Spohr's Operas Author(s): F. Corder Source: The Musical Times and Singing Class Circular, Vol. 25, No. 497 (Jul. 1, 1884), pp. 385-389 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3357676 Accessed: 21-01-2016 19:06 UTC

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This content downloaded from 128.248.155.225 on Thu, 21 Jan 2016 19:06:51 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1884. 385

seizes hold of the basket she is carrying,when, lo! in her prosperity. Here, at the commencement of afterconfession of the falsehoodshe has told him, the fifthscene, she is found still exercisingher roses fall out-the bread and wine which she was charityamong the poor in the neighbourhood. It takingto some poor people having been convertedopens with a prayerfulsoliloquy, in the course of by a miracle intoroses. Both look on in astonish- whichshe blesses God forthe griefwhich has come ment, and each begs forgivenessof the other. upon her as well as forher past happiness,and prays Elizabethasks, "Is it a dream?" Angelic voices that herchildren may be worthyof their sire, and for respond"A miraclehath the Lord performed!" The a blessingupon the belovedhome of her childhood two then,in a duet of praise and prayer,address and her fatherland. In referenceto Elizabeth's themselvesto Him who helpeththose who wander in charitablework among the poor duringthis time of darkness; and the scene closes with a chorus of heraffliction a Chorus of Beggars-the poetic material angels,blessing them and confirmingtheir faith. of which was doubtless suggested by Schwind's The action of the thirdscene takes place in the medallionsof the " Seven Works of Mercy,"which courtyardof a medimvalcastle, presumably at Schmal- complementhis six "Scenes fromthe Life of St. kalden,on the bordersof Thuringia,for it was here Elizabeth"-is hereopportunely introduced. Strik- that Ludwig took leave of his wife and childrenon inglysimple, but wonderfullytrue to nature,it is one beingsummoned to join the new Crusadeproclaimed of the mosteffective and most characteristicin the by Pope GregoryIX., in 1227. Troops ofsoldiers, on whole work. As the Beggars leave her, Elizabeth, the eve of their departureto join the armyof the retiringto her hospice,feels that her last hour is Emperor FrederickII., and the friendswho have come. Both by poet and composerthe mannerin come to bid themadieu, fill the courtyard. Ludwig whichin the face ofdeath she commendsher soul to is received by a chorus of Crusaders,calling upon her Saviouris verybeautifully expressed. A Chorus him to take the command,and, as Defenderof the ofAngels, who are waitingto receive her soul as it Faith, lead them to the Holy War. The music of rises undyingto realmsof everlastinglight, concludes this chorusand ofthe marchwhich follows strikingly the scene. contrastswith that which has gone before. At one In 1235, just five years after her death, Elizabeth and the same timeit assumes both a martial and a was canonised as a Saint by command of Pope religiouscharacter, the latter quality being due to GregoryIX. The solemn ceremonial which accom- the factthat both chorus and marchare forthe most panied herre-interment at Marpurgforms the subject part based upon the Gregorianintonation already of the sixth and last scene. It is introduced by an alluded to, and to the introduction(as trio) of the orchestral interlude,which, consisting, as it does, of aforesaidHungarian Pilgrims' Song. On the close of a recapitulation of the leading motives already em- the firstsection of the chorus Ludwig calls upon his ployed, may be defined as a kind of meditation upon faithfulvassals to swear allegiance to him, and to Elizabeth's life on earth. The ceremony takes place standby Elizabeth in weal and woe duringhis absence. in the Cathedral,in the presenceof a vast arrayof To this theyreadily assent. A long duet,in which German and Hungarian Bishops, Princes, Crusaders, Ludwigbids farewellto his wifeand children,follows. Priests, and People, headed by the Emperor, Frede- Interruptedfrom time to timeby the " call to arms," rickII., who deliversher funeraloration. A long it is as sad and affectingas Ludwig'swords of leave- succession of choruses, in which all assembled in taking are affectionate. The culminatingpoint of turn take part, and which afford ample testimony griefis reachedby the expression of the presentimentof Liszt's powers as a composer of Church-music, which Elizabeth feels that she will never see her hus- brings the work to a most effectivetermination. band again. As the troops march offthe choral While thus attempting a description of " The marchis resumed. Legend of St. Elizabeth," with a view to aiding The expulsionof Elizabethand her childrenfrom those who listen to the work for the first time, I the Wartburgforms the subject of the fourthof cannot help recalling the inestimable privilege I Schwind's pictures. At the commencementof this enjoyed of being present at its firstperformance at fourthscene news is broughtof Ludwig's deathof a the Wartburg, in 1867. The occasion was surrounded fever,on his way to the Holy Land. In a duetwith by romance; not only was the performanceconducted the Seneschal of the Wartburg,the DowagerLand- by Liszt himself,but it took place in the immediate gravineSophie laments the death of her son, and, vicinity of St. Elizabeth's labours, in the Hall of the claiming the Wartburgas her inheritance,gives Knights where the far-famedBattle of the Bards was ordersfor the expulsionof Elizabeth and herchildren, fought, and within view of the Venusberg. I should a threatwhich, deaf to Elizabeth'sentreaties and add that, after subsequently studying the work, espe- pleadingsfor mercy, she ruthlesslycarries out. This cially on the occasion of its being brought to a hear- concerted scene, in which Sophie'sarrogance and ing by Mr. Walter Bache, in 1876, and after again lust for power,Elizabeth's grief, and the Seneschal's recurring to it now, I see no reason for modifying waveringbetween pity for Elizabeth and dutyto his the highly favourable opinion which, seventeen years mistress,are forciblyexpressed, is a trulyheart- ago, I expressed in the Guardian on the occasion of rendingone. At its close, afterapostrophising the its firstperformance. C. A. B. Wartburgin her thankfulnessfor the happy home it has afforded and her children her, calling around SPOHR'S OPERAS. her, Elizabeth is seen slowly wending her way from its portals in the midst of a terrificstorm. BY F. CORDER. "Appeased is my ambition; mine the power! " has been so completely pushed out of exclaims the Dowager Landgravine; but her rejoicing the field of late years in order to make room formore is suddenlycut shortby the Seneschalrushing in and vigorous composers that we do notthink we exaggerate tellingher that the wrathof heaven has descended when we assert that the general English public of the upon the Wartburg;the lightninghas struckit, and present day knowsonly about half-a-dozen of his works. the castle is on fire. A shortorchestral interlude, His three oratorios are certainly prettypopular, but descriptiveof the stormand of Elizabeth'sfeelings for some inexplicable reason the finest of these, on this nightof dire despair,leads to the following"Calvary," is by far the least often performed- scene. indeed, it is only through the enterprise of Messrs. On beingdriven out fromthe Wartburg,Elizabeth Novello that the full score has at last been printed. tookrefuge in a small hospicewhich she had founded Very little of his chamber-music is ever played;

This content downloaded from 128.248.155.225 on Thu, 21 Jan 2016 19:06:51 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL 386 TIMES.-JuLY I, 1884. the E flat Trio is almost the only specimen, while with my work I was trulyunhappy; forI now thought the lovely Nonet, the String Quartets, and the to perceive that I had no talent for operatic compo- Harp and Violin Sonatas are wholly neglected. We sitions. There were, however, two things which I hear his Dramatic Violin Concerto, but never any had forgotten duly to consider: first, that I had of the others, save at a Royal Academy Students' assumed much too elevated a style-for I had put " Concert. His Symphony " Die Weihe der T6ne my opera upon a par with those of Mozart-and, is sometimes played, that very fine one in D minor secondly, that I was wholly wanting in the practice not more than once in five years, while others, and experience necessary for this kind of composi- the Historical, the Seasons, the C major, and the tion." The imitation of Mozart was a defect which splendid Double Symphony, have not been per- Spohr never completely overcame. formedwithin living memory. There are the Clarinet His second attemptwas not much more successful, Concertos, too, and numbers of interestingsongs, all though it advanced him a step or two. In i8o8 a unknown to English ears. But his operas have young poet offeredhim a libretto-" Alruna; or, the sufferedthe most unaccountable neglect, considering Owl-Queen "- founded on a local tradition. He that they contain much of his best music and that composed it, and then tried to get it produced at the librettos are by no means despicable; and, as an Weimar, through the influence of the prima donna, endeavour to show people what rich and unknown who was all-powerful there as elsewhere. It was at treasures are within their grasp, we intend here to length accepted, but during the inevitable disagree- review the text and music of all Spohr's dramatic ables and requests for alterations, Spohr got out of compositions. English people have heard vaguely conceit with his work and withdrewit. The overture of " " and " Jessonda" having been unsuccess- he preserved, and often played-indeed, it was pub- fullyproduced in the Pyne and Harrison time, over lished by Andre in Offenbach-but the remainder he twenty-fiveyears ago-the overture to the latter destroyed. He considered, however, that it showed opera is, indeed, sometimes played in our concert- great progress. rooms-but many will be surprised to see the following His third attempt brought success at last. In list of operas, each one of which is almost as good 18io the new directorof the Hamburg theatre having as the other, for there is no more equal writer than four librettos sent him, distributedthem to four dis- Spohr; if he does not rise to great heights he is tinguished composers - Winter, Romberg, Clasing, never uninteresting-in fact, his principal fault is and Spohr. Our friend, though not much pleased that he is too much the same. His musical dramas, with his prize, obtained leave to alter anything he of which the first two are unpublished, are ten in had a mind to, and completed the score by the spring number, as follows:-- of 1811, as agreed. But new difficulties arose. " Die Priifung" (" The Trial "), one act, writtenin Madame Becker, the prima donna, discovered that 18o6. she should only look ridiculous as the heroine, "Alruna, die Eulenk6nigin " (" The Owl-Queen "), Isabella, who is dressed in male attire throughout, three acts; i8o8. and, armed cap-a-pied, fights with her lover. The " Der Zweikampf mit der Geliebten" ("The manager, besides, was so annoyed at two out of the Lovers' Duel "), three acts; 1811. four operas having already turned out failures that " two he wanted to for his work and it Faust," acts; 1813. pay Spohr lay by " Zemire und Azor" (" Beauty and the Beast "), unperformed; but the composer was so hurt at this two acts; 1818. treatment that they managed to get other singers "Jessonda," three acts; 1822. and put the piece in rehearsal. Contrary to all "Der Berggeist" (" The Mountain Spirit "), three expectation, "The Lovers' Duel" turned out a bril- acts; 1825. liant success, though the worthy composer tells us " Pietro von Abano," three acts; 1827. that before its production he had grown quite dis- " Der Alchymist," three acts; 1829. satisfied with it. It has all the wealth of suave "Die Kreuzfahrer" (" The Crusaders"), three Mozartian melody, which is Spohr's principal charac- acts; 1843. teristic, especially in his earlier works, and one or The librettos of these operas are all based on two numbers are real gems. The story is certainly romantic subjects involving gallant knights, per- not dramatic or exciting; it is a sort of comedietta secuted maidens, demons and magicians, such as of the eighteenth century style. The libretto is no Weber, Marschner, and other composers of this longer extant, but the general gist of the action can epoch were so fond of. It is true that they smack be pretty well made out from the vocal score. A to our modern taste somewhat too much of the young Spanish cavalier, Enrigues, has quarrelled with "Castle Spectre" style of melodrama, but, after his lady-love, Isabella, who thereupon disguises her- all, they are fairly dramatic, and couched in toler- self in male attire, pretends to be a young knight, ably sensible verse. and seeks service with the Princess Mathilde. This In Spohr's charminglynaive autobiography we find device of a lady disguising herself as a man is one it was at a peculiarly interestingperiod that he first of which the dramatists of the seventeenth and sought to try his hand at opera. It was towards the eighteenth centuries never seemed to tire. The end of his firstyear of married life, and, besides this, result here is that the two quondam lovers become Gotha, his dwelling place, was swarmingwith Prussian rivals; the princess having dropped her handker- troops, who were assembled for the impending war chief, they both start to pick it up, and quarrel for between Prussia and France. Not wishing to be the honour. This leads to a duel, when the sex away fromhome, Spohr, therefore,desired to attempt of Isabella is discovered, a reconciliation takes some work which would absorb his whole mind. place, and all ends happily. On this slight struc- His maternal uncle, Edward Henke, and he arranged ture, and with the aid of three more characters- the plan of " Die Prilfung" together, and the former Gaston, another lover of the princess, and Decio and wrote the lyrics. During the confusion of domestic Laurette, two of the usual conventional comic ser- affairs and alarms of war, Spohr calmly began and vants of melodrama, who sing arch duets d la completed his labour, but though the result was Papageno and Papagena-a tolerably lively little considered highly satisfactory when rendered at a piece is built up. Court Concert, the conscientious musician, on mature The overture is bustling, but very short, and calls consideration, deemed it betterto lay aside this work. for no special notice, but with the first number, a He says, " But with this feeling of dissatisfaction scene opening with an air for Enrigites:-

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Spohr does not attempt in his operas any grand construction in the music, but where a scene of any length is set to music it is broken up into a series of short movements with quite distinct themes. There is no suggestion of a Leitmotivanywhere. It was at the beginning of the spring of 1813 that begins an unceasing flow of Spohrish beauties. Spohr received an offerfrom Count Palffy, the pro- Enrigues is about to set off on a journey, to soothe prietorof the Vienna Theatre, An der Wien, to become his disturbed mind, when his frightened servant leader and directorof the orchestra there. Besides announces that robbers have stolen their horses. a large salary, the tempting hint was given him that he would there Presently four robbers enter to seek more plunder. find good opportunity of pushing himself as It is certainly rather ludicrous than imposing to hear an operatic composer. But this promise was not these ruffiansalways sing a four-partfugato on this destined to bear fruit. The poet K6rner was to have been next phrase:- Spohr's librettist,and had offered the subject of Riibezahl, but his joining the army was followed by his untimelydeath, and that hope failed. One Herr Bernhard offereda very strange libretto on the of " Faust," which and This incident is introduced in order to an subject Spohr accepted only give set to music between May and September, 1813. It effective entrance for the Isabella, who disguised is surprising that he should not have preferred valiantly assists to scare away the thieves. She is Goethe's to Bernhard's of the after some con- poem extravagant piece accompanied by princess; and, nonsense, as he was no means devoid there ensues one of the most especially by versation, charming of taste himself. He relates in his auto- trios has ever written. The literary Spohr simple theme-- biography how he showed the opera to Meyerbeer, Larghetto. who played it from the score while the composer sang and whistled the voice parts. Meyerbeer liked the work so much that he afterwards produced it at Berlin. It has been considered most is taken up by each in turn, the others adding florid always Spohr's in a most successful operatic effort,but is now rarelyperformed. counterpoint demisemiquavers, forming On his difficultbut effectivecanon, which could never fail to finishing work Spohr offeredit to the An elicit an encore, Then there is a scene forthe comic der Wien, but it was refused on account of the Wild the of too floridfor him. servants, with a pretty duet in waltz rhythm,very considering part Hugo and Mozartian. Then we have the were then, as now, the fruitfulcause of sportive necessary trouble to Not till was scena for the princess, and this, in common composers. 1818 "Faust" soprano first at Frankfort. We will a short with all Spohr's scenas, involves so many difficult produced give roulades and chromatic as to analysis of the work, as the only English edition of scale-passages present the serious obstacles to It is vocal score (Boosey and Co.) has had but a small performance nowadays. circulation. well worth the trouble of singing, however, and we commend it to the notice of our few Sembrichs and The Opera of " Faust'" is in two acts, but there Pattis. The scene which follows this contains the are no less than ten changes of scene. In addition to the there is a deal of handkerchief The princess tries to reconcile recitatives, great spoken episode. the translation of which forthe the and, believing she has succeeded, dialogue, English is, opponents, most absurd. The invites all to return to the palace for her ball that part, exquisitely original text, and the act ends with a however, is sadly conventional and bombastic. The evening, accordingly gay is a not in cha- sestet in dance style. overture bustling affair, particularly It would be tedious to criticise each number racter with the drama, and mainly founded on a only fromFaust's second of this opera in detail. There is a second aria for phrase scena:- Mathilde of equal brilliancywith the first,while in the Alegro. 1 - third act Isabella has a floridscena of exactly similar .- - style. At the end of the second act the duel is about to come off,but is frustratedthrough the officiousness of the servants,who alarm the watch. This act ends It is far inferior to the overtures of "Jessonda," with a finely-writtenseptet, the chorus in this opera " Pietro von Abano," and "Alchemist." The open- never making an appearance until the last scene. ing of the opera is original and pretty. The scene When the duel seems really on the point of taking represents an open square in Strasburg by night. place, Isabella of course declares herself,and all ends The stage is empty,but from a lit-up mansion come happily to a good vigorous chorus, of which the first sounds of revelry. The band behind the scenes eight bars run thus:-- plays what is called in the score a Minuet, though the accompaniment gives more the character of a Polonaise :

IL dip A d1-A - . . _g- - --- ?Amzft~A_--

during which Faust, richlydressed, emerges fromthe house, and in recitative, accompanied by the usual chords in the orchestra, expresses his disgust at his present " life of sensual leisure." It seems he has high aspirations, and has sold himself to the devil to Each eight bars is sung first tuttiand then by the gratifythem; but the wily one turns all his virtuous soli. strivingsinto sin. Mephistophelesnow advances, and,

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aftera metaphysical conversation of some length with frequentlysung in the concert-room,for no obvious his victim,joins him in a duet of no particular inte- reason. It is not nearly so interesting or showy rest save that both baritone and indulge in as many others of Spohr's. An absurd melo- breakneck roulades and scale passages. Sending dramatic scene in dialogue then takes place MeAhistoin search of Rosa (the Marguerite of the between Sir Gulf and his scornful and virtuous opera), Faust has a very fine scena, consisting of a captive, and the wicked knightbeing " foiled again " Larghetto with an Allegro in the middle. The con- we have another scene and character presented to us. cluding cadenza we must quote as a specimen of In a forest we find Count Hugo, Cunegunda's lover, Spohr's floridvocal style, which, however, he aban- with all his train of knights,preparing for an attack doned in his later works: on Sir Gulf's castle. The Count has a very effective martial air with chorus, but it is written so high as to be exceedinglyexhausting, withoutcounting the difficultiesof the bravurapassages. Aftera meaning- less scene followingthis, wherein Rosa, who is hasten- ing to Faust in company with Fran.z, is again carried 6 off by Mephistopheles,the fifthscene shows us the exteriorof Sir Gulf's castle. There is along dialogue .. between CountHutgo and F'aust, who wishes to assist the cause of virtue. The chief of this scene is 66" part then embodied in the formof a long concerted piece, or- a kind of thing which Spohr was very fondof writing, but in which he never showed to advantage. Sir Gulf threatens to hurl Cunegunda from the ramparts if the allies attack his castle. Faust orders Mephisto to save the lady, and deal a fittingpunishment to Sir Gulf. Accordingly, a thunderstorm arises, and the castle is set on fire by lightning. The half-burnt The scene then changes to a hall (presumably in drawbridge falls, and the inmates of the Faust's abode), where four friendsof the magician's Ciiuegwinc castle escape across it, while demons appear and are carousing. Their drinkingsong- drag Sir Gulf back into the blazing ruins. During these thrillingevents, on which the curtain descends, Faust has had time to behold and fall in love with Cunegunda. He secretly resolves to win her forhim- at which the watchful remarks is one of Spohr's boldest melodies. These gentle- self, Mlephistopheles :- men retire to make for who How a woman's charms kick over kindly way Faust, brings All his good and wondrous plan! on Rosa, apparently for the sole purpose of singing a Let the idiot soon discover duet. The proceeding is, however, justified by the Hell too much a match for man! extreme beauty of the piece in question, which ought and the chorus, to whom the demons are supposed to be more frequentlyintroduced into the concert- invisible, watch the fate of Sir Gulf and sing:- room. It begins thus:-- Terrific! Oh horrible ending! He rushed the Andante. _ through fieryflood, Thus Heaven awards his offending -- Doom wrought by his o'erheated blood. - ...... The second Act opens with a witches' revel in the Hartz mountains, very picturesquely imagined by and is, as regards form and construction, the exact the librettist, but rather weakly illustrated by the counterpart of every other duet that Spohr has composer. Spohr had not Weber's genius for the written. Aftera strain of eight bars for each voice, weird and ghostly, though he delighted in trying his two in of the combine phrases imitation, ending with hand at such subjects. Faust and Mephzistobreak in a cadence in thirds and sixths. It is this terrible upon the witches' sabbath, in order to conjure up squareness of design which makes the operas of this the witch Sycorax, from whom they obtain a potion epoch seem so poor in comparison with the modern which is to confer upon Faust mightybut undefined school. Spohr, especially in his earlier operas, powers. The witches crowd around Faust, seeking adheres with slavish tenacity to strict form, and for his love much as the Flower-maidens do to Parsifal, this reason at least ought to command the unreserved and are similarly repulsed by the wizard, who only admiration of the Wagner haters. now thinks of winning Cunegunda. Mephistophelesenters at the conclusion of the duet, Next we are shown the square in front of the and we learn that an armed crowd is coming to seize Cathedral of Aix-la-Chapelle. The marriage of Faust, in the belief that he has killed Rosa's mother in Hugo and Cunegumndais taking place within, and a order to possess the girl. Mefhistois ordered to carry hymn is heard behind the scenes, accompanied by Rosa out of reach, and a concerted piece follows, wind instruments. During this the deserted Rosa during which the people, led by Franz (Rosa's re- wanders on and sings a very pathetic little air in jected lover), enter and vainly search the house for 3-bar rhythm, after which there is much unin- her. On their attemptingto arrest Faust he collects teresting dialogue with Frainz, who sticks faithfully his four companions - who do not seem of any to his love, and the four unnecessary friends of particular use-and, spreading out his mantle, the Faust. The wedding train emerges from the cathe- five rise through the air on it and flyaway, while the dral to a charming intermezzo writtenfor two basset- chorus remark, according to the English poet :- horns and two bassoons. It begins :; Flying fromhere, Poco Adagio. Upward they steer ! Oh horror,oh fear! t.r We are next introduced to a lady named Cunegzunda, whom a certain Sir Gulf has carried off and im- prisoned in his castle. She has a long and elaborate 1"'4-! I- l l I ' 2 2'-" F-- scena in stereotyped form. This piece used to be .. .i

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Rosa presents herself to Faust, but he is very cold to THE GREAT COMPOSERS her and sends her off in of the four unneces- charge BENNETT. saries, in order that he may have the whole street to BY JOSEPH himself while he sings a rather incoherent but No. XV.-GLUCK.* very brilliant and difficultscena, to the effect that All hailto thee,immortal Gluck! whose fame Admiring nations swell with one acclaim; he could be happy with either were t'other dear Whose genius, mocking death, shall soar sublime, charmer away, but the two are too much for him. Till the last period of recording time. One this is worth Matchless composer ! whose sweet strains disc!ose speech preceding really quoting :- Alceste's suffering-Iphigenia's woes- Faust (as he looks after the receding form of Cunegunda):-Ne'er Fair Helen's sorrows-andthe griefsthat melt hath the world beheld her compeer ! The memory of her fills up all O'er the sad tale of all fond Orpheus felt : my nature!-were I the Caesar over empires, they would prove but Whose wondrous genius, by all ranks adored, false coin wherewith to purchase her possession: Ha! in my soul The golden age of music has restored. there burns a fire she must quell; and shall I pit my copper penny Oh i whilethe world shall harmonyrevere 'gainst this gold? yon boy is he her match ? it must not, shall not be! Thy name to music's votaries shall be dear; Scene shows us the in the Long shall her sons thy bust with laurels crown, 3 banqueting-hall palace Adorethy memory, cherish thy renown; of Count Hugo. The wedding breakfast is on hand, Andwhile all low-bornjealousies theyspurn, and the guests sing a bold chorus of a martial Worship the myrtles that o'ershade thy urn. character :- YRIARTE. THE time and place of Gluck's birth, and even his name, were for a long period as much a matter of dispute as the identity of the city which had the of Homer son. Down to the while and have a little love-duet. proud right calling year Hugo Cunegunda the master's were correct in the guests are and his 1832 biographers nearly Among Faust unnecessaries, their facts and Forkel's Lexicon states that besides and for no obvious figures. Mephisto, Franz, Rosa, Gluck was born in in the on the reason as a so the invitations must 1714, Palatinate, disguised boy, frontiersof Bohemia but in his work on have been sent out rather the ; Lipowsky, recklessly. During the musicians of while as to the dance which a Bavaria, agreeing wedding follows, graceful Polonaise, as A Faust makes violent love to the subdued Palatinate, gives the date February 14, i712. bride, who, Bohemian Father who a his offers but faint resistance. priest, Dlabacz, published by magic powers, book of statistics his native came The wizard becomes so demonstrative that concerning country, Hugo, nearer the truth than either. He the of warned sees what is and gives place by Mephisto, going on, Rosa birth as in the and the too. There is a and Faust Weidenwang, Palatinate, year quarrel. Hugo fight, as that the father of Gluck while the four minions in check all the 1714, adding Christoph keep guests was a in the of Prince Lobkowitz. who seek to runs Faust head-keeper employ interfere; Cunegunda away; The same who seems to have been a who is in and Dlabacz, pains- brutally repulses Rosa, despair; Hugo makes a fuller statement in his falls beneath his a wild taking author, opponent's sword, during historisches Kiinstler- Lexikon chorus of "Allgemeines fiir dismay. that the famous musician had From this scene we are taken to the B6hmen "; asserting thrilling a second Christian name, Willibald; and that he Hartz Mountains a scene intro- again, apparently was born on his father's name duced for the sake of who has had but July 4, 1714; being Mephiistopheles, Alexander and his mother's Walburga. With this little, as yet, to do. He sings an Aria, over gloating the world was satisfied till, in 1832, the priest of ruin,in which the voice part is so Faust's persistently Neustadt, a village on the Bohemian frontier,dis- kept to the bass or middle of the harmony-according to the old custom-that it has little or no interest. covered in the parish register an entryrelating to the baptism of Christoph Gluck under date i1oo. The The witches then come on, and renew their dance record ran thus: and chorus, which was not worth repeating. "25 martii anno 17oo00 baptizatus est a me M. The last scene is in Faust's house. Cunegunda is Andrea co-operator, Christophorus, in despair, consequently she dresses in black, lets Dozier, Joannes Adami Gluck, venatorii aulici, et Annme her hair down, and sings a most exhausting scena. Joannis Catherinae filiuslegitimus, tenante Domino To her enters Rosa, and the two quarrel. Faust now praenobili finds himself in difficulties. Rosa rushes off and Joanne Christophoro Pfreimbderde Bruckenthurn et Alstensteinreith." commits suicide, Cunegunda tries to stab him, his The father, jealous for the honour of his minions inform him that justice is on his track for good village, lost no time in making his discovery known. the murder of Hugo, and finally de- Mephistopheles For a while it obtained credence, and, as late as 1836, clares that his time is up. On hearing of his true Lewald, in his journal, Europa, referred to it in position, all flee in terror from him; the room be- terms of faith. The new date, however, comes a yawning gulf of flame, into which the sinner perfect involved some difficulties; amongst others that the is dragged by a chorus of demons, while Mephisto master was years old when he exults. The long concerted piece which composes eighty-two brought out his last opera. But it is useless to argue on such this scene is of small musical interest, though the conclusion has some grounds against a parish register, and Neustadt power. have on an honour due else- It is how can have ac- might gone enjoying really astonishing Spohr where had not Alois a singer in the such a mass of as this libretto. It Fuchs, Imperial cepted absurdity at collected some documents is a chaotic of unconnected melo- Chapel Vienna, very heap totally germane to the issue, and had not Anton Schmid (in dramatic incidents, no part of which "yearns for musical expression"; on the contrary,the musical his " Christoph Wilibald Ritter von Gluck. Dessen Leben und tonkinstlerisches Werken" Leipzig, 1854) numbers seem, one and all, dragged in by the heels. * If " Euryanthe" and " Genoveva" have failed be- proved the actual facts to demonstration. Schmid cause of their bad librettos, it is inconceivable that puts in evidence five documents: first, a baptismal " Faust," however charming some of the music, register, discovered at Weidenwang in 1842, bearing should have survived its first performance. And we date July 4, 1714; second, the certificate of Gluck's cannot consider it Spohr's best work either, his next marriage with Marianne Pergin (September 15, 1750); effort," Zemire und Azor " is far superior in merit, * Under the original idea of this series the few extant letters of having really not a weak number in it, a thing which Gluck were considered in a single article (MUSICAL TIMES, December, no one dare assert of " Faust." i88o). The more extensive plan subsequently adopted enables us now to deal with the master's interesting career from beginning to end.- (To be continucd.) J.B.

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