
The Blind King (1886).
Parker, H.
W. King Trojan (1885).
Pattison, Thomas Mee.
The Ancient Mariner (1885);
The Lay of the Last Minstrel (1885).
Pepusch, John Christopher.
Alexis (1712).
Pergolesi, Giovanni.
Siciliana (1730);
Euridice (1730).
Ponchielli, Amilcare.
Donizetti ed Mayr Cantata (1875).
Prout, Ebenezer.
Hereward (1878);
Freedom (1880);
Alfred (1881);
Queen Aimée (1885).
Raff, Joseph Joachim.
Wachet auf (1865);
Deutschland's Auferstehung (1865);
Einer Entschlaffener (1876);
One Hundred and Thirtieth Psalm, "De Profundis" (1878);
Die Tageszeiten (1878).
Randegger, Albert.
Medea (1869);
The One Hundred and Fiftieth Psalm (1872);
Fridolin (1873);
Saffo (1875).
Reichardt, Johann Friedrich.
Trauer Cantate auf den Tod Friedrich (1786);
La Danza (1790).
Reinecke, Karl.
Ein geistliche Abendlied (1851);
Schlachtlied (1852);
Schneewittchen (1852);
Salvum fac regem (1859);
Weinachts (1861);
Belshazzar (1863);
Te Deum Laudamus (1870);
Flucht der heilige Familie (1873);
Dörnroschen (1875);
Aschenbrödel (1877);
Hakon Jarl (1877);
Die wilden Schwäne (1881).
Reissiger, Karl Gottlieb.
Der Herr macht Alles wohl (1830).
Reissmann, August.
Drusus' Death (1870);
Lorelei (1871).
Rheinberger, Joseph.
Wasserfee (1867);
Die Nacht (1868);
Die tödte Braut (1873);
Johannisnacht (1875);
Klärchen auf Eberstein (1876);
Christophorus (1880);
Toggenburg (1880).
Ries, Ferdinand.
Der Morgen (1835).
Rockstro, William Smyth.
The little Daughter of Jairus (1871);
The Good Shepherd (1885).
Rode, Theodore.
Passion's Cantata (1864).
Romberg, Andreas.
The Transient and the Eternal (1801);
Lay of the Bell (1808).
Rossini, Gioachino.
Didone abandonnata (1811);
Eglo e Irene (1814);
Teti e Peleo (1816);
I pastori (1820);
Cara patria (1820);
La Riconoscenza (1821);
Il pianto delle Muse (1823);
La sacra Alleanza (1823);
Il vero ommagio (1823);
Joan of Arc (1859).
Rubinstein, Anton.
E dunque vero (1865);
Die Nixe (1866);
The Morning (1868);
Mignon (1869);
Hecuba (1872);
Hagar in the Wilderness (1872).
Ryan, Desmond L.
The Maid of Astolat (1886).
Saint-Saens, Charles Camille.
Les Noces de Prométhée (1867);
Le Deluge (1876);
Eighteenth Psalm (1877);
Chanson d' Ancêtre (1878);
La Lyre et la Harpe (1879);
Hymn to Victor Hugo (1885).
Salaman, Charles Kensington.
Shakspeare Jubilee (1850).
Salieri, Antonio.
Le Dernier Jugement (1788);
La Riconoscenza (1796).
Scarlatti, Alessandro.
Povera pelegrina (1697).
Scharwenka, Ludwig Philipp.
Herbstfeier (1882);
Sakuntala (1883).
Schira, Francesca.
The Lord of Burleigh (1873).
Schmitt, Aloys.
Die Wörter des Glaubens (1816);
Die Huldigung der Tonkunst (1818);
Die Hoffnung (1820).
Schubert, Franz.
Salieri's Jubilee (1815);
Prometheus (1816);
Cantata (Spendau) (1816);
Glaube, Hoffnung und Liebe (1816);
Der Frühlingsmorgen (1818);
Vogl Cantata (1818);
Die Allmacht (1820);
Constitution's Lied (1822);
À la belle Irene (1827);
Miriam's Song (1828).
Schumann, Robert.
Mignon's Requiem (1849);
Advent Hymn (1849);
Pilgrimage of the Rose (1851);
The King's Son (1851);
The Singer's Curse (1852);
The Page and the King's Daughter (1852);
The Luck of Edenhall (1853).
Singer, Otto.
Landing of the Pilgrims (1876);
Festival Ode (1877).
Smart, Henry.
Bride of Dunkerron (1864);
King René's Daughter (1871);
The Fishermaidens (1871);
Jacob (1873).
Spohr, Louis.
The Liberation of Germany (1814);
Lord, Thou art great (1815);
How lovely are Thy Dwellings (1815);
Jehovah, Lord of Hosts (1820);
The Lord's Prayer (1829);
Hymn to the holy Cecilia (1856).
Spontini, Gaspard.
Borussia (1826);
Gott segne der König (1828).
Stainer, John.
The Daughter of Jairus (1878);
St. Mary Magdalene (1883).
Stanford, Charles Villiers.
The Revenge (1880);
God is our Hope (1881).
Sullivan, Arthur.
Kenilworth (1864);
On Shore and Sea (1871);
The Martyr of Antioch (1875);
The Golden Legend (1886).
Svendsen, Johann.
Marriage Cantata (1873).
Thomas, Ambroise.
Lesueur Cantata (1852);
The Tyrol (1867);
Carnival of Rome (1868);
The Atlantic (1868);
Sabbath Night (1869);
Boieldieu Cantata (1875).
Thomas, Arthur Goring.
The Sun Worshippers (1881).
Tschaikowsky, Peter I.
Coronation Cantata (1882).
Volkmann, Friedrich R.
To-night (1867);
Sappho (1868).
Wagner, Richard.
New Year's (1834);
Das Liebesmahl der Apostel (1843);
Gelegensheit Cantate (1843).
Weber, Carl Maria von.
Der Ester Ton (1808);
Kampf und Sieg (1815);
Natur und Liebe (1818);
Jubilee Cantata (1818).
Whiting, George Elbridge.
Dream Pictures (1877);
Lenora (1879);
Tale of the Viking (1880);
Henry of Navarre (1885).
Winter, Peter.
Pigmalione;
Piramo e Thisbe;
Die verlassene Dido;
Vortigerne;
Hector;
Inez de Castro;
Henri IV.;
Baiersche Lustbarkeit;
Der Franz Lustgarten;
Die Hochzeit des Figaro;
Andromaque;
Prague et Philomela;
Timoteo;
Die Erlösung des Menschen;
Die Auferstehung Germania's Friedens; (all written between 1789 and
1793).
Zingarelli, Nicolo.
Telemaco (1785);
Eco (1802);
Cantata Sacra (1829).
INDEX.
Acis and Galatea, 27, 166.
Addison, 58, 59.
Advent Hymn, 27, 319.
Alexander's Feast, 27, 173.
American Cantatas, 28.
Antigone, 254.
Appendix, 353.
Ariadne, 198.
Arnold, Edwin, 117, 233.
As the Hart Pants, 262.
Auber, 66.
Bach, 22-25, 63, 308;
life of, 29.
Balfe, 56;
life of, 44.
Bassani, 18.
Beethoven, 20, 134, 135, 146, 250, 269, 314;
life of, 48.
Bells of Strasburg, 221.
Benedict, 66, 128, 299;
life of, 56.
Bennett, 27, 227, 332;
life of, 62.
Berlioz, 27, 295;
life of, 68.
Bononcini, 19, 164.
Brahms, 27, 135, 317;
life of, 82.
Bridal of Triermain, 124.
Bride of Dunkerron, 328.
Bruch, 27;
life of, 86.
Buck, 27, 28, 153, 156, 335;
life of, 101.
Burney, 14, 16, 18.
Byron, 45, 70.
Caldara, 19.
Cantata, origin of, 13;
earlier form, 14;
in France, 20;
in Germany, 21;
Church cantatas, 26-28;
modern cantatas, 26-28.
Carissimi, 13, 14, 16.
Carlyle, 38, 39, 40.
Centennial Meditation of Columbia, 28, 106.
Cesti, 16.
Chandos Anthems, 26, 164, 167.
Chopin, 317.
Chorley, 58, 64, 210, 265, 332.
Choron, 15, 201.
Christmas, 228.
Christophorus, 304.
Comala, 27, 144.
Corder, life of, 123.
Cowen, 27;
life of, 128.
Crusaders, 149.
Culprit Fay, 28, 157.
Damnation of Faust, 27, 74.
Dante, 198.
D'Astorga, 19.
Davidde Penitente, 274.
Donizetti, 59.
Don Munio, 27, 28, 103.
Dryden, 19, 58, 59, 170, 173, 175, 177, 178.
Drummond, 289.
Dvorák, life of, 134.
Ein' Feste Burg, 38.
Erl King's Daughter, 147.
Exhibition Ode, 66.
Fair Ellen, 93.
Festa Ascensionis Christi, 37.
Foote, 28,
life of, 140.
Forty-sixth Psalm, 28, 154.
Fridolin, 27, 299.
Frithjof's Saga, 27, 87.
Gade, 27, 295;
life of, 143.
Gasparini, 17, 18.
George Sand, 216.
Gilchrist, 28;
life of, 153.
Gleason, 28;
life of, 156.
Glorious Moment, The, 53.
Gluck, 192.
Goethe, 54, 80, 86, 148, 248, 249, 251.
Golden Legend (Buck), 28, 109.
Golden Legend (Sullivan), 27, 335.
Gottes Zeit, 33.
Gounod, 78, 79.
Gutenberg Fest, 263.
Hamerik, 28, 107, 109.
Handel, 19, 20, 25, 27, 32, 58, 59, 85;
life of, 163.
Handel's Passion Cantata, 25.
Hanover Cantatas, 25.
Hatton, life of, 186.
Hawkins, 13, 16.
Haydn, 26, 48, 54, 250;
life of, 191.
Heil der in Siegerkranz, 84.
Heine, 39.
Hiawatha, 28, 141.
Hiller, 27, 86, 123, 318;
life of, 201.
Hofmann, 27;
life of, 205.
Holyrood, 210.
Ich hatte viel Bekummerniss, 31.
Irving, 103, 114.
Italian Cantata writers, 16-20.
Jubilee Cantata, 344.
Jubilee Ode, 237.
Kampf und Sieg, 27, 346.
Keats, 288.
King René's Daughter, 330.
King Thamos, 270.
King Trojan, 28, 292.
L'Allegro, 178.
Lamartine, 216.
Landing of the Pilgrims, 28, 325.
Lauda Sion, 265.
Lay of the Bell, 27, 309.
Legrenzi, 17.
Leslie, life of, 209.
Light of Asia, 27, 28, 117.
Liszt, 27, 82, 83, 324, 339, 340;
life of, 215.
Lotti, 17, 19.
Longfellow, 110, 141, 221, 222, 335, 349.
Love Feast of the Apostles, 340.
Luther, 38, 39, 40, 42.
Macfarren, 50, 52;
life of, 226.
Mackenzie, life of, 232.
Marcello, 19.
Mary Magdalen, 242.
Masonic Cantatas, 276.
Massenet, life of, 241.
May Queen, 27, 64.
Mazeppa, 45.
Melusina, 27, 206.
Mendelssohn, 20, 27, 36, 40, 52, 62, 87, 134, 143, 161, 203, 206, 295,
307;
life of, 246.
Meyerbeer, 41, 66.
Milton, 178, 179, 286.
Minstrel's Curse, 322.
Miriam's War Song, 314.
Mozart, 20, 48, 62, 134, 176, 250;
life of, 268.
Nativity, The, 28, 286.
Nicolai, 41.
Odysseus, 27, 95.
Oedipus at Colonos, 259.
Oedipus Tyrannus, 28, 259, 281.
On Shore and Sea, 334.
Paganini, 70.
Paine, 28, 140;
life of, 280.
Paisiello, 20.
Parker, H. W., 28;
life of, 291.
Parker, J. C. D., 28;
life of, 295.
Pergolesi, 20.
Phoebus, Arise, 28, 289.
Pilgrimage of the Rose, 321.
Pope, 170.
Porpora, 19, 164, 192.
Praise Song to Harmony, 28, 161.
Prometheus, 27, 217.
Raff, 136.
Rákóczy March, 77.
Randegger, 27;
life of, 298.
Realm of Fancy, 28, 288.
Redemption Hymn, 28, 296.
Rheinberger, 27, 291;
life of, 303.
Robin Hood, 187.
Romberg, 27, 308.
Romeo and Juliet, 70.
Rosa Salvator, 17.
Rossi, 17.
Rossini, 44.
Rousseau, 20.
Ruins of Athens, 49.
Saint-Saens, 153.
Salamis, 92.
Salieri, 215, 313.
Sarti, 20.
Scarlatti, 18, 19.
Schiller, 299, 309.
Schubert, 27, 49, 148, 318,
life of, 313.
Schumann, 27, 62, 82, 251, 295, 307, 315;
life of, 317.
Scott, Walter, 124.
Seven Words, The, 194.
Shakspeare, 71, 75, 87, 227, 246, 254, 332.
Singer, 28, 109;
life of, 324.
Sleeping Beauty, 27, 129.
Smart, life of, 327.
Song of Miriam, 27.
Song of Victory, 27, 203.
Spectre's Bride, 136.
Spring Fantasie, 146.
St. Cecilia, 57.
Story of Sayid, 233.
Strozzi, 13.
Sullivan, 27;
life of, 332.
Tale of the Viking, 28, 349.
Tennyson, 67.
Thomas, Ambroise, 241.
Thomas, Theodore, 102, 109, 153, 233, 281, 324, 333, 339.
Toggenburg, 27, 306.
Triumphlied, 27, 83.
Uhland, 320, 322, 323.
Verdi, 66, 213.
Victor Hugo, 216.
Voyage of Columbus, 28, 114.
Wagner, 41, 106, 127, 145, 149, 216;
life of, 338.
Walpurgis Night, 27, 248, 262.
Weber, 27, 56, 251;
life of, 342.
Whiting, 28, 153;
life of, 348.
End of Project Gutenberg's The Standard Cantatas, by George P. Upton