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

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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 ,to the use of Sir . 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 , 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 '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 ,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 come off in 1522, how numerousmusical annotations written on the margin, differentmight have been thehistory of ! 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.

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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. To The Marguerite of Berlioz differseven more from quote only one instance: it was he who conceived the German Gretchen than does that of Gounod. the strange idea, in the second Act of 'Orphbe,' of She does not sit at her spinning-wheel, nor is she substituting for Eurydice an ' Ombre heureuse' of accompanied by Dame Martha. Here we have an which no one had ever dreamt, and which still persists, ideal creature, appearing in a dream, if not in a an outrage on commonsense, in Gluck's masterpiece. vision, and Faust orders Mephisto to find her for As may be imagined, it was far worse when a new him. There is nothing of this in Goethe's poem; drama was brought to him. He had but one thing we now have the French Marguerite,whom our public in his mind-to add his own ideas on to those of the will accept in no other guise. author. The place and time of the action were con- When I was a child there took place at Paris a tinually changing ; unexpected episodes arose in his thing delightful to behold: the military retreat, an excited brain ; morceaux slowly worked out in the ingenious combination of trumpets and drums that silence of the study had to disappear and make room has long been discontinued. I can still recall the for hurried improvisations. But all this came to an shades of night beginning to invade the Jardin end when Massenet broughthim the score of ' Manon,' du Luxembourg, the shooting stars-then an containing the imprintNe varietur. At last he had unexplained phenomenon-falling across the sky, found his master. and the drums and trumpets making a complete ' Faust' was originally written in the op6ra- tour of the immense vault of heaven and ravishing comique form, with dialogue. A delightful form, my youthful senses as the strains alternately dating back to the most remote times; one to which approached and died away in the distance. Berlioz the public has never been hostile, though it would heard and rightlyappreciated this retreat; and, re- tend to disappear had it not been retained in the placing the drums with timbales,blending the plaintive operetta. ' Faust' was performed in this dress wail of the abandoned Marguerite with the distant until the time when its introduction at the Opera songs of the students, he made this the background compelled the abandonment of the spoken word. of a twilightscene, quite charming and striking in its Many musical treats owe their existence to this originality,while essentially French in its character. event, which gave the work the form it definitely We are but too well acquainted with the present assumed. form of the retreat: not only is there no balanced Jules Barbier and Michel Carr6, interested in the combination of drums and trumpets,but the refrain subject, heartily gave themselves up to their task. itself, quite differentfrom the old one, is executed Their first project was far too long; numerous 'to order,' without either rhythm or time, and in suppressions or ' cuts' proved inevitable. Any who the most anti-musical fashion imaginable. And are curious to know what fragments were omitted we are said to have made progress in music because will find most of them in the handsome brochure of the public has become accustomed to being bored, Albert Soubies and Henri de Curzon entitled and rapturously applauds things it is utterly ' ocuments in6dits sur le Faust de Gounod.' of incapable understanding! In the very first scene, Gounod appreciably Berlioz insisted on out how pointing differenthis abridged the monologue of Faust, where we find 'Faust' was from the origina1. ' I have written,'he a great difference between the French copy and " said, 'the Damtzation de Faust"'; in Goethe's the German original. In the latter, the sound of poem Faust is sazved. Many parts of this opera the Easter bells and the singing of the choir cause are his own creation, notably the famous 'Course the murderous cup to fall from Faust's hands; in At l'abime.' Many others are adapted from the the French libretto,he is arrested in his purpose by Weimnar poet, including the 'Chanson du Rat,' the fresh ringing voices of the young peasant girls which he might well have omitted, for the whole and the rugged chants of the ploughmen as they of its value disappears in imitation; the refrain, praise the charms of nature. In the final apotheosis built up on an untranslatable play upon words, here the religious choruses are suppressed. becomes a platitude: After this scene, Wagner and Siebel, the master's Aussi triste,aussi miserable two pupils, come to converse with him, as in Que s'il eut eu au corps! the original. There are here the words of a l'anmour

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Terzetto; I do not know if it was ever written. In To proceedto the followingAct. With the 'Air the Frenchscore, the purposeof thecoming of these des Bijoux' we enter upon interesting musical characterswas to informthe publicof Siebel's love annotations that began in this way: forMarguerite, to preparethe way for the appearance of the heroine. The i5reiaration ! This was at that time a as were the three unities in dogma, bygone Ah! je' ris.. .de me voir si belle en ce mi- roirl times. When the Opera obstinately refused to produce 'Samson et Dalila' I requested an influential person to give me his support. He replied that my work was not playable, because the Ah ! je ris . . de me voir si belle en ce mi - roir I character of Dalila was not frefared. And later on we find : However it be, Wagner and Siebel disappeared from the first Act, then known as the Prologue. They reappeared only in the following Act, Wagner - - to recite a few bars of the 'Chanson du Rat,' Ah ! s'il t tait i ci ! s'il me vo- yait ain- si ! and fortunately interrupted by Mephistopheles, Fortunately these octave leaps and unnecessary in Siebel to become the youth who is chastely modulations have disappeared. love, as we know, with Marguerite. Nor has there remained any trace of these changes It is with Mephistopheles that the musical annota- on resuming the motive tions begin, written in pencil on the margin. The firstare of no great interest,and differbut little from the finally accepted text. Here the principle of the Ah! s'il - tait i - ci!. . S'i me vo- fjrefparationserved the authors well. . In Goethe's poem Mephistopheles causes a number of women to appear before Faust, and when later on he accosts Gretchen, it is,by chance: the old savant yait ain -si ! . Comme u - ne de--moi - sel - le, who had hitherto lived alone with his musty old volumes and his retorts, when transformed into a --tiff0 ap o falls in love with the he young man, first pretty girl I1 me trouve-rait bel - le ! Comme u - ne de- moi - sel - meets. Here we have the ravishing vision of Marguerite at the spinning-wheel, to the accompaniment of ii bel - heavenly music, awakening love in the heart of le me trouve-rait le. Faust and him to affixhis to the deciding signature Lastly we find the hint of a Coda : devilish pact. And now we come to the joyous gaiety and excite- ment of the kermesse. May I be permitted to state at this point, and in parenthesis, how greatly I Ah! s'il 6 - tait i-cit the fact that at as deplore Paris, everywhere else, which was left unfinished. this morceau is distorted and too misrepresented by Now we enter into the drama . . and also a tempo. The 'Choeur rapid deliciously charming into the of endless and modi- des Vieillards' becomes a and the tragi-comedy changes gross caricature, introduced not at the but ensemble is but an inharmonious and dis- fications only rehear'sals nothing even at the after hullabaloo. public performances, year year. pleasing As each theatrical season came round and the work Then followed a farewell scene between Valentin was taken the conductor and the occasion of a duet which up afresh, indefatigable Marguerite, long forward new and the not Gounod set to music. This scene was a and brought ideas, authors, mistake, the to his views. to have been with it having courage oppose him, adopted ought dispensed ; disregarded There were and additions the of the of on the cuttings here, there, along effect appearance Marguerite with a of the order of the scenes. occasion of her first with Faust. But it general upsetting meeting the thirdAct at a cross-road : 'On was a to hear Madame Carvalho in the Originally began delight the on the house. with that voice and the right, church ; left,Marguerite's r61e of Marguerite, incomparable Near the threshold a stone bench in front of which of hers. The final ensemble of wonderful delivery stands a In the a the duet: spinning-wheel. centre, fountain.' Young maidens entered singing, carrying pitchers on their shoulders as they made their way towards the fountain. This took up an entire scene, with , - - choruses carrying on a dialogue and a corypkeenamed A dieu, Valen tin! A- dieu, Valen-It . tin! - - Lise, who was to sing three couplets. Three were too for Gounod retained the seemed to reverberate in the orchestra when, evidently many, only third,as follows : previous to the 'Air des Bijoux,' Marguerite says pensively 'Me voilk toute seule ! ' It must not be imagined that the song of the 'Veau d'Or' was a spontaneous production, like Le beau sd - duc -teur . . v - tu d'or, Minerva springing fully armed from the head of Jupiter. The Calf, in the firstinstance, was a Beetle ' which had proved verysuccessful.' As this original La char - ma, dit - on . ds i'a bord: song did not please-I do not know why-the authors . - tried several others, of which not a trace remains, before deciding upon the one with which we are acquainted. Mais Ies pleurs sont voi - sins du ri - re...

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retiringbefore the pommels of swords raised in the form of a cross, and yet showing no fearof a genuine cross by entering the church as he would a mill. In Car un beau ma- tin, saris rien di the 'Faust' of Goethe, it is not Mephistopheles who torments Marguerite, it is an evil spirit. But at the 7-- Op6ra, what was to be done? Could a first-rate - - - re, Le ga- lant 6- tran-ger s'en fuit. singer be curtailed to so short, and yet so important, a scene ? In one of the numerous avatars of the The final bars are it is the termination of missing; play there had been discovered a the air resumed the chorus which alone has been subterfuge. by Marguerite did not enter the church; as she the cross-road to just retained, having'disappeared give was crossing the threshold, she was by to chamber. We can do no more stopped place Marguerite's Mephistopheles suddenly from behind a than form the harmonies issuing suppositions regarding pillar. This version did not last long ; the scene which were to this accompany dainty couplet. went back to the church, which it ought never to The maidens sat having departed, Marguerite have left, and the public gave no sign of noticing the down at her and the air: ' 11 ne spinning-wheel sang anomaly that had shocked Berlioz. This scene, revient ! ' after curtail- pas .... which, frequent however, sometimes preceding and at other times ments and has All restorations, finallydisappeared. following the death of Valentin, went the this is one of the finest of the entire through many same, pages oscillations before settling once for all in its true score. The fact was that donne it as ~rinme regarded place. and not effective! fatiguing stifficiently The chorus ' Quand du Seigneur le jour luira' is Afterwards came Siebel, as at present, to console written in the libretto in C minor and bears the the abandoned The annotations to poor girl. point annotation: 'Transpose to F minor.' The words music differentfrom that withwhich we are acquainted, that follow admit of other music, which has not been and which would seem to be preferable : preserved :

Ver - sez . vos chagrins dans mon A - me! Mon fol a - Que di - rai - jea - lors an . Sei- gneur

trou - ve - rai - un pro - tec - -mour s'est endor - mi I mon fol a mour s'est en-dor - mi Ohi je teur,

Quand I'in no - cent n'est pas sans peur I Les pleurs qui tom - bent de tes yeux! Les ] . accompanied by the same annotation, 'in F minor,' I . .. . which here is incomprehensible. -.-. ,. , The 'Nuit de Walpurgis' gave occasion for many I-! . - 4LZ .2L- differentattempts. I remember one rehearsal in . which a band of figurants, cheaply costumed as witches and riding their brooms, leapt about like madmen showing their heavy shoes and raising pleurs qui tom - bent de vos yeux! clouds of dust. There must also have been a chorus J-p.4- of real witches, singing and dancing round a cauldron i.: . filledwith some blazing liquid. We read in Gounod's handwriting: 'Grande ritournelle pour la chaudibre.' I ---- Ritornello, cauldron, and witches have disappeared, when the work was entered the then there came though afterwards, taken up Marguerite church; witches and cauldron at the Valentin and a few soldiers ' again, reappeared end up singing D6posons of the Act. The words alone are in les armes' and the scene continued with given thelibretto; long couplets here is the music: by Valentin, responded to by the chorus. All. These couplets were written, as evidenced by the words, noted down by the but no - fait-Sib., author, I! -, trace whatsoever remains of them. They have been Un, deux, et trois, Comptons jusqu'h replaced by the popular chorus: 'Gloire immortelle de nos aieux' taken from the unfinished score of Ivan le Terrible.' ' trei - ze! Les gueux sont rois ! Valentin entered the house and Siebel the church which, by a mechanical artifice that the huge stage of the Th~%tre-1istoriquerendered possible, filled up At - ti-sons la brai - se ! at - ti - sons la brai - the entireavailable space and showed the interior of the building. It was as accompaniment of this impressive scenic effect that Gounod wrote the Que le feu Rouge et bleu E. orchestral prelude which precedes that of the - se ! organ, a characteristic touch carrying us away - . from the emotions of the theatre and us , , bringing - _ - under those of the sanctuary by means so simple chauf-fe la chau-di re! Le ve-nln that it is impossible to admire them too much. Berlioz, when dealing with the firstperformance of 'Faust,' made legitimate sport of a Mephistopheles Est un vin qui plait . la sor - cik - re!

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On another occasion Faust, in the presence 'of Later on, in the following passage : a which queens and courtezans,' sang drinking-song Faust-Oui, mon coeurse souvient! mais suis-moi! has disappeared without leaving behind any regrets. l'heurepresse! .. In the original version, however, just as, following M1a;rterite-Pourquoid tournes-tules yeux? the insinuation of Mephistopheles, he was taking up Embrassez-moi,Seigneur! ou bien je vous embrasse! a goblet, the phantom of Marguerite appeared before him, and Mephistopheles thus accosted him : we find this modification,written by Gounod : Faust--Oui, mon coeurest A toi ! mais suis-moil l'heurepresse! . Alarguerite-Non,reste encore ! et que tonbras ma - gie et sor - ti R- - - ge! ma- Commeautrefois au miens'enlace ! Faust-Oh ciel ! Elle ne m'entendpas ! The work of Gounod's has achieved a glorious ..-1- .- destiny, though the path of fame was not an easy one to follow. In contradistinction to certain works gradually launched on a successful career through . gie et sor- ti - - ge! judicious advertising, 'Faust' was subjected, from its first appearance, to a degree of hostilitywhich has never been relaxed. This fine production-at first not sufficientlyItalian, then not sufficientlyGerman, now regarded as too simple because it does not W, 6 L respond to that craze for exaggerated complication ne va pas, mdi-trefou, te laisser prendre au pie - ge i which is the bane of the new style of music, attaching prime importance to the human voice which it has When 'Faust' was transferredto the stage of the become the fashion to disparage-has always had on Op6ra, everything pointed to the necessity for intro- its side the masses who do not trouble about theories, ducing a ballet, a thirg impossible at the Thditre love to understand what they hear, and, when they Lyrique. Would it be believed that Gounod see singers on the stage, naturally consider that they suggested that I should write the music of one ? are there for the purpose of singing. The above- At that time his religious ideas, he said, forbade mentioned brochureof Soubies and Curzon establishes his undertaking such a task. The manner in the fact that, in spite of a malevolent press, ' Faust ' which I accepted his offer was a disguised refusal. has almost invariably attracted the crowds; He understood, wrote the ballet himself,and never inadequate receipts have been so infrequent that it is had occasion to repent doing so. unnecessary to take them into consideration. The first evening, while the beautiful Marquet in When 'Faust ' crossed Paris to finda new home at Grecian costume was evoking visions of Phidias and the Op6ra, it was an event of importance. Everybody Praxiteles, motionless women on each side of the predicted a catastrophe. Some feared, others hkoed stage bore perfume-burning censers whence issued that the music of Gounod, with its quiet and streams of greyish-whitesmoke which was wafted unobtrusive orchestra, would pale into insignificance towards the spectators. The latter were eagerly by the side of the famous works which formed the sniffingthe delightful odour when a frightfulsmell, basis of the repertory. The 'Garden' Act, more resembling that emitted by blue lights, spread all particularly, would be literally annihilated on that over the theatre. immense stage. This Act of tender and delightful The Prison Act began originally with Marguerite love-making just missed being omitted-at one time as a mad woman, in a scene which has disappeared, it was considered doubtful whether it should be as has also the greater part of a long duet between altogether suppressed. The fear was expressed that herself and Faust. No donna could have ftrima it would not be effective/ endured the fatigue of such an Act, following imme- Giving the lie to these evil predictions,it was found diately upon the others. Gounod told me that he that the clear, simple, and yet delightfullycoloured greatly regretted the mad scene, of which unfor- orchestral music of Gounod acquired its full value tunately he did not allow me to hear a note. No and importance in the large salle, bringing with other trace of this remains than the indication it a charm it had not hitherto known. How 'F sharp minor' in the composer's handwriting, comes it that this lesson has not even yet been calculated to awaken a sense of keen regret, for understood? Why does one persist in resorting there is not a single morceau in the whole work to sheer noise and parasitical complications which writtenin this key, with the exception of the prelude quite drown the human voice instead of sustaining of the Act, originally intended as the preparation for and supporting it ? this scene. Only this fragment of the great duet The reason is that thereare two kinds of simplicity. remains : There is that of the simple-minded, of which it is unnecessary to speak, and there is another simplicity, which attains to the highest consummation of art. But this latter it is not given to everyone to reach. Oih sont les tor - tu - res, Les pleurs, les in -

The 'Subject Index to Periodicals'-music section, price2s. 6d.-issued by the LibraryAssociation at Stapley - la hon - l'ef - froi? . . Sju res, te, House, 33, BloomsburySquare, shouldbe on the shelvesof anyonewho likes to read or has to writeabout music. It indexes about 3,500 articleson musical topics that have Tout a dis -pa - ru te voi - 1l! c'est toi. appearedin about ninetyperiodicals in theyears 1917-19.

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