The Standard Cantatas Part 9

"Spring Fantasie," "The Erl King's Daughter," "The Holy Night," "Spring's Message," "The Crusaders," and "Zion;" the overtures "In the Highlands,"

"Hamlet," and "Michael Angelo;" seven symphonies, and a large number of songs and piano pieces, as well as chamber-music compositions.

Comala.

"Comala," one of the earliest of Gade's larger vocal works, was first produced at Leipsic in March, 1843. Its subject is taken from Ossian, and relates the tragedy of "Comala," daughter of Sarno, King of Innistore, who had conceived a violent pa.s.sion for Fingal, King of Morven. Her love is returned by the warrior, and disguised as a youth the princess follows him on his expedition against Caracul, King of Lochlin. On the day of the battle Fingal places her on a height, near the sh.o.r.e of the Carun, whence she can overlook the fight, and promises her if victorious that he will return at evening. Comala, though filled with strange forebodings, hopefully waits her royal lover's coming. As the tedious hours pa.s.s on a fearful storm arises, and amid the howling of the blast the spirits of the fathers sweep by her on their way to the battlefield to conduct to their home the souls of the fallen,--the same majestic idea which Wagner uses with such consummate power in his weird ride of the Valkyries.

Comala imagines that the battle has been lost, and overcome with grief falls to the ground and dies. The victorious Fingal returns as evening approaches, accompanied by the songs of his triumphant warriors, only to hear the tidings of Comala's death from her weeping maidens. Sorrowing he orders the bards to chant her praises, and joining with her attendants to waft her departing soul "to the fathers' dwelling" with farewell hymns.

The cantata is almost equally divided between male and female choruses, and these are the charm of the work. Many of the songs of Comala and her maids are in graceful ballad form, fresh in their melody, and marked by that peculiar refinement which characterizes all of Gade's music. The parting duet between Fingal and Comala is very beautiful, but the princ.i.p.al interest centres in the choruses. Those of the bards and warriors are very stately in their style and abound in dramatic power, particularly the one accompanying the triumphal return of Fingal. The chorus of spirits is very impressive, and in some pa.s.sages almost supernatural. The female choruses, on the other hand, are graceful, tender, and pathetic; the final full chorus, in which the bards and maidens commend the soul of Comala to "the fathers' dwelling," has rarely been surpa.s.sed in beauty or pathos. The music of the cantata is in keeping with the stately grandeur and richly-hued tones of the Ossianic poem. The poetry and music of the North are happily wedded.

Spring Fantasie.

Though the "Spring Fantasie" is in undoubted cantata form, Gade designates it as a "Concertstuck;" that is, a musical composition in which the instrumental parts are essential to its complete unity. Its origin is unquestionably to be found in the idea of Beethoven's "Choral Fantasie," which was subsequently developed in the choral symphony on a still larger and grander scale. The instrumental elements of the "Spring Fantasie" are unquestionably the most prominent. They do not play the subordinate part of accompaniment, but really enunciate the ideas of the poem, which are still further ill.u.s.trated by the voices, acting as the interpreters of the meaning of the instrumentation.

The "Fantasie" was written in 1850, its subject being a poem by Edmund Lobedanz, which of itself might appropriately be called a fantasy. The work consists of four movements, for four solo voices, orchestra, and piano-forte. The prominence which Gade has given to the instrumental parts is shown by his characterizing the movements,--I. _Allegro moderato e sostenuto_; II. _Allegro molto e con fuoco_; III. _Allegro vivace_. The poem in the original is one of more than ordinary excellence. The translation in most common use is one made by Mrs. Vander Weyde for a performance of the work in London in 1878 at the Royal Normal College and Academy of Music for the Blind, under the direction of Herr von Bulow.

The first movement is in the nature of an invocation to spring, in which the longing for May and its flowers is very tenderly expressed. The second movement depicts with great vigor the return of the wintry storms, the raging of the torrents, the gradual rolling away of the clouds, the approach of more genial breezes, and the rising of the star, typifying "the joy of a fair maiden's love." The closing movement is full of rejoicing that the spring has come. Voices and instruments share alike in the jubilation:--

"For the spring-time has come, the May is here, On hill and in vale all is full of delight.

How sweet is the spring-time, how lovely and bright,-- Its kingdom is over us all."

The Erl King's Daughter.

"The Erl King's Daughter" was written in 1852. Its story differs from that told in Goethe's famous poem, and set to music equally famous by Schubert in his familiar song. In Goethe's poem the father rides through the night clasping his boy and followed by the Erl King and his daughters, who entice the child unseen by the parent. In vain he a.s.sures him that the Erl King's voice is but the "sad wind sighing through the withered leaves," that his train is but the mist, and that his daughters are the aged gray willows deceiving his sight. The boy at first is charmed with the apparition, but cries in mortal terror as the Erl King seizes him, while the father gallops at last into the courtyard, only to find his child dead in his arms.

In the poem used by Gade it is the Erl King's daughter who tempts a knight to his death. The prologue relates that Sir Oluf at eve stayed his steed and rested beneath the alders by the brook, where he was visited by two of the daughters, one of whom caressed him while the other invited him to join their revels. At sound of the c.o.c.k-crow, however, they disappeared. It was the eve of Sir Oluf's wedding day. He arrives home in a distraught condition, and in spite of his mother's appeals decides to return to the alder grove in quest of the beauties who had bewitched him.

He finds the alder-maids dancing in the moonlight, singing and beckoning him to join them. One of the fairest tempts him with a silken gown for the bride and silver armor for himself. When he refuses to dance with her, she seizes him by the arm and predicts his death on the morrow morning. "Ride home to your bride in robe of red," she cries as he hastens away. In the morning the mother anxiously waits his coming, and at last beholds him riding desperately through "the waving corn." He has lost his s.h.i.+eld and helmet, and blood drips from his stirrups. As he draws rein at the door of the castle he drops dead from his saddle. A brief epilogue points the moral of the story in quaint fas.h.i.+on. It is to the effect that knights who will on horseback ride should not like Oluf stay in elfin groves with elfin maidens till morning. It is unnecessary to specify the numbers in detail; as with the exception of the melodramatic finale, where the music becomes quite vigorous, it is all of the same graceful, flowing, melodic character, and needs no key to explain it to the hearer.

The Crusaders.

"The Crusaders" is one of the most powerful as well as beautiful of modern cantatas. It was written for performance in Copenhagen in 1866, and ten years later was produced at the Birmingham Festival, under the composer's direction. It is divided into three parts, and its story may be told in a word. Its theme is the same as that which Wagner has treated in "Lohengrin" and in "Tannhauser,"--the conflict of the human soul with the powers of darkness, sensual beauty and sorcery, and its final triumph. It is the story of the temptation of Rinaldo d'Este, the bravest of the Crusaders, by Armida and her sirens, who at last calls upon the Queen of Spirits to aid them in their hopeless task, the thwarting of the powers of evil, and the final triumph before Jerusalem.

The first part opens with a chorus of pilgrims and women in the band of the Crusaders, expressive of the weariness and sufferings they have endured in their long wanderings, the end of which still appears so far away. As the beautiful music dies away, the inspiring summons of Peter the Hermit is heard, leading up to the Crusaders' song,--a vigorous, war-like melody, full of manly hope and religious fervor. An evening prayer of pious longing and exalted devotion closes this part.

The second part is ent.i.tled "Armida," and introduces the evil genius of the scene. A strange, mysterious orchestral prelude indicates the baneful magic of the sorcerer's wiles. In a remarkably expressive aria, Armida deplores her weakness in trying to overcome the power of the cross. As she sees Rinaldo, who has left his tent to wander for a time in the night air, she calls to the spirits to obey her incantation:--

"Cause a palace grand to rise, Let a sea before it glimmer.

In the walls of richest gold Let the purest diamonds s.h.i.+mmer; Round the fountains' pearly rim, Where bright the sunbeams are glancing, Plas.h.i.+ng low and murmuring sweet, Set the merry wavelets dancing.

In yon hedge of roses where fairies rock in softest dreaming, Fays and elfins bid appear, and sirens float in waters dreaming.

All around let music ring, Fill the air with sweetest singing; Lure them on with magic power, To our midst all captive bringing.

Sing remembrance from their hearts, Till they bow, my will fulfilling; Make them every thought forego, Every wish, save mine own, stilling."

After another invocation of the spirits, the sirens appear, singing a sensuous melody ("I dip my white Breast in the soft-flowing Tide"). Then begins the temptation of the wandering Knight. He starts in surprise as he hears the voices rising from the waves, and again they chant their alluring song. They are followed by Armida, who appeals to him in a seductive strain ("O Rinaldo, come to never-ending Bliss"). The Knight joins with her in a duet of melodious beauty. He is about to yield to the temptation, when he hears in the distance the tones of the Crusaders'

song. He wavers in his resolution, Armida and the sirens appeal to him again, and again he turns as if he would follow them. The Crusaders' song grows louder, and rouses the Knight from the spell which has been cast about him, and the scene closes with a beautifully concerted number, in which Rinaldo, Armida, the chorus of Crusaders and of sirens contend for the mastery. The fascination of the Crusaders' song is the strongest. The cross triumphs over the sorceress, and in despair she sings,--

"Sink, scenes illusive, deep in dark abyss of doom!

The light of day is turned to blackest night of gloom."

The third part, ent.i.tled "Jerusalem," is religious in character, and mostly choral. In rapid succession follow the morning hymn with beautiful horn accompaniment, the march of the Pilgrims full of the highest exaltation, the hermit's revelation of the Holy City to them, their joyous greeting to it, Rinaldo's resolution to expiate his offence by his valor, the hermit's last call to strife, their jubilant reply, and the final victory:--

"As our G.o.d wills it. Up, arouse thee!

Up! yon flag with hope endows thee.

Jerusalem! the goal is there.

We cry aloud, 'Hosanna!'"

GILCHRIST.

William W. Gilchrist, the American composer, was born at Jersey City, N.

J., in 1846. He began his studies with H. A. Clarke, professor of music in the University of Pennsylvania. In 1872 he accepted the position of organist at the New Jerusalem Church in Cincinnati, Ohio, and was also appointed teacher in the Conservatory of Miss Bauer. A year later he returned to Philadelphia, where he has since resided. During this time he has done a great work for music in that city, having been conductor of several societies. He has been the recipient of honors on many occasions, having obtained several prizes from the Philadelphia Art Society and others for his compositions. In 1880 he contended for the prize offered by the Cincinnati Musical Festival a.s.sociation, but stood third on the list, Dudley Buck being first and George E. Whiting second. In 1882 he made another trial for the a.s.sociation's prize, and was successful; the committee, consisting of Carl Reinecke of Leipsic, M. Saint-Saens of Paris, and Theodore Thomas of New York, making him the award.

The Forty-sixth Psalm.

The composition referred to in the sketch of Mr. Gilchrist's life which secured for him the Cincinnati prize in 1882 was "The Forty-sixth Psalm."

The composer's own a.n.a.lysis of the work, furnished at the time, is appended:--

"The composition is a setting of the Forty-sixth Psalm for soprano solo, chorus, orchestra, and organ, and has four princ.i.p.al divisions exclusive of an introduction, each following the other without pause, and connected by a gradual decrescendo in the orchestra. The opening of the Psalm seemed to me to indicate a strong outburst of praise or of thanksgiving for a deliverance from trials, which the introduction is intended to convey. But instead of beginning with a strong outburst, I lead up to it from a very subdued beginning, working gradually to a climax at the entrance of the chorus on the words, 'G.o.d is our refuge and our strength.' The opening movement of the chorus becomes a little subdued very shortly as it takes up the words, 'A very present help in trouble,' which is followed again by an _allegro con fuoco_ movement on the words, 'Therefore we will not fear though the earth be removed, though the mountains be carried into the midst of the sea.' This movement leads into still another, a furioso movement on the words, 'Though the waters thereof roar, though the mountains shake with the swelling thereof.' This is followed by an elaborate coda, in which all the themes of the preceding movement are worked together, and which brings the chorus to a close.

The second division, in E major, is marked by an _andante contemplativo_ on the words, 'There is a river the streams whereof shall make glad the city of G.o.d.' This movement is intended to be one of tranquillity, varied with occasional pa.s.sionate outbursts on the words, 'G.o.d is in the midst of her; she shall not be moved.' A peculiar rhythmical effect is sought by the alternation of 4/4 and 3/4 time, three bars of the first being answered by two bars of the second. This movement ends very tranquilly on the words, 'G.o.d shall help her, and that right early,' and is immediately followed by an _allegro molto_, in B minor, on the words, 'The heathen raged, the kingdoms were moved; he uttered his voice, the earth melted.' In the middle of this chorus the soprano solo enters for the first time on the words, 'He maketh wars to cease unto the end of the earth; He breaketh the bow and cutteth the spear in sunder.' The chorus works up to a strong climax on the words, 'He burneth the chariot with fire,' which is suddenly interrupted by a decrescendo on the words, 'Be still, and know that I am G.o.d.'

This leads to the third division, which is a return of the second division in E major, and which is played through almost entirely by the orchestra, the chorus merely meditating on the words last quoted. This leads to the final chorus, which is a fugue, in E major, with _alla breve_ time, on the words, 'And the Lord of Hosts is with us; the G.o.d of Jacob is our refuge,' towards the close of which a _Gloria Patri_ is introduced, being woven in with fragments of the fugue to a strong climax. The whole composition finishes with an impetuous accelerando.

My central idea was to make a choral and orchestral work, the solo, while requiring a good singer, being only secondary. The Psalm seemed to me particularly adapted for musical composition, as being capable of a varied, even dramatic effect."

GLEASON.

Frederick Grant Gleason was born at Middletown, Conn., Dec. 17, 1848. He inherited the love of music from his parents,--his father having been a flutist and his mother an alto singer and pianist. In his sixteenth year he showed a decided talent for composition; and two of his works, an oratorio, "The Captivity," and a Christmas oratorio, though crudely written, gave such promise that he was placed under the tuition of Dudley Buck, with whom he studied the piano and composition. He made such rapid progress that his parents were induced to send him to Germany, where he at once entered the Leipsic Conservatory. Moscheles taught him the piano, and Richter harmony, and he also took private lessons from Plaidy and Lobe. In 1870 he went to Berlin, where he continued his piano studies with Raif, a pupil of Tausig, and his tuition in harmony with Weitzmann.

After a visit home he went to England and resumed lessons on the piano with Berringer, another pupil of Tausig, and also studied English music.

He subsequently made a second visit to Berlin, and improved his time by studying theory with Weitzmann, the piano with Loeschorn, and the organ with Haupt. During this visit he also issued a valuable work ent.i.tled "Gleason's Motet Collection." After the completion of his studies he returned home and accepted the position of organist at one of the Hartford churches. In 1876 he removed to Chicago and engaged as teacher in the Hershey School of Musical Art. At present he is still occupied in teaching and also fills the position of musical critic for the "Tribune"

of that city. During these years his pen has been very busy, as the list of his compositions shows. Among his princ.i.p.al works are two operas, still in ma.n.u.script,--"Otho Visconti" and "Montezuma;" the cantatas "G.o.d our Deliverer," "The Culprit Fay," and "Praise of Harmony;" and several trios, sonatas, and other works for the chamber, as well as many songs.

The selections from his operas which have been played by the Thomas orchestra show that they are compositions of unusual excellence and scholars.h.i.+p.

The Culprit Fay.

"The Culprit Fay," a musical setting of Joseph Rodman Drake's well-known fairy poem, was written in 1879. It is divided into three parts,--the first containing five, the second five, and the third eight numbers; the solos being divided among soprano, alto, tenor, and barytone, the last named taking the part of the Fairy King. The exquisitely graceful fairy story told in the poem is too well known to need description. It is admirably adapted to music by its rhythmic fluency as well as by the delicacy of its poetical sentiment; and while it does not call for earnestness or strength in any of its movements, there is ample opportunity for melodious and attractive pictures in tone of the dainty descriptions of the poet. The composer has improved these opportunities with much skill, and, notwithstanding the intrinsic lightness of the score, has secured musical unity and poetical coherence by the artistic use of the _leit-motif_. Nine of these motives are employed, characterizing the summer night, the elfin mystery, the life of the fairies, the fay's love for the mortal maid, the penalty for this violation of fairy law, night on the river, the spells of the water imps, the penalties imposed upon the culprit, and the Sylphide Queen's pa.s.sion for the Fay. The skilfulness with which these motives are adapted to characters and situations, and interwoven with the general movement in their proper recurrence, shows that the composer has not studied Wagner, the master of the _leit-motif_, in vain.

After a short introduction for the horns and strings, the cantata opens with a full chorus of graceful, flowing character ("'Tis the Middle Watch of a Summer's Night") describing the moonlight scene about "Old Cro'

Nest." It is followed by the mystery motive announcing a weird alto solo, "'Tis the Hour of Fairy Ban and Spell." It is the summons of the sentry elf, ringing the hour of twelve, indicated in the score by the triangle, and calling the fairies to confront the culprit. A stirring and blithe instrumental introduction, followed by a short chorus ("They come from Beds of Lichen green"), describes the gathering of the fays, r.e.t.a.r.ded at the close, and growing sombre as it is announced that "an ouphe has broken his vestal vow." A tenor solo ("He has loved an earthly Maid") tells the sad story of the guilty one who "has lain upon her lip of dew"