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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip !! ! — A tale of tramps and railway ties, Of old clay pipes and rum, Of broken heads and blackened eyes And the "thirty days" to come. o. H. After a short prelude with a cadenza for the bass clarinet {ad lib.) a strongly-rhythmed song is sung (A minor) , which is interrupted by a fanfare of trumpets with military drum. Clarinets and violas start a tramp's ditty. The development of a figure leads to the quotation by the xylophone of a familiar phrase from the subject of Bach's great organ fugue in G minor. The motto is the best explanation of the movement. Near the end, after a fanfare, crash, and fermata, there is a section in highly dramatic contrast, lento misterioso. A cadenza, quasi recit., for bass clarinet, leads to the exultant close, molto vivace, A major, 6-8, 2-4, with a syncopated prestissimo. Aria, "Upon that Day," from "Hans Heiling." Hkinrich Marschner (Born at Zittau, August 16, 1795; died at Hanover, December 14, 1861.) "Hans Heiling," a romantic opera in three acts and with a prelude before the overture, libretto by Eduard Devrient,* music by Marschner, was performed for the first time at the Royal Opera House, Berlin, on May 24, 1833. Devrient created the part of Hans Heiling. The words of Heiling's aria (Act I., No. 3) are as follows: An jenem Tag da du mir Treue versprochen, Als ich in Worm' und Schmerz zu deinen Fussen rang, Da ist in meiner Brust der Morgen angebrochen, Gestillt zum erstenmal ware meine Seele Drang. Aus triiber freudenloser Nacht Bin ich zum hellen Leben da erwacht. Du hast iiberschwenglich selig mich gemacht. O lass die Treue niemals wanken, Halt fest die Liebe in deinen Herzen, In dir nur lebe ich! Ich liebe dich so ohne Schranken, Ich liebe dich mit tausend Schmerzen, Mit Hollenqualen lieb' ich dich Konntest du je von mir lassen, Konnte je dein Herz erkalten, Weh ! uns beiden dann ! AVeh Schon bei dem Gedanken fassen mich die finstern Gewalteti, Treiben zu grasslicher Rache mich an * Philipp Eduard Devrient, opera singer, librettist, manager, a nephew of the famous play-actor, Ludwig Devrient, was born at Berlin, August n, 1801. As a boy he had a beautiful soprano voice, which developed into a bass baritone. In 1818 he entered the Sing Akademie, where Zelter taught him singing and harmony. On Good Friday of i8iohe sang for the first time in public (the bass part in Graun's "Death of Jesus"). His success was such that he soon appeared in opera, but not under his own name, as Thanatos in "Alcestes." His first operatic appearance under his own name was as Masetto on April 25, 1810; and he was then engaged for the Berlin Royal Opera. From 1820 to 1836 he sang many parts, from the Chief Priest in "Alceste" to Figaro in Rossini's "Barber of . the English Lord in "Fra Diavolo," from Iago in Rossini's "Othello" to Seville." He was largely instrumental in bringing about the performance of Bach's "Passion according to Matthew" (March n, 1829), when he sang the part of the Saviour. In 1831 he gave a famous performance of the Templar in Marschner's "Templar and Jewess"; but his voice thereafter failed him, and he turned play-actor. In 1844 he was appointed stage manager of the Dresden Theatre, and in 1852 manager of the Grand Duke's Theatre at Carlsruhe, where he died October 4, 1877. He wrote the librettos for Wilhelm Taubert's "Die Kirmess" (1832) and "Der Zigeuner" (1834); and he wrote books on various subjects, one of which, "Meine Erinnerungen an Felix Mendelssohn-Bartholdy und seine Briefe an mich" (Leipsic, 1860), excited considerable discussion and some adverse criticism. 32.
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