The Standard Cantatas Part 11

"I determined not to take any unwarrantable liberty with the poem, which has long done honor to the nation, and which no man can add to or abridge in anything material without injuring it. I therefore confined myself to a plain division of it into airs, recitatives or choruses, looking upon the words in general so sacred as scarcely to violate one in the order of its first place. How I have succeeded the world is to judge, and whether I have preserved that beautiful description of the pa.s.sions, so exquisitely drawn, at the same time I strove to reduce them to the present taste in sounds. I confess my princ.i.p.al view was, not to lose this favorable opportunity of its being set to music by that great master who has with pleasure undertaken the task, and who only is capable of doing it justice; whose compositions have long shown that they can conquer even the most obstinate partiality, and inspire life into the most senseless words. If this entertainment can in the least degree give satisfaction to the real judges of poetry or music, I shall think myself happy in having promoted it; being persuaded that it is next to an improbability to offer the world anything in those arts more perfect than the united labors and utmost efforts of a Dryden and a Handel."

In addition to the preface Hamilton appended a poem "To Mr. Handel on his setting to Musick Mr. Dryden's Feast of Alexander," in which he enthusiastically sings:--

"Two glowing sparks of that celestial flame Which warms by mystick art this earthly frame, United in one blaze of genial heat, Produced this piece in sense and sounds complete.

The Sister Arts, as breathing from one soul, With equal spirit animate the whole.

Had Dryden lived the welcome day to bless, Which clothed his numbers in so fit a dress, When his majestick poetry was crowned With all your bright magnificence of sound, How would his wonder and his transport rise, Whilst famed Timotheus yields to you the prize!"

The work was first performed at Covent Garden Theatre, February 19, about a month after it was written; the princ.i.p.al singers being Signora Strada, Miss Young,[26] John Beard, and Mr. Erard. It met with remarkable success. The London "Daily Post," on the morning after its production, said:--

"Never was upon the like Occasion so numerous and splendid an Audience at any Theatre in London, there being at least 1,300 Persons present; and it is judged that the Receipt of the House could not amount to less than 450."

It was repeated four times, and then withdrawn to make room for "Acis and Galatea" and the oratorio of "Esther." In March, 1737, it was revived, with two additional choruses made by Hamilton for the work; and upon the same occasion an Italian cantata in praise of Saint Cecilia was sung.

It is unnecessary to inform the reader of the nature of a poem familiar the world over. The overture is written for strings and two oboes.

Throughout the work the orchestration is thin, ba.s.soons and horns being the only instruments added to those named above; but in 1790 Mozart amplified the accompaniments,--an improvement which he also made for the score of "Acis and Galatea." The great solos of the composition are the furious aria, "'Revenge, Revenge!' Timotheus cries," and the descriptive recitative, "Give the Vengeance due to the valiant Crew," in which Handel employs his imitative powers with consummate effect. Clouet, in his "Chants Cla.s.siques," says of the pa.s.sage "And the king seized a flambeau with zeal to destroy:--

"He paints Alexander issuing forth in the midst of an orgie, arming himself with a torch, and followed by his generals, running to set fire to Persepolis. While the accompaniment sparkles with the confused and unequal glare of the torches, the song expresses truthfully the precipitation and the tumult of the crowd, the rolling of the flames, and the living splendor of a conflagration."

The choruses of the work are equally strong, and some of them are among the best Handel ever wrote, particularly, "He sang Darius great and good," "Break his Bands of Sleep asunder," "Let old Timotheus yield the Prize," and "The many rend the Skies with loud Applause." They are as genuine inspirations as the best choruses of the "Messiah" or of "Israel in Egypt."

In 1739 Handel also set to music Dryden's shorter "Ode for St. Cecilia's Day," beginning,

"From Harmony, from heavenly Harmony This universal frame began,"

the music for which had been originally composed in 1687 by Giovanni Baptista Draghi, an Italian, who was music-master to Queen Anne and Queen Mary, and at that time was organist to Catharine of Braganza, widow of Charles II. Handel's setting was first performed on the anniversary of the saint's festival, Nov. 22, 1739. The programme announced:

"Lincoln's Inn Fields. At the Theatre Royal in Lincoln's Inn Fields, Thursday next, November 22 (being St. Cecilia's Day), will be performed an Ode of Mr. Dryden's, with two new Concertos for several instruments, which will be preceded by Alexander's Feast and a Concerto on the organ."

Though one of the shortest of his vocal works, it contains some magnificent choruses.

[26] Cecilia, a pupil of Geminiani, and afterwards wife of Dr. Arne.

L'Allegro.

"L'Allegro, il Penseroso ed il Moderato," the first two movements of which contain a musical setting of Milton's well-known poem, was written in the seventeen days from Jan. 19 to Feb. 6, 1740, and was first performed on the 27th of the latter month at the Royal Theatre, Lincoln's Inn Fields, London. Upon this occasion the first and second parts were preceded, according to the handbook, by "a new concerto for several instruments," and the third by "a new concerto on the organ," which was played by the composer himself. It was performed again Jan. 31, 1741, with the addition of ten new numbers to the music, which in the original ma.n.u.script appear at the end, marked by Handel, "l'Additione." At a still later period Handel omitted the third part ("Moderato") entirely, and subst.i.tuted for it Dryden's "Ode on St. Cecilia's Day," which he composed in 1739.

The text of the first two parts is by Milton, Allegro, as is well known, chanting the praises of pleasure, Penseroso those of melancholy; Allegro represented by tenor and Penseroso by soprano, and each supported by a chorus which joins in the discussion of the two moods. There is a radical difference between the poem as Milton wrote it and as it appears set to Handel's music. Milton presented two distinct poems, though allied by ant.i.thesis, and Penseroso does not speak until Allegro has finished. In the poem as adapted for music they alternate in sixteen strophes and antistrophes. The adaptation of these two parts was made by Charles Jennens, who was a frequent collaborator with Handel.[27] He also suggested the addition of a third part, the Moderato, and wrote the words, in which he counsels both Allegro and Penseroso to take the middle course of moderation as the safest. The wisdom of the poet in suggesting the _via media_ is more to be commended than his boldness in supplementing Milton's stately verse with commonplaces, however wise they may have been. Chrysander, the German biographer of Handel presents a philosophical view of the case. He says:

"In the two pictures a deeply thoughtful mind has fixed for itself two far-reaching goals. With these the poem has reached its perfect end, and in the sense of its inventor there is nothing further to be added.

The only possible, the only natural outlet was that into a _life of action_, according to the direction which the spirit now should take; already it was the first step into this new domain which called forth the divided feeling. The two moods do not run together into any third mood as their point of union, but into active real life, as different characters, forever separate. Therefore 'Moderation' could not bring about the reconciliation; only life could do it; not contemplation, but deeds. Gladness and Melancholy are symptoms of a vigorous soul; moderation would be mediocrity. And herein lies the unpoetic nature of the addition by Jennens; read according to Milton, the concluding moral of a rich English land-owner whose inherited abundance points to nothing but a golden mean, and whose only real problem is to keep the balance in the lazy course of an inactive life, makes a disheartening impression."

The work as a whole is one of Handel's finest inspirations. The Allegro is bright and spirited throughout; the Penseroso grave and tender; and the Moderato quiet and respectable, as might be expected of a person who never experiences the enthusiasms of joy or the comforts of melancholy.

The most of the composition is a.s.signed to solo voices which carry on the discussion, though in the Moderato it is mainly the chorus which urges the sedate compromise between the two.

The work opens without overture, its place having originally been supplied by an orchestral concerto. In vigorous and very dramatic recitative Allegro bids "loathed Melancholy" hence, followed by Penseroso, who in a few bars of recitative far less vigorously consigns "vain, deluding joys" to "some idle brain;" Allegro replies with the first aria ("Come, come, thou G.o.ddess fair"), a beautifully free and flowing melody, responded to by Penseroso, who in an aria of stately rhythm appeals to his G.o.ddess, "Divinest Melancholy." Now Allegro summons his retinue of mirth:--

"Haste thee, nymph, and bring with thee Jest and youthful jollity, Quips and cranks and wanton wiles, Nods and becks and wreathed smiles, Such as hang on Hebe's cheek, And love to live in dimple sleek, Sport, that wrinkled care derides, And Laughter, holding both his sides;"

and the chorus takes up the jovial refrain in the same temper. The aria itself is well known as the laughing song. Indeed, both aria and chorus are full of unrestrained mirth, and go laughingly along in genuine musical giggles.[28] The effect is still further enhanced by the next aria for Allegro ("Come and trip it as you go"), a graceful minuet, which is also taken by the chorus. After a recitative by Penseroso ("Come, pensive Nun"), and the aria, "Come, but keep thy wonted State" the first Penseroso chorus occurs ("Join with thee calm Peace and Quiet"), a short but beautiful pa.s.sage of tranquil harmony. Once more in recitative Allegro bids "loathed Melancholy" hence, and then in the aria, "Mirth, admit me of thy Crew," leading into a chorus, sings of the lark, "startling dull Night" and bidding good-morrow at his window,--a brilliant number accompanied with an imitation of the lark's song.

Penseroso replies with an equally brilliant song ("Sweet Bird, that shuns't the Noise of Folly"), in which the nightingale plays the part of accompaniment. Another aria by Allegro ("Mirth, admit me of thy Crew") gives an opportunity for a blithe and jocund hunting-song for the ba.s.s, followed by one of the most beautiful numbers in the work ("Oft on a Plat of rising Ground") sung by Penseroso, in which the ringing of the far-off curfew, "swinging slow, with sullen roar," is introduced with telling effect. This is followed by a quiet meditative aria ("Far from all Resorts of Mirth"), when once again Allegro takes up the strain in the two arias, "Let me wander not unseen," and "Straight mine Eye hath caught new Pleasures." The first part closes with the Allegro aria and chorus ("Or let the merry Bells ring round"), full of the very spirit of joy and youth; and ending with an exquisite harmonic effect as the gay crowd creep to bed, "by whispering winds soon lulled to sleep."

The second part begins with a stately recitative and aria by Penseroso ("Sometimes let gorgeous Tragedy"), followed by one of the most characteristic arias in the work ("But O, sad Virgin, that thy Power might raise!") in which the pa.s.sage,

"Or bid the soul of Orpheus sing Such notes as warbled to the string Drew iron tears down Pluto's cheek,"

is accompanied by long persistent trills that admirably suit the words.

The next number ("Populous Cities please me then") is a very descriptive solo for Allegro, with chorus which begins in canon form for the voices and then turns to a lively movement as it pictures the knights celebrating their triumphs and the "store of ladies" awarding prizes to their gallants. Again Allegro in a graceful aria sings, "There let Hymen oft appear." It is followed by a charming canzonet ("Hide me from Day's garish Eye") for Penseroso, which leads to an aria for Allegro ("I'll to the well-trod Stage anon"), opening in genuinely theatrical style, and then changing to a delightfully melodious warble at the words,--

"Or sweetest Shakspeare, Fancy's child, Warble his native wood-notes wild."

This is followed by three characteristic arias, "And ever, against eating Cares," "Orpheus himself may heave his Head," and "These Delights, if thou canst give,"--the last with chorus. Penseroso has a short chorus in plain but stately harmony ("There let the pealing Organ blow"), with pauses for the organ _ad libitum_, followed by the aria, "May at last my weary Age," and the majestic devotional fugued chorus, "These Pleasures, Melancholy, give!" which close the second part.

The third part, "Il Moderato," is rarely given, and the work may well close with the fugue that so beautifully and harmoniously ends the second part. It opens with an aria in which Moderato tenders the sage advice:--

"Come, with native l.u.s.tre s.h.i.+ne, Moderation, grace divine, Whom the wise G.o.d of nature gave, Mad mortals from themselves to save.

Keep as of old the middle way, Nor deeply sad nor idly gay; But still the same in look and gait, Easy, cheerful, and sedate, Keep as of old the middle way."

With such didactic commonplaces as the above, Moderato commends temperance, health, contentment, frugality, equanimity, and chaste love, and bids them,--

"Come, with gentle hand restrain Those who fondly court their bane; One extreme with caution shunning, To another blindly running.

Kindly teach how blest are they Who nature's equal rules obey, Who safely steer two rocks between, And prudent keep the golden mean."

Thus Mr. Jennens's mild philosophy goes on, one of his verses, "As steals the Morn upon the Night," set to a brilliant tenor and soprano duet, followed by the closing chorus, "Thy Pleasures, Moderation, give," in full, broad, rich harmony. There needs no other proof of Handel's genius, than that he could link such Tupperisms to his grand measures.

[27] Jennens was an amateur poet of the period, descended from a manufacturing family of Birmingham, from whom he inherited a large fortune. He lived on terms of close intimacy with Handel, and was mentioned in his will. He died Nov. 20, 1773.

[28] I was lucky enough to meet with the approbation of Mr. Bates in the recitative of "Deeper and deeper still;" my next song was the laughing one. Mr. Harrison, my predecessor at those concerts, was a charming singer: his singing "Oft on a plat of rising ground," his "Lord, remember David," and "O come let us wors.h.i.+p and fall down,"

breathed pure religion. No divine from the pulpit, though gifted with the greatest eloquence, could have inspired his auditors with a more perfect sense of duty to their Maker than Harrison did by his melodious tones and chaste style; indeed, it was faultless: but in the animated songs of Handel he was very deficient. I heard him sing the laughing song without moving a muscle, and determined, though it was a great risk, to sing it my own way, and the effect produced justified the experiment; instead of singing it with the serious tameness of Harrison, I laughed all through it, as I conceived it ought to be sung, and as must have been the intention of the composer. The infection ran; and their Majesties, and the whole audience, as well as the orchestra, were in a roar of laughter, and a signal was given from the royal box to repeat it, and I sang it again with increased effect.--_Michael Kelly's Reminiscences_, 1789.

HATTON.

John Liphot Hatton, a composer well known in America, not only by his songs and other works, but also by his visits here, was born in Liverpool in 1809. Though his early musical education was very scanty, he soon became known as a composer after his removal to London in 1832, and his works met with a very cordial reception. In 1842 he became conductor at Drury Lane Theatre, and while acting in that capacity brought out one of his operettas, called "The Queen of the Thames." In 1844 he went to Vienna and produced his opera "Pascal Bruno." Shortly afterwards he issued several songs under the _nom de plume_ of "Czapek," which secured for themselves widespread popularity. In 1848 he came to this country, and some years later made a concert-tour here. Upon his return to England he a.s.sumed direction of the music at the Princess' Theatre, and while engaged there wrote incidental music for "Macbeth," "Sardanapalus,"

"Faust and Marguerite," "King Henry VIII.," "Pizarro," "King Richard II.," "King Lear," "The Merchant of Venice," and "Much Ado About Nothing." In 1856 he wrote "Robin Hood," a cantata; in 1864 the opera "Rose, or Love's Ransom," for Covent Garden; and in 1877 "Hezekiah," a sacred drama, which was performed at the Crystal Palace. He has also written a large number of part songs, which are great favorites with quartet clubs, and nearly two hundred songs which are very popular; among them, "Good-by, Sweetheart, good-by," which has been a stock piece with concert tenors for years, and which the late Signor Brignoli used to sing with excellent effect. His music is specially characterized by grace and melodiousness. Hatton died in 1886.

Robin Hood.

The pastoral cantata of "Robin Hood" was written for the Bradford (England) Triennial Festival of 1856, Sims Reeves creating the part of the hero. Its name suggests the well-known story of the greenwood outlaw which has been charmingly versified by George Linley in the libretto. The personages are Maid Marian, Robin Hood, Little John, and "The Bishop."

Maid Marian, it will be remembered, was the mistress who followed Robin into the Sherwood Forest and shared his wild life; and Little John was his stalwart lieutenant, whose name was transposed after he joined the band, thus heightening the incongruity between his name and his great size. The incident contained in Linley's poem appears to have been suggested by Robin Hood's penchant for capturing bishops and other ecclesiastics, notwithstanding his religious professions, which were exemplified by the retention of Friar Tuck as chaplain in the bold archer's household; or it may be based upon the historical story of the expedition which Edward II. and some of his retainers, disguised as monks, made into the forest for the purpose of exterminating the outlaws and thus stopping their slaughter of the royal deer. As the old story goes, they were led into an ambuscade by a forester who had agreed to conduct them to the haunts of Robin, and were captured. When Robin recognized the King in the disguise of the abbot, he craved forgiveness for himself and his band, which was granted upon condition that he should accompany his sovereign to Court and take a place in the royal household.

The old collection of ballads, "The Lytell Geste of Robyn Hood," tells the same story and continues it, relating how after "dwelling in the Kynge's courte" a year, he tired of it and obtained permission to make a visit to the woods again, but forfeited his word and never returned, dying at last in Kirklees priory, through the treachery of the abbess, and how in his last moments he blew a loud blast on his horn, summoning Little John from the forest, to whom, after he had forced his way into his chamber, the dying Robin said:

"Give me my bent bow in my hand, And an arrow I'll let free, And where that arrow is taken up, There let my grave digged be."