Without antic.i.p.ating the criticism which will follow upon performance, we may here give some idea of the scope and character of the Ode. Mr. Joseph Bennett, the writer of the words, has kept strictly in view the exigencies of a musical setting. He has obviously prepared, not a short poem for readers, but one for musical hearers. Hence a variety of rhythm and structure which otherwise would certainly not have been ventured upon. From the same cause arises also the manner in which the subject is laid out, with a view to contrast of musical effect. We may indicate the nature of this arrangement. In the first vocal number, a chorus, the news of the Jubilee is proclaimed, and its diffusion throughout the Empire called for. The second number, a tenor solo, conveys to the Queen the affectionate greetings of her home-lands, declaring that, to keep the feast with unanimity, all weapons of party warfare are laid aside. In the third number the Colonies and Dependencies pay their homage, the idea worked out being that of a procession pa.s.sing before the throne. First comes the Dominion, followed by Australia, the smaller colonies and islands, and, lastly, by India. Each of these divisions has a section of the chorus to itself. The fifth number, a soprano solo, dwells upon the personal virtues of the Sovereign; while the sixth, and last, opening with a choral prayer for the Empire, continues with lines leading to the National Anthem, for which a new second verse has been written. How far the writer has been guided by consideration for musical opportunities need not, after this outline sketch, be indicated. The spirit in which Mr. Bennett has approached his theme best appears, perhaps, in the opening verses:--
"For fifty years our Queen!
Victoria! hail!
Take up the cry, glad voices, And pa.s.s the strain O"er hill and plain, Peaceful hamlet, roaring city, flowing river, Till all the land rejoices.
Wild clanging bells and thund"rous cannon With your loudest shock the air, and make it quiver From Dee to Tamar, Thames to Shannon.
"For fifty years our Queen!
Victoria! hail!
Take up the cry, old ocean, And hoa.r.s.ely shout The words about.
British ships and world-wide British lands will cheer them, Rouse an Empire"s full devotion.
O blowing wind, come hither, bearing Answering voices, loud acclaiming. Hark! we hear them.
They our loyal pride are sharing."
In setting the words to music, Dr. Mackenzie has necessarily to consider the place of performance and the number of performers. This, however, was an amiable and fortunate obligation, since the result has been to give us a work built upon broad lines, and marked by plainness of structure to an extent unusual with the composer. We think that the music will be found to have a true festive ring, and a majestic solidity befitting the occasion. In the solos, with their more subdued expression, Dr. Mackenzie has kept contrast in view, without sacrifice of simplicity; but it is in the choruses that he best shows himself a master of bold and striking effects. Every bar goes straight to the point, while avoiding the commonplaces that naturally suggest themselves in the writing of festive music. The procession chorus is, in this respect, most noteworthy of all, and may be found no mean rival of that in the "Rose of Sharon."
[29] As the score of Mr. Mackenzie"s Ode has not yet reached this country, the author has taken the liberty of transferring the above a.n.a.lysis of it to his work from the London "Musical Times" for May, 1887. Although its local character may preclude its performance here, it is not improbable that the composition of a composer so eminent will attract attention among American musicians.
Ma.s.sENET.
Jules emile Frederic Ma.s.senet, a composer as yet but little known in this country, was born at Montaud, France, May 12, 1842. His musical education was obtained in the Paris Conservatory, in which between the years 1859 and 1863 he carried off two first prizes and one second. After leaving the Conservatory, he went to Italy for a time and pursued his studies in composition. On his return to Paris one of his operas, "La Grand Tante,"
was produced at the Opera Comique (1867) through the influence of Ambroise Thomas, and this performance called attention to the works of the rising young musician. In 1872 he brought out "Don Caesar de Bazan,"
an opera comique in three acts, and in the following year incidental music to the tragedy "Les Erinnyes," after aeschylus. Among his works written since that time are "Le Roi de Lah.o.r.e" (1877); "Herodiade"
(1882); "Manon" (1885); "Le Cid" (1885); the cantata "Paix et Liberte"
(1867); "Marie Magdaleine" (1873); "Eve," a mystery (1875); "La Vierge,"
sacred legend; and "Narcisse," antique idylle (1878). Among his orchestral works the best known are "Suites d"orchestre;" "Scenes Hongroises;" "Scenes Pittoresques;" "Scenes Dramatiques;" overture "Phedre;" and "Pompeia," fantasia-symphony. He has also written numerous songs and piano-forte pieces. His operas thus far have been his most successful works, though several of his large concert pieces have been very favorably received. He now occupies a position in the Paris Conservatory, and is regarded as one of the most promising members of the modern French school.
Mary Magdalen.
"Mary Magdalen" was written in 1873, and was first performed at the Odeon, Paris, in that year, with Mmes. Viardot and Vidal and MM. Bosquin and Pet.i.t in the solo parts. It is styled by its composer a sacred drama, and is divided into three acts, the first ent.i.tled "The Magdalen at the Fountain;" the second, "Jesus before the Magdalen;" the third, "Golgotha," "The Magdalen at the Cross," and "The Tomb of Jesus and the Resurrection;" the first two scenes in the last act being included in one tableau, and the third in another. The characters represented are Mary Magdalen, Martha, Jesus, and Judas, the chorus parts being a.s.signed to the Disciples, Pharisees, Scribes, publicans, soldiers, servants, holy women, and people.
After a short introduction, pastoral in character, the work begins with a scene representing Mary at the fountain of Magdala near sunset, among women, publicans, Scribes, and Pharisees, strolling along the banks of the little stream that flows from it. The women sing a short chorus full of Oriental color antic.i.p.ating the approach of the beautiful Nazarene. A group of young Magdalens pa.s.s along singing blithely of love and gay cavaliers ("C"est l"heure ou conduisant de longues Caravanes"), and the song of the women blends with it. Next follows a chorus of the Scribes, discussing this Stranger, and p.r.o.nouncing Him an impostor, and again the young Magdalens take up their strain. The second number is a pathetic aria by Mary ("O mes Soeurs"), which is full of tender beauty. The women shrink back from her and join in a taunting chorus ("La belle Pecheresse oublie"). Next, Judas appears upon the scene, and servilely saluting Mary counsels her to abandon sadness and return to love, in an aria which is a good ill.u.s.tration of irony in music. It is followed by a powerful and mocking chorus of women, Pharisees, and Scribes ("Vainement tu pleures"), in which she is taunted with her shame, despite her sad appeals for pity.
The next scene is an aria and trio. Jesus appears in their midst, and in a calm impressive aria ("Vous qui fletrissez les Erreurs des autres") rebukes them. Mary prostrates herself at His feet and implores pardon, and the scene closes with a trio for Jesus, Mary, and Judas, leading up to a strong concerted finale closing the act, in which Jesus bids the Magdalen rise and return to her home, whither He is about to repair.
The second act opens in the Magdalen"s house, which is richly decorated with flowers and redolent with perfume. It begins with a sensuous female chorus ("Le Seuil est pare de Fleurs rares") followed by Martha"s admonition to the servants that He who is more powerful than earthly kings cares not for vain shows. The chorus resumes its song, and at its close Judas appears and a long dialogue follows in which Martha rebukes his hypocrisy. As he departs, Mary and Martha in a very graceful duet discourse of the Saviour"s coming, which is interrupted by His presence and invocation of blessing. After a duet between Jesus and Mary, in which He commends her to the Good Shepherd, the act closes with a powerful and very dramatic finale containing Jesus" rebuke to Judas and His declaration of the coming betrayal, after which the Disciples join in a simple but very effective prayer ("Notre Pere, loue soit Nom radieux").
The third act is divided into two tableaux. In the first we have the scene of the crucifixion, the agitated choruses of the groups about the Cross, the mocking strains of the Pharisees bidding Him descend if He is the Master, the sorrowing song of Mary ("O Bien-aime sous la sombre Couronne"), and the final tragedy. The second is devoted to the resurrection and apparition, which are treated very dramatically, closing with an exultant Easter hymn ("Christ est vivant, ressuscite").
In the first two acts the music is full of rich Oriental color and is gracefully melodious and well adapted to the situation; but in the last act the awful solemnity of the tragedy is somewhat lost in the theatrical manner of its treatment. Indeed it was hardly necessary that the composer should have disclaimed the t.i.tle of oratorio which some have a.s.signed to the work. His division of it into acts and tableaux was sufficient to indicate that he had the stage in mind when he was writing; or at least that his scheme was operatic in style.
MENDELSSOHN.
Felix Mendelssohn Bartholdy, the son of a Berlin banker, was born at Hamburg, Feb. 3, 1809, and, unlike almost all other composers, was reared in the lap of luxury. He enjoyed every advantage which wealth could procure, with the result that he became highly educated in the other arts as well as in music. His teachers in music were Zelter and Ludwig Berger, and he made such progress that in his ninth year he appeared in public as a pianist in Berlin and afterwards in Paris. The first of his compositions to attract general notice were the overture to Shakspeare"s "Midsummer Night"s Dream" and the little opera "The Marriage of Camacho,"
which were brought out in Berlin in 1827. After several concert-tours, in which he met with great success, he resided for some time in Dusseldorf.
In 1835 he went to Leipsic as director of the famous Gewandhaus concerts,--which are still given in that city. Two years later he married Cecile Jeanrenaud, the beautiful daughter of a minister of the Reformed Church in Frankfort, and shortly afterwards went to Berlin as general director of church music. In 1843 he returned to his former post in Leipsic, and also took a position in the newly established Conservatory, where he spent the remainder of his days in company with his family, to whom he was closely attached. He has left a large and rich collection of musical works, which are favorites the world over. His three great oratorios are the "Hymn of Praise," catalogued as a symphony-cantata, "St. Paul," and "Elijah." Besides these oratorios, the exquisite music to the "Midsummer Night"s Dream," which is familiar the world over, and his stately dramatic music to "Antigone," he has left five symphonies, of which the "Scotch," the "Italian," and the "Reformation" are best known; four beautiful overtures, "Ruy Blas," "Calm Sea and Prosperous Voyage,"
"Hebrides," and "Melusina;" the very dramatic cantata, "The Walpurgis Night;" a long list of songs for one or more voices; the incidental music to Racine"s "Athalia;" a very large collection of sacred music, such as psalms, hymns, anthems, and cantatas; several trios and other specimens of chamber music; and the lovely "Songs without Words," which are to be found upon almost every piano, the beauty and freshness of which time has not impaired. Mendelssohn never wrote a grand opera, owing to his fastidiousness as to a libretto; though he finally obtained one from Geibel on the subject of the "Loreley" which suited him. He had begun to write it, and had finished the finale to the first act, when death interrupted his work, Nov. 4, 1847. In addition to the subjoined compositions selected for description, the following may be mentioned as possessing the cantata characteristics: op. 31, the 115th Psalm, for solo, chorus, and orchestra; op. 46, the 95th Psalm, for chorus and orchestra; op. 51, the 114th Psalm, for double chorus and orchestra; op.
78, three Psalms for solo and chorus; op. 91, the 98th Psalm, for double chorus and orchestra; and op. 96, Hymn ("La.s.s, O Herr mich") for alto solo, chorus, and orchestra.
The Walpurgis Night.
It was during his Italian travels in 1831 that Mendelssohn composed the music to Goethe"s poem "The First Walpurgis Night." His letters throw much and interesting light upon the composition and his ideas while writing it. In a letter written at Rome, Feb. 22, 1831, he says:--
"Listen and wonder! Since I left Vienna I have partly composed Goethe"s "First Walpurgis Night," but have not yet had courage to write it down.
The composition has now a.s.sumed a form and become a grand cantata, with full orchestra, and may turn out well. At the opening there are songs of spring, etc., and plenty others of the same kind. Afterwards, when the watchmen with their "Gabeln, und Zacken, und Eulen," make a great noise, the fairy frolics begin, and you know that I have a particular foible for them; the sacrificial Druids then appear with their trombones in C major, when the watchmen come in again in alarm; and here I mean to introduce a light, mysterious, tripping chorus, and lastly to conclude with a grand sacrificial hymn. Do you not think that this might develop into a new style of cantata? I have an instrumental introduction as a matter of course, and the effect of the whole is spirited."
On the 27th of April ensuing he refers to it again:--
"I must however return to my witches, so you must forgive my not writing any more to-day. This whole letter seems to hover in uncertainty, or rather I do so in my "Walpurgis Night," whether I am to introduce the big drum or not. "Zacken, Gabeln, und wilde Klapperstocke" seem to force me to the big drum, but moderation dissuades me. I certainly am the only person who ever composed for the scene on the Brocken without employing a piccolo-flute, but I can"t help regretting the big drum; and before I can receive f.a.n.n.y"s[30]
advice, the "Walpurgis Night" will be finished and packed up."
On his way back to Germany he writes from Milan, July 13, 1831, to the artist and operatic director, Eduard Devrient:--
"I have been writing a large composition that perhaps will one day make some effect,--"The First Walpurgis Night" of Goethe. I began it simply because it pleased and excited me; I did not think of any performance.
But now that it is finished, I see that it is well suited for a large concert piece, and in my first subscription concert in Berlin you shall sing the bearded Druid,--the chorus sung by ----, kindly a.s.sisted by ----. I have written the part of the Druid into your throstle (by permission), and you will have to sing it out again."
It was several years before the "Walpurgis Night" was publicly performed, and meanwhile it underwent several changes. On the 28th of November, 1842, he writes to his mother:--
"I am really anxious to make the "Walpurgis Night" into a symphony-cantata, for which it was originally intended, but did not become so from want of courage on my part."
On the 11th of December of the same year he writes her:--
"My "Walpurgis Night" is to appear once more in the second part, in a somewhat different garb indeed from the former one, which was somewhat too richly endowed with trombones, and rather poor in the vocal parts; but to effect this I have been obliged to re-write the whole score from A to Z, and to add two new arias, not to mention the rest of the clipping and cutting. If I don"t like it now, I solemnly vow to give it up for the rest of my life."
The cantata was first publicly performed in Leipsic, Feb. 2, 1843, at a concert, in which it occupied the second part of the programme. It had to stand a severe test of comparison, for the first part was very brilliant, including a Haydn symphony, a Mozart aria, Beethoven"s "Choral Fantasie,"
the piano part played by Madame Schumann, the overture from "Euryanthe,"
and the chorus from Weber"s "Lyre and Sword;" but it made a success, and was received with great enthusiasm.
The subject of the cantata is a very simple one. The witches of the Northern mythology were supposed to hold their revels on the summit of the Brocken on the eve of the 1st of May (Walpurgis Night), and the details of their wild and infernal "Sabbath" are familiar to every reader of "Faust." In his separate poem Goethe seeks to go back to the origin of the first Walpurgis Night. May-day eve was consecrated to Saint Walpurgis, who converted the Saxons from Druidism to Christianity, and on that night the evil spirits were said to be abroad. Goethe conceived the idea that the Druids on that night betook themselves to the mountains to celebrate their rites without interference from the Christians, accomplishing their purpose by disguising their sentinels as demons, who, when the Christians approached, ran through the woods with torches, clashed their arms, uttered hideous noises, and thus frightened them away, leaving the Druids free to finish their sacrifices.
The cantata begins with an overture in two movements, an _allegro con fuoco_ and an _allegro vivace_, which describes in vivid tone-colors the pa.s.sing of the season from winter to spring. The first number is a tenor solo and chorus of Druids, which are full of spring feeling, rising to religious fervor in the close:--
"Now May again Breaks winter"s chain, The buds and bloom are springing; No snow is seen, The vales are green, The woodland choirs are singing!
Yon mountain height Is wintry white; Upon it we will gather,-- Begin the ancient holy rite; Praise our Almighty Father."
The next number is an alto solo, the warning of an aged woman of the people, which is very dramatic in its style:--
"Know ye not a deed so daring Dooms us all to die despairing?
Know ye not it is forbidden By the edicts of our foemen?"