[".Mctal. ]

EIGHTH BIENNIAL

MUSIC FESTIVAL,

AT

CINCINN A TI,

MAY 22, 23, 24, 25 AND 26,

1888.

THEODORE THOMAS,

MUSICAL DIRECTOR.

PUBLISHED AND SOLD

BY THE FESTIVAL ASSOCIA TION ~ 1888. COPYRIGHTED, 1888,

By THE CINCINNATI MUSICAL FESTIVAL ASSOCIATION.

ALDINE PRINTING WORKS. Board of Directors.

WILLIAM N. HOBART, President.

LAWRENCE MAXWELL, JR., Vice- President.

ROBERT B. BOWLER,

JOHN CHURCH, EDWARD RA'VSON, CHAS. P. TAFT, ALBERT H. CHATFIELD, JULIUS DEXTER, A. E. BURKHARDT.

H. T. LOOMIS, Secretary .

., .) MEMBERS OF THE FESTIVAL ASSOCIATION 4.-ND CON­ TRIBUTORS TO THE FUND FOR THE MAIN­ TENANCE OF THE CHORUS.

W. P. ANDERSON, H. P. LLOYD, MRS. LOUISE N. ANDERSON, LAWRENCE MAXWELL, JR., F. H. ALMS, ARTHUR MEES, R. B. BOWLER, ALEXANDER McDoNALD, A. E. BURKHARD'f, JAMES McDoNALD, D. H. BALDWIN & CO., ROBERT MITCHELL, A. H. CHATFIELD, PETER RUDOLPH NEFF, THE JOHN CHURCH CO., MRS. N. G. NETTLETON, THE COMMERCIAL GAZETTE CO., PERCY PROCTER, JULIUS DEXTER, HARLEY T. PROCTER, B. F. DAVIS, EDMUND PENDLETON, RICHARD DYMOND, HENRY G. ROELKER,

ALBERT ERKENBRECHER, EDWARD RAWSON, J. F. ELLIOTT, CHAS. W. SHORT, F. FORCHHEIMER, JOHN L. STETTINIUS, SETH C. FOSTER, STEWART SHILLITO, THOS. T. GAFF, EDWIN STEVENS, WILLIAM N. HOBAR'!', M. M. SHOEMAKER, A. HOWARD HINKLE, W. W. SEELY, M. E. INGALLS, CHAS. P. TAFT, JOHN D. JONES, L. V AN ANTWERP, NICHOLAS LONGWORTH, LUCIE~ W ULSIN. MRS. S. W. LONGWORTH,

ANNUAL SUBSCRIBERS.

MRS. MARY EMERY, RUFUS KING.

4 THEODORE ,THOMAS,

MUSICAL DIRECTOR.

LOUIS EHRGOTT,

CHORUS CONDUCTOR.

SOPRANOS.

FRAU LILLI LEHMANN, lYhIE. GruLlA VALDA,

:VIRS. CORINNE MOORE-LAWSON, MISS ELIZABETH HETLICIl.

CONTRALTO.

MISS EMMA CRANCH.

TENORS.

"NIR~ EDWARD LLOYD, MR. THEODORE J. TOEDT,

HERR PAUL KALISCH.

BARITONE.

MR. ALONZO E. STODDARD.

BASS.

MR. MYRON W. WHITNEY.

ORGANIST.

MR. ARTHUR MEES.

CHORUS. ORCHESTRA.

ORGAN.

5 Order of Performances.

TUESDAY EVENING, MAY 22, ...... FIRST CONCERT. WEDNESDAY EVENING, MAY 23, ...... SECOND CONCERT. THURSDAY AF'l'ERNOON, MAY 24, . . THIRD CONCERT. THURSDAY EVENING, MAY 24, . FOURTH CONCERT. F RIDAY E VENING, M AY 25 , •••. . FIFTH CONCERT. SATURDAY AFTERNOQN, MAY 26, . SIXTH CONCERT. SATURDAY EVENING, MAY 26, . . . . . SEVENTH CONCERT. Evening Concerts begin at 7: 30 o'clock. Afternoon Concerts begin at 2: 00 o'clock.

PARTICULAR NOTICE. The doors will be closed and .the concerts will begin precisely at the minute advertised. The doors will not be re-opened nor persons admitted until some convenient point in the programme is reached. No encores will be given. The Intermissions, which have proved such an attractive feature of the former festivals, will be continued. At each concert the Intermission will last about half an hour, during which time the audience will have an opportunity for promenade, and to take refreshments in other parts of the building. They will be called to their seats by the sound of a trumpet. While the performances are going on, the doors that give access to the places for refreshment will remain closed. Season Tickets, including reserved seats for all seven performances (on sale only until May 1),...... $12 00 (Tickets for each performance detachable and accepted separately.) Single Concert, reserved seat (for sale on and after May 3), .. " 2 00 General Admission, ...... 1 00 Auction Sale of choice of seats for Subscribers' Season Tickets be­ gins at College Hall (Walnut Street), Tuesday, April 24, at 10 o'clock A. M. Sale of single reserved seats begins May 3,'and continues until the close of the festival. Persons residing at a distance can obtain reserved seats by addressing W. N. HOBART, President, who will furnish plats of the Hall, and any other information about the festival, upon application.

() FIRST CONCERT.

TUESDAY EVENING, MAY TWENTY-SEOOND.

HYMN, Op. 36, Weber

FRAU LILLI LEHMANN. MR. THEODORE J. 'rOEDT . .:\1188 E:mIIA CRANCH. :\1H. MYRON W·. WHITNEY. Chorus, Organ and Orchestra.

SYMPHONY No.5, C Minor, Op. 67, Beethoven Allegro con brio. Andante can mota. Alleg1·o. Finale. 3-ntermtsston.

EINE FAUST OUVERTURE, Wagner

CANTATA, SONG OF PROMISE, Op. 43, J. ](. Paine (Composed for the Festival.)

FRA U LILLI LEHMANN. Chorus, Organ and Orchestra.

7 SECOND CONCERT.

WEDNESDAY EVENING, MAY TWENTY-THIRD.

ST. PAUL,

An Oratorio.

Mendelssohn.

MME. GIULIA VALDA. MR. EDWARD LLOYD.

MISS EMMA CRANeR. MR. MYRON W. W RITNEY.

Chorus, Organ, and Orchestra.

Intermission between the First and Second Parts.

s THIRD CONCERT.

THURSDAY AFTERNOON, MAY TWENTY-FOURTI-I.

OVERTURE, ...... } RECITATIVE AND ARIA, "Du kennst den Don Juan, Mozart Verriither," . . . . . FRAU I-JILLI LEHMANN.

RECITATIVE AND ARIA, Joseph in Egypt, "Ach, mir} Mehul liichelt umsonst," MR. THEODORE J. TOED'I'.

RECITATIVE AND RONDO, "Ja, der Augenblick er-} ITJ':b sc hemet,. " ...... rre er MRS. CORINNE MOORE-LAWSON.

SYMPHONY :N o. 3, C Minor, Op. 78, 1. Adagio-Allegro m,oderato-Poco Adagio. II. Allegro Moderato-Presto-Maestoso-Allegro.

Orchestra and Organ.

gntermtsston.

OVERTURE, Manfred, Op. 115, Schumann GRETCHEN AM SPINNRAD, Schttbert, FRAU LILLI I"EHMANN.

ARIA, Irene, "She alone charmeth my sadness," Gounod MR. MYRON W. WHITNEY.

RECITATIVE AND ARIA, Faust, Spohr MRS. CORINNE MOORE-LAWSON.

RHAPSODY No.2. Liszt FOURTH CONCERT.

THURSDAY EVENING, MAY TWENTY-FOURTH.

THE SPECTRE'S BRIDE, a Dramatic Cantata, Op. 69, Dvorak

FRA U LILLI LEHMANN. MR. EmVARD LLOYD.

MR. ALONZO E. STODDARD.

Chorus and Qrchestra.

5ntermtsston.

SYMPHONY, Landliche Hochzeit, Op. 26, Goldrnark Hochzeitsmarsch, Va1wtionen. Brautlied, Inte1'mezzo. Se1'enade, Scherzo. 1m Garten, Andante. Tanz, Finale.

10 FIFTH CONCERT.

FRIDAY EVENING, MAY TWENTY-FIFTH.

PARADISE LOST.

A Sacred Work in three parts.

Rubinstein.

MME. GIULIA VALDA. MIL EDWARD LLOYD.

MISS ELIZABETH HETLICH. MR. ALONZO E. STODDARD.

MISS E.l\IMA CRANCII. MR. MYHOX 'V'. WHITNEY.

Chorus, Organ and Orchestra.

Intermission between the Second and Third Parts.

11 SIXTH CONCERT.

SATURDAY AFTERNOON, MAY TWENTY-SIXTH.

SUITE No.3, D Major, Bach

OVERTURE, AIR, GAVOTTE I-GAVOTTE II.

ARIA, Judas Maccabreus, "Sound an Alarm," Handel MR. EDWARD LLOYD.

RECITATIVE AND ARIA, Alceste, "Ihr Gotter ew'ger} Gluck Nacht," ......

FRA U LILLI LEHMANN.

SYMPHONY No.6, Pastoral, Op. 68, Beethovlm . Allegro, ma non tl·OPpO. Oheerful impressions on al'riving in the country. Andante molto mota. Scene by the m'ook. Allegro. Peasants' merry-making. Allegro. Thunderstorm. Allegl·etto. Shepherd's Song. Glad and thankful feelings after the stor~n.

3-ntermtsston.

FUNERAL MARCH, . Ohopin ROMANZA, Faust, "Dahin ist meine Ruh'," Berlioz FRA e LILLI LEHMANN.

ARIA, Stabat Mater, "Cujus animam," Rossini MR. EDWARD LLOYD.

ARIA, Der Damon, "Taglich eilen wir im Fluge," Rubinstein MME. GIULIA VALDA.

MORCEAU SYMPHONIQUE, La Russie, R'ttbinstein Orchestra and Organ.

12 SEVENTH CONCERT.

SATURDAY EVENING, MAY TWENTY-SIXTH.

'Ulllagner 1Rigbt. TANNHAUSER. a) Overture. b) Bacchanale and Duo.

FRAU LILLI LEHMANN AND HERR PAUL KALISCH. Chorus of Women. LOHENGRIN. a) Vorspiel. b) Lohengrin's Farewell.

MR. EDWARD LLOYD. c) Praye1" and Finale.

MRS. LAWSON. MISS CRANCI-I. MR. TOEDT.

MR. STODDARD. MR. WHITNEY. Chorus and Orchestra.

5ntermtsston.

DIE MEISTERSINGER. a) Vorspiel. b) Walther's Preislied.

MR. EDWARD LLOYD.

GOTTERDAMMERUNG. a) Siegfried's Death. Orchestra. b) Finale, B1'unnhilde's Self-immolation.

FRAU LILLI LEHMANN.

13

THE FESTIVAL.

THIS Festival, the eighth of a biennial series, is given by the Cin- cinnati Musical Festival Association, an organization of ladies and gentlemen interested in the cause, and incorporated under the laws of Ohio for that purpose. The enterprise presents a development that has been at once rapid and healthy, the product of that public spirit and private generosity which has furnished men and means to carry on in Cincinnati every worthy effort in the cause of art. The First Festival, held in 1873, seems to have been suggested by the German Samgerfests. It was largely patterned after them, and was doubtless intended as a sort of American off-shoot. The circular was issued to "the choral societies of America," and stated that the object of the Festival was "to elevate and strengthen the standard of choral and instrumental music, and also to bring about harmony of action between the musical societies of the country, and more espe­ cially of the West." The permanent establishment of local festivals was, perhaps, not anticipated, certainly not on the lines that have since been followed; but the experiment proved so successful that a second festb;al was at once determined upon and announced at the last concert of the first festival. The second festival was held in 1875. Its success led to the building of Music Hall, by private subscription headed by that of Mr. Reuben R. Springer, at a cost of a little over $300,000, exclusive of the ground, which was supplied by the city. The hall was furnished with the great organ at a cost of $30,000, and was opened and dedicated at the third festival, held in 1878. Thus, in the course of five years, had the experiment of 1873 resulted in providing Cincinnati with the largest music hall and organ in the

15 THE FESTIVAL.

country. With these material wants supplied, the May Festivals were looked upon as permanently established. , . . . Their history since that time is largely from their artistIC sIde, and is best disclosed in the schedule appf' led to this book of the works that have been performed and of the forces that have been employed. The Association has been moved from the beginning by a spirit of conscientious endeavor and high artistic purpose. The effort has been to present great works for chorus and orchestra, classical and modern, with the best forces obtainable. The course of the Asso­ ciation in this behalf has been molded and guided by the sound judgment and wise counsels of Mr. Theodore Thomas, who has been the Musical Director from the .first. The business management is in the hands of a Board of Directors. The first two festivals came within a trifle of meeting their expenses. The third, owing largely to the attractions furnished by the opening of Music Hall, was enabled to show a surplus of over $30,000, $15,000 of which was applied to the cost of the organ, $5,000 was dis­ tributed among the various singing societies which had taken part in the festival, leaving a balance of $10,000 in the treasury, which was increased to $20,000 as the result of the fourth festival. Losses on subsequent festivals exhausted this surplus and required a small con­ tribution from the guarantors of the last festival. But on the whole the festivals have more than paid their way. The expenses have heretofore been secured by a guaranty fund. This year they were secured by an advance su~scription of over 2,000 season tickets. The preparations for this, the Centennial Festival, have been con­ ducted in the same conscientious spirit and on the same generous scale as heretofore. The Directors have endeavored to secure the best soloists possible. With the exception of Madame Valda, who brings with her a record of creditable achievement, Herr Paul Kalisch, of the Imperial Opera, Berlin, and Mr. Edward Lloyd, of London, they need no introduction to the patrons of the festivals. Mr. Lloyd holds the first rank in England, and comes to the festival under a contract which requires him not to sing elsewhere in public, in the United States or Canada, from the time of his departure from England for the festival until after he shall have returned to England. The

16 THE FESTIVAL. orchestra is that of Mr. Thomas, augmented to 121. The organ, which was silent at the last festival, has been lowered during the past year to the new pitch, so that it might be used at this festival. The chorus is not only the important factor of the festivals, but the direction in which their educational influence is most powerfully exerted. The festivals would be worth all they have cost had their good not extended beyond that which they have done in behalf of the thousands of young men and women whom they have led, in the choir, not only to an accurate knowledge of musical forms, but to an appreciation of the spiritual beauties and intellectual strength of the works of the masters. At the earlier festivals the chorus was formed for the occasion by combining the forces of various singing societies. As the pro­ grammes grew in dignity and difficulty, the plan of bringing hetero­ geneous elements together at intervals was found to be inadequate, and in 1880 the festival chorus was established as a permanent body, and has since been maintained as a part of the festival organization. It has been trained for the present festival by Mr. Louis Ehrgott. With respect to the programme it is to be observed that it wears a more modern aspect than that of any preceding festival, the impor­ tant choral works, with the exception of "St. Paul," which is only fifty years old, all being from the pens of living composers, which is also true of two of the symphonies. This apparent prominence of recent works must not, however, be attributed to any change of policy in the musical direction, but rather to the opportunity and occasion which follow the accomplishment already made of the classics. In this connection it must not be forgotten that at the second festival, Brahms and Liszt and Wagner were given important recogni­ tion; that at the third Berlioz's "Romeo and Juliet" and Liszt's "Missa Solennis" were heard along with" Alceste" and the "Mes­ siah;" that later, Brahms' greatest work and" The Redemption," then fresh from the pen of Gounod, were on the same programme with "Israel in Egypt," and that Rubinstein's" Tower of Babel" and Berlioz's" Damnation of Faust" were sung at the same festival with Bach's :Mass in B Minor. From the first there has been manifested that catholic and progressive spirit which has recognized all schools, and every period in the history of the mature development of the art.

Ii THE FESTIVAL.

It is sometimes said that the music of the festivals is too heavy for popular appreciation. In that very suggestion lies one of the reasons for this little book. It is not to be expected that the product of intellectual force can be understood and enjoyed in the realm of art, any more than in that of literature or science, without effort and study, and the festivals would not be worthy of existence if this were not true of the works which they present. There are few persons who are not susceptible to the i.afluence of melody. The real difference between the rriur:-;ic which they term light, and that which they call heavy, does not "lie in the presence of more fascinating melody in the one than in the other; the very reverse is generally true. The music which they enjoy is not more melodious than that which they think heavy. The melody may indeed be more prominent in the one than in the other, because unincumbered by com­ plicated harmonies, but if those who think the festival music heavy will only take the pains to cultivate the harmonic sense by listening often and attentively to gobd music, they will find it a source of deep pleasure, and will realize that" heavy" is, after ali, only a relative and very changeable term. An audience can not hope to enjoy, without preparation, that which has cost the choir months of labor to prepare. Attendance upon the chorus rehearsals is a great aid to understanding and appre­ ciating the performances. and this book is submitted as a further help. The principal themes of the new and unfamiliar symphonies will be found in it, so that they may be read at the piano, and in that way become famiiiar in advance of the concerts to persons of the slightest musical training. The same sort of assistance will be found in a careful advance reading of the texts of the choral works, which are printed complete. Th~ Festival is a joyous opening to our Centennial Celebration. The promoters indulge the hope that it will be found, also, to have accomplished something for that higher and intellectual life to which we ever turn for grateful relief from the strife over material things.

18 FIRST CONCERT.

HYMN, Op. 36, Weber.

THIS noble Hymn, written for solo quartet, chorus, orchestra and organ, furnishes from every point of view a most appropriate and dignified opening for the Centennial Festival. It is the first time that the composer of "Der FreischUtz", "Euryanthe", "Preciosa", "Oberon," the "Jubel Overture,"" Invitation a la Valse," the ConcertstUck, "LUtzow's Wild Hunt," and a score of other precious memories is heard at the Festivals in a choral number, although he has, of course, received abundant recognition from the beginning in the portions of the programmes devoted to the orchestra and to vocal solos. The influence of Weber, not only upon his own generation but upon that which followed, is perhaps equal to that of any other com­ poser except Wagner. The history of music in the nineteenth cent­ ury, and especially of the present development of German opera, begins with him. His influence upon Wagner is manifest, and was recognized by the master himself, who lent his energies to securing the removal of Weber's remains from England to Germany, and at the grave delivered a touching farewell. A single passage from that ad­ dress expresses with force and beauty one of Weber's chief character.., istics: "There never was a more German composer than thou. In whatever distant, fathomless realms of fancy thy genius brought thee, 19 FIRST CONCERT.

it remained bound by a thousand tender links to the heart o~ thy. Ger­ man people, with whom it wept or smiled like a believing chIld lIsten­ ing to the legends or tales of its country. Thou cou]dst never bet~y us. Behold! the Briton does thee justice, the Frenchman ad~Ires thee, but only the German can love thee. Thou art his own, a brIght day in his life, a drop of his blood, a particle of his heart." The Hymn was composed by Weber in the fall of 1812, when he was in his twenty-sixth year, and during his sojourn at Gotha with the Grand Duke of Saxe-Gotha. It was during the same visit that Weber composed his celebrated Concerto in E flat. Both works were per­ formed for the first time at a concert given under the direction of the composer, who himself played the concerto, at the Gewandhaus, Leipsic, on the following New Year's day, January 1, 1813. The music is set to words written for Weber by his life-long friend, Fr. Rochlitz, editor of the Musical Gazette, and one of the celebrated critics of his time. It was dedicated to the Musik-Gesellschaft of Zurich, of which Weber had been recently elected an honorary member. The Hymn excited considerable applause upon the occasion of its first performance, the principal solo part being taken by Albertine Campagnuoli, a noted singer of her day. The text sufficiently indicates the divisions of the work, which opens with an impressive andante maestoso and closes with a tremen­ dous fugue. The composition bears unmistakable evidences of great labor. The final fugue is the most interesting number from a musical stand-point, being one of the best ever written by Weber. It bears the mark of his genius, and fairly sweeps the hearer away in its rush­ ing torrent of enthusiastic sound. The composition has been performed but rarely, and not at all, so far as is known, in this country. The translation into English is by Mrs. Maria L. Storer, of Cincinnati.

CHORUS. With mighty wisdom rules our God, The glory of His power! His works in His own time From out eternal depths immortal rise. How may we dare defy the Son of Heaven? When He shall call, how can we tarry?

20 HYMN, OP. 36.

SOLO.-MR. TOEDT.

The sun is glowing, the shades of night are falling, Dark winter is past, the earth grows green, The buds decay, the golden fruit is swelling.

SOLO.-FRAU LEHMANN.

The maiden blooms, her spring is come, Each blossom falls, but youth goes on forever.

QUARTE'r.

The storm madly rushes in threatening strife, The clouds with the sun are contending; The blossoms are withered by pitiless frost; Alarm'd is the maiden by rude force assailed; But firm stands His wisdom. The day now is done, the frost is gone, And love is King. CHORUS.

How may we dare defy the Son of Heaven? What he has ordered can it falter? With mighty wisdom rules our God.

RECITATIVE.-MR. WHITNEY.

As dark and silent night envelops the earth And hides the light of God, So hovers Care o'er timid spirits And tries to drive their faith away. Thus craven fear holds mighty nations, And bows their manhood in the dust. The good and true, the pure and bright, Against the wrong must ever fight, But in the end victorious is the right.

CHORAL. Then peace and patience learning, A wait we God's own time; From sin and malice turning, Make our own lives sublime. 21 FIRST CONOERT.

Not now nor yet to-morrow, But when thou thinkest best, Oh Father, shall our sorrow Be ~one, and we shall rest.

SOLO.-FRAU LEHMANN. We praise our God, whose glorious pow'r Shall guide our footsteps ev'ry hour. Whose wisdom, when our heart repines, In greater glory lives and shines. We lift our hearts, our souls we raise, To Him whom light and darkness praise. CHORUS. 'Mid stormy waves, 'Mid tempest's war, Exalt him as on festal days, My joyful songs of love and praise.

SYMPHONY No.5, C Minor (Op. 67), Beethoven.

Allegro can brio. C minor, 2-4. Andante can mota. A flat, 3-8. Scherzo, Allegro . . C minor, 3-4. Finale, Allegro. C majm', 4-4.

The C Minor Symphony is not only the best known, and there­ fore the most generally enjoyed of Beethoven's nine symphonies, but it is probably a more -universal favorite than ~ny other work of the same class. It is the great popular symphony. It is the work that would naturally occur to anyone who was asked to play or to name a characteristic specimen of Beethoven. In fact, it is that which Men­ delssohn chose to introduce Beethoven to old Goethe, as he sat" in the dim corner of his room at Weimar, like a Jupiter Tonans, with the fire flashing from his aged eyes. It affected him very much. First he said, 'That causes no emotion; it's only astonishing and grandiose.' Then he kept grumbling on, and after some time began agam: 'How big it is-quite wild! enough to bring the house about 22 FIFTH SYMPHONY. one's ears! and what must it be with all the people playing at once? And at dinner, in the middle of something else, he began about it . ., agaIn. It is to the work itself, to the prodigious originality of the open­ ing-which, while it copied nothing, has itself never been copied-to the extraordinary vigor and force which pervade the entire composi­ tion, controlled, in the first movement especially, by the sternest con­ ciseness, and ending in a Finale of truly astonishing grandeur and spirit: it is to these things that the C lVIinor Symphony owes its hold on its audience. In speaking of the opening notes of the work,

some years after its composition, Beethoven is reported to have said, " So pocht das Schiclcsal an die Pforte" (Thus fate knocks at the portals) ; and the phrase is a fitting text for a movement so full of the struggle of life, of conflicts and victories, and laments, and triumphs, and every emotion that can affect the spirit of man, except happiness. One has neither the obligation nor the temptation, as in the case of some of the,other symphonies, to attach any definite meaning to the music nor to construct any picture out of it. It is enough that it touches one's deepest and most sombre feelings, and carries one along unresistingly on its tremendous current. That the actual notes above quoted were those of a bird which Beethoven heard in the Prater is quite possible, but, like the four notes which form the ground-work of the allegro of the Violin Concerto, and were suggested by the repeated knocks of a man shut out of his house in the dead of night, the fact only shows how vast is the transmuting power of the imagination. This theme, with a few others in the works of Haydn, Mozart, and Beethoven, has been finely compared to the magic ball of the fairy story, which opens at the word of command and produces whole king­ doms and nations, with cities, villages, mountains, rivers, armies, and myriads of people. The following is a translation of an analysis of this great work by Berlioz, one of the most intelligent and appre­ ciative of Beethoven's admirers:

23 FIRST CONOERT.

This symphony, without doubt the most famous of the ni~e, is also, in my opinion, the first in which Beethoven gave free rem to his stupendous imagination, and rejected all foreign aid or support whatever. His first, second, and fourth symphonies are constructed on the old known forms, more or less extended, and infused with the brilliant and passionate inspiration of his vigorous youth. In the third, the Eroica, the limits are no doubt enlarged, and the ideas are gigantic, but it is impossible not to recognize throughout it the in­ fluence of the great poet whom Beethoven had long worshipped. Beethoven read his Homer diligently, in the true spirit of the Horatial?­ adage-Nocturna versate manu, versate diurna; and in the magnificent musical epic of which we are speaking, whether it was inspired by Napoleon or not, the recollections of the Iliad are as obvious as they are splendid. But on the other hand, the Symphony in C minor ap­ pears to me to be the direct and unmixed product of the genius of its author, the development of his most individual mind. His secret sorrows; his fits of rage or depression; his visions by night, and his dreams of enthusiasm by day, form the subjects of the work, while the forms of both melody and harmony, rhythm and instrumentation, are as essentially new and original as they are powerful and noble. The first movement is devoted to the representation of the disorder and confusion of a great mind in despair; not that concentrated, calm despair which appears outwardly resigned, nor the stunned, dumb distress of Romeo when he hears of the death of Juliet; but rather the tremendous fury of Othello when Iago comm unicates to him the venomous calumnies which convince him of Desdemona's guilt. One instant it is a delirous rage, venting itself in frantic cries; the next it is absolute exhaustion, in which the mind is filled with self. pity, and able to utter mere groans of regret. Those convulsive gasps of the orchestra; those chords tos~ed backwards and forwards between the wind and the strings, each time feebler than before, like the difficult breathing of a dying man; the sudden, violent outburst in which the orchestra revives, as if animated with the fury of the thunderbolt; the momentary hesitation of the trembling mass before it falls head­ long in two fiery unisons, more .like streams of lava than of sound: surely a style so impassioned as this is beyond and above anything ever before produced in instrumental music.

24 FIFTH SYMPHONY.

The first movement furnishes a striking example of the effect which may be produced by doubling the parts through several octaves. The Andante has some characteristics in common with the slow movements of the seventh and fourth symphonies. It shares the melancholy dignity of the one and the touching grace of the other. The subject is given out by the tenors and 'cellos in unison, with a simple accompaniment pizzicato, in the double basses:

'" "" area== . j. .This is followed by a phrase for the flutes, oboes, clarinets, and bassoons, with its echo in the violins:

which returns no less than four times during the movement, and each time exactly as before, key and alJ, whatever changes may have been made ill the principal subject. This persistence in a phrase at once so simple and so profoundly melancholy, produces by degrees an impression on the hearers which it is impossible to describe, and which is certainly more vivid than any impression of the kind that I ever remember. Beethoven has left a precious record of pathos in the fourth and last appearance of the melody which forms the latter half of quotation No.2, where, by a slight alteration of the notes, a trifling extension of the phrase, and a management of nuance all his own, he has pro­ duced one of the most touching effects to be found anywhere:

25 FIRST OONOERT.

The Scherzo is an extraordinary composition; the very opening, though containing nothing very terrible in itself, produces the same inexplicable emotion that is caused by the gaze of a magnetizer. A sombre, mysterious light pervades it; the play of the instruments has something sinister about it, and seems to spring from the same state of mind which conceived the scene on the Blocksberg in "Faust." A few bars only are forte. Piano and pianissimo predominate through­ out. The middle of the movement, the Trio, is founded on a rapid passage for the double bt),sses fortissimo, which shakes the orchestra to its foundation, and irresistibly recalls the gambols of an elephant. But the gamesome beast retires by degrees, and the noise of his antics is gradually lost. The theme of the Scherzo reappears pizzicato, the sound diminishing at the same time, till nothing is heard but the crisp chords of the violins, and the droll effect of the upper A-flat in the bassoons rubbing against the G, the fundamental note of the dominant miijor ninth. At length the violins Flubside on to the chord of A-flat, which they hold pianissimo. The drums alone have the rhythm of the subject, which they reiterate with all possible lightness, while the rest of the orchestra m~intains its stagnation. The drums sound C-C minor being the key of the movement-but the chord of A-flat, so long held by the strings, forces another tonality on the ear, and we are thus kept in doubt between the two. But the drums increase in force, still obstinately keeping up both note and rhythm; the violins have by degrees also fallen into the rhythm, and at length arrive at the chord of the seventh on the dominant (G), the drums still adher­ ing to their C. At this point the whole orchestra, including the three trombones, hitherto silent, bursts like a thunderclap into C major, and into the triumphal march which forms the commencement of the Finale. The effect of this contrivance is obvious enough to the ear, though it may be difficult to explain to the reader. With reference to this transition, it is sometimes said that Beethoven has, after all, only made use of the common expedient of following a soft passage in the minor by a burst in the major; that the theme of the Finale is not original, and that the interest of the movement diminishes instead 26 FIFTH SYMPHONY. of increasing as it goes on. To which I answer that it is no reflection on the genius of a composer that the means he employs are already in use. Plenty of other composers have used the same expedients, but nothing that they have done can be compared for a moment to this stupendous prean of victory, in which the soul of Beethoven, for the moment freed from its mortal drawbacks and sufferings, seems to mount to heaven in a chariot of fire. l'he four first bars of the subject may not be strikingly original, but the forms of the triumphal fanfare are but limited, and it is probably not possible to find new ones without forfeiting the simple, grandiose, pompous character which is native to that kind of phrase. But Beethoven evidently did not intend to con­ tinue the fanfare style after the first few bars, and in the rest of the movement-even as early as the conclusion of the first subject-he quickly passes to the lofty and original style which never forsakes him; and as to the interest not increasing as it goes on, the transition from the Scherzo to the final is probably the greatest effort of which music, in its present state of means, is capable; so that it would be simply impossible to have surpassed it. It was surely a prodigious effort even to sustain so lofty a flight; but Beethoven has done it, notwithstanding the extent to which he has developed his subject. And the mere fact that the beginning and end are equal in effect-which all allow-is, of itself, enough to make the hearer think the reverse, because the tremendous shock of the opening is enough to dwarf what comes after it, just as in a long row of columns the distant ones appear smaller than those in the fore­ ground. At the worst, the criticism we are noticing refers only to what may be called the mise en scene of the Finale, and leaves untouched the fact that the movement is so rich and magnificent that very few pieces would have a chance of being heard after it. A grander song of triumph than this Finale has never been sounded by an orchestra. The symphony was given in Paris for the first time in 1829, during the days of the Restoration, when the em­ pire was abhorred and Napoleon was in exile. Among the audience was a soldier who had belonged to the old guards, and the story runs that when he heard this outburst of triumph, he sprang to his feet and shouted, without regard to time or place, Vive l' Empereur!

27 FIRST CONCERT.

EINE FAUST OUVERTURE, Wagner.

"Der Gott, der mir im Busen wohnt, Kann tief mein Innerstes erregen, Der liber allen meinen Kraften thront, Er kann nach aussen nichts bewegen, U nd so ist mir das Dasein eine Last, Der Tod erwlinscht, das Leben mir verhasst."

"The god who in my' breast abides, Through all its depths can stir my soul; My every faculty he sways and guides, Yet can he not what lies without control, And thus my life as by a load oppress'd, I long for death, existence I detest."

In the winter of 1839, while residing in Paris, Wagner attended a rehearsal of the first three movements of Beethoven's Ninth Sym­ phony by the orchestra of the Conservatoire, under the direction of Habenck. He was so profoundly impressed with the grandeur of the work that he forthwith resolved to undertake to write a symphonic composition. This, his sojourn in Paris, was the most trying period in Wagner's life. After having been unsuccessful in his efforts to obtain a hearing for his works he was compelled, for the sake of earn­ ing a livelihood, to resort to occupations against which his entire artistic nature revolted. It is very natural that, under such circum­ stances, he should have found subject-matter for his work, sympathetic to his state of mind, in Goethe's drama, and particularly in the words of the poet, which he has placed at the head of what he subsequently named" Eine Faust Ouvertlire," but which was originally intended to constitute the first movement of a Faust Symphony. It was com­ posed during January 1840, in Paris.

CANTATA, SONG OF PROMISE, John IL Paine.

In response to the official invitation extended to Mr. Paine to write an original work for our Centennial Festival, he has chosen a

28 SONG OF PROMISE.

patriotic and joyous subject, appropriate to the celebration. The text was selected from Mr. George E. Woodberry's Ode, "My Coun­ try," published in the Atlantic Monthly, July, 1887. In this impas­ sioned ode the poet sings of the glorious destiny of his beloved land; of the " Mother, whose heart divinely holds Earth's poor within her breast; World-shelterer, in whose open folds The wandering races rest."

The cantata is divided into three numbers, which follow each other directly, without break ill the performance, except a momentary pause before and after the middle number. Number 1. is chiefly choral in character, but preceded by a short orchestra] introduction and a soprano solo. The solo voice is also introduced a second time toward the end of this number, which con­ cludes with a massive choral climax. The following words of the poem have given the composer a rich opportunity tor grand descriptive music:

" O'er the valley of the thousand rivers, O'er the sea-horizoned lakes, Through hf'aven's wide gulf the marvelous fire quivers, Myriad-winged, and every dwindling star o'ertakes. On where earth's last ranges listen, Thunder peaks that cloud the west With the flashing signal waken; Where lone Shasta, high uplifted O'er the snowy centuries drifted, Hears, and through his lands is splendor shaken From the morning's jewel in his crest! " Number II. is written for soprano solo, and apparently forms a love episode in which the immortal beauty of the land is personified. The orchestral prelude is modern and romantic in character. A quartet of horns, harp, English horn, and other solo instruments, are employed to ~ive color and expression to the vocal part. The quasi allegretto in D-flat major is one of the brightest and most pleasing moments in the cantata. The final cadence of this solo number produces a climax full of deep feeling and passion-the full orchestra, including trombones and drums, is employed in crescendo and dimin'U- 29 FIRST OONOERT. endo, while the solo voice holds a high a, and the movement dies away with harps and strings pianissimo. N umber III. is written throughout for the chorus. It opens with impressive chords in G-sharp minor, whose rhythmical beats are sorrowful and dirgelike. Then the voices enter in unison, supported by the full orchestra and organ. For simplicity and massiveness this maestoso e solenne is the most impressive portion of the cantata. The chorus here has a favorable opportunity to give telling effect to the vocal score, which is replete with feeling and beauty; the mood changes with the .Allegro, and becomes joyful; a pleasing reminiscence of the music of the soprano air is worked up for the chorus. With the Allegro molto e con fuoco a more dramatic and fiery mood is expressed; this reaches a climax with the words "Striking the thunder from imperial states," and subsides to pianissimo with the words: " So hard, surpassing War, doth Peace assail, So far, exceeding hate, doth Love avail." Then we have a return to the original maestoso theme. Perhaps' the most tender and pathetic measures of the entire cantata are wedded to the words already quoted: "World-shelterer, in whose open folds The wandering races rest." On the word "rest" the chorus holds the sixth and fourth chord of G major, pp., while the basses of the orchestra play softly the fundamental of. the chord, with the rhythmical leading motive of the maestoso. This is directly followed by Allegro moderato in the orchestra-a reminiscence of the opening number of the cantata­ then the chorus enters again with the words "Advance, the hour supreme arrives," and goes on with a modified repetition of the first chorus of th~ work, finally leading to the grand climax of the first number, but with a more extended and powerful cadence. In this coda the words" Triumph of the peoples" are sung by the whole chorus in unison in high notes, while the orchestra and organ give the full modulatory harmony-the bass, organ, trombones, tuba, double basses, etc., descend in half notes, and the upper parts, strings and wind, ascend in contrary motive with sextolets. The final measures form a grand church cadence in five and six part counterpoint. The leading motive

30 SONG OF PROMISE. of the whole work is found in the opening three measures. The inter­ vals of this simple motive are used in the soprano recitative, in the solo, and in the quasi allegretto, also in the coda of the choral numbers and in the allegro. The motive of the chorus is like the opening motive of the soprano solo. By this means the work possesses unity of form according to the "leading motive" principle. In the setting of the solos Mr. Paine has been particularly felici­ tous. The melodies sung by the voice are natural and easy flowing, and they are expressive of the sentiment contained in the words of the text, whil~ the underlying harmony is replete with modern variety and richness. But Mr. Paine's cantata reaches the highest point in the choruses. In general it may be said that they possess individualty, force of char­ acter, and express vividly the spirit of the text. The orchestral inter­ ludes relieve them of monotony and lend to them an additional charm. The instrumentation underlying these choruses shows great skill. The contrapuntal knowledge of the composer in the instrumental treat­ ment of the subject is so varied and comprehensive that it reveals throughout the student and master of musical form according to the best standards of the modern masters. But in sustaining the dignity of musical form and expression he has not forgotton the peculiar re­ quirements of his American theme The entire work bears upon its face the impression of modern de­ velopment of music both as to general form and instrumental expres­ SIon. John K. Paine, composer of the Song of Promise, was born in Portland, Maine, January 9, 1839. He received his earliest musical training from Herman Kotzschmar; afterwards he studied in Berlin under Haupt, Wieprecht, Teschner and others. He returned to America in 1861 and gave organ concerts, introducing Bach's organ works to the musical public of Boston and New York. In 1862 he was appointed Instructor in Music at Harvard University, and subse­ quently, in 1876, he was appointed Professor of Music at that institu­ tion of learning. In 1867 his Mass in D was performed at the Sing-Academie in Berlin under his personal direction. In his piano trio in D minor, Op. 22, he _showed a strong tendency towards the modern romantic

31 FIRST CONCERT.

school, and from that time his course has been more and more inde­ pendent. It is believed that his last work, the Song of Promise, is the most important and original he has yet composed. Other important compositions of Mr. Paine's are his "CEdi pus Tyrannus," his oratorio "St. Peter," the cantatas" Nativity,"" The Realm of Fancy," "Phoobus Arise," the symphony in C minor and "Spring" symphony, and his symphonic poem to Shakespeare's "Tempest." His orchestral works have found warm appreciation at the concerts of Theodore Thomas, in New York, Boston and other cities. His" ffidipus" was written in 1881 for the performance of the tragedy by students of Harvard University, and was composed to the original Greek words. Thus far in Mr. Paine's career the " ffidipus" has achieved the most popular success. It has been given, in part, every season, since its first production, in various cities, in­ cluding the recent successful performance in Chicago during the present year. J. A. HOMAN.

I.

SOLO.-FRAU LEHMANN. Who saith that song doth fail ? Or thinks to bound Within a little plot of Grecian ground The sale of mortal things that can avail? Olympus was but heaven'A gate; N at there the strong Light-bringer deigned to wait; But westward o'er the rosy height His cloud-sprung coursers trample light; And ever westward leans the god above the joyful steeds; The light in his eyes is prophecy; on his lips the words are deeds' On whirls the burning Singer; earth follows where he speeds. '

CHORUS. A wake, 0 Land, and lesser fortunes scorn! He comes who brings to thee eternal morn! Doubt not, 0 waiting Land; for who hath power To bar the golden journey of the sun, Or on time's dial set back the destined hour? Amid the darkness, by the eastern strand, Bend down thy ear, and hearken with thy hand; 32 SO~G OF PROl\USE.

He comes who brings to thee eternal morn! More radiant and fair Than ever thy mornings were, Or any morn that ever broke from night Since the dear star of dawn began his earthly flight! Look forth, 0 Land, thy mountain-tops Glitter; look, the shadow drops; On the warder summits hoary Bursts the splendor-voiced story I Round the crags of watching rol1ed The purple vales of heaven unfl)ld, And far-shining ridges hang in air,- Northward beam, and to the south the promise bear; Unto isle and headland sing it, O'er the misty Midland fling it, From a hundred glorious peaks, the Appalachian gold! O'er the valley of the thousand rivers, O'er the sea-horizoned lakes, Through heaven's wide gulf the marvelous fire quivers, Myriad-winged, and every dwindling star o'ertakes; On where earth's last ranges listen, Thunder-peaks that cloud the west; 'Vith the flashing signal waken; Where lone Shasta, high uplifted O'er the snowy centuries drifted, Hears, and through his lands is splendor shaken From the morning's jewel in his crest! o Land of Promise, whom all eyes Have strained through time to see, Since poets, cradled in the skies, Flashed prophecy on thee! Joy, joy, joy! thy destiny hath found thee! Well may mount to mount declare thee; Ocean unto ocean sound thee; To the skies loud hymns upbear thee; Earth embrace, and heaven bound thee; God hath found thee! Thou earth's darling! thou, the yearning Of the last hope in her burning, Who shalt seal her womb forevermore! Child, whose rosy breath is blending With the mornings o'er thee bending While the chorus, never-ending,

33 FIRST CONCER'l\

Swells from shore to shore, Triumph of the peoples, anthem never heard before!

II. SOLO.-FRAU LEHMANN. o fair Land, do thy eyes Dream paradise? Or mortal fields are these, or fallen skies? Dost thou not hear him singing in the gold The lofty prean thy long years unfold,- The god of Light, who sings thy people's praise, Though yet a while delays The hour full-orbed, and his unclouded blaze? Of holy hymns and famous deeds He casts before thee deathless seeds; He wooes thy dust with rosy rain; Of thy sweet months is he so fain; o lovelier than the poets told, Un wreathes his brow to light thy dying mould! And from their morning bower, and from their sunny lair, Scatters the bloom that sings Of heavenly pastures fair, And o'er thy bosom flings The fragrance of h~s own immortal air! N or flowers alone are his, but every fruit 'That takes the breath of heaven fed from a darkened root; .J oy to thy virgin soil that spring shall thrill and shoot! 'Thy wondrous spring, like love, its coming sweet, With motions of auroral winds that fleet, Shadow and music, o'er the new green wheat; Thy summer lights the land, thy autumn loads the sea; And still a lovelier year returns to thee; o generous fertility, Like Love, to all men free!

III. CHORUS. o Land beloved! My Country, dear, my own! o humbly bow thee down, Blessed o'er all thou art;

34 SONG OF PROMISE.

Earth's plenty in thy crown, God's Peace within thy heart! Again, 0 mighty hymn, begin The New World's morning song! Let be the suffering and the sin; Thy years to Love belong! o Land of Peace on whom recline Ten thousand hopes unborn,- o Beautiful, stand forth, nor sword, nol' lance, Silent wielder of the fates! War-tamer, striking with thy glance The thunder from imperial states! No Janus-stables on thy soil, nor hoof of -:\Iars's steeds; No ruin smokes; no war-bolt strikes; no scar of battle bleeds ; So hard, surpassing war, doth Peace assa.il; So far, exceeding hate, doth Love ayaH; o Harbor of the sea-tossed fates, The last"great mortal Bound; )Iother, whose heart divinely holds Earth's poor within her breast; ,YorlQ-Shelterer, in whose open folds The wandering races rest! Advance, the hour supreme arrives; O'er Ocean's edge the chariot drives; The past is done; Thy orb begun; Upon the forehead of the world to blaze, Lighting all times to be with thy own golden days.

35 SECONl) CONCERT.

ST. PAUL, an Oratorio, Mendelssohn.

HEN the grand oratorio St. Paul was first heard at the N eder­ W rhenish Musical Festival at DUsseldorf, May 22, 1836, under the leadership of the composer himself, the musicians said, "this is a work that has come to stay," and the laymen declared that it was a. work not only to listen to but to worship by. And even in London the work was received with enthusiasm, although the Londoners were used to Handel's dynamic dramatical power, and to Bach's contra­ puntal wonders in oratorio. That, notwithstanding all these differ­ ences, the work did" come to stay," and is to-day, after more than half a century, one of the standard oratorios of all the musical festi­ vals of the world, although it lacks Handel's dynamic power and Bach's counterpoint, is due to Mendelssohn's great poetical and pious. soul. He, above all others, could write a purely poetical or lyrical oratorio, as it were, but so saturated and sanctified with pure and true­ piety, and he was so much master of form and style, that combining all these qualities he formed them into an oratorio which is intensely effective; evidently written in the style of the great oratorio~ pre­ ceding it, and yet so vastly different that 'when it was first heard it was called a new departure in oratorio music. Although Mendelssohn imitated the style of former ages in order to give his biblical text a. characteristic basis, in his instrumentation he was perfectly modern; it is .full, rich, and. very e~ectively arranged. One of the great. beautIes of the work IS the skIllful treatment of the recitatives, which. 36 ST. PAUL.

are all masterpieces in themselves, being energetic, expressIve, and .characteristic throughout. The choruses are well arranged, and so expressive in their char­ acter that it is easy without looking at the score to distinguish the chorus of Jews from that of Christians or heathens. Some of them, as for instance the celebrated" Stone him to death," are of over­ whelming dramatic power, and display the most skillful musical treat­ ment. The oratorio St. Paul is divided into two parts. In the first the strife of the Jews against Christianity is described, and then the stoning of St. Stephen, and Saul's zeal and raving against Christianity shown, until finally he has his vision on the road to Damascus and is converted. The second part then shows St. Paul, who, with Barnabas, preaches the gospel first unto the Jews, endeavoring to con­ vert them, and afterwards to the heathen, who are more easily ap­ proached, and who come after the wonder performed on the lame man in Lystra with sacrifices and adoration. When these are l'efused by St. Paul they join hands with the Jews and persecute the Apostle, who, after his departure from Ephesus, and a touching farewell to his con­ gregation there, returns to Jerusalem, knowing this to be his death. The words are almost strictly those of the Holy Scripture except in some of the chorals. The story is told by the recitatives, and the chorus acts similarly to t.hose in classical tragedy as a lyrical criticism of the parts. The work is opened with an overture (in A, andante con moto) , which is worked on the theme of the chorus" Rise up, arise! " with a masterly fugal transfiguration in A minor. The transition from the overture to the first chorus is a perfect musical gem, and the chorus "Lord, thou alone art God!" grand, in broad style, and as powerful in effect as also the following choral, "To God on high." After a very characteristic recitative and a short symphony the chorus" Now this man ceaseth," which is full of hatred and passion, is one of the " marking stones of the work, although the recitative following this chorus, and after this the chorus" Take him away," do not lack effect­ ivenes'3. A sweet soprano aria, "Jerusalem, thou that killest the prophets," is a very strong and powerful contrast to the most dramatical number

37 SEOOND CO~CEl{T. of the oratorio, the great chorus "Stone him to death." The last words of St. Stephen lead to the wonderful pious choral" 0 Thee,. 0 Lord!" which is followed by the thorough lyrical plaintive chorus "Happy and blest are they," one of the sweetest melodies Mendelssohn ever wrote. The arias, "Consume them all," for bass, and" But the Lord is mindful of his own/' for contralto, lead to the climax of the com­ position; the group of numbers represen.ting the apparition, containing the recitative "Saul, Saul, why persecutest thou me?" the chorus " Rise up, arise!" with its grand and beautiful fugue, and then the choral" Sleepers, wake, a voice is calling." The first part then con­ cludes with praise of the Lord in the shape of recitatives and arias, the most impressive of which is the bass aria" I praise Thee, 0 Lord, " and the cho/uses "The Lord, He is good," and "0 great is the depth." The second part begins with a very melodious and exceedingly well-worked chorus, "The nations are now the Lord's." One of the finest and best known numbers of the composition is the chorus following a recitative, and a very fine duet for bllss and tenor, viz., the chorus" How lovely are the messengers," which is as true a Mendelssohnian number as his poetical" Songs Without Words." In a number of recitatives and choruses, Nos. 27 to 30, the holy zeal of St. Paul and Barnabas, the opposition of the Jews and the pious sub­ mission of the Christians in the choral" 0 Thou, the true and only light," are graphically depicted, and step by step, narrating by recita­ tives the wonders in Lystra, and describing in a chorus, "The gods themselves," the jubilee of the heathen, the adoration" 0 be gracious, ye immortals," the composer leads us on to the end, showing how St. Paul refuses to accept sacrifice and adoration in the aria "For know ye not," and in the chorus" But our God abideth in Heaven," and further on, from the rage of the Jews and heathen in the chorus " This is Jehovah's Temple," to the consolation of the aria" Be thou faithful unto death," one of the finest numbers of the oratorio, and finally to the farewell and the last chorus, "Not only unto Him," the powerful fugue of which leaves an everlasting impression on the hearer. With this fugue Mendelssohn very successfully described musically the victory of Christianity over all its foes and enemies, ·and thus gives a very impressive resume of the spirit which pervades the whole work.

38 ST. PAUL.

The best evidence of the high and intrinsic value of the work is the fact that it is now, fifty-two years after its first appearance, one of the principal works of a musical festival of such importance as our Centennial May Musical Festival. It has been performed only once in its entirety in Cincinnati, and that was at the Srengerfest of the North American Srengerbund, and, as always, when it is performed on such occasions, it was received with enthusiasm and highly appreciated. There is hardly an oratorio so fit to be performed in festivals, where great masses gather to listen to music, as St. Paul, for it is a source of satisfaction to the musician, and makes the greatest impression possible on the non-musician. Its purity in music and spirit, its true and un­ adulterated and unaffected piety, the combination of the poetical and lyrical elements in music, the never-failing source of melody, and the characteristic tone color, will never fail to enthuse an audience where ever the work is heard. JULIUS PELTASOHN. ,ARGUMENT.

PART I.-The persecuted Christian Church in Jerusalem prays to the Lord for power to resist the fury of the Heathen.-Stephen is accused of blasphemy by the in(!ensed peo­ ple, and is brought before the Council.-Being questioned by the High Priest, he re_ proves his judges for the obstinancy with which they and their fathers have rejected the true faith, and resisted the Holy Ghost.-They refuse to hear him, and insist upon putting him to death.-Heeding not the reproof that Jerusalem had ever killed the Prophets which had been sent to her, they shout" Stone him to death;" and Stephen suffers martyrdom, praying for mercy upon his persecutors.-Devout men carry him to his burial. with much lamentation, and utter words of peace and hope over his grave.-Saul, who is present at the martyrdom, resolves to continue his persecutions of the Christian Church, and for this purpose journeys toward Damascus.-A sudden light shines around him, and he is struck with blindness.-A voice from Heaven calls upon him to proclaim the glory of the Lord to the benighted people, and his companions lead him by the hand'into Damascus.-There he prays in bitter repentance, until the Lord sends to him Ananias, who restores his sight, and confers upon him his divine commission as a Christian preacher.-He is baptized, and preaches in the Synagogues; and the congregation praises the wisdom and knowledge of God. PART H.-Saul, who after his conversion takes the name of Paul, preaches before the con­ gregation.-Paul and Ba:mabas are selected by the Holy Ghost, and sent as ambassa­ dors to spread a knowledge of Christianity abroad.-The multitude acknowledges them as messengers who preach the gospel of peace.-The Jews, not believing in the Saviour, are envious, and consult how to kill Paul.-But Paul and Barna.bas, telling them that they have rejected the truth, although they were chosen first to have the word of the Lord set before them, turn from them to preach unto the Gentiles.-Paul miracuiously cures a cripple at Lystra; and the Gentiles, believing that the gods have come down from heaven as mortals, call them Jupiter and Mercurius, and desire to offer sacrifices to them.-But the Apostles refuse such vain homage; and Paul endeavors to divert the minds of the people from the worship of false idols to that of the one living God.-This excites the anger of tbe multitude; and both Jews and Gentiles accuse him of having 39 SECOND CONCERT.

spoken against Jehovah's temple and the holy law, and raise a cry of "Stone him. "­ But the Lord, whose help is ever nigh unto the faithful, saves him from perseGutioll.­ Paul convokes the elders of Ephesus, telling them that he is bound in the spirit to go forth to Jerusalem, and that they will see his face no more.-They weep and pray; but Paul expresses his readiness to die for the Lord, and takes his leave, the elders accom­ panying him unto the ship.-It is their comfort now to be God's own children.-To him who has fought a good fight, and kept well the faith, a crown of righteousness shall be given-and not only unto .him, the believers sing, but to all them that love His appearing.-So they bless the Lord, and praise His holy name forever.

PART I. gogue were not able to resist the wisdom and the spirit by which he No. I.-OVERTURE. spake. Acts iv. 32; vi. 8, 10. No. 2.-CHORUS OF CHRIS­ Then they suborned men who TIANS. were false witnesses, whic1;t said:­ Acts vi. n. Lord, Thou alone art God, and Thine are the heaven, the earth, the THE FALSE WITNESSES. mighty waters. The Heathen furiously rage, Lord, BASSES. against Thee, and against Thy " We verily have heard him blas­ Christ. Now behold, lest our foes pheme against these holy places, prevail, and grant to Thy servants and against the law; ourselves have all strength and joyfulness, that heard him speak." Acts vi. 13. they may preach Thy word. Acts iv. 24, 26, 29. RECITATIVE.-MME. VALDA. No. 3.-CHORAL. And they stirred up the people and the elders, and came upon him, To God on high be thanks and and caught hold of him, and brought praise, him to the council, and spake :- Who deigns our bonds to sever, Acts vi. 12. His cares our drooping souls up­ raise, No. 5.-CHORUS OF THE PEO­ And harm shall reach us never. PLE. On him we rest, with faith assur'd, Of all that love the mighty Lord, " Now this man ceaseth not to For ever and for ever. utter blasphemous words against the law of Moses and also God! " No.4.-RECITATIVE. "Did we not enjoin and straitly MME. VALDA. command you, that you should not teach in the Name ye follow? And And the many that believed were lo! ye have filled Jerusalem through­ of one heart, and of one soul. And out with your unlawful doctrine I " Stephen, full of faith and full of "He hath said, and our ears have. power, did great wonders among heard him, Jesus of Nazareth He the people. And they of the Syna- shall destroy all these Our 'holy 40 81'. PAUL. places, and change all the customs by the disposition of angels, and ye which Moses delivered us." have not obeyed it." Acts vii. Acts vi. 11; v. 28; vi. 14. CHORUS OF THE HEBHEWS. No.6.-RECITATIVE. "Take him away! For now the :;\bm. VALDA. holy Name of God he hath blas­ phemed, and who blasphemes Him, And all that sat in the council he shall perish." looked steadfastly on him, and saw Acts xxi. 36; Lev. xxiv. 16. his face as it had been the face of an angel. RECITATIVE. Then said the High Priest: "Are Stephen.-MR. LLOYD. these things SO?" And Stephen "Lo! I see the heavens opened, said:- Acts vi. 15; vii. 1. and the son of man standing at the RECIT ATIVE. righ t hand of God! " Acts vii. 56. Stephen.-"MR. LLOYD. No. 7.-ARIA. " Men,. brethren, and fathers, 1\hIE. Y ALDA. hearken to me. The God of Glory appeared unto our fathers, delivered " Jerusalem, Jerusalem, thou that the people out of their afflictions, killest the Prophets, thou t~at and gave them favor. But they stonest them which are sent unto understood it not. He sent Moses thee; how often would I have gath­ into Egypt, for he saw their afflic­ ered unto Me thy children, and ye would not." Matt. xxiii. 37. tions and heard their groaning. But they refused him, and would not No. 8.-RECITATIVE. obey his word, but thrust him from them, and sacrificed to senseless MR. LLOYD. idols. Then they ran upon him with one "Solomon built him an house; accord, and cast him out of the city, albeit the Most High God dwelleth and stoned him, and cried aloud:­ not in temples which are made with Acts vii. 57, 58. hands; for heaven is His throne, CHORUS OF THE HEBREWS. and earth is but his footstool. Hath not His hand made all these things? "Stone him to death. He blas­ "Ye hard of heart, ye always do phemes God: and who does so resist the Holy Ghost. As did your shall surely perish. Stone him to fathers, even so do yeo Which of death." Lev. xxiv. 16. the Prophets have not your fathers No.9.-RECITATIYE. persecuted? And they p.ave slain MR. LLOyn. them which showed before the coming of HIm, the Just One, with And they stoned him: and he whose murder ye have here been kneeled down, and cried aloud: stained. Ye have received the Law "IJord, lay not this sin to their 41 SECOND CONCERT. charge. Lord Jesus, receive my Behold, they will not know Thee, spirit." t.hat 'rhou, our great Jehovah, art And when he had said this, he the Lord alone, the Highest over fell asleep. Acts vii. 59, 60. all the world. Pour out Thine in­ CHORAL. dignation, and let them feel Thy power." To Thee, 0 Lord, I yield my spirit, Psalm lix. 13; lxxxiii. 18; lxix. 24. Who break'st, in love, this mortal chain. No. 13.-RECITATIVE. My life I but from Thee inherit, MISS CRANeH. And death becomes my chiefest gain. And he journeyed with com­ In Thee I live, in Thee I die, panions toward Damascus, and had Content, for Thou art ever nigh. authority and command from the High Priest that he should bring No.IO.-RECITATIVE. them bound, men and women, unto M)IE. VALDA. Jerusalem. Acts ix. 2. And the witnesses had laid down ARIOSO. their clothes at the feet ot a young MISS CRANeR. man whose name was Saul, who was consenting unto his death. But the Lord is mindful of His A cts vii. 58; viii. 1. own, He remembers His children. And devout men took Stephen Bow down before Him, ye mighty, and carried him to his burial, and for the Lord is near us. made great lamentation over him. Psalm cxv.12; 2 Tim. ii. 19; Philipp. iy. 5~ Acts viii. 2. THE CONVERSION. No. n.-CHORUS. Happy and blest are they who No. 14.-RECITATIVE (MR. LLOYD have endured, yea, blest and happy. AND MR. WHITNEY) AND CHORUS. For though the body dies, the soul And as he journeyed he came shall live for ever. James i. 12. near unto Damascus; when sud­ No. 12.-RECITATIVE. denly there shone around him a light from heaven: and he fell to MR. LLOYD. the earth; and he heard a voice And Saul made a havock of the saying unto him:- Church; and breathing out threat­ " Saul, Saul, why persecutest thou enings and slaughter against the Me?" disciples, he spake of them much And he said, "Lord who art evil, and said:- Acts viii. 3; ix.1. t h ou.?" And the Lord said, to him: AIR. "I am Jesus of Nazareth, whom thou persecutest." Saul.-MR. WHITNEY. And he said, trembling and aston­ "Consume them all, Lord Saba­ ished, "Lord, what will thou have oth,consume all these thine enemies. me do?" The Lord said to him:- 42 ST. PAUL.

"Arise. and go into th e city; and and blot out my transgressions ac­ there thou shalt be told what thou cording to thy laying kindness, yea, must do." Acts ix. 3, 4, 5, 6. even for Thy mercy's sake. Deny me not, 0 cast me not away from No. I5.-CHORUS. Thy presence, and take not Thy Rise! up! arise! rise, and shine! Spirit from me, 0 Lord. Lord, a for thy liglit comes, and the glory of broken heart and a contrite heart is the Lord doth appear upon thee. offered before Thee. I will speak Behold, now, total darkness of thy salvation, I will teach trans­ covereth the kingdoms, and gross gressors, and all the sinners shall be darkness the people. But upon converted unto Thee. Then open thee riseth the mighty Lord; and Thou my lips, 0 Lord, and my the glory of the Lord appeareth mouth shall show forth thy glorious upon thee. Isaiah Ix. 1, 2. praise." Psalm Ii. 1, 11, 17, 13, E

No.I6.-CHORAL. No.19.-RECITATIVE. Sleepers, wake, a voice is calling; It is the watchman on the walls, Thou city of Jerusalem. And there was a disciple at Da­ For 10, the Bridegroom comes! mascus, named Ananias; to him

Arise, and take your lamps. Halle­ said the Lord: "Ananias, arise I and lujah! enquire thou for Saul of Tarsus; A wake! His kingdom is at hand. for behold, he prayeth. He is a Go forth to meet your Lord. chosen vessel unto Me, the Lord; Matt. xxv. 1. and I will shew unto him how great things he must suffer for My Name's No.li.-RECITATIVE. sake." Acts ix. 10, H, 15, 16. MR. LLOYD. And his companions which jour­ No. 20.-ARIA (Paul.-MR. ·WHIT­ neyed with him stood, and they NEY) AND CHORUS. were afraid, hearing a voice but I praise Thee, 0 Lord my God, seeing no man. And Saul arose with all my heart, for evermore. from the earth, and when his eyes were opened, he saw. no man: but For great is Thy mercy toward me, they led him by the hand, and and Thou hast deliyered my soul brought him into Damascus, and he from the lowest hell. Psalm lxxxvi. l2, 13; Isaiah xxv. 8. was three days without sight, and did neither eat nor drink. CHORUS. Acts ix. 7, 8, i:l.

No. IS.-ARIA. The Lord, He is good: He will dry your tears, and heal all your Paul.-MR. ·W HlT~EY. sorrows. For His word shall not "0 God, have mercy upon me, decay. Rev. xxi. 4; Matt. xxiv. 35. 43 SECOND CONCERT.

Xo.21.-REOITATIVE. No. 24.-REOITATIVE.

MR. LLOYD. MME. VALDA. And Ananias went his way, and Anc.f Paul came to the congrega­ entered into the house, and laying tion, and preached freely the name his hands upon him, said:- of Jesus Ohrist om Lord. Then "Hear thou, brother Saul! The spake the Holy Ghost: "Set ye Lord hath sent me hither, even apart Barnabas and Paul, for the Jesus, that appeared unto thee as work whereunto I have called thou earnest, that thou mightest them." And when they had fasted recei ve tby sight, and be likewise and prayed, and laid their hands on filled with the Holy Ghost." them, they sent them away. Acts ix.17. Acts ix. 29; xiii. 2. 3,

MME. VALDA. No. 25.-DUETTINO. And there fell from his eyes like Paul and Barnabas.-Mr. LLOYD as though it were scales; and he re­ AND MR. WHITNEY. ceived his sight forthwith, and Now we are ambassadors in the arose, and was baptized. And N arne of Ohrist, and God beseecheth straightway he preached Jesus in you by us. 2 Cor. v. 20. the synagogues, and said: "I thank God, who bath made me free No. 26.-0HORUS. through Ohrist." Acts ix. 18. 20; Rom. vii. 25. How lovely are the messengers that preach us the gospel of peace! No. 22.-0HORUS. To all the nations is gone forth the sound of their words, throughout great is the depth of the (riches o all the lands their glad tidings. of wisdom and knowledge of the Rom. x. 15, 18. Father! How deep and unerring is He in His judgments! His ways No. 27.-REOITATIVE. are past our understanding. Sing MME. VALDA. His glory for evermor~. Amen. Rom. xi. 33. So they, being filled with the Holy G host, departing thence delayed PART II. not and preached the word ot' God with joyfulness. Acts xiii. 4, 5. No. 23 -GHORUS. ARIOSO. The nations are now the Lord's tbey are His Ohrist's. For all th~ MME. VALDA. Gentiles come before Thee, and I will sing of Thy great mercies, shall worship Thy Name. Now are o Lord, my Savior, and of Thv made manifest Thy glorious law faithfulness evermore. W and jUdgments. Rev. xi. 15; xv. 4. Psalm lxxxix. 1. 44 ST. PAUL.

No.2S.-RECITATIVE. No.30.-RECITATIVE.

MR. LLOYD. MR. LLOYD. But "when the Jews saw the mul­ But Paul and Barnabas spake titude, how they assembled to hear freely and publicly unto the peo- what Paul delivered unto them, ple:- Acts xiii. 46. they were filled with envy, and spake against those things which RECITATIVE. were spoken by Paul, contradicting Paul.-MR. WHITNEY. and blaspheming. Acts xiii. 45. " Ye were chosen first to have CHORUS OF THE MULTITUDE. the word of the Lord set before you; but, seeing that ye put it from Thus saith the Lord: "I am the you, and judge yourselves unwor­ Lord, and beside Me is no Savior." thy of the life everlasting, behold Isaiah xliii. 11. ye, we turn, even now, unto the RECITATIVE. Gentiles; " Acts xiii. 46.

MR. LLOYD. No. 31. - DUET.

And they laid wait for Paul, and Paul and Barnabas.-MR. LLOYD consulted together that they might AND MR. WHITNEY. kill him, and spake one to an- "For so hath the Lord Himself other :- Acts ix. 23, 24. commanded: ' Behold, I have made thee a light to the Gentiles, and for No. 29.-CHORUS OF THE MUL­ salvation unto all of the earth.' TITUDE. " For those who call on the Lord, "Is this he, who in Jerusalem He will hear them, and they shall destroyed all calling on that Name be blessed." Acts xiii. 47; ii. 21. which here he preacheth? Mayall deceivers ever be confounded! No. 32.-RECITATIVE. Force him away. Hence, away." MR. LLOYD. Acts ix. 21. And there was a man at Lystra, impotent in his feet, and who had CHORAL.-QU ARTET AND never walked: and the same heard CHORUS. Paul speak; who,steadfastly behold­ o Thou, the true and only Light, ing him, said with a loud voice: Direct the souls that walk in night; "Stand upright upon thy feet." And bring them 'neath Thy shel- And he leaped up and walked, and t'ring care, praised God. But when the Gen­ To find their blest redemption there. tiles saw what Paul had done, they Illumine those who blindly roam; lifted up their voices, saying one to And call the wand'rer kindly home; another:- Acts xiv. 8, 9, 10, 11. The hearts astray that union crave, And those in doubt, confirm and No. 33.-CHORUS OF GE~TILES. save. "The gods themselves as mortals 45 SECOND OONOERT. have descended. Behold them here, "God dwelleth not in temples and adore them! Behold and wor­ made with hands." Acts xvii. 24. ship! Let us all adore them!" ARIA. Acts xiv. 11. Paul.-MR. WHITNEY. No. 34.-RECITATIVE. "For know ye not that ye are MME. VALDA. His temple, and that the Spirit of And they called Barnabas, Jupi­ God dwelleth within you? And whosoe'er God's temple defileth, ter; and Paul, l'1fercurius. Then the r priest of Jupiter, which was before God shall sure destroy him; the city, brought oxen and garlands "For the temple of God is holy, to the gates, and would have sacri­ which temple- ye are." 1 Cor. iii. 16,17. ficed with the people, and adored SOLO (MR. WHITNEY) AND CHO­ them. Acts xiv. 12, 13. RUS OF CHRISTIANS. No. 35.--;-CHORUS OF GENTILES. "But our God abideth high. in o be gracious, ye immortals! heaven, His will directeth ail the Heed our sacrifice with favoJir! world." Psalm cxv. 3. We bow to only His decree, No. 36.-RECITATIVE. _­ Who made the skies, the earth, the MR. LLOYD. sea. Now when the Apostles heard the No. 37.-RECITATIVE. same, they rent their garments, and MME. VALDA. ran in among the people, crying Then the multitude was stirred out, and saying:- Acts xiv. 14. up against them, and there was an RECITATIVE. assault of the Jews and of the Gen­ tiles; they were full of anger, and Paul.-MR. WHITNEY. cried out against them:- " 0 wherefore do you these Acts xiv. 2, 5. things? We also are men, of like No. 38.-CHORUS OF THE JEWS passions with yourselves; who AND GENTILES. preach unto you, in peace and "This is J ehov~h's temple. Ye earnestness, that ye should turn children of Israel, help us! For away from all these vanities unto' this is the man who teacheth all the ever living God, who made the men, against the people, against outstretched heavens, the earth, this place, and also our holy law. and the sea. Acts xiv. 15. We have heard him speak against "As saiththe prophet: 'All your the law. He blasphemes God. idols are but falsehood, and there is Stone him to death." Acts xxi. 28. no breath in them: they are vanity and the work of errors: in the time No. 39.-RECITATIVE. of their trouble they shall perish.' MME. VALDA. Jer. x. 14, 15. And they all persecuted Paul in 46 ST. PAUL. his way; but the Lord stood with RECIT ArrIVE. him, and strengthened him, that Paul.-MR. WHITNEY. by him the word might be fully "What mean ye thus to weep, known, and that all the Gentiles and thus to break my heart? 'For might hear. 2 Tim. iv. 17. I am prepared, not only to be No.40.-ARIA. bound, but also to die at Jerusalem, for the Name of the Lord our Sa- MR. LLOYD. vior Jesus Christ." Acts xxi. 13. "Be thou faithful unto death, RECITATIVE. and I will give to thee a crown of MR. LLOYD. life. Be not afraid, My help is nigh." Rev'. ii. 10: Jer. i. B. And when he had thus spoken, he kneeled down, and prayed with No. 41.-RECITATIVE. them all. And they accompanied

MR. LLOYD. him unto the ship, and saw his face no more. Acts xx. 36, RB. And Paul sent and called the No. 43.-CHORUS. elders of the Church at Ephesus, See what love hath the Father and said to them: Acts xx. 17. bestowed on us, in His goodness, RECITATIVE. that we should be called God's own children. 1 John iii. 1. Paul.-MR. WHITNEY. No. 44.-RECITATIVE. "Ye know how at all seasons I MME. VALDA. have been with you, serving the JJord with all humility, and with And though he be offered upon many tears; testifying the faith the sacrifice of our faith, yet he hath fought a good fight; he towards our Lord Jesus Christ. hath finished his course; he hath And now, behold ye, I, bound in kept well the faith. Henceforth spirit, go my way to Jerusalem. there is laid up for him a crown of Bonds and afflictions abide me righteousness, which the Lord, the there; and ye shall see my face no more." Acts xx. IB, 19, 21, 22, 23, 25. righteous Judge, shall give him ~t the last great day. 2 Tim. iv. 6, 7. B. RECITATIVE. No. 45.-CHORUS. MME. VALDA. N at only unto him, but to all them that love truly His appearing. And they all wept sore and The Lord careth for us, and blesseth prayed:- Acts xx. 37. us The Lord saveth us. . 2 Tim. iv. B. No. 42.-CHORUS OF THE CON­ Bless thou the Lord, 0 my soul, GREGA'l'ION. and all withtn me bless and praise " FaT be it from thy path: these His most holy Name for ever. thinO's shall not be unto thee." All ye His angels, praise ye the e> Matt. xvi. 22. Lord. Psalm ciii. 1, 20. 47 THIRD CONCERT.

DON JUA.N, Mozart.

(a) Overture. (b) RecitaUve and Art'a, "Du kennst den Verrather."

FRAU LILLI LEHMAN.

RECIT ATIVE. ON OTTA VIO, I perish! 'Tend me help i give me every aid. Oh Dheavens! That is the murderer who slew my father. Without a shade of doubt; every accent his glozing lies gave birth. Everv de­ meanor doth proclaim him the. wretc)l who dared to violate my secluded chamber. Slumber and midnight held the ,rein of all nature, when within mine apartment, where passing lonely I sat buried in dreamings, behold there entered, enveloped in a mantle, a man whom for the moment I did think to be thee. That too delicious hope was destroyed in its budding. Tacitly drew he near me with intent to embrace. Back I repulsed him i he presses on me i I shriek a]oud; no aid is nigh. Now with one im­ pious hand quite enhindering utt'rance, he constrained with its fellow; SO tight his grasp I fear'd me all o'erpower'd. Grief, shame and dread, worst horror of the villainous purpose, did nerve my frame into a Samson. Perforce of the subtlest writhings, tortuous and elusive, from him I broke loose, and then are my shrieks for help redoubled. Dreading their upshot he sought escape. With lightning speed I follow all down the court yard to prevent him, becoming of mine assailant the assailer. My father 48 RECITATIVE AND ARIA.

would rescue, straight doth challenge him; and the fellow, overcoming those gray hairs 'neath our own portal, fulfilled his lust for evil with blow too mortal! ARIA. N ow know the betrayer Who aimed at mine honor. Now learn who was slayer Of this life's dear donor. To vengeance I call thee! Need love call for more? Remember o'er sorrow In mis'ry I've ponder'd; Bethink thee with anguish Whose blood hath been squander'd, Nor tarry, nor languish, Till justice shall soar.

RECITATIVE AND ARIA, Joseph in Egypt, "Ach, mir Hichelt umsonst," Mehul.

MR. To EDT. Ah, in vain upon me graciously smiles the king! My wishes they quickly obey, Yet my heart cannot rest, while sweet memory's sting Wakes visions of home far away. Fatherland! as youth exiled from thee, Far away was I sold by those who hated me. Little care I for pomp while my heart is so sad. Jacob longs to his bosom to press his loved boy; Could I but see him-my father!-what a joy, His tears to remove and to soothen his pain. Envious brethren, hateful, unfeeling, 'Twas you who have heard me appealing In vain, but pitiless sold me as slave. Saw ye my father's tears without feeling? Cared not for his sorrow, his grief, and his longing? Ungrateful sons, you deserve my hate. Still could I, bloodthirsty hyenas, Forgiveness teach my wounded heart, If repentant truly ye were. Then your tears your crime would atone.

49 THIRD CONCERT.

RECITATIVE AND RONDO, "Ja, der Augenblick erscheinet," Weber.

MRS. CORINNE MOORE-LAWSON.

RECITATIVE.

Ah! the moment has come which shall crown true love. Sweet hope swells my bosom; before her cheerful, sunny looks flies sorrow's gloomy night. ARIA. 0, dearest beloved, soon shall we both measure, With gladness and pleasure, our union so sweet; No sorrow, no trouble; our joys- will redouble, Ah, blissful on earth is true love to meet.

SYMPHONY No.3, C Minor (Op. 78), Saint-Saens.

This Symphony was written for the London Philharmonic Society, and was first performed by it under the direction of the composer. The following is a translation of an analysis of the work written by Saint-Saens himself in elucidation of its aims and structure for the programme of that concert. For the Festival Mr. Thomas will sub­ ;stitute harps for the piano. It is submitted that this will be found to he an improvement and will make the part more effective. This Symphony, like its author's fourth pianoforte concerto, and sonata for piano and violin, is divided into two movements. Never­ theless, it contains, in principle, the four traditional movements, but the first, arrested in development, serves as an introduction to the adagio, and the scherzo is linked by the same process to the finale. The composer has sought to avoid thus the endless resumptions and repetitions which more and more tend to disappear from instrumental music under the influence of increasingly developed musical culture. The composer, believing that symphonic works should now be allowed to benefit by the progress of modern instrumentation, has made up his orchestra in the following manner: 3 flutes, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 double bassoon , 50 THIRD SYMPHONY.

2 horns, 2 valve horns, 1 trumpet, 2 valve trumpets, 3 trombones, 1 tuba, 3 drums, organ, pianoforte (sometimes played by two hands, sometimes by four), 1 triangle, 1 pair cymbals, 1 bass drum, and the usual strings. After a slow introduction consisting of a few plaintive bars:

the initial theme, sombre and agitated in character, is stated by the strings in C minor: g%0. 2. A.J1ecro Moderato. ____ ~ ~ ------~ Ii: : ; i : ; : iii : :;----, : .. _ i _

A firRt transformation of this theme:

51 THIRD CONCERT.

No.4. Viol. --- ~ ~ 1---- vp ~--~-----f"I=t=-~~,-'-::.-~C. ~~ij- -: J., -~ ;- .--.~ .--..-~ :===:E -- ~ =--llt-·---=----=--=--= J-.-- .... ~ T· T' WT . 1 ------I I I I I I ------~--~------~ E~E£~~~L~E~ 3_.--. E~~~~ ~ II T- I +-I I f-- ___ marked by a -greater tranquillity. This, after a short development,. presenting the two themes simultaneously, appears in a striking form ::

which, however, is of brief duration. A second transformation of th~ initial theme follows:

No.6.

Uncertain and restless in itself, it allows the plaintive notes of the., introduction tG be heard at intervals. Various episodes bring with them an increasing calm, and so lead to the adagio in D-flat; the' theme of which, extremely quiet and contemplative, is stated by the, violins, violas, and 'celli, sustained by the chords of the organ: NO.7. pp

'~~~b-U£J::::t ... -i" ... --;. "'It - "--- .-I~ -...------... ~ -- E ~~ --- .=F~=-- ~~-k--- E~~----q =1€'II~~~ -.,,-1'f : - .-_ ~-n~~_~_ ~__ __ ~~ ~ J;j:&:;t. ...----' ______T ;t.:~

52 THIRD SYMPHONY.

This subject is next taken up by a clarinet, horn, and trombone, accompanied by the strings divided into a great many parts. After a variation (en arabesques) executed by the violins, the second trans formation of the initial theme of the allegro reappears, bringing back ..a vague feeling of unrest, augmented by dissonant harmonies: NO.8.~=&Lj 7!7 -t9- 'which soon give place to the theme of the adagio, this time played by ;a violin, viola, and violoncello solo, accompanied by the chords of the -organ and the persistent rhythm in triplets of the preceding episodes. The first movement ends with a coda, mystical in sentiment, pre­ :senting in alteration the two chords of D-flat major and E minor, and resolving itself in the following manner:

Nc.9. pp

The second movement opens with an energetic figure, allegro moderato:

No. 10. :!z. Allegro Moderato. A A 1\,

I {; I ., 28 f.,., iii H____ ~-~=--~ J h?Y- .~- II ~ ...... 1--- --" Viol. f W- d -t9-~ ----... ------.-I ~_:f2:::-U ___- _In '[b~: ~~~~c rr =J_!~j 8y_p_ j immediately followed by a third transformation of the initial theme .of the first movement:

53 THIRD CONCERT.

where appear from time to time, transient as lightning, the arpeggios and rapid scale passages of the pianoforte, accompanied by a synco­ pated rhythm in the orchestra, and occurring each time in a different key (F, E, E-flat, G). These playful flashes are interrupted by an ex­ pressive phrase: No. 13. ~ ::::- --..... ~fri ~-_~~giA~~~ 54 THIRD SYMPHONY.

To the repetition of the allegro moderato succeeds a second presto, which makes as though to repeat the first, but scarcely has it begun before there appears a new figure, calm, grave, austere: No. 14. I 1- 1 I I 1 TrolDb. I. t!,j • .d., .L...... ~. ~~P-gjj~~~~;St·_lg~~~§rtt-D and quite the opposite of fantastic in character. A conflict ensues, ending with the defeat of the agitated and fantastic element. The new idea soars aloft, as in the blue of a clear sky, to the heights of the orchestra, and after a vague reminiscence of the initial theme of the first movement: Ko. Iii• .A.lIe~ro Bod erato. (:.01.-- -- Wfp~ r Ff;--t I ~-Ilf ~ kH~tflii' ~ II ~ ! t I ! 1 I i=rz'z:4I I ! I ~ a maestoso (0 minor) announces the ultimate triumph of the idea, calm and elevated. The initial theme of the first movement, now completely transformed, is next stated by the strings (divided) and pianoforte (four hands) :

~ I .- 1 ---. .,,-- B.a.••. r...... ~ f I __ I ----I 55 THIRD OONaER~"

r ~I -I 1 -I ... .tL -9-" -~ --9- - -9- " A.;4 -:;I-=-- .-~-I --t==--=• ---~i~~~8"E~~~~~~~ :,f t2 " I L --~---- ."9' .. _ '1Si- " f i • --- I and taken up by the organ with all the forces of the orchestra. De- velopment follows, almost entirely constructed, it should be observed, in three-bar rhythm: No, 17. __l ~_g2A ~~A A ~A t"'"'1 -- --II-..-.-...J,··rI----=E-i~:cm=~ "-1'!'~-"-r .-+tI-~~~r"1 1-1~=;~"~ ~~ f ...... , .... If' .... ~ Lwl..1

2A -l~~ _3A ...-"! i\ 1~__ ~ AI ~ ==-l--"-.J+~~ Ej :oj -i I 4) ~J ~--~ ==:===!t~_"" -rE=--'--,,-,==+--i- _.;:L~=+=t --II- ~~-I -fl--II ~- r-T~r~-~~ r 1-~-I H-" I I I I..i~! \ ~r I~"" ... r- A 2AI~';1 ~AI ~ 3 I -Cj L ~~!=~Pi'1 a-~ ~ 1E t=-r--~~=E==a; -#~ sF-=:) f~i trF tl Iff 1-

56 THIRD SYMPHONY.

An episode, quiet and somewhat pastoral------.------~ in character, is twice re­ peated: No. 19. --- _ 3 Io'lute.!---_ Ob8e~ _~ #~~.{2.. ... !tl. # _~.. 3 ~ !t"-::b ~-tf-~I I -~ I tf~=-b~$~t~i-€d ~p "== I .{2.. ~.w. .. .4. .. ~- +- ~+- ./I- ..~ --- I I 8±8 I I t #f=§i-n ~ ~~= ~ and a brilliant coda,= in which the initial theme, by a final transforma- tion, takes the form of a violin passage: No. 20. ~~?F~j~%.:gvi*tl ~wtMt~ finishes the work; the three-bar rhythm here becoming, by natural logic, one vast measure in triple time, of a semibreve each, or twelve ~rotchets in the bar: No. 21. I' ..."lI'

F I I I

# --.~ 57 THIRD CONCERT.

OVERTURE, Manfred, Op. 115, Schumann.

Robert Schumann, born at Zwickau, Saxony, June 8, 1810~ died at Endenich, near Bonn, July 29, 1856. Schumann frequently expressed to his friends his intense liking for Lord Byron's dramatic poem" Manfred," and assured them that he had been more deeply engrossed in composing the music to it than in any other, of his works. The" Manfred" music, embracing sixteen numbers, was intended to accompany a representation of the poem on the stage. The Overtur!3 was written in October, 1847. It is justly considered one of the most characteristic and inspired of Schumann's composi­ tions for orchestra.

GHETCHEN AM SPINNRAD, Schubert.

FRAU LILLI LEHMANN.

0, my heart is sad, my rest is o'er, And never again shall I find it more; And when he's not near my grave lies here, 'Tis all distress and bitterness. My poor weak head seems tempest-tossed, My poor weak senses seem quite lost. 'Tis he alone from the window I seek, With him alone go out to speak. His noble form, his bearing so high, And his smile so radiant, his all-powerful eye; His witching words, for me such bliss, His hand's fond grasp, and 0, his kiss!

I long my arms around him to cast, Could I but seize. him and hold him fast·, And kiss and kiss as I desired, Till on his kisses my life expired.

58 RECITATIVE AND ARIA.

RECITATIVE AND ARIA, Irene, Gounod.

MR. MYRON W. WHITNEY.

RECITATIVE. Yes! she flies from me still ! All is ready, the Imaums, the Santons; where is she? The fire burns in the fane, While the holy men wait, But the sacred fires wane, 0, my love, why so late? Cruel one to forsake me! Thou mad'st me all thy love believe, But, ah! well thou knowest to deceive!

ARIA. She alone charmeth my sadness, At her feet willing I lay my pow'r and sceptre down, I a King! ° what madness! 'Tis I who am the slave; 'tis she who wears the crown! Wake, oh wake, from the spell and be a King again! Too long thou pinest, heart, waiting her smile in vain. Throw her fetters away! Be yet a King and reign I Sleeper awake! Ah, no! she dreameth still, she loves thee, And he humbleth his pride, But he gaineth a bride.

RECITATIVE AND ARIA, Faust, Spohr.

MRS. CORINNE MOORE-LAWSON.

RECITATIVE.

The still night vanishes, and with it the phantasms of my dreams. In ever varying changes; like darkness and like light, now with torments, now with joys, they might haunt my fear-burdened soul. Oh! what a dream has this night startled me from slumber. I saw my loved one-my dearest Hugo. He stood before me with outstretched arms, lovingly to embrace me. But alas! his features were pale and wan, and from his fixed eyes were gone the fire of love. Woe me! From his faithful heart gushed a bloody stream. But no, it was but the empty vision of a dream, the illusion of a heated brain, that startled me from a restless sleep. He still lives, my Hugo, to avenge my wrongs on the wretch who holds me here imprisoned; who now with threats, and now with flatteries, would

59 THIRD CONCERT. move me.to love. 0, what horror! But only greater and stronger grows my hatred, and firmer the faith I pledged to thee, °Hugo!

ARIA. Yes, I feel it, faithful love 'tis gives the heart courageous power, 'Gainst it founder all the plottings nurtured in man's wicked hour; Even might must melt before it, Death himself it puts to shame, Human power cannot attain it-it is born of heavenly flame. Come on, come on, base wretch; employ thy subtlest art; Ere I my love deny thy rage will hence depart. Yes, Hugo, I am thine; to thee my faith I've plighted; My all to thee I give in life; in death, united!

RHAPSODY, No.2, Liszt. (By request.)

60 FOURTH CONCERT.

THE SPECTRE'S · BRIDE, a Dramatic Cantata, Dvorak.

WHAT now remains as little more than a memory of the May Fes- tival of 1886, was the performance by the Thomas band of an overture (Hositzka), the effort of a musician whose name had not then become sufficiently familiar this side the Atlantic to admit of pronuneiation, unless attended by a blush of doubt as to its accuracy. The composition, like the composer, was strange. It ~ontained ele­ mentary evidences of freedom from conventionalism in form and expression that, while they could not but excite pleasurable emotions~ were not received with too much favor at first. But genius of the most decided sort was therein enshrined, combined with pronounced individuality and original daring. His identity, be it understood~ was not unestablished. Anton Dvorak had been recognized in his songs, many of which rival the felicitous phrase of Schubert. His rapturous reception at the Birmingham Festival of 1885 had been duly heralded, so that his name was a welcome addition to the honored list that adorns the page of Festival history. Although his symphonic writings are, in many ways, remarkable,. and while numerous Slavonic rhapsodies for orchestra, piano pjeces and Slavonic and Bohemian dances, conceived in the true national spirit, attest with more clearness perhaps the tendency of his mind, still the most important as well as the most congenial of his works is the cantata" The Spectre's Bride," which the well assured judgment of Mr. Thomas, endorsed by the Festival directory, has selected for popular appreciation. 61 FOURTH OONOERT.

It is hardly ne"cessary to follow his life history farther than ~o say that he was the son of an inn-keeper; was born near Kralup III 1841, and gathered his first inspiration from familiar converse. with the dainty dance themes of his nation, as he plaJied for the vIllage youth about him. He sought wider knowledge in Prague, which he obtained under the difficulties attendant upon poverty and loneliness in all ages. In his music can be traced evidences of that independ­ ent, not to say defiant, spirit that is a dominant trait in the Czeck character, and which, in him, was intensified by his lonely quest after learning. The acknowledged leader in the Bohemian section of the modern German school, he is a pronounced type of his race. An ardent Czeck, his allegiance to that school is rather implied than direct. In" The Spectre's Bride," for example, he owes much more to his native genius, fervid imagination and intuitive grasp of orches­ tral detail, than to pedantic adherence to the set form or phrase of any school, whether of Prague or Leipsic, or the larger influence reaching out from the house of mourning at Bayreuth. His poverty was his greatest blessing, in that it saved him from faJling in line with that conventionalism in music writing which is the 'curse of any period. After forty years he woke up to find himself famous. Johannes Brahms had introduced him to Viennesp. culture in 1880, and the world was before him. Emil Naumann, the historian, and Mr. Bennett, the English critic, by slightly divergent processes of reasoning, have reached the conclusion that he is pre·eminently a national composer, and it may

be added that this, is well for him. who would lend musical enforce- ment to the story of the phantom lover and his bride, which in its formal stage rests in Bohemia. Like the less depressing Cinderella, it is a travelled tale. The Celt has his dead William and the bride Margaret; the Servian his J ovan on a shadowy horse, and sister J eHca. Russians and Ruthenians have deigned to adopt it, but next to the Erben version, whence Dvorak drew his inspiration, the best and widest known is the German "Leonore" of BUrger. The recital here utilized, and which was translated from the Bohemian into German by K. J. MUller, shows a maiden before a pict­ ure of the Virgin, deploring the loss of father, mother, sister and brother, and relating how at parting with her betrothed he had en-

62 THE SPECTRE'S BRIDE. joined her to spin, weave and prepare the garments for their wed­ ding day, three years hence. At the time he comes not, neither sends he word, and she prays the Virgin to restore him or to remove her to his side. The appeal is answered. The lover appears, strange and wild in look and aspect. He urges her to go at once with him, although it is midnight, and hesitatingly she consents. The journey over rocks and boulders, and through thorny brake, is made more dreary by the yelling of awakened dogs, and the weird notes of the screech-owl oft repeated. Caverns emit dismal moanings as of creatures in pain, and over swamp and marsh hover de~th torches. At the excited behest of her lover the maiden relinquishes in turn her prayer book, chaplet and cross, which he hurls aside as impedi­ ments of progress, and at last he takes the wedding garments, which, with a laugh, are thrown upon a grave. The grave-yard reached, he overleaps the wall. She flies affrighted, and entering a "tiny" house, closes and bolts the door. A knock is heard, followed by the voice of the lover, as he calls upon the dead within to rise and thrust forth the living. She has taken refuge in a charnel chamber, and three times the corpse therein lying rises to obey the command. Thrice it returns to inactivity, moved by her prayers. The crowing of a cock is heard, heralding the dawn. The phantoms fill their graves once more, and worshippers to early mass find the maid trembling and destraught within the dead-house, while garments bestrew the graves. The appeal to heaven had saved her. The entire poem has been utilized by Dvorak in the working out of his musical setting, and for convenience and clear comprehension he has divided it into eighteen numbers, which apportion themselves, naturally, among the two principals, tenor and soprano, the narrator, baritone, and the chorus. The two latter, however, act in most inti­ mate conjunction. The narrator, as in Gounod's story of the Re­ demption, carries the burthen of the tale. His utterances are enforced and echoed by the chorus, the effect being to awaken an interest of the most direct and intimate kind in the narrative. This is upheld and further emphasized by the accompaniment, with a fervor of im­ agination and warmth of tone color that bespeak the genius born for invention and instrumental elaboration. There is a notable lack of that interdependence between voices and instruments that to the

63 FOURTH CONCERT.

chorister is a grateful characteristic of the style fostered by the mas­ ters. Out and away leaps this man from tradition and the enslaving bonds of custom,and even as the path of the phantom lover is broken and beset with difficulties for the frail creature by his side, so Dvorak lays hold upon the voices, leading, tempting, driving them on to the· fulfillment of his aim. He ranges through the chromatic scale with the wantonness of one possessed. The pages of his score are burthened with accidentals. Startling modulations, abrupt changes of key, tricks in rhythm and syncopation, disjointed phrases, close chords, and excla­ mations to be taken at a breath, with no hint as to pitch, fright the souls ef the timidly inclined, and the consummate skill with which the parts are welded in to a compact whole is cause for admiration, pre­ senting, as it does; a tone picture, wild and fantastic. In the first eight bars of the introduction is to be observed what. may be deemed the" Spectre" motive-a restless, fleeting theme, voiced by united violins, and which is the assured precursor of the phantom presence throughout the work. This is succeeded byan­ other of briefer pattern and more indefinite purpose, which appears later on, at varying intervals, and is most ingeniously woven in with its more striking predecessor. Pertinent also in this connection is allusion to the accompanimental figure of the opening chorus. The brief introduction passes easily and naturally into the somewhat depressing but, from the nature' of things, intensely interesting opening chorus, "The stroke of midnight soon will sound," clothed in the same sombre attire as Wa.."l the "Spectre" motive heard but a moment before, and quite as artfully delineated. The v0ice parts rest upon a solid basis, while persistent detached notes, like pend­ ulum pulsations, \ and illustrating the lapse of time, form the figure­ in-chief of the accompaniment. In a chorus of more cheerful content the picture is described.. Then, without pause, the time figure is employed once more, as the voices tell of the" pallid maiden on her knees," thus emphasizing the uncanny nature of the lover she has chosen for her devotions. The chorus ends in a breath, the last echo.ing note being lost in the " Spectre" motive, softly intoned by the Instruments, and as suddenly disappearing from consideration be­ fo~e the p~ayer of ~he kneeling girl. Here the fine dramatic feeling eVIdenced In the VOlce part, and made more impressive by consistently

64 THE SPECTRE'S BRIDE.

worked-out orchestral detail, is worthy of careful study. The impas­ sioned utterance reaches a superb climax, with her cry to be taken to her lover, and at once the "Spectre" motive reappears in more daring fashion, but with not undue exaggeration. The time figure-can we ever forget it is midnight?-enters yet again, attending the narrator and chorus, as in accents replete with dramatic intensity they describe the movement of the picture, the terror of the maiden, the upleaping flame-where the accompaniment changes most abruptly-ensuing darkness, the presage of evil to come, the advancing footsteps, and the "knock and cry" of the stranger at the door. As these episodes pass in review, the accom­ paniment changes with the swiftness of passing thought-marvellous independence, yet close sympathy. In sharply accented staccato tones the voices enunciate the "knock and cry" of the phantom, whose coming has been anticipated by the underlying "Spectre" motive, heard in even more complete form as the "Spectre" ap­ proaches, then knocks, and finally is thrown out in full by the tenor voice using the lover's appealing words to the maiden. The solo and duet that succeeds is a fine example of conceptive power, ending with a telling phrase and an allusion to the prevailing motive. The ensuing solo and chorus, ' , Nature was clad in gloom of night," may be deemed one of the characteristic numbers of the com­ position. The configuration is simple, but the effect gloomy in the extreme. Note the mournful serenity of the accompanimental figure, the long sustained chords on the narrator's words, "No life was stirring all around," and the sweeping advance, depicting the wind that" alone was heard to.sound." Without interval the choir takes up the description of the journey. Briefly, it is susceptible of di­ vision into three descriptive stages, each one presumably covering ten miles of progress, and dealing with singular power with the various circumstances of evil portent that beset them on the way. The interest awakened by the composer's undeniable forte for realistic' description becomes painful in its intensity, and relief is necessary. This is found, first in the duet" Fair is the Night," a restful, placid creation, the calm repose of which is disturbed by her questionings, his growing desire to augment the speed of their journeying, and the discovery of the prayer-book. The declamation infuriate with which

65 THE FOURTH CONCERT.

he casts it aside is graphic to fierceness, and the description that suc­ ceeds is fraught with renewed harmonic difficulties, in apt illustra~ion of the growing impediments of the journey. The theme of the duet is again employed to lead. up to the exposure and summary disposal of the chaplet, and the second stage, which still exceeds in wildness and terror what has preceded. A third time the nerves are per­ mitted to relax for contemplation of a duet of exquisite pattern, " Now when the night so fair doth show." But the repose is not for long. The vocal phrases gradually grow in intensity, as question and answer of the dialogue succeed. He tears the cross from her bosom and casts it aside, and once more all the forces are drawn into the dread circumstance of the midnight march. The tumult ceases, the profound agitation awakened in the orchestra dying away upon a single sustained note in the basses, significant it may be deemed, and not untruthfully so, of utter weariness and exhaustion. The journey is ended, and they have reached the church, an event de­ scribed by narrator and chorus in a richly designed and dignified numher. The portions that succeed his casting away of the wedding gar­ ments, the leap over the grave-yard wall, her- flight and entrance into the dead-house, the dance of the phantom band without, the coming of the" Spectre," his command to the dead to rise and thrust the living forth, and her impassioned prayer, constitute a series of scenes wherein realism is carried· to a commanding climax. The air for baritone, depicting the" Spectre's" summons to the dead man, is Dvorak's one tribute to national loyalty. It is unqua~ifiedly Hun­ garian, and the single trace of weakness, to which it is perhaps need­ less to call attention, but which yet seems necessary for the sake of truth in description, is the extent to which the composer carries the strain after it has once possessed his mind. The prayer, "0 Virgin Mother ," which immediately succeeds, has a simple, pleading theme, and the accompaniment thereto is at once graceful and tender. The concluding number,. "There crew a cock of morn to tell", is entrusted to the narrator, secpnded by the chorus, the basses doubled and remaining di;isions repl~ng at bro~en intervals, typical perhaps of the unrhythmlCal notes of' the harbmger of morn. The narrator then relates the flight of the spectral band, with usual choral sup-

66 THE SPECTRE'S BRIDE.

port. A bell is heard summoning to mass, and continuing, the voices set forth in startled phrase the astonishment of the people at the des­ ecration of the tomb, the garments scattered about the graves, and the sight of the maiden in the dead-house alone. A calm choral passage, accompanied by harps arpeggio, on the words" Well was it, maiden, that thy mind turned unto God," points the moral of the work. The concluding bars for the instruments bear once more the " Spectre" motive and die away upon a phrase reminiscent of the first soprano air, gentle reminder of the mortal dangers that have passed. F. E. TUNISON.

No. I.-CHORUS. Where art thou, mother blest? Beside my father laid at rest. The stroke of midnight soon will Not one year old my sister died; sound, War took my brother from my side; And all is wrapt in rest profound; Mine did I once a lover call; Save only where the lonely light Him would I fain have given my all; In yonder chamber still is. bright. Fortune in foreign lands he sought, And back to me he turns him not. Those humble walls to guard and grace, When on his quest he went away, Hangs there the Virgin's pictur'd These words I heard him, parting, face, say: Borne in her arms the Holy Child, Sow flax, my love, I counsel thee, So pure and fair, so sweet and mild. And ev'ry day remember me. Before that Mother's form one sees, Spin in the first year, spin with care, Pallid, a maiden on her knees; Bleach in the next the fabric fair, Clasped are her hands, and sunk Then garments make, when the her head, years are three; Tears, too, she cannot choose but And ev'ry day remember me. shed; Twine I that year a wreath for thee, We two that year shall wedded be. Scarce can she breathe, by griefop­ pressed; Long have the garments now been And wildly throbs her heaving made, breast; Long have in order due been laid, While tear on tear, so deep her woe, Green myrtles fade. still is afar Rolls down in one unceasing flow. My life's one only guiding star. I know not where he is-can he No.2.-S0LO-FRAU LEHMANN. Have sunk beneath the cruel sea? Where art thou, father dear? Three years and tidings have I none, At peace in death for many a year. Does he yet live, or is he gone?

67 FOURTH CONCERT.

o holy Mother, hear my cry: Thou that art ever dear to me, In my distress to thee I fly. But now my thoughts were set on Bring thou my dear one back to me ; thee; . All the delight I have is he. On thee I think by night and day, o grant the boon for which I pray, For thee I never cease to pray. If not, then take my life away. Up, leave thy praying, hasten thee, With him, near him, would I re- Up, up, my love, and follow me; main; The moon is bright, and long the Without him what is life but pain? way, Bring him again, thus do I pray, Home I must lead my bride to-day. Else carry me to him away. Alas, what art thou asking me? So late, so late-it cannot be: No.3.-S0LI (MR. LLOYD AND MR. And wildly roars the stormy blast: STODDARD) AND OHORUS. Delay until the night be past.

The picture on a sudden moves; Ha! day is night, and night is day, A cry the maiden's terror proves; The day I like to sleep away. The lamp with hisses flickers bright, Ere yet this passing night is done U pleaps the flame, then all is night. Shall we in wedded bonds be one. Perchance then came a stream of Then linger not, but come away, air, And mine thou art ere dawn of Perchance a sign of ill was there, day. And hark! advancing steps come No. 5.-S0LO (MR. STODDARD) nigh, And one is heard)o knock and cry: AND CHORUS. Nature was clad in gloom of night, Say, maiden, :dost thou sleep or The wak~ful moon displayed her wake? light, Shall not my voice thy slumbers No life was stirring all around, break? The wind alone was heard to sound. Ah, dearest child, how is. 't with thee? No.6. -SOLO (MR. STODDARD) Say, is thy heart still true to me? AND CHORUS .. No. 4.-DUET-FRAU LEHMANN And on he went, with rapid gait, AND MR. LLOYD. And she behind, she might not wait. The dogs, awakened, yelled and Ah, dearest child, how is't with cried, thee? To greet the bridegroom and the Know'st thou thy love, that I am he ? bride. Ah, dearest child, how is't with And all that heard them said, in thee? fear, Say, is thyiheal't still true to me? There is a spectre somewhere near. 68 THE SPECTHE'S BRIDE.

No. 7.-DUET-FRAU LEHMANN No. 9.-S0LO (MR. STODDARD) AND MR. LLOYD. AND CHORUS. Fair is the night, as clear as day, And out of caverns under ground, N ow many spirits forth may stray; The screech-owl, hark, the screech- And, ere thou know'st, may pass by owl cries, thee; And coming evil prophesies. Yet fear not, since thou art with And on he went, with rapid gait, me. And she behind, she might not I wait. ~ do not fear when I have thee, And over flinty stones they sped, And Heaven's regard is over me. Through thorny brakes, and deserts But tell me, dearest, answer give, dead; How fares thy father? Does he And w heresoe'r her footstep fell. live? With blood the track was marked And will the mother in thy home­ as well. Will she be glad to see m~ come? No. lO.-DUET-FRAU LEHMANN Thou askest much, but let it be; AND MR. LLOYD. Make haste, make haste, thou soon Fair is the night, and spirits love, wilt see. At such ~n hour, on earth to rove; Make haste, make haste, time And ere thou know'st, may pass by quickly flies, thee; A weary march before us lies. Yet fear not, since thou art with me.

What is't thy hand is clasping I do not fear when I have thee; there, The hand of God is over me. Beloved maid? A book of prayer. Deny me not, but answer give, Throw it away, bid it begone, Describe thy home, where we shall It weighs upon thee like a stone; live, The book is but a check to thee; The view that from the house one Then fling it off, and follow me. sees; And say if near the church it is. No. S.-SOLO (MR. STODDARD) Thou askest much, but let it be; AND CHORUS. The whole this very day thou'lt see. Make haste, make haste, time He grips the book; without a pause quickly flies, Ten miles her steps he. onward A weary march before us lies. draws. O'er boulders rough he takes his But say, what hangs around thee way, there? The wolf's prolonged and dismal 'Tis but the chaplet which I wear. bay The chaplet? How it frightens me ! From rocky clefts is heard to sound. How like a snake it circles thee! 69 FOURTH OONOERT.

Throw it away, we are at speed, See how I reel for very pain, Thy breathing, sure, it must im­ My strength no longer I retain. pede. Nay, come, my love, the end is near, Tearing it off, he rush~s on, N or stops till twenty miles are done. The goal we seek will so<:>n appear, There wait us guests and mirth and No. n.-SOLO (MR. STODDARD) joy, AND CHORUS. And like a dart the moments fly. The pathway now less rugged grows, But say, what is it, maiden fair, Thro' marshy land and swamp it That thou around thy neck dost goes, bear? Corpse - candles there, in double A cross my mother bade me wear. row, Ha, ha, accursed ornament, With wan and fitful lustre glow; Beneath its weight I see thee bent. Two rows, with nine in each, are Its edges wound both thee and me, seen, Without it, swifter we could be. As they a fun'ral train had been: Hurling it far, he hurried on, From water-overladen bogs Till thirty miles the two had gone. Resounds a dirge of croaking frogs. And on he went, with rapid gait, No. 13.-S0LO (MR. STODDARD) She reeled along, yet fain would AND CHORUS. wait. Her tender feet were tired and sore, There stood a pile, with tower be- Her mouth betrayed the pain she side, bore, Wherein a bell might be descried; Ah, whither bound, thou pallid With lofty windows, ample door, bride? Toward heaven it upward seemed With blood from thee the ferns al'e to soar. dyed. No. 14.- RECITATIVE (FRAU No. 12.-DUEr-FRAU LEHMANN LEHMANN AND MR. LLOYD) AND MR. LLOYD. AND CHORUS. Now, when the night so fair doth See, now, my sweetheart, he're at sl;l.Ow, last Unto the grave the living go, At home are we, our journey past. And ere thou know'st, may pass by thee, Where is the house? A church I Yet fear thou not, for thou hast me. behold, The churchyard set with crosses I do not fear when I have thee, there. The will of God is over me. Now for a time forbear thy quest, No church is this, but my castle old, One moment only let me rest, No churchyard, but my garden fair. 70 THE 8PECTRE'S BRIDE.

I pray thee, maiden, happy be, Behold, a tiny house is here, And o'er the wall come leap with To the door with speed, where help me. is near. o let me go, I would return; Undo the door, and hurry in, Thine eyes with look terrific burn , And God's protecting care be thine; All hot and tainted is thy breath, Make door and bolt together fly; Thy heart is hard, and cold as death. Upon the grace of God rely.

Fear not, my dear one, have no A strange abode; with feeble ray dread, The moon thro' crannies made her Richly my house within is spread, way; Bloodless the flesh that there is A plank was laid there, worn and found, old, To-day shall blood for once abound. Thereon a corpse, all pale and cold. What art thou bearing, sweetheart, Before the house, while moon- say? beams glanced, Garments, against my wedding day. A ghastly band of spectres danced, Two are enough, thou maiden fair, Their voices gave an awful sound, The rest but needless trifles are. The warning echoed far around: He took the garments, which she "The body must to death be gave, brought, And, laughing, threw them on a And woe to him who ill has grave. wrought." No. l6.-S0LO (MR. STODDARD) Fear not that aught will injure thee, AND CHORUS. But lightly leap the wall with me. And at the door there came a Thou hast before me ever gone, knock; By risky paths I followed on, Arise, thou dead, one loudly spoke, Still thine it is the first to be, Wake up, wake up, without delay, Make thou the leap, I'll follow thee. And draw me now the bolts away. The dead obeyed the voice that No. l5.-S0LO (MR. STODDARD) AND CHORUS. cried; At once his eyes he opened wide, He leapt the wall, with sudden He stretched his limbs, he raised power, his head, Five fathom full, or somewhat more. And life thro' all his members The maiden then, in deadly fright, spread. Betook herself to headlong flight. o mighty God, I call on Thee, God be wit4 thee, thou hapless From Satan's grasp deliver me; maid, Thou dead, 0 close again thine eyes, And in thy danger send thee aid. God give thee rest in Paradise. 71 FOURTH OONOERT.

And 10, the dead man, near the door, Sinful the prayer I made to thee, Let fall his eyelids as before. Yet in thy love forgive thou me. Bring me to dawn from out this And louder came again the knock; night, Arise, thou dead, one strongly And set me free from cruel night. spoke: Wake up, and hearken, without No. lB.-SOLO (MR. STODDARD) delay, AND CHORUS. I bid thee draw the bolts away. There crew a cock, of morn to te'll, Again the dead the voice obeyed, A second, third, and fourth as well, And left the place where he was laid. The crowing still more frequent He then held out his frigid hand came, To reach the door - God near us The news was everywhere the same. stand! Set free my soul, Redeemer kind, And when the signal first was heard, Defense with Thee 0 let me find. The dead fell back, and never stirred, Thou dead, be still, forbear to move, And fled the ghastly spectre crew, Our God in judgment shew thee 'Twas peaceful - morning breezes love. blew. And 10, the dead man near the door, Lay down where he had lain before. All who to mass at morning went, Stood still in great astonishment: Yet louder came the knock anew; One tomb there was to ruin gone, The maiden faint with terror grew; And in the dead-house a maiden Thou dead, do this I order thee, wan. The living thrust thou forth to me. On looking round, amazed were they, What anguish, what tormenting On every grave a garment lay. pain! He wakens up yet once again, Well was it, maiden, that thy mind His gloomy eye, new source of Turned unto God, defense to find, dread, For He thy foes did harmless bind. Glares on the maiden, now half Hadst thou thyself, too, nothing dead. done, No. 17.-S0LO-FRAU LEHMANN. III with thy soul it then had gone, Thy body, as the garments were, o Virgin-Mother, gracious be, Mangled had been, and scattered All thy compassion let me see: there.

72 SYMPHONY.

SYMPHONY, Landliche Hochzeit, Goldmark.

Wedding March, with Variations-Moderato molto. Bridal Song-Allegretto. Serenade-Allegretto moderato scherzando. In the Garden-Andante. Dance-Finale, Allegro molto. Carl Goldmark, a favorite composer of the South of Germany, was born May 18, 1832, at Keszthely, in Hungary, and like many -eminent musicians is of Jewish origin. His musical education was gained at the Vienna Conservatory. He began by studying the violin, but soon relinquished it for the wider fi~ld of composition, and in a short time presented the public with an overture, a psalm for soli, chorus, and orchestra, a pianoforte quartet, and various other smaller compositions. Since then he has composed several overtures, amongst them" Sakuntala" and" Penthesilea;" grand operas the" Queen of Sheba" and" Merlin," and numerous works for orchestra, the chamber, and for pianoforte solo. Goldmark is a man who joins with his mu­ sical gifts a wide range of general cultivation. This Symphony is one of his most effective compositions, and made a great impression at its first performance in Vienna. It dis­ cards the abstract form with which we are familiar in the symphonies -of the older masters, and assumes the programme shape, which seems destined to be worn, more or less, by all instrumental music for the future, its aim being to present a succession of picture.s illustrative of the various circumstances and events of a country or peasant wedding, but maintaining more or less, behind this dramatic veil, the skeleton -of the forms and arrangements which the great masters of the sym­ phony have fixed forever as the general frame-work of that grand dass of composition. The first movement is perhaps the greatest in­ novation of all~ for we cannot remember any symphony, of any master, great or small, in which the opening movement is not in the regular sonata form of first and second subjects, episodes, working out, reprise, 'etc. However, for this the composer is responsible, and he may say with some truth that what Beethoven did in his famous pianoforte .sonata, Ope 26, his followers may attempt with the orchestra.

73 FOURTH CONCERT.

I. The Wedding March.-This is a theme with variations. The march is played by the 'ceIIi and basses in octaves. It is in two strains, the first of sixteen, the second of twenty-three bars: No. I. • • Moderato )folto.. ". • =--"~~ ~ ~I§' r ~ ~L' r= W /l=Lr r . I- -!. ptr g S:= ~ijft 1- Vello. ":':'d Ba.. e::""" ~u Ml-f¥@ ~~ It is all of the same character with the quotation, except five bars of minims, which occur near the end. In the first variation the theme, as above, is played by the first horn, accompanied bi the other horns, and by a moving bass in the strings. After the first eight bars, the clarinets, hnd then the flutes, come in\ with a fresh melody: . ;- ~~.;.~. . No.2. Vlar.. I 3.. Fl. t: t: t: t:t~· .~.;.. ~.fI- • -# ..4L+- ~ ~. +- +- +- +-+-+-~ ~+-+-~ _ t;J rt- H-t-§¥F"'-~5g-fC' i ~ In variation 2, poco animato, the violins make their first appear­ ance: No.3. Po'eo aDIInato. --- - ~~ -- ...-..... ~ """"- ._v~*U~ ~.. ~ ,l' ~ l J E-L;L ~ ~ R:I£'1-U~;=;£§j=bJ£; -Rid v. II. 1 L..J r 1 W I V~l~ ~ L .. l I I i-:l~

~-=~- ::tiC;;.FI!=L:j~Cello. 2%., 1...... E..__ t..-. Variation 3, aIIegro, is for the full orchestra, loud and boister- ous:

74 SYMPHONY.

Variation 4, andante con moto, is in the minor, with a melody espressivo in the violins, quite a contrast to the last:

I I If" Farther on the violas have a florid accompaniment, afterwards doubled by the second clarinets: Variation 5, allegretto, is in the major again. The theme is now in the basses, reinforced by bassoons and horns:

No.6."• r'""""l I r ~ = I 4L _ I Ii"!>12=! • bt ~ ~ . r

t 1 Variation 6, allegro vivace. Here again the theme makes itself felt in the bass (horns and bassoons), the flutes and violins maintain­ ing alternately a playful accompaniment. The bass is not quoted: 75 FOURTH CONCERT.

Variation 7, allegretto pesante, in the minor, is a curious piece of part-writing, and of irregular accents: No.8. A.lIe=ro pesante. ---...... ---- ~ ~ -II- .. p~--rLft~~ _ sf sf sf sf sf sf sf sf sf sf Sf sf J"f sf sf sf Tuttl • ...-... ----...... -l ---...... -. ~:~~-lz~~~t-~_~EEii: r ~ttE~~Ji:r-E~d~aJ =E@kg~=';~~=t±:::"~:t:I--fl.::t::t=1=:j

-II---- ..---...... ------...... ""'--- ~1_tt=F~1?l sf sf sf sf sf sf sf sf sf ------...... ~2=~p-b-J~~• .- ~-::j- -.- § -L-iL-~-~-h- - -- -11-- ~ The quotation gives only the highest and lowest part; but the space between is filled by all the instruments of the band, the majority of them taking independent parts. In variation 8, allegro scherzando, the altos, basses, and bassoons are not employed. The first violins are divided, that is, play two parts, and the strings are doubled, staccato, by flutes, oboes, and clarinets:

No.9. ..a.llegro Scllerzando. ~ .J. I I I I 1 I 1 IJ Viol. I.=,. .... ,. I I.L ,. I J ...... 1..--+- .... ,-,- « ~ \ \ ---1l If. \ ..-.-.-"...... of"'- --+---+- --+-~ ~fftj~~-==+~l~~1r~~? "~?=;i= Viol. II. • Variation 9, allegretto quasi andantino, has the theme suggested in the bass (not quoted), and an independent melody, imitated between the flute and violin:

76 SYMPHONY. • No. 10. A.llea;reUo quaal A.ndanUno.

In variation 10, major again~ molto vivace, the first violin has a rapid, brilliant figure throughout, and the theme is indicated by the basses and strings pizzicato: No. II. DoUo ",IYace. ~ --:;::--. >---..... >- >- +-,-.+-,-. ~~ ...... - t~ - ,-.- V-va nt ~q@! n @lLtijLrl-J~~--::-=-':----r.;--li----~- P ereac. Plzz. ~ ~LE1 Ir e-f IC;,:J m-eP ~ Variation 11, minor, andante con moto, has again an independent melody, but different from anything that has occurred before, first in violin and oboe, next in clarinet and violin: No. I2. A.DdaDte COD lIIIotO. ..~ ~... --- .~ -- ~~ --17a.r-~,r~*:·---~~ .....~@~~r1J t-=-'~=t± += i~ -- ~. ~(..-r- sf~f sf~sf - -- ,.~ =7-~-=-- ~:~J,PpI7tf1' 'f=~~l~~0i~j· ~eptte,O='=7j Later on the melody is transferred to the clarinet. Variation 12, moderato, is in the key of B major. An entirely independent melody, of the character of a village tune (itself founded· 77 FOURTH CONCERT. on the theme), is prominent in the oboe, and is accompanied by the passoons, and by separate figures, of smooth legato character, in the flutes and clarinets. We have quot~d the air alone: No. 13. Moderato. J :::=-:::=- ~ .~ .,e'" ::l , ~ ~t9 E7[r- r r §~ t EtrJ r [iJ ~:/E~ ~ Oboes. .E'e. Some quaint work follows between two violins and viola solo. Variation 13, in the tempo of the original theme, is the last, and closes the first movement of the piece: Ne.I4:. '.i'elDpo dl t.he,l'la. I ~ ~ """" .. u .... " I 1""1 I r I I " gru_ p •••• ~ I ~ ,;"~ I""i I ~ ...... J I ~~ =uT=rw~~~~ £ II u® LC.Lr r ..,-;:.,., I I \ I ri r I E&e. Ballse. 8va lower. ~ ~ II. The second movement is a Brautlied, or nuptial song, which we may suppose to be sung by the friends and well-wishers of the bride: No. 15. Allecretto. CHar. ~ BU. Te_po.

E~Etttt=4::r--1~m::3= r;t 3 =J=-,r [~~~U"-+~~-~?---3-__=--,,5~ _ l:_::::::=3_ ~ p - - -:::::::: :i: l Viol. ~ " .-

~-~~~wa-F1p - - -:::::::: pp It has a second part, with a tender time in the oboe, as if one of the bridemaids had stepped forward, accompanied by the theme of the march in the basses, not quoted: No. 16. £j:~oe:el - ~~£ ~~~ ~ ~~~~UfU-wf I ~rcJt=fr-$fts p -= :::=- p III. The third division is a serenade, which, after a kind of pre- ludial section, itself melodious and pretty: .

78 SYMPHONY.

No. 17. A.lle~re"o Moderato Selaerzaado. >- " •• '~ ~ .i' '- _ -~ ~ ~ ~=tf, --,--:~~~~ .:.:: ~ ---- l.J f' Etc C:lar.II.- 7),ir7 ... 1;.1' .,. ! :t1'! !

! t :::> F~.I2.l' 19ff+A~- gives out a melody in the oboe, in duo: No. 18. ~"' ~., 11 "":-. • .-- =.;*': . . "' E~f!mffi!f!ffiEE~~ ~ --L7 :..= w.1 ---~ lte Two Oboe•• which is then worked and varied by the violins, and other members of the band. IV. The fourth movement is entitled 1m Garten (in the garden), and suggests an intimate conversation of the bride and bridegroom, and of ot4er lovers who may be presumed to be about to follow their example shortly. The first portion is accompanied throughout by the lower strings in syncopated chords, of which we quote only a single bar: No 19. Clar. . g p Tender and dreaDlY. ___ ~Z Z~~t [r'-~l~~~ Cello.. PP Ete. ~ pp ~ ~ ~ ------

_s~~~w~_.pre ••• ! ! _ The time then slackens a little, and a new motif appears, which is evidently charged with passion: No. 20. Peeo pin lento. Very t~. ~ Viol I;--- r::: 1- ~ I_ I I ' _~tabll.'_ . ~~

~-~~ C1i~~I I ... k7' ~1'31 "ello 8va lower. 1 I I ~J-J1J ..7; J _r;t.--1 rl I ~ r 79 FOURTH CONCERT.

The whole of this section is full of question and answer, proposal and response, with constant climaxes and variations of feeling. V. The finale is a dance, of which we quote the two principal themes. After a couple of bars fortissimo, the first: No. 21. ~P fflln £1_J3 ~ j Jpm sf ~ ."!"."!". "!sf "'- ~ '! ~ f ~~r~r~ >- starts off like a fugue, the second violins leading, then the violas, then 'cellos and basses, and lastly the first violins. The second is as follows: No. 22.

~i'1~~~.6fJ:;':;'p ••••••p'fl ...... __ ...... _ r "'---. ~_

~ J... IIIF J_...... In IJH~JJE l:~__ -.- ....~7. . .~ ...... :. ~' It is all very animated and attractive, and quite in Viennese style. There are many episodes in the course of the movement, the most noticeable being a return to the garden scene.

80 FIFTH CONCERT.

PARADISE L08T, Rubinstein.

* * " What in me is dark "Illumine; what is low raise and support, Ie That to the height of this great argument "I may assert eternal Providence "And justify the ways of God to men."

WITH equally sublime petition on his lips, and welling up from his soul in ever-increasing intensity, so might Rubinstein have reverently sat him down to the labor of love, whose full fruition we meet in the musical setting of "Paradise Lost." Such ripe inspira­ tion, such wealth of elevated sentiment and God-glorifying aspira­ tion, such truthful adherence to the religion of the ages are therein reflected as to rouse to new impetus the doubting heart, and hush to breathless, terrifying silence the voice of the scoffer and the skeptic. Two pictures are presented, the one illustrative of heaven, and the abiding peace and trust of the immortals; the other of that nether world, "A dungeon horrible on all sides round "As one great furnace fI.~med." * * Then three others of more human interest: the first a serial of creation; then that of Eden, the epitome of earthly bliss; and last, the sin and swift banishment of our :first parents. What a text! Meet for so great an apostle who speaks the universal language! Note with what brief but reverent dignity, as though approach­ ing the very throne itself, he enters upon the theme. No pause for eloquent outburst, but a simple, dignified prelude, and we hear, as 81 FIFTH CONCERT.

thDugh afar Dff, the HDsanna Df the celestial chDir allDted to' the female VDices, altO's divided. TO' the echoing arpeggiO' Df the harps we apprDach nearer to' catch the repetitiDn, which reaches the intently waiting ear in mDre assured effulgence and re~ewed expanse Df fDur­ part harmDny. Yet again that melting echO' frDm the harps-hDw it swells. , then dies-then, brief pause, and sDpranDs and altO's, IDveliest Df vDcal messengers, herald the assembling Df The radiant host of angels. In rich divisiDn, Dr cDmbined, the glDriDus strain they carry fDrward with gradually increasing pDwer, as we cDnie nearer to' the seat'Df utterance, and the ear is intent Dn new sensatiDns, as the ten­ Drs, first en masse, and then divided, lend mDre reSDnant assurance to' the expressiDn of hDly adulatiDn, the passage ending in a breath, as thDugh abashed at the grDwing bDldness Df its advance. But Db­ serve :-the instruments descend frDm such adventurDus flight in, at first agitated, then smDDthly flDwing thirds, and cDnfidence restDred, the strain rises Dnce mDre to' the SDnDrDUS entrance Df the basses, the grDund-wDrk Df all musical devDtiDn, whether Df praise Dr prayer. Yet again the climax passes with measured, stately pace, and we have CDme to' the richly reverential phrase that cDncludes the first parti­ tiDn and superb salutatDry to' OmnipDtence, in whDse presence we nDW stand, summDned fDr His Dwn inscrutable purpDse. TO' the basses is entrusted the striking figure that clDselyensues, and which gives prO' mise Df fugal develDpment Dn the wDrds Thou callest, we appear! But it is little mDre than a premDnitiDn, the CDmpDser speedily cDI­ lecting his fDrces fDr dramatic cDncentratiDn upDn the words Thou callest! N Dte the effect here and in the cDmpletiDn Df the phrase as it is first attacked singly, then cDnjDintly with the fDrce Df a climax, and the subduing effect of the finishing phrase, We stand befdre Thee. Surely" befDre Him every knee shall bDW." NDW is indulged a re­ turn to' the melDdiDuS first strain, and the first chDrus ends in rDunded fDrm, with a final HDsanna IDng sustained.

82 PARADISE LOST.

In an extended recitative of the accepted pattern, the Master (a tenor voice) announces the divine intention of elevating the Son to the left hand of the Father. The choral acquiescence is brief but apt, and we are brought face to face with the forbidding aspect of Lucifer. His rebellious intent is voiced in recitative. Then follows a stirring air, for baritone, in which he summons his legions to battle 'gainst the new-made ruler. Here the Russian's impetuous' nature takes firm hold on the spirit of the text. Observe the contrast in the andante that follows, and the dramatic, though supremely self-con­ tained, spirit that pervades as the Master chides with loving earnest­ ness the mistaken ambition, then calls on the Princes of Heaven's armies to Chase hence the Fiend. Now prepare for war. Not since Handel exhausted the horizon of resource in the "Smite" chorus of "Israel" has there been moulded a more thrilling, terror-inciting, but withal consistent piece of descriptive writing-descriptive of grim, insatiate war, ending in eternal death-than· this. At the command of the three archangels to sound the heavenly trumpets-a passage of martial vehemence, enunciated by a trio of female voices-the onset of the angel host is taken up by the first chorus to a solidly founded theme in common time, while high above all the voices is heard the strident command of Satan disappearing as the second chorus (of Rebels) enters with phrase defiant. Thunder echoes to thunder. Then for a moment there is a subsidence, a brief respite, the calm that precedes the tempest. Carry well in mind the clearly outlined -melodic figure that then enters, voiced by the basses, and gradually attaining full four-part development ere it is awed into silence by the nobler theme of the Angelic choir, which rises and glows with all-engrossing power on the words Rise now, ye flames. A matter of small moment, but worthy of attention in this ob­ servant age, is a borrowed phrase, from the Rex Tremendae 'of Mo­ zart's "Requiem." It serves as a somewhat sarcastic commentary on the fitness of things. Mozart shows it forth as an accompanimental figure of celestial elevation to the tearful. appeal, Salva me, while

83 FIFTH CONOERT. herein it basely ministers as a gruesome medium for utterance of the hateful name of Lucifer. Such content as has been indicated pervades until, after a pause, which Satan improves by words of new portent, there enters a new element of contest, a most daring motive, fiercely confident, as though born of some new strategic thought, some unsuspected plan of attack.· The sting of death is in every note, accented as they are to javelin-like keenness, while the detached accompaniment· is so strongly reminiscent of Handel's" Smite" chorus as to recall the words of Mr. Chorley: " Every phrase of the detached accompaniment smites-is a blow -and a blow strong enough to smite down the chief of all the strength of Egypt. There is a touch of Judith, of J ael, of Deborah in it; no quarter, no delay, no mercy for the enemies of the Most. High." The words which answer to its demoniac passion are significant: Flaming falchions hiss and kindle . Then, too, the companion phrase that alternates •with it on the words O'er them let a blood-red canopy hang. They would seem all-sufficient to seal the doom of heaven, and we can but hold them in estimation as part of a settled purpose to en­ hance the whelming power of Omnipotence when once He shall have put forth His arm. They constitute the battle-cry of the Rebel host, with slight diversion in favor of the original battle theme, to the last awful moment of defeat and rout. They are carried in even more broken and misshapen form on the orchestral current, but, impotent to save, are buried under the swelling Hosanna of the celestial choir. Following is the Satanic curse, hurled full in the teeth of the Deity, and emphasized and carried forward by the rebels. Then a transient recall of the original rebellious spirit, lost in the command of the Angel trio and the fierce acclaim of the Angelic choir, To Hell down. The curse is heard once again, now dying away, then rising yet again, and with a last cry of despair we are left to contemplate the dense· gloom and remorseless agony of the place of their descent, typified in the orchestral close. Following is a solo feature of the work for so-

84 PARADISE LOST. prano, of plaintive texture and lamenting tone, which gathers force from the wailing chorus of demons which ensues, and which attracts and holds the attention by the wail of actual pain that marks its be­ ginning, and the increasing boldness of its configuration as the thoughts of possible rescue from their disgraced estate and vengeance succeed. Satan follows in recitative, and summons in turn his allies: Night, the mother of sin, Death, Pride, Lust and Frailty. The ad­ vent of each is met with a choral shout of approval, and following fast is the characteristic chorus of brief but grim portent, leading to Satan's declaration of malevolence toward man, and the command to his legions to prepare for the revel of destruction on earth. The chorus that follows has a dramatic prescience all its own, and like to nothing that has gone before. First there is something of latent anguish in the entrance of the voices, as well as of despair, which passes quickly to a fresh evidence of inspiration. Observe the doubt and growing union of sentiment with the words Therefore the world. It is as though there existed a division to be brought into close .conjunction with what must be prevalent opinion before action is taken. The four voices enter consecutively, sopranos and altos alone, however, completing the clause. Still differing, but approaching nearer to universal assent, the same general method of attack, with slightly altered figure, is employed to reach the prospective instrument of their wile-man. Note the ascent of the instruments in triple rhythm, and the crash of the unified host with inspiriting power upon the decisive phrase, From God's own hand to Satan's hand, .And the sequence- Let it be given, this new made world. Then the passion-burdened after-passage that paints ruin and de­ struction, if such direful circumstances ever were set deep in har­ monic color. Quickly the design enlarges to embrace the destruction .contemplated in all its length and breadth. Note the searching, creeping advance as of eye and ear intent lest some victim escape the general doom; and the spread in upward and downward progres-

85 FIFTH OONOERT.

sion, until, on the final chord, sopranos and basses, three octaves apart, illustrate a world encompassed and involved in death as conclusive as the Hood. Then the close. Peace and harmony reign in Hell awhile. Introducing the next and concluding chorus to the first part, is a recitative in which the Master pronounces the divine will concern­ ing the creation of man.' The celestial choir in recitativo style then introduces what can be classed. as nothing else than the" Praise" chorus. Handel said that when he wrote the" Hallelujah" chorus in the" Messiah," he saw as in a vision the angels about the throne; but there is about it some of the rugged grandeur that should be observed in praise of a hero, and, much as the idea may be contemned, scant spirit of devotion. With Rubinstein, it is as if he had seen indeed the "glory of the Lord," beheld him as " we shall see him," "face to face." Reverence, power and joy ineffable breathe in this apotheosis of the Creator. A brief orchestral interposition ushers in part II, descriptive of chaos. Let Milton describe it: "Into this wild abyss the wary fiend "Stood on the brink of Hell, and looked awhile, " Pondering his voyage; for no narrow frith "He had to cross. Nor was his ear less pealed " With noises loud and ruinous (to compare " Great things with small) than when Bollona storms, " With all her battering engines bent to raze " Some capital city; or less than if this frame " Of Heaven were falling, and these elements "In mutiny had from her axle torn " The steadfast earth." * * * * * * Chaos ends at the command of the Master, and the work of creation, which, with the exception of the Hallelujah at the close, and the preceding duet for Adam and Eve, takes up the nine numbers found in this division of the oratorio. This serial picture of the labor of creation shadows forth, as the panorama of nature gradually unfolds to the captivated gaze, somewhat of the native grace and melodic affluence of Mendelssohn. In the first chorus t.here is a touch of Haydn, in the manner rather than the matter, in the masterly climax attained upon the words 0, light! 86 PARADISE LOST. How bright it all is! Then how charmingly diffident the descending exclamation indulged by sopranos and echoed by the tenor's diminu­ endo, both sustained by an accompanimental figure of breezy, restless temper. Then we have a praise anthem, simply but skillfully con­ structed, and as brief as bright. Next the firmament. From the holding note of the tenor recita­ tive the accompaniment passes upward with soft, mysterious transi­ tion, and the voices enter in caressing sequence. Here note some entrancing effects in syncopation, as of clouds of fleecy whiteness merging their impalpable substance, and so shaping new forms of beauty. Contrast, sharp and surprising, meets us in the descent from the firmament to its mirror. The waters are gathering against the moment of separation of sea from sea. Here again observe" ad­ herence to the law of contrast in the chromatically costumed phrase And the other lawless waters, And its majestic successor, descriptive of mighty rivers­ Peaceful, mighty, smooth and splendid. Observe the shout of a revelation next ensuing, on the words Earth divides herself. How the great planet groans and indulges long drawn sigh, as she Spreads herself out. Then the mountains, how they rise as though drawn upward in the grasp of a giant hand. The throes of planetary formation over, we come to one of th~ undeniably happiest choruses in the entire work. We have been given much of gloom and more of terror; but here, among the fruits and trees and flowers, Rubinstein is at his best. One of the few choruses that can be said to sing itself, what need to exalt expecta­ tion by multiplication of epithets? Two contrasting choruses that follow are those of praise to the sun, startling in its crisp boldness; and a placid, smoothly flowing recognition of the moon. How typical of repose is the latter, as rest­ ful and soothing as a slumber song, and moving to a singularly slum­ berous accompaniment, ending on a single detached note. Can all the world have passed to sleep? If before we have heard a " Praise" chorus, and have a "Hal­ lelujah" to come, that upon which-after the usual recitative and a

87 FIFTH CONCERT. brief prelude for preparation's sake-we next enter IS. the "L':D"1 e chorus of "Paradise Lost." It is brimful and running over with unrestrained freedom and spontaneous; springing, joyous life. Not the life we live, and from which we gather a moiety -of pleasure; but the wild, free life that was, before sin had clouded the face of fair nature, and set birds, beasts and men to warring 'gainst each other. It is all laughter and teeming with various life, whether of singing birds or roaring beasts. The iron had not then entered man's soul. There was freedom without restraint, liberty without license. Man and his helpmate enter next, and the exchange of recitative is constant, with the exception of the duet for the pair, which is not of abiding interest, and which brings us to the closing chorus, recita­ tive and the" Hallelujah," built upon a massive fugue subject, wor­ thy of the masters and developed with consummate skill. To the orchestra is entrusted the task of depicting the temptation and fall, which episodes are treated with a power that is well comprehended, despite the limitation to the possibilities of lucid illustration by in­ strumental forces. This terminating, an abrupt change of key from E to A major alters as quickly the current of thought to the demo­ niac jubilee over the downfall of man. The inexorable character of the eight-bar prelude first attracts mind and ear. Observe with what accented assurance it measures space, onward and upward, until the ripe chord of the key is attained, and following the brief space of a bar the demoniac choir voices its joy in declamation fierce and wild. The thematic basis of the rebel chorus, first vouchsafed full expression by the basses, would be noble were it not diabolical, such is the nature of association in music-art as in human life. Note the dramatic flavor on the words Hot-ter, Hot-ter, To the resonant acclaim of the basses- Hell keep glowing, And see if you do not grow feverish with apprehension and fear at your possible and latter destination. There is alternation and repeti­ tion here for effect's sake, both in voice parts and accompaniment, when, and without previous warning, the angelic choir, as though bursting from celestial confine, utters Woe, now!

88 PARADISE LOST.

Answered quickly by the upward gazing inhabitants of the lowest deep. Then in full chords of funereal solemnity responds once more, and elaborates the theme of its bewailing on the words A sinner now is man. This gives place later to a brief recognition of the Satanic host. Then the original is restored and the whole proceeds to a formal close, with choruses united, but still voicing their widely differing feelings. We now indulge a respite to hear the trio of angels, Lord of All Worlds, blame not thine angels. Built upon a simple, plaintively inclined theme, and upheld by an accompaniment of rich design, it forms a salient feature of the work. This ended, the Master, in a recitative of some length, first reassures the repentant three, then summons his aids for the banish­ ment of man. His judgment pronounced, gives place to a " Hosanna ., chorus, which in turn leads up to the duet between Adam and Eve, The Lord hath forsaken us. Next observe the pertinency of theme to verbal text in the chorus of banishment, with its driving, speedy motion. Then note the triumphant gleam in the lengthy subject that ensues, uttered by the basses of the rebel chorus. It underlies the duet. Was there a thought of the omnipresence of sin and temptation and evil with man in the composer's mind? The connection may have been accidental, but the argument remains binding. The chorus of banishment is restored, and the whole concludes with the trio of encouragement, a return of the opposing choruses and the closing of the gates With thunder peal. These words, voiced by the trio of archangels and emphasized by the brief instrumental finale that remains, at first glance have the ener­ vating effect of an anti-climax; but more intimate view will, it is thought, reveal the individuality of Omnipotence shining through it,-a result more potent than the avalanche of command emanating from myriad voices. F. E. TuNISON.

89 FIFTH CONCERT.

PERSONAGES. An Angel (Soprano). Michael (Alto). Eva (Soprano). Gabriel (Alto). Raphael (Soprano). Satan (Bass). Adam (Baritone). A Voice (Tenor). Chorus of Angels. Chorus of Rebels. SOLO VOCALISTS. MME. VALDA. MR. LLOYD. MISS HETLICH. MR. STODDARD. MISS CRANCH. MR. WHITNEY.

PART I. No.I.-CHORUS OF ANGELS. Hosanna! From all the starry Heavens are here assembled The radiant host of angels! In wide-spread ranks, enrob'd in light, They circle round Thy throne. Almighty and eternal, ever holy Father! Thou callest, we appear, we here appear before thee, Thine own spirits, mighty master, Ever true and loyal. No. 2.-A VOICE. Ye have assembled here to serve me, In countless, shining, holy legions. N ow hath arrived the mighty moment When our new works must be created- The earth and that bright, beauteous Being Chosen by me for a high and God-like destiny. By you protected and supported, By you inspired in high ad venture, His Maker's image He shall be; Then, thron'd in light, on my left hand, Cloth'd in the God·head's sun-brilliant splendor, He, over ye all, shall be Lord! Say, will ye serve me, and be worthy Of your new Lord and new-form'd realm?

CHORUS OF ANGELS. We bow down, we are Thine own, And Thy decree with joy obey, o mighty master! 90 PARADISE LOST.

No. 3.-SATAN. From my soul's depths spring torrents of rage, Mighty and fierce as the thunder storm. Shall we kneel humbly? Bow down forever? We, who are monarchs, too, next to him? Up, ye spirits, if still of freedom Burns the bright flame in your brave breasts! We shall have freedom; let us preserve it! Over us, in the firmament brazen, Let no new-made ruler be set! Up for rebellion, up to battle; Let us the new-made ruler o'erthrow! Let us destroy him! Let us destroy it! His new, haughty, tyrannical throne! Better ruin, better destruction, Than be ever pitiful slaves! No.4.-A VOICE. Lucifer, of light the angel, seeks a monarch now to be, And the lovely flower wreath of duty and humility Rashly snatches from his head. Therefore, Princes of Heaven's armies, Raphael, Michael, Gabriel, Commence the fight! Chase hence the Fiend to the brink of Heaven, Then hurl him downward into Hell's depths, 'Mid flaming chaos!

No. 5.-RAPHAEL, MICHAEL, AND GABRIEI~. Sound! sound, ye heav'nly trumpets! And fill the air with your shrill, warlike tones. SATAN. Come all to me who are ready to combat for freedom! CHORUS OF ANGELS. In armor behold us! We come now to combat, While singing the praise of God. CHORUS OF REBELS. Up! up and fight on Lucifer's side! On, on! Attack the Tyrant's throne, And hurl it down, for Lucifer's sake! For Lucifer ever we'll fight! 91 FIFTH CONCERT.

OHORUS OF ANGELS! Rise now, ye flames! Olouds, now arise, The heav'nly firmament shrouding! Foul smoke, in darksome whirlwinds, Oircle with raven pinions ever around the foe! To God give praise. SATAN. Up! Be strong, and in millions pour Sharp, gleaming arrows on our opponents. OHORUS OF REBELS. Flaming falchions hiss and kindle! O'er them let a blood-red canopy hang!

OHORUS OF ANGELS. Hosanna! Victory's wreath, Heaven's glance Smile on us from the throne! OHORUS OF REBELS. Woe! we falter. Lucifer, help us now. SATAN AND OHORUS OF ANGELS. Ourses light upon God's throne! Better ruin, better destruction, Than ever be pitiful slaves! RAPHAEL, MIOHAEL, GABRIEL, AND OHORUS OF ANGELS. Hurl them downward To the lowest depths of Hell ! No.6.-S0NG OF AN ANGEL. Once more has Heaven obtain'd a triumph. Thus will it all its foes subdue. Yet o'er the scene is still lamenting, In deepest grief, the Shepherd true.

No. 7.-0HORUS OF REBELS. We atone, in frightful torments, Our appalling, fearful crime. Satan, help us now! Ah! woe!

92 PARADISE LOST.

Give us courage, give us daring, To strike off our scorching fetters. Boldly once again uprising, Give us vengeance on yon Heaven, and on God!

No. S.-SATAN. Fight, yes, fight!. in warfare cloak'd or open! Invincible ever by us is Heaven; So the new world that God now intends to make, The God-like Being whom He is about to shape, At these alone we'll aim! Be these our prize! From out God's hand into Satan's Let it be given, this new-made world. From poisonous caverns, from reeking recesses, Whirl ye aloft, 0 frightful choir! The most mighty of all my fierce sleuth-hounds, Of my Hell the proudest possession. Trembling, soar up above, fiutt'ring up and down, Thou mother of sin! Rise! 0 Night! And thou, lovely, dreadful female form, With a snake around thee twin'd, Whose sting darts magic poison: Sin! And thou with wide-grinning teeth, Long-reaching stride, and faltering gait, Ever craving, and resistless, Most terrible of beings, Death! And ye, Pride, Lust, Frailty, ever on my side, Hail to ye, my noble troops!

No. 9.-CHORUS OF APPARITIONS. Out of Hell's recesses deepest, Where we slept while hoarsely breathing, At thy call we all arise. We, all glowing, hasten to thee, And with Hell's intensest ardor, All our gloomy band are fill'd! SATAN. N ow to fight for God's new world! Soon as it shall be built up, As soon as the new-made Being laughing shouts, 93 FIFTH CONCERT.

" I'm the free Lord of Creation and the nearest heir of Heaven," Then we'll haste to work destruction! Then, for ruin, desolation! Then on high, and far and wide, Let all your tents be seen! CHORUS. We will all obey thy bidding, We will soon break down the portal Which the treach'rous God has Duilt.

I SATAN. All things, all, must be destroy'd, Work unseen, and work unheard. Hell shall give you help, and lead you safe Through boundless space to vict'ry ! No. lO.-CHORUS OF REBELS. Vain it is to strive 'gainst His power; Therefore the world which God intends to make, The Being whom He will endow with life, Shall be our warfare's aim, our warfare's prize. From God's own hand to Satan's hand Let it be given, this new-made world! Let ruin, destruction, seize these new-made works! All, yes, all, must be destroy'd, And Satan's hand shall lead us on l'hrough boundless space. No.ll.-A VOICE. Truly with triumph pain is blended I In place of all that met extinction, Now let a new-born world be founded, And let a new-born race have being. And this new world shall Earth be called. Her race shall bear the name of Man. With mine own breath will I inspire them, And they shall be with us allied. CHORUS OF ANGELS. All thy thoughts bring forth deeds, And all thy wondrous workings shall be praised. Songs of joy are filling all creation; From golden harps are sounding songs of praises.

94 PARADISE LOST.

The Lord has down from His mighty throne descended, And calls to life new worlds with splendor bright. Songs of praise resounding fill the Heavens!

PART II. No. 12.-INTRODUCTION. CHAOS. Orchestra. A VOICE. Chaos, now end thee! And now let vital pow'r and warmth flow downward. Let air now be spread around; Let there be light! CHORUS OF ANGELS. Light, through the dark, gloomy air, Comes springing and dazzling with brightness. o Light! Ethereal beam! Purest thou art of all things! Prais'd be the Lord, who such great wonders works, Praise ye Him for evermore! No. 13.-A VOICE. Now let there in the clear blue Ether rise A lofty vault the new-made world surrounding! Let there now be the Firmament! CHORUS OF ANGELS. See, it arises, brightly shining! Out of Ether, up it springs! And in deepest rev'rence bending, Thy angels chant Thy praise! No. 14.-A VOICE. Let now be gathered into one place the Waters, And from their depths let the Land then arise! CHORUS OF ANGELS. Fierce, raging billows, roaring and rushing, Speed on their way. Still must they flow on, and, banish'd, must hasten To sea, to sea! And the other lawless waters Change to rivers, peaceful, mighty, smooth and splendid. 95 FIFTH OONOERT.

Soon doth the banish'd flood subside, Earth divides herself from yonder waters, Spreads herself out in vast and wondr~us grandeur; Mountains lift their necks and tower on high, Their lofty summits boldly to the realm's of cloudland 'rise!

No. 15.-A VOIOE. Now bring forth fruits, virgin womb of Nature, From smallest mosses to cloud-piercing palm trees; And let the Plant-world be!

OHORUS OF ANGELS. All around, see, the buds are starting, With freshest green the barren Earth is deck'd. The flower blossoms their bright eyes are op'ning, And fruit with fruit is vying in attraction. How wondrously the colors round us glow! How wondrously the odors round us spread! The fresh-born dew makes all seem soft and bright. Now Earth appears like Heav'n bright!

No. 16.-A VOIOE. Now there should Lights in the Heav'ns be shining, And they should ever Earth accompany, And follow all her changes evermore. So now arise thou golden star of day, In heav'nly splendor cloth'd. Yes, now let the Sun be!

OHORUS OF ANGELS. Light now gladdens all the Universe; A sea of light pours forth! Tuneful the sound! . Sun enkindler! Earth Oreator! Wonderful are Thy works for evermore!

No. 17.-A VOIOE. N ow will the calm, still night a calm light need: In silv'ry light let the Moon now arise; And with her, through measureless space, Let there be Stars!

~6 PARADISE LOST.

CHORUS OF ANGELS. Calmly shining, golden, glitt'ring, Let us in your beams forever Quench our doubtings, banish fear! No. 18.-A VOICE. Now has the world become a living thing! Water, Air, Earth, generate hosts of living creatures without number, And they all have their own dear homes In wave and air, in field and wood; And cheerfully doth each enjoy existence, Rendering thanks to the Lord of all! CHORUS OF ANGELS. How it stirs, how it moves! How it springs and soars! How it worke and boils up, and strives and lives! How it peoples all space with its increase! Through the ether rocking, flying, Through the water driving, hasting, On the mountains, in the valleys, Comes it drawn on. Through abysses and deep caverns, Through the meadows and the forests It comes flying, Twitt'ring and singing, neighing and roaring! Ah! yes, the Earth is alive!

No. 19.-A VOICE. In fullest glory Heaven now is shining; The Earth is sweetly laughing, full of joy. Air, Water, Land are richly fill'd with countless hosts of happy dwellers, But still Creation's masterwork is wanting; Last work of all, and greatest, too, of all, A Being, never doom'd to crawl upon the earth, His head held high to the light and to Heaven, With God-like reason endow'd; Worthy of Heaven, able to recognize the source of Mercy Eternal. So let there be an image in Our likeness, The lord of this Earth and joint-heir of Heaven! Earth's dust with God-like spirit. Let Man now be!

97 FIFTH CONCERT.

CHORUS OF ANGELS. Hail to thee, .0 Man! Made in God's likeness! ADAM. Who am I? What am I? A VOICE. Thou art The Man, the Lord of all this Earth. To thee is subject all thou dost behold. ADAM. For me, alone, this lofty majesty?

A VOICE. To thee there shall be giv'n, for life, a helpmate; A Woman, whose love shall crown thy happiness. Let her out of thine own self be created; Adam, born of earth, behold here, thy Wife!

CHORUS OF ANGELS. Hail to thee, 0 Wife! Creation's brightest triumph!

EVA. Who am I? Where am I?

ADAM. My wife, Eva! o lovely, gracious creature! EVA. Unto thee I belong; That is my first perception; Myself, yes, all my being I feel is link'd with thee.

A VOICE. N ow bless ye the Lord, your God.

98 PARADISE LOST.

EV A AND ADAM. See us in the dust before Thee, Mighty Father, humbly kneeling; Faith shall guide us to prove worthy Of the bliss thou art revealing!

A VOICE. All is yours that you behold around you. In faith enjoy, but seek not after Knowledge, For Knowledge brings Sin, brings rebellion. Here stands this tree, as a test of your devout obedience. On it grows the fruit call'd Knowledge. A void it, both! Else on ye both will fall your Maker's wrath!

EVA AND ADAM. Lead us, Thou, to understanding All ThY"wisdom, all Thy goodness. Love shall be our dearest blossom, To behold Thee our best Knowledge.

No.20.-CHORUS OF ANGELS. Loudly ring out, ye Heavenly trumpets! Shining portals, open wide at our call ! Far, far and wide, throughout all space, Join in loud, joyful Hallelujahs, all things created! Praise ye the Mighty One, the world's great Founder! Hallelujah!

PART III.

No. 21.-0RCHESTRAL INTRODUCTION. The Temptation and the Fall.

No. 22.-DOUBLE CHORUS. Chorus oj Rebels. Joy now! Hell holds Jubilee! Fast the news in hasty tumult, Hence through all the worlds doth fly. Hell, keep glowing hotter! hotter! Satan, sputter fiercer fiamings, 99 FIFTH CONCER'r.

For 'tis Hell that conquers now! On the Earth is anguish'd wailing. With a gleam of weak defiance, And in Heaven, what commotion! CHORUS OF ANGELS. Woe! a sinner now is Man, Joy and light have left the Earth. Hear, 0 hear! now Hell's wild taunt Daringly ascends up to the throne of God. No. 23.-RAPHAEL, MICHAEL, AND GABRIEL. Lord of all worlds, blame not thine angels, Who faithful watch have kept Around the Earth-born, who now, alas! are lost. Alas! they were fated to suffer affliction; We could not avert it, For too great was the power of Hell ! No. 24.-A VOICE. r know how great your care, how true your watching. I had foreseen the Evil One's success. I endow'd Man with freedom; 'Twas left to him to act as to him seem'd best; But, from afar off, with gentle influence to guide him, I implanted good-will in his breast. He fell, through his own fault, And therefore he must suffer for his sin. From hence to sinful earth I will descend now His sin to punish. Cherubs, prepare ye, and loudly let the Judgment Trumpets sound! Make known to Man from Eden he is banished; The Earth-born by the Earth must live.

No. 25.-CHORUS OF ANGELS. While the trumpets ring He goeth forth, The Lord of all worlds to sinful Earth descending. We wait to hear the sentence He will now pronounce on the sinner. We wait to hear what destiny Impends o'er the sinful world. No. 26.-A VOICE. Adam, where art thou? Adam, why didst hide thyself?

100 PARADISE LOST.

ADAM. Ah, Lord, I did fear when I heard Thy voiee.

A VOICE. Adam, what was't thou did, Perjur'd, faithless Adam?

ADAM. I accuse the helpmate Thou for life didst give me; Ah, she alone was cause of my transgression, My pride, my fall, my ruiJi.

A VOICE. Thou with loving guidance shouldst have led her To One and One only, the Highest! N ow thou hast lost forever thy high calling, Bestow'd on thee as first of all this world. And thou, 0 Woman, how couldst thou forget My existence, Ev'rywhere found, in the soft, low breath of zephyrs, In ev'ry quiv'ring sunbeam.

EVA. Ah, Lord, the serpent, so beautiful and glitt'ring, With his enchanting, beautiful speeches, He, Lord, corrupted the Woman weak.

A VOICE. Thou Satanical Serpent, who hast mankind seduced and corrupted, Be accurst beyond all things created! Dust shall be henceforth thy food, And thy speech an impotent hissing. Eva, to subjection thou cam'st through list'ning to temptation, And into subjection didst bring the man's will also, So thou, henceforth, thy life, thine affections, Subject unto fears and anguish, Must subject be unto the will of thy husband, an~ his affection. Adam, unto thy wife's voice thou didst listen, and heeded not the voice of thy Creator, 'Tis therefore curst, the ground which thee sustains. Far from golden Paradise, ' Each day, in the sweat of thy brow, shalt thou thy bread earn by labor, 101 FIFTH CONCERT.

And shalt at last return to Earth's bosom From which thou wert taken first. Thou wert but dust and unto dust shalt thou return! \ And now my faithful angel troops, Haste forward with your flaming falchions, And thrust this pair from out my Paradise. Yet, let them not quite unconsol'd depart: Announce to them a brighter future dawns, Which they may win by Faith's all potent pow'r, And by the grace of God. No. 27.-CHORUS OF ANGELS. Hosanna! to Him, the all merciful One!

No. 28.-EVA AND ADAM. The Lord hath us forsaken, . The clouds bear Him up on high; We here must remain, Waiting till Death arrives, With destruction and oblivion. What fearful silence! I must wither beneath His wrath. The spring runs dry, 0 Eternal Life! Threat'ning stand the holy angels; In their hands are flaming falchions; I can see them, far off passing. How soon have perish'd all the delights of Paradise. Ah! the Sun's bright beams are changing To the darkness of the tomb. Storms are mutt'ring, lightning flashing, Clouds are heap'd in gloomy might. All our bliss is now departed; Yes! the hour of our doom hath sounded, Ah,me! CHORUS OF ANGELS. Forth, Earth-born ones depart; Depart from Paradise. EVA AND ADAM. Close embracing, never doubting, ne'er complaining, I with thee o'er Earth will roam; For ne'er are they hopeless Who true love cherish still. Love can to the sorrowing Impart new life. 102 PARADISE LOST.

CHORUS OF DEVILS. We have tempted, we have triumph'd O'er Creation's Masterwork. Yes, we honor Satan's might.

RAPHAEL, MICHAEL, AND GABRIEL. Only clouded, not departed, Is the bliss of Paradise. And by new-born Virtue's strivings, Ye may win it back again. Virtue's might can restore Your heav'nly bliss. Virtue pure, Faith's warm glow, Bring great reward. According to God's word, close now, 0 portal! Shut out mankind with thunder-peal!

103 SIXTH CONCERT.

SUITE No.3, D Major, Bach.

Overture, Air, Gavotte L Gavotte II. THE suite, a name applied to the form which generally consisted of an overture followed by a succession of dance tunes, was formerly given to composition for a single instrument only. Bach therefore originally called his four orchestra works in this form, now known as suites, overtures, applying the title of the first movement (the so-called French Overture) collectively to the entire serip.s of pieces. The present suite was probably composed during the period from 17~9 to 1736, when Bach was director of the Telemann Collegium Musicum. It is the second of the two, in C and D, first published, and is the best known and most popular of the four. Mendelssohn, in his efforts to save the works of Bach from total oblivion, conducted a perform­ ance of this suite at a Gewandhaus concert, in Leipsic, on February 15, 1838, having made the changes in the scoring necessary for the modern orchestra. This was probably its first performance after the death of Bach. Edited by Dr. Dehn, it was first published in 1854 by C. F. Peters, from separate parts in the Bach Archives at Ham­ burg, and now in the Royal Library at Berlin. •

ARIA, Judas Maccabreus, "Sound an Alarm," Handel.

Sound an alarm! Your silver trumpets sound, And call the brave, and only brave around. Who listest, follow. To the field again! Justice, with courage, is a thousand men..

104 RECITATlVE AND ARIA.

RECITATIVE AND ARIA, Alceste, "Ihr G6tter ew'ge.r Nacht," Gluck.

FRAU LEHMANN.

Gods of eternal night, ye ministers of death, never will I invoke pity from you or pardon. Admetus I redeem from cruel destiny. All forsake him, but I alone will be faithful. The sweets of life forgotten, all fear is gone from me. Towards the dark and dismal portal with joyous steps I move. Eternal bliss waits me beyond. I know that my love is immortal; anew I feel the inspiration .. New courage fills my heart, for my love ne'er can die.

SYMPHONY No.6, Pastoral (Op. 68), Beethovlm.

(1) Allegro ma non troppo, Oheerful impressions excited on arri'ving in the country (F major). (2) Andante molto moto, By the brook (B-flat). (3) Allegro, Peasants' merry-maki1tg (F major). (4) Allegro, Storm (A-flat). (5) Allegretto, The shepherds' song; glad and thankful feelings after the storm (F).

The Pastoral Symphony is the greatest piece of programme music yet composed; meaning by programme music that in which the endeavor is made to represent a scene or occurrence by the aid of instruments only, without the help of voices. Such music is now so common, 'and we are so accustomed to the "Italian" and "Scotch" symphonies of Mendelssohn; the overtures to "A Midsummer-Night's Dream," "Fingal's Cave," "Calm Sea and Prosperous Voyage," by the same composer; the" Consecration of Sound," and "Seasons" symphonies by ~pohr, etc., that we forget that the practice is a modern one, a thing of our own times. Like most musical innovations that have kept their ground, if it did not originate in Beethoven, it was at least first successfully practiced by him; and after he had once opened the path, there was no help but to follow it. When Frederick Schneider, a stout old musical Tory, was complaining (says Schubring)

105 SIXTH CONCE of the modern tendency to programme music, Mendelssohn main­ tained that since Beethoven had taken the step he did in the Pastoral Symphony, it was impossible to keep clear of it. And Mendelssohn carried his convictions into practice in the glorious programme over tures just named, which will surely maintain their ground as long as the Pastoral Symphony itself. In the Pastoral Symphony, Beethoven has fortunately indicated the images which were before his mind; though even these, with ad­ mirable intuition and judgment, he has restricted by the canon with which he heads the description of the Symphony given in the pro­ gramme of his concert of December 22, 1808, at which it was first produced, a canon fixing for ever the true principles of such compo­ sitions: "Pastoral Symphonie: mehr Ausdruck der Empfindung als Malerei," "more expression of feeling than painting," or, to render it freely, "rather the record of impressions than an actual representation of facts." It appears, however, from a book of sketches for the first move­ ment, formerly in the possession of Aloys Fuchs, and now in the British Museum, that it was not originally Beethoven's intention to give any clew to the contents of the Symphony beyond the general title of "Sinfonie characteristica. Die Erinnerungen von dem Landleben," -" Characteristic Symphony. Recollections of country life"; for he has scrawled a note on the side of one of the early pages to the effect that" the hearer is to be allowed to find out the situation for himself." As, however, the sure result of his putting anything down in his sketch-book is that it is immediately superseded by some change or new idea, so, in this case, he has altered his mind. And certainly to our advantage; for there can be no doubt that one derives, more en­ joyment from having a clew to his intention, than if he had simply entitled the work" Symphony No.6, in F," or had even gone a step further, and given it the general vague heading just quoted. The ~ymphony opens without introduction or other preliminary -not even a full chord-with the principal theme in the violins, as sweet and soft as the air of May itself, with buds and blossoms and new-mown\ grass:

106 SIXTH SYJYIPHONY.

This phrase may be almost said to contain in Its own bosom the whole of this wonderful movement (512 bars long). As the piece pro­ ceeds, each joint, so to speak, of the theme germinates, and throws off phrases closely related to itself in rhythm or interval. It would be difficult to find in art a greater amount of confidence, not to say audacity, than Beethoven has here furnished by his incessant repeti­ tion of the same or similar short phrases throughout this long move­ ment; and yet the effect is such that, when the end arrives, we would gladly hear it all over again. As an instance of this boldness in repe­ tition, we may quote a phrase of five notes: Viol.. ~ _ No.2. ~~i-f--f3-£E~ ~ Etc. formed out of the theme, which first occurs at the sixteenth bar, and is then repeated no less than ten times consecutively. At the 116th bar, a somewhat similar phrase:

No. 3 14~ ~ ~~ ~~i'=r:~ . ~=- ! c-ri= t_ is carried on for twenty bars. After the repeat, at bar 150, another subject, also formed out of the first theme: No.4. E&'P=.~~ W' .~. ~- ~-- ,....-~~.~-- ~~. ~ -.-~=;~~ ~~-~--+- ~~- ~--.. pp -- • -r -- ..... -- . ..". '-- . 7'i" ~ . 7' • • • • 17 iut II. -..' ,Etc. is given out by the violins, and thenceforward is almost continually present. This, by the by, is quoted by Schindler as being a phrase of national Austrian melody. Even so simple a feature as: i:~~- ~~-~-~ ...... ---'-'- 107 SIXTH CONCERT.

is made to recur continually. The delicious natural May-day, o'ut-of doors feeling of this movement arises in great measure from this kind of repetition. It causes a monotony which, however, is never mo­ notonous, and which, though no imitation, is akin to the constant sounds of nature, the monotony of rustling leaves and swaying trees, and running brooks and blowing wind, the call of birds and the hum of insects. Another instance of the same persistent rhythm is the following subsidiary subject, when the string and wind instruments answer each other in charming soft rivalry:

No.5. ,,- __ ___ ObOC.~ ViOIiIl._.~~~ ...... g.~~ ...... :J: ~.g. ... --.... ~p-~~~ ('JJf~+lfi~.. -~~~flj:=!=t. The chief exception to this recurring motion is formed by the second subject proper of the movement, given out first in the 'cellos:

No.6. (lello. _ ~ E~jJ;j~~~=W-J-~~~ib~Jjd p- • ~. =l--i-=G=1~~.- tte7rj=.~.j-I I 1-' ~1J-§--FF-=1=1~~±~. b ~ ~~!~ • _~_1:. ___-- -..:;:U • ~~.:.r6J-t:-=:1· - ..... Etc. and then appearing in instruments of higher register: Fla&c. 1-I I 1 No. '7. 1--- I -I'!r -t9- 1'\.L a d -- "'I"u'" ... E£t~;=:E~ ~LLr I ~! 1 l:~~VI.! -;;- ___ - EEESii±!E111t_ r n=C11 Ete.3 a subject which, though allied to the others in tone and feeling, is in different rhythm. The manner in which the long notes of this beau­ tiful phrase keep building themselves up one over the other, and the monotony into which it falls at last without power of escape, in the arpeggios, are too charming. In the second movement, "Andante molto moto-at the brook,"­ the tone of the picture changes. Weare still out of doors, in all the glories of summer, amid all the busy" noise of life" swarming on every sense; but the character has distinctly altered, and is more pensive and full of repose. Throughout the whole movement (139 bars), 108 SIXTH SYMPHONY.

almost without intermission, an accompaniment IS kept up In the lower strings, which, commencing as follows: ~8.VIOln. II m ~ d -,J-,J ,,,Ii Jim -,J .,~

is almost immediately quickened into semiquavers: No.9. Ete. ~f= ~3 i J ! L}-J-"}-J JJ I j I i j I ill J d ~ -=---"" ...... -,J ...... --+ ...... which are treated in various figures as the movement proceeds. This substratum of delicious sound doubtless represents the brook, or rather, in obedience to Beethoven's canon, the pervading impression caused by the murmur of the water, more than any attempt to imitate its actual sound. Above it and through it are heard various motijs,none of which, again, are directly imitative, though all suggesting the de­ lights of the life of nature. The firsf of these, with which the move­ ment opens in the first violin, begins as follows: No. 10. Viol I. ~~t~r-D ~ , , (~QT-~g-rrJ

F~- =. ~.-:::.. -- ~ ~ ••• ~f- ~C$s-r~~f;Ll r' ~;~f?-!-~--lig±~ ___ Etc. Then follows a series of shakes on the upper B-flat and C, accom­ panying the first phrase of the motif just quoted, and becoming a very important feature as the movement progresses. Next, we have the following lovely phrase, given out like the others, first in the first violin, the graceful and soothing flow of which is heard successively in the clarinets, flutes, and oboes, and which has a very characteristic part assigned to it at the close of the movement: . No. II. Viol I. ,,--.. ~~~E~-=~~ ~f~l ~:J r fr-: ~ • Dolce.~ (Jre.. ~ Then a perfectly delicious passage, the lazy, deliberate grace of which well befits the summer climate around us:

109 SIXTH CONCERT.

No. 12. ~ ..:-:--...-"17 - ______..~.,iL ol- ol- ol-./L fJ~-P----fl-f ~ ~f ~-@-F-t-F~ ~ --=t: ~t= .~---. -- 1,0." ,.,...... ,.,== , ~ ~ ------~t! I I

r;; iii --.... -- ~ ... L ~ ~E~-1';p~ E Er F-ffFrFr reM ~= ---...:~------c~ E&c. Next, if possible still more graceful, is the following haunting tune brought in by the bassoons, and used throughout the entire or­ chestra, by instrument after instrument, as if its composer could not forsake its lovely form:

Etc. The imitation, or I'ather caricature, of' the nightingale, quail alld cuckoo, which ends this movement, Beethoven himself has told us was intended as a joke. But it w~s hardly necessary that he should tell us so. It is obvious that the passage, eight bars in length, is one of' those droll, capricious interpolations, which may be noticed in each symphony, from the second onwards, put in in defiance of any consid­ eration but his own absolute will. It is more willful and defiant here than ever, because it is more strange, and in direct transgression of the canon which he had laid down against it, and which we have already noticed. The parody is of the broadest and barest description. There is no attempt made to imitate the effect of the birds' voices, though the intervals of their songs may possibly be correct. It is a practical joke of the most open kind. And yet how the musician triumphs over the humorist! How completely are the raw travesties of nightingale, quail, and cuckoo atoned for and brought into keeping by the lovely phrase with which Beethoven has bound together, and made them one, with the music which comes before and after them (see example 11)! Just so in the arabesques of the great Italian painters do the feet and tails of the birds and dragons and children, which appear among the leaves, run off into lovely tendrils, curving gr!cefully round and connecting the two definite forms from which they spring with the vaguer foliage all around.

110 SIXTH SYMPHONY.

So far we have had to do with nature: we now turn to the human beings who people this delicate landscape. The sentiment at once completely changes, and we are carried from graceful and quiet con­ templation to rude and boisterous merriment. The third movement -answering to the usual Scherzo, though not so entitled-is a village dance, or fair. The instruments most prominently heard are appro­ priately the flute, the oboe, and bassoon. The strings begin: No. 14•• Flute. ~~~-ctf#~fiiD J J®-%b I ~ ~~ StrIngs. . -t-'"+ .....-T -T ... -T Dolce

t! .. ~ --...~~ ~~~t: f: ..~~ ~ ~ -- ~~r~V lljC ~ I~=gg_1 [n-iI!TI1JE but the flute and bassoons enter after a very few bars, and the oboe shortly after. There is a delightfully rustic cast about it all: the close of one portion of the melody:

~?2 = " ~ -f9-. ('.L!. .. No.... ~~~~brl ~ Ifnillon ---- sf sf sf sf Etc. the false accent with which the oboe starts the second section:

No.16?b,_. I I I ~... --t9-" ~ ... ::!: ::!:... I------...... -II- ... ~ oj- ol- Vi _&--H Ii ci£qtrtr r ~ IL I ~t® Violln• .I I I I .Etc. Etc. to the quaint accompaniment of the two fiddles (we seem to see -the village players thumbing away), are all in exquisite keeping, and it is not too much to believe that the whole has a "foundation in fact." Indeed, the passage in which the oboe and bassoon are accompanied by a kind of bagpipe-drone on the violins is said to be an intentional caricature of a band of village musicians whom Beethoven heard at a tavern near Heiligenkreuz; and the irregular, halting rhythm in the bassoon shows how drunk the player was:

No. 17'.

111 SIXTH CONCERT.

The next movement-Allegro, 2-4 (answering to the trio of the Scherzo)-is said to represent a fight among the dancers, though indeed it may just as well be a rough dance: No. IS. Wind. I I 1 I-II i4=-i=====:=Ei _-3_l====-t.ll.r_-_ni_=l ~=F-__====-_f F ~~ ±I :----~I 3 Sf sf I f sf I sf ff s Ut~~:tgrlJ1[;;;aj & '=' ... fII - '='.. '71'+ • ...... 7t ... Strings. _ ~ • - --" I I 1~11 ~-==t~ li'--m=====--===::J] OL ==f -~ 1 _ -,r I sf ~f sf 1 sf Ete. p: i A~~-I ~ ~- h----=F :ii3 '-lI-.,-.=t=E:~~-.!-&.B ~". I-fi~~~ ~ ~ ... y... • ...... 71' .... • ---' The storm which bUl,'sts upon the revels-- and quarrels of the peasants would require a whole pamphlet for its adequate illustration and encomium. It is as distinct an addition to the usual four move­ ments of the Symphony as the Cathedral Scene in Schumann's third or "Rhenish" symphony is. Fortunately it needs no commentary, but is so grandly and broadly written that the hearer has but to sur­ render himself to the impressions of the moment, as the splendid war of the elements rages before him. One or two favorite passages may, however, be cited, such as the following bold progression: No. 19. Strings in S .... es. ~&. 0 Ir~~ ~ t· qggJJn~JIJ: sf sf or this other, in which the basses virtually go down through three octaves, with the violins in arpeggios of double notes above them­ curiously simple means for the immense effect produced:

112 SIXTH SYMPHONY.

ff ;:. ~7 :; L .... - - Qf~\::-~-.!.- "~ .----~-~ -:::'-__Lt== --I -12=------I-II ~ sf (Jello. and Ba8ses. ~~·JW~~·~.l~·i.l ------sr- Sf Sf sf- sf sf sf Etc Mention has often been made of the truth to nature shown in the mysterious lull before the storm reaches its climax, where the chro­ matic scales are first introduced; of the picturesque beauty of the final clearing off of the tempest (first oboe solo, with second violin in ()ctaves) : Oboe. ~ I No. 21. Et:~~E~~tJE-----i- ft~~~~~~~ ~ =p:=F==-_tE Viol II. Dolce. I I I J Etc. and of the strip of blue sky (final scale upwards of the flute) :

... .If- ~... ~~~ No. 22. ~ 1'1.... ~.--i -I- ~ :+=k...... "t~ -- ~ -- ~ -I- +-1ot~ of- all-~~R _~--t=[ Sk;;:;~~1 t+== r-~".. ------~~- ~ ----Etc It is perhaps not generally known that a distinct prediction of this storm is to be found in the "Introduction-Allegro non troppo" to Beethoven's Prometheus music (between the overture and the "Poco Adagio, No. I"). Indeed, in some portions, the one might almost be a rough draft of the other. The fact is all the more interesting because of the rare occurrence of such repetition in this original and careful master. There is no pause between the end of the storm and the final Allegro, expressive of the pleasure and gratitude of those who have escaped the tempest. It opens with a jodel or ranz des vaches, begun without intermission by the clarinet, and repeated by the horn. The horn passage may be noticed because it is founded on a solecism in harmony, for which, in this and other places, Beethoven has been

113 SIXTH OONOERT.

much censured by Oulibischeff, Fetis, and other conservatives of the old school, but which in the music of our own times has been carried to lengths of which Beethoven can hardly have dreamt: No. 23. C,larinet. Etc. ~~--mr. J 4~ ~",. ~: • ~~i--'+--i-rJ=r rF orne I I u..1 ,-:::=::: ,-::::=:: I::::::::=:::::: I::::::::=:::::: 1___' -- 1 5):~!: [~=J~~-t~~~~=rn=~ --~- ~ -- - lb· p. p. PP PP I I I

The offense consists in his employing the" tonic" and (i dom­ inant" harmony together, at the same time.' In this case, the viola holds the bass notes G and C (of the chord of C, the "dominant" of F), while the violoncello has the notes C and F (the chord of the " tonic" F), the horn at the same time sounding the same notes as the viola. The effect of such combinations depends materially on the way in which the instrumentation is managed, a strong point with Beet­ hoven; but our ears are accustomed to this combination, and it sounds all right-that is, it conveys the impression which B~ethoven intended it to convey, and which is obviously better than that conveyed by the alteration of M. Fetis, who has actually taken upon himself, in print, to improve this passage to suit the ears of his own generation, naIvely remarking that" with these alterations, the effect would be excellent." The ranz des vaches leads into the first and chief theme of the Finale, the Hymn of the Shepherds, as follows: No. 24. ~.. ---..... ,,--+ ,._,._ ,."'---+ _ _. +. +- ~"- ++-.. .,...... ,.... .,..... +- +. .. - ~P= r ~ 10' 0 rn t; I ~1W=tf~ II 95TIF Violl.PP which is treated as Beethoven knew how to treat it, with accompani­ ments of various figures in rapid passages. It is relieved by a charm­ ing subsidiary melody: - . E~~.- r-p r-r E~ So. 25. E~HF' 0 90 ~~ and that again is followed by the second subject proper (in B-flat) for the clarinets and bassoons, quite in character with the rest:

114 SIXTH SYMPHONY.

No. 26. (lIar. Dolce.

'" I "" ~ - -- " " ~- flo. I

~'f-;-;I.J I ~D1 e;1I I f ?t-ftv~wI sf p I f sf Etc. Fag. in 8we.. . and the movement closes with the original jodel in the horns. The Pastoral Symphony was composed in the environs of Vienna in 1808, obviously in the summer, either immediately before, after, or at the same time with the Symphony in C minor. It was first per­ formed at a concert given by Beethoven on Thursday, the 22d De­ cember of the same year, in the imperial private theater at Vienna. It stood first in the programme, and was described in the announce­ ment as follows: "Eine ·Symphonie unter dem Titel: Erinnerung an das Landleben, in F dur (No.5)." The programme also included the G major Pian.oforte Concerto played by the composer; the Sym­ phony in C minor (given as "No.6"); the Choral Fantasia; and other pieces of B"lethoven's composition, " quite new, and never before heard in public." The confusion between the priority of the C minor and Pastoral Symphonies was in force as late as 1820, as appears from the programmes of the Concerts Spirituels of Vienna of that year. In taking leave of this Symphony, it is impossible not to feel a deep alld liveJy gratitude to this great composer for the complete and unalloyed pleasure which he puts within our reach-gratitude and also astonishment. In the great works of Beethoven, what vast qualities are combined! What boldness, what breadth, what beauty! What a cheerful, genial, beneficent view over the whole realm of nature and man! And then what extraordinary detail, and so ex­ quisitely managed that, with all its minuteness, the general effect is never sacrificed or impaired! The amount of contrivance and minute calculation of effect in this Andante, to speak of one movement only, is all but inconceivable; and yet the ear is never oppressed or made aware of the subtle. touches by which what might have been blemishes, had the one necessary hair-breadth been passed, become conspicuous beauties. However abstruse or characteristic the mood of Beethoven, the expression of his mind is never dry or repulsive. To hear one of his great compositions is like contemplating not a work of art of man's device, but a mountain or forest, or other immense product of nature, at once so complex and so simple; the whole so great and over-

115 SIXTH CONOERT.

powering; the parts so minute, so lovely, and so consistent; the effect. so inspiring, so beneficial and so elevating.

FUNERAL MARCH, Ohopin.

(Arranged for orchestra by Theodore Thomas.)

ROMANZA, Faust, "Dahin ist meme Ruh," Berlioz.

My heart with grief is heavy, His proud and noble bearing; My peace of mind is o'er; Of his smile the winning grace ~ Ne'er again shall I find it, Of his hand the soft pressure; Ah! :q.ever, never more! And ah! his fond embrace! Where my love is not with me My heart with grief is heavy, Is to me as the tomb; My peace of mind is o'er; My life without his presence Ne'er again shall I find it, All shrouded is in gloom. Ah! never, never more! My brain,.so sore bewildered, All day long to be near him Hath no power of thought; Fondly yearns my poor heart; My dull and feeble senses Ah, could I tightly clasp him, Are entirely distraught. I would ne'er let him part.

I look out at the casement Him with kisses I'd smother, His :fine, tall form to see; All glowing with love's fire; To meet him, and be with him, And on his lips still hanging Is heaven's own joy to me. I'd fain at last expire.

ARIA, Stabat Mater, "Cujus animam," Ross'ini.

Cujus animam gementem Contristantem et dolentem Pertransivit gladius. O! quam tristis et afflicta Fuit illa benedicta Mater unigeniti, Quae moerebat, et dole bat, Et tremebat cum videbat, N ati poenas inclyti.

116 ARIA.

Through his bleeding side retreating, See the Holy Spirit fleeting, Winged for mercy to the skies! Oh! how sadly broken-hearted, As her only Son's departed, Must her mother's feeling be, As she sees with tearful wonder Cruel death part them asunder, Though it sets all mankind free.

ARIA, Der Damon, "Taglich eilen wir im Fluge, " Rubinstein. MME. VALDA.

Daily haste we, quickly flying, Ere the sun's orb downward sails, To Aragwa with the noggin, Where the cooling stream us hails. Look we downward from the green strand On the swiftly flying flood; Gaze we on the silvery sand And the fishes seeking food.

Dearest maidens, ye who truly art my friends, why hurry ye without me to the shore? Ha, wait, I come! Take care; lest heedlessly you tarry too long on the bank. Take care, yes, take good care, that you see not the little fish below. Ha! hal hal Look out, I am coming soon. 0 dear, pretty friends, soon I shall no longer play and jest with you! Come, :sisters, let us pluck together leaves and buds; hastily let us make wreaths and garlands; thus adorned shall we joyfully receive him. Surely will he bring to all beautiful presents; when his hand protects me no danger can .come nigh; each day brings new ecstasy of love. Blissful dream, sweet joy to live thus united, When the earth will be no more, then first will our love die. Come, dear beloved man! How my heart yearns for thee! Soon shall I see thee, Soon shall I embrace thee, Ah, beloved, come to me.

117 SIXTH OONCERT.

MORCEAU SYMPHONIQUE, La Russie, Rubinstein.

In "La Russie" Hubinstein has undertak.en to embody folksongs and popular melodies from various parts of the Russian Empire. The long introduction is distin

118 SEVENTH CONCERT.

'Wlagner 1Rigbt. TANNHAUSER.

a) Overture.

THIS much admired overture is a complete symphonic work in i~self, a poem on the same subject as the opera, and equally comprehen­ sive. It depicts the struggle between good and evil, virtue and sin; on the one side the solemn religious strains of the Pilgrim Chorus, on the other the seductive chorus of Sirens and the wild shouts of bacchanalian revelry.. The religious motive appears first, but is gradually submerged in the rising tide of sensual sounds. The Venus motive, assigned to the violins, continues with thrilling, terrible per­ sistence, when suddenly the tide changes, the religious element pre­ domina.tes, and gradually reaches a climax in the final hymn of triumph.

b) Bacchanale and Duo.

Venu8-FRA U LEHMANN. Tannhauser-HERR KALISCH.

CHORUS OF SIRENS.

Tannhauser, knight and minstrel, has, in evil hour, sought refuge from the griefs of earth in the Hill of Venus, where, surrounded by her heathen train, the goddess holds her court amid everlasting revels, destroying the souls of men who fall into her toil. The selections on this programme comprise Scenes I and II of

119 SEVENTH OONCERT.

Act 1. They are to be performed at the Festival as re-written by Wagner for the first performance of the opera at the Grand Opera, Paris. The music itself belongs to the period of Wagner's perfect maturity as a composer. It was written at about the same time as "Tristan and Isolde." It has never been heard in representations of the opera in this country. Scene I (Orchestra) pictures a baccha­ nalian revel in the HilI of Venus, with Tannhauser surrounded by the goddess and her nymphs. The opera opens (Scene II) when Tannhauser, having dwelt with Venus for a year, has become weary of monotonous joys, and in a momentary return of his better nature, longs for earthly life with its mingled pains and pleasures. He celebrates the beauty of the goddess in impassioned song, but at the same time expresses his long­ ing for the fields and forests, the sound of bells and the song of birds, all of which he left behind when he came to dwell in the enchanted mountain. In spite of the tears and allurements 0f Venus he resolves to leave her. He implores the goddess to release him, and after a protracted struggle regains his liberty.

Scene I.-Hill of Venus," Bacchanale, TANNHA USER. Dance of the Nymphs and Bac­ No more, no more! chantes. Oh, that I now might waken! ORCHESTRA. VENUS. CHORUS OF SIRENS Say, what grief is thine? [in the background.] Come to these bowers, TANNHAUSER. Radiant with flowers; I dreamt I heard upon the air Here love shall bless you, Sounds that to me were long es- Here endeth longing, trang'd. Soft arms shall press you The silv'ry chime of bells 'Mid blisses thronging. Was borne on the breezes. Oh say, how long has earth been Scene 11.--Venus and Tannh~.user. lost to me? [Tannhauser raises his head suddenly as if starting from a dream. Venus draws VENUS. him back caressingly. Tannhauser What folly seizes thee? draws his hand across his ey~s as though he would seize a dream.] Why thus disturbed? VENUS. TANNHAUSER. Oh say, my love, The time I dwell with thee Where stray thy thoughts? By days I cannot measure. 120 TANNHA.USER.

Seasons pass me, Shall wake the harp while time and How, I scarcely know. love are young. The radiant sun 'Twas joy alone, a longing thirst I see no longer; for pleasure, Strange hath become That fill'd my heart and darken'd The heaven's starry splendor. my desire; The sweet verdure of spring, And thou, whose bounty God's The gentle token of Earth's renew- alone can measure, ing life! Gav'st me, poor mortal, all its The nightingale no more 1 hear, wealth to know. Who sings of hope and promise. But while my sense thou hast en­ All these delights, chanted, Are they forever lost? By thy great love my heart is daunted; VENUS, A god alone can dwell in joy; [raising herself from the couch.] To mortal frail, its blisses clog. I would be sway'd by pain and What, art thou wav'ring? pleasure, Why these vain lamentings? In nature's sweet alternate measure; Canst thou so soon be weary of the I must away from thee, or die. blisses o Queen, belov'd! Goddess, let me That love immortal hath cast around fiy! thee? Can it be? Dost thou now repent VENUS. that thou'rt divine? Is this thy fealty? This thy song? Hast thou so soon forgotten how 'Tis fraught with dim and sorrow­ thy heart was mourning, ing tones! Till by me thou wert consoled? Oh, where now are the lays in­ My minstrel, come, let not thy spired, harp be silent! That ecstasy within thee fixed? Recall the rapture, sing the praise Oh say, in what hath ere my love and bliss of love, been wanting? In tones that won for thee love's Belov'd one, what doubt hast thou self to be thy slaye! of me? Of love sing only, for her treasures all are thine. TANNHAUSER. Oh, gracious fair, in numbers sweet TANNHAUSER, I'll praise thee, {with sudden resolution, seizes his barp.] Thrice blessed he who thy delights All praise be thine! Immortal fame hath known. attend thee! Grace from the skies with ev'ry Preans of joy to thee be ever sung! charm arrays thee, Each soft delight, thy bounty sweet To be thy slave is perfect bliss to did lend me, own.

121 SEVENTH CONCERT.

In thy domain the willing heart is VENUS, captur'd, [covering her face with her hands, turns In never ending train of soft de­ passionately away from Tannhauser; after a pause she turns to him again, lights. smiling, and with a seductive air.] No dark remembrance dims the soul enraptur'd, Beloved one, come! Soft dreams of And at thy feet all joys of earth it wonder slights. Within yon grot shall wrap thee But far from these, thy rosy bowers, round; I long to meet the breath of flowers, The purple shadows breaking yon­ Long for th' enfolding, heav'nly der blue, . With murm'ring music shall re­ Long for the verdure, fresh with sound; dew, There joys unknown I'll show'r Carols of birds so sweet and tender, upon thee; Earth's fair expanse in noontide Within these arms thou shalt have splendor; rest, I must away from here, or die. Until for mine again I've won thee, Oh Queen, belov'd! Goddess" let Till faith renew'd thy lips have me fly! confess'd. VENUS, The od'rous air shall tell in dulcet [springing from her couch.] voices Ungrateful! what! Shall thus my That bliss divine once more our love be slighted hearts rejoices. By thee, in whom so dear my heart Love hath a solace for thy restless delighted? heart; What praise is thine, of joys thou 'Twere worse than dying from sweet yet would'st flee? love to part. My vaunted· charms, alas! have This day renew those tender vows wearied thee; we plighted, Traitor, beware then! Serpent, In joy immortal be our hearts heart ungrateful! united! Not thus we part, ah, no, thou shalt Thou shalt no more adore the pow'r not leave me. of love, Woe, thou deceiver! Ah, no, thou No! Love itself to worship, thou shalt not fly. shalt move. T ANNHA USER. [trying gently to draw Tannhiiuser towards Oh fair perfection. frown not on . her.] thy servant! My hero, my heart's love, Thy charms' excess, oh goddess, Wilt thou fly me? have unmann'd me, CHORUS OF SIRE~S But reft of thy sweet presence Joy is hateful, but Fate impels me. [in the distance.] For liberty I sigh. Come to these bowers! 122 TANNHAUSER.

TAXXHAUSER. There seek thy joy, and seek in in the greatest emotion, seizes his harp vain! and sings with a wrapt expression.] Soon will this fever quit thy soul, While I have life alone, my harp Humbled and sorr'wing thou'lt re­ shall praise thee, turn. No meaner theme shall e'er my Remorse shall gnaw thee, naught song inspire. will console, Naught can have grace or charm For joys remem ber' d thou shalt but it obeys thee; burn. Of all that lives, thou best and chief TANNHAUSER. desire. Ah, fair enchantress, fare thee well! The fire thou'st kindled in my long­ N ever to thee I can return. ing spirit, An altar flame shall burn for thee VENUS. alone! Ah! if thou never should'st return, My song shall be divine but by the If thou forget me, merit, To lasting torments I shall doom That as thy champion, harp and Th' accurs'd and faithless race of sword I own; man. And yet for earth, for earth I'm For my delight they all shall vainly yearning, languish, In thy soft chains with shame I'm The world a desert, and its Lord a burning. slave! 'Tis freedom I must win, or die; Go forth then! Go thy doom to For freedom I can all defy. brave! Go forth then till thy heart awake! To strife and glory forth I go, Come life or death, come joy or woe! TANNHAUSER. No more in bondage will I sigh, Ah love, I go, although it break. Oh Queen, beloved, let me fly r VENUS. VENUS, Thou'lt be received with hate and [in violent anger.] scorn. Then go, oh traitor heart, away! Thou madman, go. I hold thee not! TANNHAUSER. I set thee free! Repentance heals a heart forlorn. A way! go forth! VENUS. Thy heart's desire shall be thy Never to thee will heaven ope! doom. Return, then, if there is no hope. Go to the cold and joyless earth, TANNHA USER. Where neither love nor life can No hope? bloom, My hope restest in Heaven! Whence ev'ry smiling god hath [Venus, with a cry, shrinks away and van­ flown, ishes. The scene illstantly changes, Where dark suspicion first had and Tannhiiuser finds himself in a beau­ birth. tiful vale.]

123 SEVENTH CONCERT.

LOHENGRIN.

a) Vor./;/piel.

The prelude to Lohengrin opens with a long-drawn chord of the violins in the highest octaves, continued with the tenderest pianissimo through several bars. It is like the thin white clouds floating in a serene sky, shapeless as yet and scarcely distinguishable from the -ethereal blue surrounding them. But suddenly the violins sound as from the farthest distance and in continued pianissimo, the Grail­ motive, and at once the clouds take form and motion. The inner eye discovers a group of a.ngels as they approach, slowly descending from the height of heaven and carrying' in their midst the holy' vessel. Sweetest harmonies float around them, gradu­ ally increasing in warmth and variety, till at last, with the fortissimo of the full orchestra, the sacred mystery in all its overpowering splendor is revealed to the enchanted eye. After this climax of re­ ligious ecstacy the harmonious waves begin to recede, and with their ebbing motion the angels gradually, as they have come, return to their celestial abode. Such was, according to Wagner's own indication, the poetical, or one might almost say the pictorial, idea which suggested the har­ monies of his prelude, and never have the sweetnesses and shudderings of Christian mystici~m been more fully expressed than in this triumph of instrumental music.

b) Lohengrin's Farewell (Act III, Scene III).

MR. EDWARD LLOYD.

In distant land, by ways remote That whoso sees from earthly sin and hidden, is cleansed. There stands a Burg that men 'Twas borne by angels through the call Monsal vat. heav'nly portal, It holds a shrine to the profane for­ Its coming hath a holy reign com­ bidden, menced. More precious there is naught on Once ev'ry year a dove from Heav'n earth than that; descendeth, And, thron'd in light, it holds a cup To strengthen it anew for works immortal, of grace. 124 LOHENGRIN.

'Tis call'd the Grail. The pow'r "While he's unknown, its spell he of Heav'n attendeth still commands. 'The faithful Knights who guard By perils dread the holy Grail is that sacred place. girded; He whom the Grail to be its servant No eye rash or profane its light chooses may see. Is armed henceforth with high, Its champion Knight from doubt­ invincible might; ing shan be warded, All evil craft its power before him If known to man he must depart loses; and flee. The spirits of darkness where he N ow mark! craft or disguise my soul dwells take flight; . disdaineth, Nor will he lose the awful c4arm it The Grail sent me to right yon lendeth, lady's name. Although he should be called to My father, Percival, gloriously distant lands. reigneth, When the high cause of virtue he His Knight am I, and Lohengrin defendeth, my name!

c) P'i'ayer and Finale (Act I).

Elsa-MRs. LAWSON. The King-MR. WHITNEY.

Ortrud-MIss CRANeH. Lohengrin-MR. TOEDT.

Frederick-MR. STODDARD.

CHORUS OF NOBLES AND LADIES.

FREDERICK. THE KING. Heav'n, in pray'r thine aid I seek! I bow before Thy high decree, O'er this assembly now preside. Almighty Judge, give strength to Now let the sword Thy judgment me. speak, ORTRUD. That by Thy will we may abide. The vict'ry must to him belong, THE KING AND CHORUS. In ev'ry fight his arm is strong. Oh let the arm of right be strong, , [On a sign from the Herald, the trumpeters And feeble be the arm of wrong! blow the call to battle. Lohengrin and Oh, help us now in our distress, Frederick advance and fight. After Our wisdom is but foolishness. several passages, Lohengrin, with a great stroke, fells Frederick to the­ ELSA AND LOHENGRIN. ground.) Soon will beknown Thy just decree; Almighty Judge, I trust in Thee! 125 SEVENTH CONCERT.

LOHENGRIN, ORTRUD. (with the point of his sword on Frederick's Must thoughts of high ambition throat.] Like empty dreams depart? To me thy life by God's decree is If I would shun perdition, . given. Be ·still, my sinking heart. I take it not. Go, make thy peace FREDERICK. with heaven! Ruin'd, disgrac'd, defeated I CHORUS. Oh heaven, my foe thou art. My downfall is completed,. Hail to thee! My glories all depart. ELSA. KING AND CHORUS. I'd sing a song of praises, We sing to thee, we praise thee, Equal to thy worth. To highest honors raise thee! Thy name I'd send resounding Stranger, we here greet thee de- Through all the spacious earth. lighted, I feel as naught before thee, Foul wrong thou gallantly hast Right noble as thou art; righted. I love thee, I adore thee, To thee we sing alone, o take me to thy heart. Thy name shall live in story. LOHENGRIN. Oh, never will be one To rival thee in glory. Wrong could not triumph o'er thee, [The Saxons raise Lohengrin on their So innocent thou art. shields; the men of Brobant raise Elsa Pure bliss now lies before thee, on the shield of the King. Both are To cheer thine aching heart. borne away amid general rejoicing.1

DIE MEISTERSINGER. (a) Vorspiel. Die Meistersinger von Nlirnberg is Wagner's only comic opera, and in it the true comedy type, as fixed by the classics, is preser~ed. It deals with the manners, follies and vices of the common people, and has underlying it an ultimate aim of correction and reform. Its purpo~e is that set out in the old definition, Ridendo castigat mores. It gives a charmingly quaint and picturesque glimpse into a phase of German social and art life three hundred and fifty years ago. It hits off the follies and pedat;ltry of the ridiculous old guild of master­ singers, who thought they were keeping alive the spirit of minstrelsy created by the Minne-singers in the age of chivalry, .but who were, 126 DIE. MEISTERSINGER. in fact, only stifling the poetic impulse by their unelastic regulations. To do this and to show that in art expression it is the natural poetic impulse acquired from communion with nature and not the mastery of pedantic formulas that is essential-this is the corrective idea that lies at the base of the work. The famous V orspiel is constructed out of four of the principal themes of tbe opera, which are joined into an organic whole with wonderful ingenuity. They are (No.1) a broad march melody descrip­ tive of the guild of mastersingers-

a second march theme (No.2), which accompanies the procession in which the mastersingers enter the church to attend the annual tournament- No.2. ~ ~n i-gll !=i-£E'I=tii-~ I i;; etc. I~ ~ ~ I r-- t= t::=:~,,--f=.-J r-r-- the melody of the song with which Walther carries away the prize, (No. 3)-

and (No.4) the characteristic phrase with which the chorus greets the blunders of Beckmesser during his singing-

Jz.. p~ ~ JZ · . p~~. No.4. R\it®!~· ~b~?~~:~. ==---~'~i~ t~~==:--~ _ ~I> E ~ r-; ~ ! ! --= ! --==-- This is not the right one! This is not the right one!

(b) Walther's Prize Song.

MR. EDWARD LLOYD.

Beaming like dawn in the morn's A precious hold rosy light Of joys untold, With fragrance fair I saw a garden bright. Filling the air, And there beneath a wondrous tree 127 SEVENTH CONCERT.

From which rich fruit was hanging, The loftiest maid, I could in love's bright fancy see The Olympian muse. What to the highest longing Happiest of days Promised the sweetest prize, To which I woke from poet's dream ~ The fairest maid, For now my vision, Paradise, Eve in Paradise. Appears in new, immortal gleam Of heavenly rays, Shadows of sunset had come with The fountain points me to this prize; the night; That all enraptured, On path way steep, My heart all captured, O'er mountain keep, The earth's most lovely form, Had I come near And sent to me my muse. A fountain clear. So pure and sweet and warm And there beneath a laurel tree,. I wooed and boldly choose; The starlight 'round her streaming, For, where day's bright beams sun I could in poet's fancy see, her, With brow of saintly meaning, By conquering song I won her, Pouring the fountain's dews, Olympia and Paradise.

GOTTERDAMMERUNG.

(a) Siegfried's Death. ORCHESTRA.

(b) Pinale, Brunnhilde's Self-immolation.

FRAU LILLI LEHMANN. The Gotterdammerung is the last division of the tetralogy. Sieg­ fried has won Brunnhilde for his bride by rescuing her from her magic sleep on the fire-girt mountain. Shortly afterwards he leaves her in search of adventure, having meanwhile given her the ring, and going along the banks of the Rhine, comes upon the castle of the Gibi­ chungs, Gunther, Gutrune, and their half-brother Hagen, the son of Alberich, and the evil principle of this division of the drama. Hagen, knowing that Siegfried has given Brunnhilde the ring, plots to get her in his power, that he may gain possession of it. To accomplish this he gives Siegfried a magic draught, which causes him to forget his love for Brunnhilde, to become possessed by an insane passion for Gutrune,. and to swear an oath of brotherhood with Gunther. This latter, prompted by Hagen, and ignorant of the relations existing between 128 GOTTERDAMMERUNG.

Siegfried and Brunnhilde, desires her for his wife, and Siegfried, re­ membering only his oath of brotherhood, assumes the form of Gunther, and goes to obtain her for him. Appearing before her in this form, he wrenches the ring from her, puts it on his own hand, and forces her away to the place where the real Gunther is awaiting them. He then reassumes his own form and marries Gut1'une; but Hagen, finding the ring had returned to Siegfried, and, urged on by his father, Alberich, determines to kill him and thus secure it. BrunnhUde, mean­ time, amazed at Siegfried's desertion, indignaD.tly refuses to marry Gunther, and claims Siegfried as her husband. Gunther, jealous and sus­ picious of this, is easily brought by Hagen to join the plot for Sieg­ fried's murder, which is accomplished while on a hunting party, when Hagen stabs him in the back, just after Siegfried has narrated to them the story of his life, and how he won BrunnhUde. In his last moments he recovers his memory, calls upon Brunnhilde.J and expires. His companions raise him on his shield, and in a sorrowful processiQn bear him back to the Hall of the Gibichungs. It is here that occurs the funeral music. Of the entire four days' representation at Beyreuth, in 1876, this was the portion that made the deepest impression and haunted longest the imagination of the spectator. Evening crept on as the drama moved towards the catastrophe. The shadows fell upon the valley. The mists rose slowly from the river. The warriors lifted the body of Siegfried on their shoulders and bore him sorrowfully across the hills. Thin vapors overspread the scene as they toiled up the steep. Wagner's device for imitating the effects of mist by floating clouds of steam against a moving backgrouD.d of gauze here lent a singular charm to the picture. The whole landscape was gradually hidden; but still, as the imposing strains of the march issued from the in­ visible orchestra, the forms of armed men were dimly seen through the obscurity of fog and night, mounting upward with their burden, while the rays of the moon touched the tops of their spears and hel­ mets, till they were lost in the cloud. The music accompanying this remarkable scene is of surpassing riehness. It begins with the death motive-

129 SEVENTH CONCERT.

given very softly, and leading into a majestic but subdued delivery of the following phrase-

No.2. ~==E' t¥ (E' ·L[~€r;;e;±sE£lr :J which is rounded upon the motive of Siegmund the Volsung, in the first act of Die Walkiire. This, after a repetition of the introductory figure, with greatly augmented. force, is followed by Siegmund's heroic theme, from the same part 6i the trilogy- N~ ~~ -~ ::=:: ~ - ~ - -:==_F S€f:s=r-==¥yiSti!i .: -=~ j :fi IlFjd and then, as the band is hushed to a pianissimo, we hear fragments of the first love duet of Siegmund and Sieglinde from Die Walkiire. A tremendous crescendo brings us to the sword motive,

that is succeeded by Siegfried's V olsung motive- ..... f! g ~ fi4; " $ . -J iZiJ. ~ D ---~ treated with enormous strength; and after this subject has undergone a striking modulation, it passes suddenly into Siegfried's heroic theme, given out fortissimo- ~ .AAA •• A .~ •• lI. A

No.6. ~-~lifi3i 3i;-;= . -ffi~~ A ~ etc. ~~=~~-J;;- ., !~:e ~ -~=--'i---- ~- 8va ...... ~ ~ and the march comes to an end. Gutrune is awaiting the return of Siegfried, with whom she is passionately in love, in the Hall of the Gibichungs. She hears 130 GOTTERDAMMERUNG.

Hagen's voice calling for torches, and announcing Siegfried's return, and then the dead hero is brought in. When Gutrune has gradually realized what has happened, she bitterly curses Hagen, and throws herself upon the corpse of Siegfried. Hagen defiantly acknowledges what he has done, and claims the ring. But the curse which Alberich placed upon it quickly works its evil effects. In the quarrel between Gunther and Hagen for the possession of the ring, Gunther is slain; but when Hagen tries to take the ring from Siegfried's finger, the dead man threateningly raises his hand, and Hagen falls back in dismay. At this juncture Brunnhilde enters from the back of the stage, and the last scene, which ends with her immolation, begins.

BRUNNHILDE. BRUNN HILDE. [Alone in the middle. She gazes long on rStill in the background.] the face of Siegfried; first with deep emotion, then with almost overpower­ Silence your lamentations, ing grief. After some time she turns Ye vainly shouting throng; with solemn exultation to the men and She whom ye all betrayed, women.] His wife, comes now for vengeance. Mighty trunks heap for me yonder [She steps quietly forward.] By the sloping bank of the Rhine. Lofty and bright I hear a sound as of children Must glow the flame Feebly wailing for milk, That consumes the corpse Spilled by their mother; Of the mighty hero. But no sound of mourning heard I Bring hither his steed to me, Worthy this noblest of heroes. That with me in death it attend him; (To GutruM·l For a fitting right for the hero Demands naught less than my life. Thou wretched one, be silent, Perform Briinnhilde's behest! 'Thou wast never his lawful wife; [The young men raise before the hall, near Only as mistress the bank of the Rhine, a mighty pile Didst thou enchain him- of wood. Women adorn it with cloths, The wife of his manhood am I, and strew over them boughs and To whom he plighted his troth flowers.] Ere ever he saw thee. Like the pure sun Beamed his light on me. (lutrune agaIn curses' Hagen, then turns timidly away from Siegfried, and bends He was the purest . overwhelming anguish over the body Who betrayed me. : Gunther, where she remains to the Deceiving the wife, Long silence. Hagen stands de- en d . k . Yet true to the friend. fiantly leaning on his spear, sun III gloomy meditation.] From his own beloved one, 131 SEVENTH CONCERT.

The only one dear to him, Accursed hoop! He parted himself by his sword. Dreadful ring! Truer than he, I take thy gold, None ever sware oath; And give n away. More faithful than he, Wise sisters of the waterI None ever gave pledge; Ye daughters of the Rhine, Purer than he, Honest counsel gave ye me, Was no other lover; What ye demand give I thee. Yet to every oath, From my ashes take it. To every pledge, May the fire that consumes me To the truest love, Cleanse from its curse the ring. Was none ever so false as he. Ye of the flood, release it, Tell me, how came it thus? And bright preserve the gold­ Oh ye, of oaths The beaming star of the Rhine, The holy guardians! Which, since 'twas stolen from you, Turn your gaze. Has served to work evil alone. On my mighty sorrow: [She turns back to where Siegfried's body Behold your endless guilt! lies stretched upon the pile, and Hear my complaint, snatches a firebrand from an attendant.] Thou highest God! Fly home, ye ravens! Through his bravest deed, Tell to your Lord That most welcome to thee, What here on the Rhine ye hear. Thou didst consecrate him who per· Briinnhilde's rock pass by. formed it 1Vith the flames that there still burn Unto destruction's dark power. Loge threatens Walhalla; He the purest, For now is the end of the God's ap- Had to betray me, proaching. That a woman should know all. Lo I I throw the brand Know I now what serves thee! Into Walhalla's glittering keep! • All! All! All know I, [She flings the brand into the pile, which All is clear. quickly ignites. ,Two raveRS fly up from the shore and disappear in the And also I hear background. Two y()ung men lead in Thy raven's rush. the steed.] With deeply longed for message, Grane, my steed, I greet thee! Send I the two now home. Knowest thou whither I lead thee? Rest! give me rest, thou God! Burning in the fire [She signs to the attendants, who raise Siegfried's body and place it on the pile Lies thy master yonder, of wood. At tbr same time she draws Siegfried, my. hero. ~he ring from Siegfried's finger, exam. N eighest thou gladly to follow thy mes it, and finally puts iton her finger.] friend? My inheritance now Does the smiling blaze call thee to I take to myself. him?

132 GOTTERDAMMERUNG.

Feel, too, my breast how it kindles! sweeps up from the shore, and rolls it. The bright fire seizes my heart, flood over the wood heaps, up to the Him to embrace, embraced by him ! thres!:J.old of the hall. On the waves are seen swimming the three Rhine To be wedded to him in mightiest Daughters. Hagen, who, since the oc­ love! currence with the ring, has observed Brunnhilde's conduct with anxiety, is Hejajaho! Grane, filled with great terror on beholding Greet thy friend! the Rhine Daughters. He hastily throws Siegfried! Siegfried! aside his spear, shield and helmet, and Happy I greet thee! with the cry, "Back from the ring!" falls, as if insane, into the stream. [She swings herself impetuously on the Woglinde and Wellgunde encircle his horse, and urges it with one bound into neck with their arms, and draw him the burning pile. Immediately the fire into the deep. Flosshilde holds joy~ mounts crackling up, so that the blaze fully before them on high the recovered fills the whole space before the hall, ring. At the same time a red light like which seems itself already breaking the Northern Light breaks out in the into fiame. The women press terrified distance, and when the clouds break, in to the foreground. Sud denly the fire Walhalla is seen in flames, with the falls together, so that only a gloomy gods grouped around the central figure fire-cloud sweeps over the place. This of Wotan.] rises and disperses entirely. The Rhine

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1313 The Chorus.

SOPRA~OS. Evans, Maggie. Irwin, Mrs. ADnie Brent. Evans, Carrie. Kemper, Caroline R. Allen, Lida. Ellison, Isabel. Kattenhorn, Mary. Anderson, Emma B. Ewing, Ida. Kolbe, Julia C. Anderson, Sallie E. Eckelman, Addie. Kellum, Ida L. Anshutz, Lulu E. Emley, Edith. Kellogg, Anita M. Adelsdorfer, Laura. Ewart, Mrs. P. C. Krehbiel, Helen L. Anthony, Etta I. Ehrman. Adelaide. Keber, Barbara. Anderson, Clara R. Frank, Amalia. Kaufmann, Lizzie. Boltz, Minnie. Findley, Mattie J. Lewis, Sallie A. Brown, Mrs. R. K. Fuerste, Laura. Lewis, Kittie. Beazell, Adne. Froehlich, Lizzie. Lewis, Gussie. Braunstein, Theresa. Frank, Pauline. Lietze, Margaret. Baltzunet, Katie. Froehlich Katie. Looker, Clara H. Ballauf, Celia. Ferguson, Mabel. Lawrence, J. Baker, Mollie M. Gerth, Lulu. Lawrence, I. Bendinger, Mrs. Emma. Gerth, Thekla. Lawrence, E. Belmer, Selina C. Gribius, Lillie. Lotter, Mrs. Adolph F. Beazell, Lillian. Gregg, Hattie. Livingston, Sara. Beach, Mary B. Gribius, Katie. Laws, Annie. Buck, Alice. Gaefe, Rose. Laws, Alice. Beach, Lulu. Hesing, Flora c\. Lovie, M. Amy. Bolser, Clara B. Hollaender, Josie. Long, Sadie L. Beach, Hannah. Hol1aender, Emma. Levy, Fanny. Bitter, Ida. Harris, Eva. Lane, Jennie. Bitter, Emma. Helman, Minnie W. Ladenburger, Julia. Beach, Alice C. Heister, Katie. Mackenzie, C. H. Barrett, Josie. Hanna, Mary. Maxwell, Mrs. Lawrence, Jr. Behringer, Mrs. Lena. Healy, Emma E. McReynolds, Mrs. R. W. Balman, Sallie. Hennegan, Jennie. McGregor, Mrs. B. Braunstein, Anna. Herbrick, Josephine. Meakin, Nellie. Christopher, Adda B. Handel Florence. Mackenzie, Maud. Clough, Nellie. Herrlinger, Emma F. Mathews, R. A. Christopher, Emma D. Hardy, Mamie L. Merrell, Amelia. Carson, Jane Findlay. Huewe, Emma M. Mulholland, Emma C. Carson, Mary C. Hart, Emma. Moore, Jennie M. Caldwell, Grace. Hardaway, Kate. Moers, Sallie C. Crone, Laura. Hahn, Amanda. Maish, Mrs. Anna. Dehner, Carrie P. Hildwein, Carrie. McDonald, Mary T. Dehner, Rosa K. Handy, Sallie K. McLeod, Mary. Durain, Bertha. Humphreys, Mrs. A. Mund, Lilly. Duwelius, Emma. Hassmann, Carrie. Malmene, Mabel. Doherty, Mary. Iliff, Ella F. Miller, Lizzie M. Evans, Emma. Irwin, Jane Findlay. McClure, Marguerite. 137 THE CHORUS.

Nowack, Anna. Thomas, Isabel. Ehrman, Sallie B. Nickel, Carrie E. Turk, Mrs. Jas. E. Ewing, Mame. Nickel, Bertha. Trisler, Mrs. J. R. Estes, Hattie. Osmus, Sallie C. Thiery, Katie. Estes, Ella. O'Neal, Lottie. Teeter, Mrs. S. L. Fithian, C. Belle. Osenton, Jennie S. Vignale, Mrs. Addie. Field, Elsie C. Owens, Edith. Vogelbach, Maggie. Frank, Amanda. Portune, Lena. Veser, Emily. Glatz, Emma. Park, Eunice A. Whitton, Mrs. W. W. Gobrecht, Ida E. Peale, Mrs. W. C. Walker, Annie. Goepper, Alice L. Page, Binnie M. Wiegand, Annie. Gobrecht, Minnie L. Pohlmann, Mrs. Sara. Weigand, Augusta. Gaff, Mary F. Pieper, Alvina. Weigand, Bertha. Gaeie, Tillie. Propheter, Madeline. Weist, Mary. Gest, Rebekah. Phipps, Lydia. Williams, Clara A. Hirsch, Julia. Ratcliffe, Mrs. 8. M. Wolfe, Columbia E. Hill, Alfie G. Rice, Mrs. J. E. Weod, Mrs. Hettie. Hill, Mrs. A. C. Rice, Julia H. Wilcox, Lucy. Hartough, Mrs. J. C_ Root, Effie. Wilkinson, Mrs. Abbie Wood. Huntington, H. F. Roth, -Bertha. Werner, Lilly. Herron, M. C. Roetcher, Mrs. Whiteley, Katie. Hollingsheade, Lily.. Rogers, Clara E. Williams, Bessie. Herrlinger, Carrie J.- Resor, M. B. Weigh ell , Mamie. Holdt, Mary F. Rummel, Ida. White, Dora A. Hastie, Maggie C. Siewers, S. M. Howard, Virginia E._ Smith, Lillie. ALTOS. Horst, Laura T. Smith, Tibbie. Head, Laura. Sterling, M. F. Allen, Carrie N. Holland, Mrs. Eva M. Sackett, A. Louise. Abbott, Ida L. Helman, Jessie. Stickler, Mattie H. Alden, F. H. Hills, Georgia. Stauss, Emily. Aram, Mrs. Sarah O. Hastie, May. Strubbe, Lottie C. Beaman, Lizzie. Hildwein, Annie. Seehausen, Anna J. Beaman, Jenny. Healy, Fannie. Straus, Carrie. Beard, Lida. Harmeyer, Clara E. Sattler, Alma. Becker, Bertha L. Heath, Mrs. F. Shumard, Fanny G. Becker, Louise A. Hunt, Cornelia J. Steidle, Carrie. Beaman, Elmina. Jantz, Jennie A. Sweeny, Annie. Babbitt, Nellie. Jeancon, Mrs. Bella. Smythe, Mrs. Alice B. Brooks, Anna M. Johnson, Mabel. Sweeny, Lizzie. Burt, Winnifred. Kolker, Lizzie. Slatter, C. Adelaide. Buhr, Rosa. Kattenhorn, Ella. Schmalstig, Anna. Bedinger, Nettie. Kohlman, M. J. V Stewart, Jennie. Ballauf, Henrietta. Kolker, Kate. Schnier, Abbie. Bender, Emma. Kellogg, Minnie. Stamm, Christine. Collister. Lillie B. Kuehnle, Emma. Schrickle, Louise. Center, Dora. Kolker, Tillie. Skenett, Mabel. Curry, Mrs. R. S. Keber, Emma. Sullivan, Genevieve. Carson, Eliza. Lewis, Lillian Z. Slatter, Emma A. T. Coney, Grace H. Lapham, Luella S. Savage, Mary. Chapman, Maggie C. Lane, Mamie. Thiesing, Lena. Crow, Annie. Long, Alma. Talbott, Laura B. Dymond, Clara. Lloyd, Maggie H. Thompson, Mrs. E. Hartley. Doherty, Elizabeth. Loewenstein, Laura L. Tooker, Sallie B. Deuerlein, Therese. Lloyd, Emma.

138 THE OHORUS.

Merryweather, Edith. TENORS. Chapin, N. J. Moses, Fannie. Dickman, R. C. McCracken, Hattie L. Adams, F. A. Donovan. John C., Jr. Mohr, Thekla T. Brown, R. K. Depenbrock, Geo. Minten, Annie. Brandebury, C. B. Dixon. Thos. W. Males, Minnie. Balman, F. H. Ellis, Frank R. McIvor. Flora. Baschang, Fred. Ehrgott, Robt. C. Moore, Mattie A. Davis, Jos. J. Fillmore, L. Challen. Moses, Lena. Ewart, P. C. Fisher, Geo. Wood. Moore, Kate Leslie. Freisens, Robert. Folger, Herbert. Meyder, Minnie. Funck, Edward. Goepper, Edward. Males, Ada L. Fluhrer, M. G. Galway, Clinton G. Murray, Mary L. Griffith, M. A. Howells, Edward. Nicholson, Minnie P. Hall, J. W. Harmeyer, Fred W. Nicholson, Tillie F. Hesterberg, Robert. Holt, H. J. Neave. Mrs. Anna B. Hayslip, S. C. Hanks, John A. O'Hara, Julie C. Holtendorf, Chas. Harrison, C. L. Oskamp, Nettie. Hills, Chas. E. Hobart, Jas. C. Oskamp, Eleanor. Hamester, Julius. Hessloehl, Fred. O'Maley, Cecilia. J eancon, Ed. Irwin, Arch. Ottke, Kate. Koenig, H. F. Irwin, Chas. D. Portune, Frances. Keinath, Louis. Jantz, O. W. A. Parks, M. Effie. Lotter, Adolph F. Krehbiel, Geo. H. Pomroy, Mrs. G. P. Loewenstein, Adolph H. Krumme, John. Park. Eliza L. Males, Albert S. Loomis, H. T. Pollard, Mrs. Goo. A. Minier, L. P. Lodwick, C. RosS. Price, Mary McD. Meyder, Theodore. Lietze, Chas. H. Percival, Anna.. Neff, Chas. L. Lecka, D. Carey. Reuter. Sallie. Peck, Morris. McGregor, Bradford. Russell, Annie. Ritchie, Walter T. McLean, T. E. H. Richter, Mamie. Rhodes, C. W. McDevitt, Thos. A. Skiff, Mrs. Harry G. Reid, W. H. Myers, L. R. Shaw, Mrs. A. F. Rowe, F. L. Miles, F. T. Schwiering, Matilda L. Ritchie, Warren. Nickel, J. Adolph. Schulte, Florence. Rilea, J. A. Newell, Thomas, Jr. Scarborough, Carrie B. Schlueter, G. H. Nelson, Benj. Saure, Naomi. Selmeier, Henry. Park, Nathan R. Saunders, Mrs. K. L. Shaefer, J. M. Plump, Harry. Schulte, Louise. Taylor, R. C. Roelker, Harry G. Spencer. Mrs. F. Thiery, Mich. Rawson, Edward. Schultz, Ida. Weist, Wm. D. Ramsey, Allan. Sheuing, Minnie. Rice, J. E. Stevenson, Virginia G. BASSES. Resor, Robert L. Stokes, Carrie B. Ritchie, Edward. Stark, Rosa. Allen, M. W. Schulte, O. E. Schieffier, Dora. Baker, W. H. Snodgrass, J. M. F. Talbott, Mary E. Bragdon, Lewis W. Schwenker, Oscar L. Taft, Fanny L. Bradbury, Geo. S. Stauss, Albion. Teeter, Helen. Buck, Edgar C. Savage, J os. A Watters, Cora. Brinkman, Frank. Tunison, J. A. Wehmann, Millie. Beaman, Geo. B. Tunison, F. E. Werner, Emelie C. Brown, E. C. Turner, W. M. Walker, M. C. Buchanan, Geo. Taylor. G. B. Woolley, Sarah H. Cobb, O. P. Thompson, E. M. West, Fatinitza B. Collins, Wm. F. Wulfekoetter, J. H. Chamberlin, W. G. Waters, Robert M. Chatfield, Albert H. Werner, Walter. Sopranos 208 Tenors 39 Altos 136 Basses 70 Total 453 The Orchestra.

First VioUns. Herbert, V. Horns. Knoop, C. Bendix, M. (Principal.) Riederich, F. Hackebarth, A. Kopff, F. Burkhardt, C. Schutz, C. Gahler,H. Hemmann, C. Rittmeyer, C. Boehm, Th. Niebling, M. Bahrs, H. Double Basses. Schultze, W. Keller, C. Windisch, R. Burck, H. Utho:ff, Ch. (Principal.) Baumann, H. Hauser, C. Kissenberth, G. Schanz, E. Gantzberg, J. Blettermann, J. John, Th. Leifels, F. Cornets. Kapp, L. Golde,E. Klugescheid, R. Lowack, W. Dietz, F. Laendner, S. Leifels, F., Jr. Dietz, F., Jr. Kollmer, W. Stuhr. H. Frank, C. Drescher, F. Trumpe's. Hemmann, F. Kalkhof, A. Kuenzlen, A. Hausknecht, L. Sohst, C. Swendsen, J. Burkhardt, C. Ulrich, A. Second Violins. Harps. Bass Trumpet. Rietzel, J. (Principal.) Moser, J. Frank, J. Saip, F. Cheshire, J. Herrmann, B. Tenor Trombones. Gatterdamm, L. Flutes. Ulrich, A. Oesterle, O. Nicolini, A. Zeiss, A. Wittgenstein, H. Weinberger, C. Rubel, G. Rietzel, F. Letsch, F. Jordan, E. Schaefer, Ch. Schreiber, H. Bass Trombone. Hellwig. H. Piccolo. Grupe, H. La Croix. W. Kester, L. Schaefer, Ch. Schmuhl, H. Tubas. Rothmeyer, A. Oboes. Siemers, J. Bour, F. Listmann, F. La Croix, W. Trepte, C. Golde, E. Stamm, L. Kutzleb, A. Frank, J. Stubbe, C. Kettle Drums. Violas. Loewe, W. English Horn. Jordan, E. Schlieven, R. (Principal.) Bour, F. Risch, J. Bass Drum. Laendner, J. Clarinets. Lilienthal, ~w. La Croix, W. Meyer, H. Schreurs, J. Schenk, L. Kohl, R. Drewes, J. Small Drum. Alleruy, P. Freund, A. Eller, . Rubel, G. Ringk, R. Jacoby, Th. Bass Clarinet. Cymbals. Mueller C. Kohl, R. l'ringnitz, C. Kester, L. Bassoons. Violoncellos. Triangle. Reuter, R. Brand, M. (Principal. Friedrich, L. Jordan, C. Mueller, W. Sohst, A. Jaeger, H. Thurmann, C. Oehlhey, E. Librarlans. Sachleben, H. Contra Bassoon. Weyl, A. Reineccius. W. Sauer, F. SchrOder, 1I. McNicol. 140 Summary.

First Violins,. . .18 Contra Bassoon, 1 Second Violins. .18 Horns, . 8 Violas, ...... 12 Cornets, . 2 Violoncellos, . .12 Trumpets, 2 Double BMses, .12 Bass Trompet, 1

Harps, 2 Tenor Trombones, . 3 Flutes, 4 Bass Trombone, 1 Piccolo, . 1 Tubas, .. . . 2 Oboes, 4 Kettle Drums, 2 English Horn, 1 Bass Drum,. 1 Clarinets, . 4 Small Drum, 1 Bass Clarinet, 1 Cymbals, . 1 Baisoons, . 4 Triangle, .

Librarians, 2 Total, .. .121

14'1 The Cincinnati Festivals.

PRINCIPAL "VV'"ORKS AND SOLOISTS_

First Festival, 1873.

BEETHOVEN, . · Symphony No.5, Op. 67. Symphony No.9, Op. 125.

GLUCK, • · Scenes from Orpheus.

HANDEL, · Dettingen Te Deum.

MENDELSSOHN, · The first Walpurgis Night, Op.60.

SCHUBERT, · Twenty-third Psalm.

SCHUMANN, · Symphony No.2, Op. 61. Gypsy Life, Op. 29.

SOLOISTs.-Mrs. E. R. Dexter, Mrs. H. M. Smith, Miss Annie Louise Cary, Mr. Nelson Varley, Mr. M. 'V. Whitney, Mr. J. F. Rudolphsen. Mr. Arthur Mees, Organist.

Second Festival, 1875.

BACH, • , • · Magnificat in D.

BEETHOVEN, Symphony No.7, Op. 92, Symphony No.9, Op. 125. BRAHMS, • · Triumphal Hymn, Op. 55. LISZT, .. · Prometheus. MENDELSSOHN, . . Elijah. SCHUBERT, · Symphony No.9.

WAGNER, o Scenes from Lohengrin.

SOLOISTs.-Mrs. H. M. Smith, Miss Abbie Whinnery, Miss Annie Louise Cary, Miss Emma Cranch, Mr:. Wm. J. Winch, Mr. H. Alex. Bischoff, Mr. M. W. Whitney, Mr. Franz Remmertz. Mr. Dudley Buck, -Organist. 142 THE CINCINNATI FESTIVALS.

Third Festival, 1878.

"BEETHo"VEN, • . • Symphony No.3, Eroica, Op. 55. Symphony No.9, Op. 125.

BERLIOZ, .• · Dramatic Symphony, Romeo and Juliet, Op. 17.

GLUCK, · Scenes from Alceste.

HANDEL, . . . The Messiah.

LISZT, .. · Missa Solennis.

OTTO SINGER, . . Festival Ode. •

SOLOISTs.-Mme. Eugenie Pappenheim, Mrs. E. Aline Osgood, Miss Annie Louise Cary, Miss Emma Cranch, Miss Louise Rollwagen, Mr. 'Charles Adams, Mr. Christian Fritsch, Mr. M. W. Whitney, Mr. F. Remmertz, Sig. G. Tagliapietra. Mr. Geo. E. Whiting, 9rganist.

Fourth Festival, 1880.

BACH, ... • Cantata, A Stronghold Sure.

BEETHOVEN, · Missa Solennis, Op. 123. Symphony No.5, Op. 67.

DUDLEY BUCK, . . Prize Composition, Sc~nes from Longfellow's Golden Legend.

HANDEL,. . . . . Jubilate. Coronation Anthem, Zadok, the Priest.

MOZART, .. · Symphony, C Major.

SCHUMANN, . . Symphony No.4, Op. 120.

SOLOISTS.-Miss Amy Sherwin, Miss Annie B. Norton, Miss Annie Louise Cary, Miss Emma Cranch, Sig. Italo Campanini, Mr. Fred Harvey, Mr. M. W. Whitney, Mr. J. F. Rudolphsen. Mr. Geo. E. Whiting, Organist. 143 THE OINOINNATI FESTIVALS.

Fifth Festival, 1882.

BACH, . . .. . St. Matthew Passion. BEETHOVEN, ' ... Symphony No.7, Op. 92. Symphony No.8, Ope 93. BERLIOf" . · Scenes from The Fall of Troy. GILCHRIST, . . . Prize Composition, Forty-sixth Psalm. HANDEL, . . . Dettingen Te Deum. LISZT, ••. · A Symphony to Dante's" Divina Commedia." MOZART, . · Requiem Mass. SCHUBERT, Symphony in C, No.9. SCHUMANN, · Scenes froin Goethe's Faust (Part III). W:AGNER, · Wagner Night.

SOLOISTS.-Frau Friedrich-Materna, ,Mrs. E. Aline Osgood, Miss, Elizabeth Hetlich, Miss Elenora Kopp, Miss Adah B. Wilson, Miss Annie Louise Cary, Miss Emma Cranch, Mr. William Candidus, Mr. Theodore J. Toedt, Mr. Georg Henschel, Mr. T. J. Sullivan, Mr. Franz. Remmertz, Mr. M. W. 'Whitney. Mr. Geo. E. Whiting, Organist.

Sixth Festival, 1884. BEETHOVEN, . Symphony No.5, Op. 67. Symphony No.9, Op. 125. BRAHMS, • . . The German Requiem, Op. 45. GOUNOD, . . The Redemption,. HANDEL, • • Israel in Egypt. MOZART, • • . Symphony in G minor. WAGNER, . Scenes from Tannhauser. Scenes from Tristan and Isolde. Wagner Matinee.

SOLOISTs.-Frau Friedrich-Materna, Mme. Christine Nilsson, Miss Emma Juch, Mrs. Annie Norton-Hartdegen, Miss Emily Winant, Mr. Theo. J. Toedt, Mr. Victor H. Lindau, Herr Hermann Winkelmann, Mr. .Franz Remmertz, Mr. Max Heinrich, Herr Emil Scaria, Mr. Herman J., Gerold. Mr. Arthur Mees, Organist.

144 r.t'HE OINOINNA'J1I FESTIVAI... S.

Seventh Fes~ival, t886.

BACH, ... · Mass in B minor. BEETHOVEN, · Symphony No. :1, Eroica, Op. 55. Symphony No.7, Op. 92. Music to Goethe's Egmont. BERLIOZ, · Damnation of Faust. Symphonie Fantastique. HAYDN, · The Creation. RUBINSTEIN, · The Tower of Babel. ~ SCHUBERT, . • Symphony No.8 (unfinished). SCHUMANN, · Symphony No.2, Op. 61. WAGNER, · Scenes from Die Meistersinger (Act III). Wagner Night.

SOL~)lSTS.-Miss Lilli Lehmann, Miss Emma Juch, Mme. Helene Hastreiter, Miss Emma Cranch, Mr. William Candidus, Mr. Whitney Mockridge, Mr. William Ludwig, Mr. Alonzo E. Stoddard, Mr. M. 'V. ·Whitney.

Eighth Festival, 1888. '. BEETHOVEN, . Symphony No.5, Op. 67. Symphony No.6, Pastoral, Op. 68. DVOit~K'" . The Spectre's Bride. GOLDMARK, . Symphony, Landliche Hochzeit. MENDELSSOHN, . St. Paul. PAINE,. .. . Song of Promise. RUBINS'l'EIN, . Paradise Lost. SAINT-SAENS, . . Symphony No.3, Op. 78. WAGNER, . Wagner Night. WEBER, . . Hymn, Op. 36.

SOLOISTs.-Frau Lilli Lehmann, Mme. Giulia Valda, Miss Elizabeth Hetlich, Miss Emma Cranch, Mr. Theo. J. Toedt, Herr Paul Kalisch, Mr. Edward Lloyd, Mr. M. W. Whitney, Mr. Alonzo E. Stoddard. Mr. Arthur Mees, Organist. 145 Repertoire of the Eight Festivals.

[Where a work has been performed more than once the number of performances is indi­ cated in brackets.)

AUBER-·Fra Diavolo, Overture. Ma.saniello, Slumber Song. BAcH-Passion Music, according to the Gospel of St. Matthew. :\fass in B Minor. Magnificat in D (first time in America). Cantata, A Stronghold Sure. Suite No.3, in D. Suite K o. 1, Air. Prelude. Choral and Fugue. Concerto in G. Toccata (transcribed for Orchestra). Venetian Boatman. BEETHovEN-Symphony No.3, Eroica, Op. 55 (2). Symphony No.5, Op. 67 (4). Symphony No.6, Pastoral, Op. 68. Symphony No.7, Op. 92 (3). Symphony No.8, Op. 93. Symphony No.9, Op. 125 (3). Missa Solennis, Op. 123 (2). Music to Goethe's Egmont. Overture, Cario]anus, Op. 62 (2). Overture, Leonore, K o. 2 (2). Overture, Leonore No.3, Op. 72 (4). Overture, Consecration of the House, Op. 124. Minuet and Finale, String Quartet in C, No.9. Ruins of Athens-Turkish March. March and Chorus, " Twine ye the Garlands." Aria, " Deign, Great Apollo." Scena and Aria, " Ah', Perfido," Op. 65 (2). Fidelio, Scena and Aria, Abscheulicher (3). Trio, Tremati, empi, tremate, Op. 116 (2). Arietta, ,/ In questa tom ba " (2). Vesper Hymn. BERLIOz-Dramatic Symphony, Romeo and Juliet, Op. 17. Damnation of Faust. The Fall of Troy, from Les Troyens.

146 REPERTOIRE OF THE FESTIVALS.

BERLIOZ -Symphonie Fantastique. Overture, King Lear, Op. 4. Duo, Benvenuto Cellini. BRAHMs·-The German Requiem, Op. 45. Triumphal Hymn, Op. 55. Part Songs for Women's Voices, Op. 17. Tragic Overture, Op. 81. Hungarian Dances. Variations, Theme by Haydn, Op. 56. BOCCHERINI-Minuet. BRucH-Odysseus, Aria, "Penelope Weaving a Garment." BucK-Scenes from Longfellow's Golden Legend. P~ize Composition. CHOPIN-Funeral March (transcribed for Orchestra). DONIZET'l'I-Lucia, Sextet. DVORAK-The Spectre's Bride. Slavonic Rhapsody No.3, Op. 10. Overture, Hositzka. Scherzo Capriccioso, Op. 66. F.\uRE-" The Palms." FESQA -Song, Springtime. GILCHRlsT~Forty-Sixth Psalm. Prize Composition. GLucK-Scenes from Orpheus (Chorus, Orchestra and Soli). Scenes from Alceste (Chorus, Orchestra and' Soli). Iphigenia in Aulis-Overture. Scene 1. "Diane impitoyable." Armide-Scene, "Entin il est dans ma puissance." GouNoD-The Redemption. Irene, Aria, "She Alone Charmeth My Sadness." Nouvelle Meditation. Song, The Valley. GOLDMARK-Symphony, Landliche Hochzeit. Overture, Sakuntala, Op. 13. GRAEDENER-Cappriccio, Op. 4. HALEVy-La Juive, Cavatina, "Se pel rigor." HANDEL-The Messiah. Israel in Egypt. Dettingen Te Deum (2). Jubilate. 147 REPERTOIRE OF THE FESTIVALS.

HANDEL-Zadok the Priest, Coronation Anthem. Largo. Judas Maccabreus-Aria, "Sound an Alarm." Chorus," See the Conquering Hero Comes." Recitative and Aria" From Mighty Kings." Saul, Chorus, "Welcome, Mighty King." Acis and Galatea, Aria, "Oh, Ruddier than a Cherry" (2). Semele, Recitative and Aria, "Awake Saturnia." Ezio, Aria, "Nasce il bosca." Joshua, Aria, "Shall I in Mamre's Fertile Plain." HA YDN-The Creation. The Seasons, Duo, "Ye Gay and Painted Fair." Ariadne auf N axos. Spirit Song. LAssEN-Festival Overture. LIszT-l\Iissa Solennis. Cantata, Prometheus. A Symphony to Dante's Divina Commedia. Symphonic Poem, Tasso (2). Symphonic Poem, Festkliinge. Rhapsody No.2 (2). Song, Die Loreley. Der Tanz in der Dorfschenke (Mephisto Walz). Mignon. ':\hHuL-Morning Hymn. Joseph, " Ach, mir Hichelt umsonst." MENDELSSoHN-Elijah. St. Paul. The First Walpurgis Night, Op. 60. Reformation Symphony, Scherzo. Music to A Midsummer Night's Dream. Overture, scherzo, and march. Overture, Melusine. Overture, Calm at Sea and Prosperous Voyage. Chorus, The cold Frost came. Song, "I'm a roamer." Concert Aria, Infelice, Op. 94. Duo, "0 would that my love." MEYERBEER-L'Etoile du Nord. Aria, prayer and barcarolle. Dinorah, Shadow Song. Huguenots, Aria, " No, no." Aria, "Vaga donna." REPERTOIRE 0]' r~rHE FESTIVALS.

MEYERBEER-The Prophet, Aria, " Pieta, Pieta." Robert Ie Diable-Cavatina, "Robert toi qui j'aimp." Romanza, "Vane, Vane." MOZART-Requiem Mass. Cantata, Praise of Friendship. Symphony in G Minor. Symphony in C Major. Ave verum. Concert Aria No.3, " Misero ! 0 Sogno." Idomeneo, Chorus, "To our Immortal Leader." Magic Flute-Overture. Aria and Chorus, " O! Isis and Osiris." Aria, "In diesen heil'gen Hallen." Clemenza di Tito, Aria, "Parto ma tu ben mio." Marriage of Figaro-Overture. Aria, " Dove sono." Aria, " Xon piu Andrai." Canzona, " Voi che sapete." Recit. and Aria, "E Susanna non vien." Aria, " Deh vieni." Don Giovanni-Overture. Aria, "II mio tesoro." Recitative and Aria, " Du kennst den Yerrather." NICoLAI-Merry Wives of ·Windsor, Overture. P.\IC'\E, J. K.-Cantata, Song of Promise. PARRy-Duet, "Flow Gently, Deva." PUCITTA-Chorus, "Strike the Cymbal." RAFF-Symphony, Leonore, March tempo. RANDEGGER-Trio, "I Naviganti." FridoIin, Aria, "Repose in Peace." REINHoLD-Prelude, Menuet, Fugue, Op. 10. ROSSINI-·William Tell-Overture (2). Trio, "Allor chescarre." Recitative and Aria (Arnold), Act IV. Romanza, "Selva Opaca." Chorus, "Night's Shades no Longer." Stabat Mater, Aria, " Cujns Animam." RUBINSTEIN-The Tower of Babel. Paradise Lost. Morceau Symphonique, La Russie. Valse Caprice. 149 REPERTOIRE OF THE FESTIVALS.

RUBINS'l'EIN-Der Damon, Aria, "Taglich eilen wir im Fluge." SAINT-SAENs-Symphony No.3, C Minor, Op. 78. Symphonic Poem, Danse Macabre. Symphonic Poem, Phaeton, Op. 39. SCHUBERT-Symphony No.8, B Minor (unfinished). Symphony No.9, (2). Twenty-Third Psalm (2). Song, Am Meer. Song, "Die Allmacht." Serenade. Gretchen am Spinnrad. SCHUMANN-Scenes from Goethe's Faust, (Part III). Gypsy Life, Op. 29. Symphony No.2, Op. 61 (2). Symphony No.4, Op. 120. Overture, Genoveva. Manfred, Overture, Interlude, Invocation of the Alpine Fay. Traumerei (2). Song, The Two Grenadiers. OTTO SINGER-Festival Ode. SpoHR-Faust, "Die stille Nacht entweicht." STRAuss-Waltz, " On the Beautiful Blue Danube." Waltz, "Life Let Us Cherish." Waltz, " Wine, Women, and Song." Polka Schnell. Devil's Darning Needle. Pizzicato Polka. THoMAs-Mignon Aria, " Non conosci q uel suola." VERDI-Quartet, "Unde, seben rummentorni." Don Carlos, Aria, " 0, don fatale." Requiem, Duo, "Oh Remember." Ballo in Maschera. Scene and Quintet. Aida, Romanza, "Celestial Aida." "\VAGNER-Lohengrin, Vorspie1 and Scenes (Chorus, Orchestra and Soli). Tannhauser, Overture" " " " Die Meil!!tersinger, " "(Act III) " " " Flying Dutchman-Overture. Duo, "Like to a Vision." Spinning Chorus and Ballad, Act II. Tristan an.d Isolde-Prelude, Act I. Love Duo and Finale, Act II.

150 REPERTOIRE OF THE FESTIVAI.JS.

Tristan and Isolde-Finale, Liebestod. Das Rheingold-Scene II. Before Walhalla. Loge's Tidings. Grand Closing Scene. Die Walkiire-Prelude, Act 1. Ride of the Valkyries. Siegmund's Love Song. W otanis Farewell and Magic Fire Scene. Siegfried-Finale, Act III, Siegfried's Wooing. Waldweben. Gotterdammerung-Act III, Scen,es 1 and 2. Duo, "Zu neuen Thaten." Siegfried's Rhine JOltrney. Siegfried's Death. Finale. Parsifal-V orspiel. Good Friday's Spell. Funeral Procession. Eine Faust Ouverture. Kaiser-Marsch. H uldigungs-Marsch. Centennial Inauguration March. 'WEBER-Hymn, Op. 36, "In seiner Ordnung schafft der Herr." JubelOverture. Invitation to the Dance." Oberon-Overture; Quartet, "Over the dark, blue waters." Aria, " From Boyhood trained." Scena, " Ocean, thou mighty monster! " Der Freischutz, Aria, "Durch die Walder." Abu Hassen, Aria, "0, Fatima." Euryanthe-Overture. Romanza, "Unter bliihenden Mandelbiiumen." Cavatina, "Glocklein im Thale." Scena and Aria, "W0 berg' ich mich." Recitative and Rondo, "Ja, der Augenblick erscheinet." MISCELLANEOUS.

(FIRST FESTIVAL-CHORUS OF CHILDREN). My Country 'Tis of Thee. Star Spangled Banner. America. Land of Our Fathers. 151 J ~_____ S_T_A_G_E_. ___~_ t AUDITORIUM. 6 11--- 2 3 4 5 .------;:, 17~ 11 81 19 ]61 11 81 19 161 I~()\ 117~ 117 241 123 331 117 ~41 125 321 ~~\ ~I 133 401 141 ~Si 133 401 141 48i ~ ~ 149 56 I 0~-~~_~_·~~_S:_1·1 I 49 56 I I 57 64 I ~ ~ 165 721 1_7_:l __._~ 165 721 173 SOl ~ ~ '>7; I 81 88 I I ,;;9 96 I 1 ~1 88 I I 89 96 I ~ ~ 1!4 ~ ~ S~ t;---- 86i I 07 104 I I 105 112 1 1 97 104 I 1105 112 I 1'1& ------=-:1()3\ ~------;;;; 1113 ]20 I 1]21 ]281 11111 120 I 1121 1281 ~~ ~~ I 129 136 I I 137 ]44 I I 129 136 I I 137 144 I ~Y. U19 ~ 1145 1521 1153 1601 1145. 1521 1153 160 1 ~ 133J. ~ 1161 1681 :....1]_6_9_~176 I 1161 168 I 1169 170 I ,~ ~ 1m 1841 1185 1921 1177 1841 1185 1921 \~ I~ 1193 2001 1201 2081 1193 2001 1201 2081 ~ ~ 1209 2161 1217 2241 1209 2161 1217 2241 ~ I~ 1 225 232 I I 233 2.10 I I 225 232 I I 233 240 I 1\-i9 ~ 1241 248 I 1249 256 I 1241 2481 1249 256 1 ~~'z.o6~ 1207 '04 1 11<;)'\ "", , ~ 'ho- I '],57 264 I I 265 272 1 I '2/-'7 ~64 I I 265 272 I ..... • L222@ ~ 1273 2801 1281 2881 1273 2801 1281 2881 ~ ~ 1289 2961 1297 3MI 1289 2961 1297 3MI ~ L251 ~ 1305 312 I 1313 320 1 :....13_05__ 3_1-,2 I ,-I3_1_3 __3_20~1 ~ ~ 1321 328 I 1329 336 I :....13_21__ 3_28-,11 '- 329___ 336--,1 ~ ~ 1337 344 I 1345 35211,-3_37 __ 3_44-,11 '- 3_45__ 35-,21 ~ ~ 1353 360 I 1361 3681 :....13_53__ 3_60-,1 ,-13_61__ 3_6-,81 ~ ~08 1 369 376 1 I 377 384 I :....13_69 __ 3_76--,1 ,-I3_77 ___ 384--,1 -;;,,\1, ~ ~ 1311 • 1 - ~ ?'t3 I!! • I~~ 3?1.' - • I 385 3:)2 J • I 3D3 400 1 :....13_85 __ 3_92.....;1 • ,-I3_9_3 __400--,' ~ r;q }24 ~ r;q - • - ,..; , :\1:\ n,,\I,' r.; ., ~~.-;: ., I 401 408 I ~ I 409 416 I Ii:l ,-I4_o1 __ 4_0-,81 ~ ,-I 4_09___ 4_16....,;1 .... """ ...... L339 ----.!E!!J...... H - .... ~ ,-;'2.1> ---.:;;\ ~ ~ fi;;--- 351/ ~ 1 417 424 I ~ I 425 432 I ~ ,-I4_1_7 __4_24....;1 ~ ,-I4_25 ___ 4_32_1 ~ ~~ ~ .... LJ~54"'t~ .... 1433 440 I < I 441 448 I < ,-14_33__ 4_40.....;1 < ,-14_4_1 __44_8-,1 < ~ :\()SJ < 1369 366 1 ~ .~,,; 1449 4561 1457 4641 ,-14_4_9 __4_56....;11 _ 4_5_7 __464--, ~-:"ll .----::---: 31'>3j L384 ~ I 465 472 I 1473 4801 ,-14_65___ 4_72....;11 _ 4_73__ 480_ ~ 196 ~9• 1 1481 488 I 1489 496 I ,-14_8_1 __4_88....;1 ,-I4_8_9 __4_96....; -:1'>\'1 ~ -:-:---::-.. <[fln - ~ 411'~ 1:!12 ~ I 497 504 I I 505 512 I ,-I4_9_7 __5_M-.:1 ,-I5_0_5 __5_12....; ~ J;;;--- 424; I 513 520 I I 521 528 I _I5_1_3 __5_20....;1 ,-I5_2_1 __5_28....; ~ ~~ ,<\10\ 44\.\ L442 --..!!!EJ 1 529 536 I I 537 544 I ,-I5_2_9 _--,,5.:..:36:...,,11'- 5_3_7 __5_44....; ~.'(\ ----..:--: ~ 1 545 552 I 1553 560 I ,-15_4_5 __55.:..:2,-,1 ,-I5_53 ___ 5_60....; \\~~1G', 1·561 568 I I 569 576 I _156_1 __5_68....;1 _I5_6_9 __5_76_ ~ 471..J 147.<> 469 i -:-"Q ~ ~ d,,7 I .177 584 I I 585 592 I I 577 584 I I 585 592 ~ 4sl\} fJ~ ----:!! I 593 600 I I 601 608 I =15=9=3 ====600=~1 =16O==~ ====60=8= ~ I~OO -----:!!!J 1609 6161 1617 6241 ,-16_0_9 __61_6....,1 1,-6_17__ 6_24-: ~QQ ~ ~ !;,-:: .. ~ r,1

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BALCONY 11 119

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