The play of _Richard III._ has not attracted musicians. I can only
trace one opera founded on it--that by the French composer, +Gervais
Bernard Salvayre+, produced 1883 at Petrograd. This work was a dead
failure, its chief faults--noisiness and an amalgamation of different
styles, from Meyerbeer to Verdi--being so prominent that it was only
performed a few times. Concerning two other works, which I have not
been able to find, a few bare _data_ are given below.
Of incidental music, specially composed, much has been written, but
most of it is unimportant. Many producers seem to have been content
with a funeral march and a liberal use of fanfares; but the late
Richard Mansfield, the Anglo-American actor-manager, had the good sense
to commission +Edward German+ to compose the music for his production
at the Globe in 1889, and the result is a fine overture and some very
effective and appropriate incidental music.
The overture is in strict form. It opens _maestoso_, the Richard III.
theme being given out _forte_. It is a sinister subject, well suited
to the character Shakespeare drew, if not in agreement with our modern
whitewashing historians. After this short introduction the overture
proper starts, with Richard's _motif_ on the violins, _allegro molto_,
accompanied by _tremolo_ strings. This is worked up to a fine
_fortissimo_, and prepares the way for the second theme, "The Princes."
Here we have a tender melody, again suited to the author's picture of
the characters, but not at all {116} like the horrible little prigs one
generally sees in these parts in the theatre. Personally I have every
sympathy with Richard for killing the Princes whenever I see them on
the stage! This theme is worked up to a fine climax, and then the very
clever development begins. The subjects are well mixed and blended,
and the overture comes to an end in a very brilliant manner.
In the incidental music the first number is the King Henry theme, a
plaintive minor melody; then the Lady Anne _motif_, also plaintive, but
not minor. The Lord Mayor theme is a mock dignified march, marked
"quaintly" in the score. The number called "On the Way to Chertsey" is
in the "Old English style," and foreshadows the famous "Henry VIII.
Dances" that followed. "In the Tower" is naturally sombre, very
ominous and fateful. The "Entrance of the young Duke of York" is a
pretty, boyish, scherzo-like little number; and "In Baynard Castle" is
a serious, organ-like piece of music all on a pedal, and rather like a
conventional postlude. "Richmond's March" is also serious, and is
marked "religiose," an allusion to his well-known habit of praying!
The processional march, played as Queen Elizabeth and train enter the
Tower, is a fine, pompous, thoroughly English march, as is fitting for
the occasion; and the "Intermezzo Funebre," played as King Henry's
funeral procession approaches, is all its name promises. The work ends
with a short "Victory theme." This score, which was the first
incidental music written by Edward German, then musical director at the
Globe, made quite a sensation, and abundantly justified Mansfield's
selection of his composer.
+Frederick Smetana+, born March 2, 1824, perhaps the greatest Bohemian
musician, wrote a great symphonic poem on this play. It is a very
elaborate work and laid out for a very large orchestra. The composer
gives no definite programme, but the music throughout is very dramatic
and full of tragic interest. After a few quiet introductory {117} bars
the basses give out the principal theme quietly, but working quickly up
to a _fortissimo_.
This subject, with slight changes, dominates the entire work; it is a
grim, characteristic, sinister theme, and a splendid one to develop.
Almost immediately it has been announced the answering _motif_,
plaintive and melodious, follows, and for a long time these are the
only subjects used. After a good working-up, a four-note figure of the
theme is taken by itself and developed into a great march tune, typical
of the King in his pomp. After this, one new subject is introduced--a
breathless, syncopated, _agitato_ phrase, which, worked up with the
other theme, develops into a magnificent coda, marked "vittorioso" in
the score--victory for Richmond, I suppose. The last few bars are
again grim, the same four notes from Richard's theme broken in upon by
two sharp _fortissimo_ chords.
This is indeed a welcome addition to our scanty stock of _Richard III._
music. It is a symphonic poem in the grand manner, and worthy to stand
with the greatest works in that class. This work was first performed
in England at the first Henschel concert, St James's Hall, November 12,
1896.
All that is known of an opera bearing the impressive title of _Ricardus
Impius, Angliae Rex, ab Henrico Richmondae Comite vita simul et regno
exitus_, is that it was a drama in Latin, music by Jean d'Eberlin, and
was produced by the students of the Benedictine convent at Salzburg on
September 4, 1750. The composer, +Johann Ernst Eberlin+, was born at
Jettingen, Bavaria, 1702, and died at Salzburg, Austria, in 1762. He
was Court organist to the Prince Bishop of the latter town, and chief
organist to the Cathedral. He composed an immense amount of church and
organ music.
The other work unknown to me is +Canepa's+ _Riccardo III._ (Milan,
1879).
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