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The Manuscript Libretto of 'Faust' Author(S): Camille Saint-Saëns and Fred Rothwell Source: the Musical Times, Vol

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The Manuscript Libretto of 'Faust' Author(S): Camille Saint-Saëns and Fred Rothwell Source: the Musical Times, Vol The Manuscript Libretto of 'Faust' Author(s): Camille Saint-Saëns and Fred Rothwell Source: The Musical Times, Vol. 62, No. 942 (Aug. 1, 1921), pp. 553-557 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/910006 Accessed: 04-11-2015 22:21 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 137.189.170.231 on Wed, 04 Nov 2015 22:21:24 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-AUGUST I 1921 553 appears in deeds of the years 1505 and I506; and thecrowd, and others. In Davy's score,a magnificent in the latteryear, on May 15, he was a partyto a effectis producedby theglorious setting of thewords : licence of alienation of the Manor of Stiffkey,in 'Vere filiusDei erat iste' (' Trulythis was the Son of Norfolk,to the use of Sir Thomas Boleyn. Another God'), assigned to the Centurionand the watchers deed mentionshim as one of the feofeesin a grant at the Crucifixion.In oppositionto the conventional of the Manors of Filby, Possewyk,West Lexham, methodadopted by othercomposers, who treatthese and Carbrooke(May 15, 1506),to the use of Thomas words'in awe-strickenaccents,' Davy 'makes it ring Boleyn, son and heir of William Boleyn, Knight, out as a triumphantconfession of faith.' Although deceased.* Apparently the priest-composerwas the firstthree Turba choruses are missing in the continuedin the serviceof Sir Thomas Boleynfrom Eton MS., and thoughthe trebleand tenorparts are 1506 to 1516, the principalfamily residence being also missingfrom the four choruses which follow, Blickling,in Norfolk. Dr. Terry has with rare skill supplied the missing Apropos of Sir Thomas Boleyn,whose father had choruses of the former from other portions of married one of the co-heiresses of the Earl of Davy's own music,which fit the wordsto perfection, Ormonde,an Irish traditionhas it thatAnne Boleyn and he has writtennew trebleand tenorparts for was born at the Castle of Carrick-on-Suir,in 1501, choruses 2 to 5 in the same contrapuntalstyle or early in 1502. Certainly,the popular idea that of the composerand the period,quite a triumphof thislady's birthtook place in 1507cannot be sustained, restoration. as she was a Dame-in-Waitingto the French Queen, So successful was the performanceof Davy's Claude, in 1519-a position that could scarcely be Passion Music at Westminster Cathedral on held by a girl of twelve! Thomas, 7th Earl of Palm Sunday that it will probably become a Ormonde,died onAugust8, 1515,leaving his immense permanentfeature of the liturgicalservices on that English estates,containing seventy-two manors, to day in future,just as Byrd's magnificentPassion his two daughters,the elder of whom (Anne) was Music is associated with the solemnitiesof'Good Dame St. Leger and the younger(Margaret) Lady Friday. Boleyn. On the following December 12, the It may be well to add that the appearance of Lord Deputyof Irelandwrote to CardinalWolsey in Davy's 'Autem' in the Cambridge 'Prick-Song' regardto Sir Thomas Boleyn'sclaim to a portionof Books of 1529 is no proofwhatever that he was then the Irish estates,which was contestedby Sir Piers alive. As statedabove, he probablydied in 1515 or Butler, who claimed to be 8th Earl of Ormonde. 1516. Aftermuch litigation, on October6, 1520,a proposal of marriagewas made betweenSir Piers Butler and Mary Boleyn,Anne's elder sister,and an Irish Act THE MANUSCRIPT LIBRETTO OF of Parliament was passed declaring Sir Piers as 'FAUST ' lawful heir to Sir James, 6th Earl. Subsequently, Sir Thomas Boleyn was created Viscount Rochford By CAMILLE SAINT-SAPNS, DE L'INSTITUT and Earl of Wiltshire,Ormonde, and Carrick; and Sir Piers Butler was created Earl of Ossory.t (Authorised Translation by Fred Rothwell) HenryVIII., in order to settle the familyfeud, as When and on whatoccasion did Gounod make me a Prof. Pollard writes, 'arranged for marriage a presentof this manuscript? I am unable to say betweenAnne Boleynand Sir Piers Butler,'in 1522 ; definitely,though doubtless it was veryshortly after and further,in order to propitiatethe Ormonde the appearanceof his famous work. Intdfestingby familythe King appointedSir Piers as Lord Deputy reasonof the informationit supplies oh the genesis of Ireland, on March 6, 1522. Had Butler's of 'Faust,' it is also valuable on account of the marriageto Anne Boleyn come off in 1522, how numerousmusical annotations written on the margin, differentmight have been thehistory of England ! thus giving us the firstspontaneous thoughts of the to Sir Meantime, Richard Davy was chaplain composer. I feelthat these annotations are deserving Thomas Boleynfrom 15o6 to 1515, and, as nothing.of being morewidely known. furthercan be gleanedof him,it is naturalto suppose Beforeundertaking this work,let us glance at the that he died in the latter year. Certainlyall his variousways in which French artistshave dealt with creativemusical work that has come down ranges that episode of Goethe's poem which in the public the real between the dates 149o and 1513, and mind representshim as a whole,just as the episode surpriseis that his compositionsare anythingbut of Francesca da Riminisums up thewhole of Dante's 'crude.' Considering his period, his work, as ' Divine Comedy,'though it is merelya tinyfragment Dr. Terry writes,'is in every way individualand thereof. original.' One featureof thePassion Musicis worthy In Goethe'spoem the name of the youngamoureuse of note,for while the generality of composersgive a She is the maid- ' is Gretchen-i.e., Margot. simply musicalsetting of the Turba,or speeches and cries servant of Dame Martha, in whose garden takes music of the mob,' Davy, in addition,writes choral place the conversationbetween the four dramalis exclusivelyfor the dialogue between Pilate and his personce. The first time I saw Goethe's ' Faust' wife. In other words, the conventionof the 15th played'in a German theatreI was quite astonished to the I6th centurywas to have the Passion Music to behold, appearing unexpectedlyon the stage sung among three ecclesiastics,one being the firstduring the kermesse,a slightly-builtbrunette who Deacon (a bass), singing the part of Christ, the repliedto Faust'scompliments in scandalisedaccents : second, or Chronistaor Evangelisfa (a tenor), the 'Je ne suis pas une demoiselle, je ne suis pas narrativeof the Evangelist, and thethird, or Synagoga belle. .' and then rapidly hid away in the crowd. or Turba (an alto), the exclamationsof the Apostles, She was anythingbut the ideal fair-complexioned creaturewith whom Ary Scheffer has familiarisedus ' Calendar of Patent Rolls,' 1494-1509,p. 484. (comingout of churchwith angelic mien,while Faust t Sir Piers was forced to surrender the title of Earl of Ormonde to looks on enraptured),or the fancifulcreation which Sir Thomas Boleyn, Viscount Rochford, in 1527. This title Boleyn retained till his death in 1537, when it reverted to the Butler family. Gounod's musichas popularised. This content downloaded from 137.189.170.231 on Wed, 04 Nov 2015 22:21:24 UTC All use subject to JSTOR Terms and Conditions 554 THE MUSICAL TIMES-AUGUST I 1921 Previously we had had the ' Damnation of Faust' But, after all, platitudes are frequent enough in by Berlioz, where Marguerite, 'while binding her the text of the 'Damnation of Faust,' and great is hair,' sings the 'Chanson du Roi de Thul6,' which the contrast between the wealth of the music and the the author calls a Gothic song, and which begins poverty of the poem. How has it come about that with that augmented 4th interval abhorred of the literary Berlioz, the fervent admirer of Victor ancient music, followed by ultra-modern chromatic Hugo, consented to bless this ill-matched union ? successions. Distorted and unlovely though it be, Why did the critics, so strict against Scribe and this song none the less possesses the special quality other librettists,show such utter indifferencebefore of character in the highest degree. From what source this anomaly ? The gold and diamond embroidered then did it draw its inspiration? From the sketches mantle flung over this povertyhides it from view: of 'Faust' made by Delacroix, a series of ultra- let us not remove the veil ! romantic lithographs in which the person of Gretchen On opening the precious libretto of ' Faust,' many is strangely transformed? It is said that Goethe, are the surprises that await us. In the firstplace we when he saw them, affirmed that they completely are struck with the changes made in the work during expressed his own thought. The old, old comedy of rehearsal. No doubt some of these alterations the great men flatteringone another in order to create authors would have made of their own accord, but admirers ! The sketches of Delacroix are in the first in this particular case we see the influence of the rank of artistic production, but they do not represent celebrated conductor Carvalho, a nervous man of Goethe's 'Faust.' perpetually changing humour and restless imagina- The Marguerite and the Faust of Gounod differ tion. When he took up an opera, though one that so strikinglyfrom their models that in Germany the had long been famous and was of world-wide renown, famous opera is given the name of 'Margarethe.' it must bear the impress of his individuality.
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