The Standard Cantatas Part 20

PARKER.

Horatio W. Parker, a young American composer of more than ordinary promise, was born at Auburndale, Ma.s.s., Sept. 15, 1863. After his fifteenth year he began the study of music, taking his earlier lessons of the three Boston teachers, Stephen A. Emery, John Orth, and G. W.

Chadwick. In 1882 he went to Munich and studied the organ and composition with Josef Rheinberger, for three years. In the spring of 1885 he wrote the cantata "King Trojan," and it was produced for the first time in that city with success during the summer of the same year. Since then it has been given in this country by Mr. Jules Jordan, of Providence, R. I., Feb. 8, 1887. His string quartet in F major was played at a concert of the Buffalo Philharmonic Society in January, 1886; and a short scherzo was performed by the Van der Stucken orchestra in New York City in the same year. Besides these compositions, he has written three overtures, quite a number of songs and pieces for the piano-forte, and a symphony in C, and ballade for chorus and orchestra, both of which were played in Munich last year. In 1886 he accepted the professors.h.i.+p of music at the Cathedral School of St. Paul, Garden City, L. I., and in February, 1887, went to New York, where he now resides, to take charge of a boy choir in St. Andrew's Church, Harlem.

King Trojan.

"King Trojan," composed for chorus, solos, and orchestra, was written in March, 1885, and first performed in July of the same year, at Munich. Its story is the poem of the same name, by Franz Alfred Muth, the English version being a free and excellent translation by the composer's mother, Mrs. Isabella G. Parker, of Auburndale, Ma.s.s.

After a short and graceful introduction, the cantata opens with a solo describing the quiet beauty of a summer night, daintily accompanied by wind instruments and harp. A second voice replies ("O Summer Night"), and then the two join in a very vigorous duet ("O fill thou Even with Light of Heaven"). A short solo for third voice leads up to a chorus which gives us a picture of King Trojan's castle gleaming in the moonlight. It is followed by a very effective solo for the King ("The Horse is neighing, O Page of mine"), in which he bids his Page saddle his steed for a night ride to visit his distant love. The chorus intervenes with a reflective number ("What thinks she now?"), which is very dramatic in style, describing the mutual longing of the lovers to be together.

The second scene opens with a short solo by the Page ("Up, up, O King, the Horses wait"), followed by the chorus as narrator, describing the ride of the King and his companion through the greenwood, with which is interwoven Trojan's solo ("How sweet and cool is yet the Night"). In the next number, a vivacious allegro, the story of the ride is continued by the chorus, with a characteristic accompaniment, and again Trojan sings a charming tribute to the summer night, which is followed by responsive solos of the King and the Page, in the allegro and penseroso style,--the one singing of the raptures of night, the other of the gladness of day and sunlight. A pa.s.sionate bit of recitative ("Now swift, ye Horses") by Trojan reveals the secret of the King's haste. He is King of the night, and the morning ray will be fatal to him. A short choral number ("And forward fly they") brings the first part to a close with the arrival of the riders at the Queen's castle.

The second part opens with a beautiful solo, quartet, and chorus ("Good-Night, the Lindens whisper"), which describes the meeting of the lovers, while

"Beneath the lofty castle gate Slumbers the page who so long must wait.

Then crows the c.o.c.k, the hour is late."

At this note of warning the Page appeals to his master to fly, for the 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 pa.s.sage, 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 s.h.i.+nes, But death comes with morning light."

PARKER.

James C. D. Parker, an American composer, was born at Boston, Ma.s.s., 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 a.s.sociation 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 pa.s.s 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 ma.s.ses 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 princ.i.p.al 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 personae_ 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 pa.s.s 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 ba.s.s 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 pa.s.sage, "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 princ.i.p.al 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 pa.s.sages 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 "Thurmer's Tochterlein;" 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,"

"Klarchen 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 G.o.ds 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 s.h.i.+ne") antic.i.p.ates 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.'"