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The Dramatic Works of Vincent D'indy. 'Fervaal' (Continued) Author(S): M The Dramatic Works of Vincent D'Indy. 'Fervaal' (Continued) Author(s): M. D. Calvocoressi and Vincent D'Indy Source: The Musical Times, Vol. 62, No. 940 (Jun. 1, 1921), pp. 400-403 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908815 Accessed: 02-01-2016 23:21 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 129.100.58.76 on Sat, 02 Jan 2016 23:21:29 UTC All use subject to JSTOR Terms and Conditions 400 THE MUSICAL TIMES-JUNE I 1921 The band (a hundred and two performers)Mackenzie-The Rose of Sharon; The Dream of Jubal; Cotter's Bethlehem The Witch's was made up of the united Royal Albert Hall and The SaturdayNight ; ; Daughter. Royal Choral Society's orchestras,led by Mr. A. W. Mancinelli-Isaias. Payne. This finebody of players,in conjunction Mendelssohn-Elijah; St. Paul; Athalie; Loreley; Hymn with the full choir and supported by Mr. Balfour of Praise; WalpurgisNight. at the out a tone of Mozart-Requiem. organ, brought magnificentParker-Hora Novissima. volume and in satisfyingquality, more especially Parry-Job; King Saul; Invocation to Music; War and ensembles such as the refrainof 'Land of Hope Peace; Blest Pair of Sirens; The Pied Piper of and Glory,' the last excerpt from 'The Golden Hamelin; The Chivalryof the Sea. it could not have been the Rossini-Stabat Mater; Messe Solennelle. Legend' (pity splendid Promised Samson and Delilah. and the final Saint-Sains-The Land; Epilogue!), chorus of Sir Edward Schubert-The Song of Miriam. Elgar's 'For the Fallen.' With the exceptions Smyth-Mass. above indicated the whole of the items were con- Spohr-The Last Judgment. ducted Sir Frederick who has Stanford--TheRevenge; The Voyage of Maeldune; St. by Bridge, practically Stabat of the a of a of solid and Cecilia's Day; Eden; Mater; Songs completed quarter century Sea; Songs of the Fleet; At the AbbeyGate. useful labour in connection withthe Royal Choral Sullivan-The Golden Legend; The Light of the World; Society. Sir Alexander Mackenzieand Sir Edward The Martyrof Antioch. Elgar were both warmlyreceived, and regretswere VaughanWilliams-A Sea Symphony(Part I). at the absence of Sir Charles Verdi-Requiem. expressed Stanford, Wagner-Parsifal; The Holy Supper of the Apostles; who was detained by an unavoidable engagement TannhaLuser(Act 3); Lohengrin (Part I); Flying at Cambridge. Sir Frederic Cowen was also away Dutchman(Selections). fromtown, but this gave Mr. Landon Ronald the Wood, Charles-A Dirge forTwo Veterans. This List doesnot includenumerous Motets, Choruses, Part-songs opportunityto which his lengthyassociation with and Carols. the Sunday Concerts entitled him. The loudest 'ovations' of the afternoon,apart fromthe cheers THE DRAMATIC WORKS OF VINCENT for the King and Queen and the 'one more cheer D'INDY for our President,'were those bestowed Mr. upon By M.-D. CALVOCORESSI Ben Davies (now approachingthe fortiethanniver- of his and Mr. H. L. Balfour (ContinuedfrolmMIay number, age 322) sary public d6bftt) 4 ' afterhe had playedthe Stainer Prelude. Altogether, FERVAAL then, a veryenjoyable and memorablefunction! 'Fervaal,' in my opinion, is a masterpiece, a workwhich all high-classoperatic stages ought to include in theirrepertory, together with Wagner's, [The list of works mentioned at page 395 with 'Boris Godunof,' Rimsky-Korsakov's'Maid appears below, reprintedfrom the Jubilee Concert of Pskof,' and 'Pelleas et M6lisande.' A master- programme.] piece it appeared to me in I898, when first produced at Paris, and a masterpieceI consider it Bach-St. Matthew Passion; ChristmasOratorio; Mass in B minor. to the presentday. Barnby-The Lord is King. I am quite aware that the historyof the work Beethoven-Mass in D; Choral Symphony; Ruins of during those twenty-threeyears affordslittle in Athens. of assertion. Shortlyafter'Fervaal's' Benoit-Lucifer. support my completion (1895), excerpts of it were given at Berlioz--Faust; The Childhoodof Christ. Brahms-Requiem; Triumphlied. one of the concertsorganized at the Paris Opera, Bridge-The Flag of England; The Ballad of the 'in order,' it was explained, 'to give the public Clampherdown;The Forgingof the Anchor; Callirhoe; some idea of many contemporaryFrench works Rock of Ages; A Song of the English; The Inchcape Rock. which the managementwas unable to produce.' Coleridge-Taylor-Hiawatha;The Blind Girl of Castel In 1897 'Fervaal' appeared on the stage of the Cuill6; The Atonement;A Tale of Old Japan; Brussels de la Monnaie. Most of the Thttitre KublaKhan. Paris criticswere present,and manyof themspoke Cowen-Ruth; CoronationOde ; The Veil. of the others it on Mater; Requiem; The Spectre'sBride. highly work, criticising sharply Dvor.k-RStabatElgar-Caractacus; The Apostles; The Kingdom; The the ground that it was too direct an imitation of Dreamof Gerontius; King Olaf; The Music-Makers;Wagner, that it lacked warmth,and that it was too The Spiritof England: The Fourth of August; For the intricate. Fallen; To Women. The ' Fervaal' was produced at Gardiner,H. Balfour-News fromWhydah. followingyear Goetz-Psalm 137. Paris: not at the Opera, but on the smaller and Gounod-Redemption; Morset Vita; Requiem. thereforeless suitablestage of the Opera-Comique, HamiltonHarty-The MysticTrumpeter. temporarilyhoused in the building that is now the HIandeel-Messiah; Israel in Egypt; Judas Maccabus; TheatreSarah Bernhardt. The balance of criticism, Belshazzar ; Theodora ; Samson ; Jephtha ; L'Allegro ; Acis and Galatea; Ode on St. Cecilia's Day; Alexander's despite stricturesof the same kind as before,was Feast. favourable. But whether the play might have Haydn-Creation. become 'a success' remained undecided, the Henschel--Stabat Mater. removal of the to its far Hiller-A Song of Victory. Opera-Comique regular, Leoni-The Gate of Life. smaller premises,having rendereda continuanceof Macfarren-St. John the Baptist; Joseph. the performancesimpossible. This content downloaded from 129.100.58.76 on Sat, 02 Jan 2016 23:21:29 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-JUNE I 1921 401 A revival of 'Fervaal' at the Op'ra, on in his arms,and with his precious burden climbs December 31, 1912, seemed to give the work a the slopes towardsthe peaks to which a choir of better chance. The production was excellent. mystical voices, heralding the advent of the new The great quarrel between Wagnerites and anti- and better religion foretold in ancient prophecy, Wagneriteshad died out, and in any case the calls him. Truly a splendid climax (despite the intervening years ensured better focussing. alleged obscurityof its symbolism),and one in (Particularly instructivein that respect is, for which the music rises to a wonderfulheight. instance,a comparison between Alfred Bruneau's The orchestrationof ' Fervaal' is another point article on '.Fervaal' of I897 and his article of upon which certaincritics have pounced in order to I913. The former lays great stress on d'Indy's give a semblance of justificationto their plea that imitationof Wagner,the latterplaces matters in d'Indy imitates Wagner. It employs four flutes their proper light, and is full of praise.) The (one of which alternateswith the piccolo), three public was far better educated as regardsmodern oboes (one alternatingwith the English horn), music, workslike 'Pell6as' and 'Boris Godunof' three clarinets,one bass clarinet (with which a (to quote but those two) having been produced in contra-bass clarinet alternates), four bassoons, the interval. Had that public proved responsive, four saxophones, four horns, four trumpets, there seemed to be no reason why 'Fervaal' eight saxhorns, four trombones, one tuba, one should not be maintained in the repertory; so bombardon,eight harps, the usual percussion,and that-despite thefact that no greatwork ever owed strings (which include five-stringcontra-basses its success in the firstplace to the public of the descending to the C). Together with the Paris Opera-it may be alleged that 'Fervaal' ' Symphoniesur un theme montagnard,''Fervaal' has had a fair chance, and failed to make good. shows d'Indy's scoring at its very best. His But I feel sure that the last word has not been methods are as individual as they are effective. said. And it is typicalthat, even with so great a mass The allegation that d'Indy imitates Wagner is of instrumentsat his command, he should evince chieflyfounded, as I said last month,on a few his markedpredilection for unmixedtimbres. His passing reminiscences-and on a few analogies, scoring,no less richand mellowin the half-shades some too general to afforda valid argument,and or contraststhan in the tltti, is as clear-cut as are the remainderentirely superficial, if not imaginary.his motives, his harmonies,his modulations. I As to the assertionthat the music of ' Fervaal' have alreadyalluded to that feature,which is the lacks warmthand vitality,I simplycannot under- hall-markof his music. stand it. I am convinced that in proportionas D'Indy's 'Treatise of Composition' sets forth more music-loversget familiar with that music, in unequivocal termscertain principles concerning unfavourable opinions will lose ground and structureand texturewhich are no less unequi- 'Fervaal' will find new admirers. It may contain vocally illustratedin 'Fervaal.' The motives, he scenes that are not all one would wish them to be: tells us, should be terse, and rich enough in I think,for instance,that the musical interestflags distinctivefeatures to be easily followed in the in several parts of the otherwise very beautiful working-out.
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