Review Source: The Musical Times and Singing Class Circular, Vol. 24, No. 482 (Apr. 1, 1883), pp. 215-218 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356490 Accessed: 24-06-2016 01:31 UTC
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This content downloaded from 142.66.3.42 on Fri, 24 Jun 2016 01:31:20 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-APRIL I, 1883. 21r5 Colomba. A Lyrical Drama in Four Acts, founded on Prosper M'rimde's Tale by Francis Hueffer. Composed by A. C. Mackenzie. [Novello, Ewer and Co.] EARLY in the current month Mr. Mackenzie's Opera is -: " '- --"--" - -- " . announced for production at Drury Lane. The importance S1 . .. of this event has been already indicated, but it may be well , -- ---& before giving a synopsis of " Colomba" to note in what respect its appearance is significant of a new departure in English dramatic music. It is the first opera by an This receives further elaboration, and then introduces a English composer produced in England that is at all repre- characteristic leading motive:- sentative of the great revolutionary movement in operatic No. 2. m 80o. u n poco meno mosso e tranquillo. _ composition which had been gathering force and influence for nearly a century. This was not so much a revolt I- -- --,iI . 3 _! against the Italian opera as the expression of a genuine yearning for a rapprochement on the part of the composer towards the dramatist. The first notes of the approaching conflict were tentatively sounded by Gluck when he wrote, in 1773, his famous letter in the Mercure de France, and observed, "1Whatever the composer's gifts may be they will never be productive of anything but mediocrity if the poet does not arouse in him that enthusiasm without This is again suggested in the finale of the Prelude, follow- which the creation of all arts are feeble and insipid." The ing the opening phrases of the noble chorus in the fourth great men who were prominent actors in this revolution act of the Opera. The curtain rises on the market-place were of distinct types of genius, and the actual sources of at Ajaccio, facing the sea. From a ship moored to a quay the movement were not confined to the narrow limits that sailors are landing goods and luggage. Savelli, a brigand, have sometimes been assigned them. The classicism and his daughter Chilina, both dressed as peasants, walk of Gluck and the fervid romanticism of Weber and Berlioz from stall to stall among the market folk. A bright and were equally enlisted in the cause which received its final vivacious chorus is heard from the country people, followed impulse and consummation from Wagner. " Colomba" by the chant of the sailors at work. The people are thence is essentially a modern work. It revives no traditions of attracted to a sergeant of marines who is guarding some English opera, either of the age of Arne or of the more luggage. After much pressing he informs Chilina that the recent revival of Barnett and others. The relative positions Count de Nevers, the governor of the island, and his of the composer and librettist are not as they once in- daughter Lydia are about to arrive, accompanied by the variably were. Mr. Mackenzie has not looked askance at Captain Orso della Rebbia, who saved the life of the Count his " book," or toyed with it and trifled, or compelled it to at Waterloo and who is enamoured of the Count's daughter. an unnatural union with his own inspirations. It has been He is interrupted by Chilina, who asserts that aloftier call studied till the work of assimilation is complete. Merely than that of love has brought Orso back to Corsica. This to designate Mr. Mackenzie's work as a " new English the crowd demand to know, and Savelli gratifies them by opera " would be found by the amateur in our native opera relating how the father of Orso was murdered by one of to be utterly erroneous. It forms the completest illustra- the Barracini and how Colomba vowed vengeance over the tion and contains the fullest expression of the progress of body of her dead father. At the outset of this recital, the modern thought in English music. orchestra gives the leading motive (always associated with The work is divided into four acts, the libretto being from this murder) as shown in the Prelude:- the pen of Mr. Hueffer, who has most effectively dramatised No.3. Andante moderato. the powerful scenes of Prosper Merimde's romance. In the place of overture there is a short prelude, and another, rather more brief, occurs before the third act. It is almost They nev - er unnecessary to add that both preludes are intimately con- nected with the Opera itself, and that the first is not an Andante moderato. . 54. afterthought, as is so frequently the case, nor is the second mere irrelevant entr'acte music. The prelude opens with - ----4...... '------... a grave and impressive theme :-
No.z. Andante moderato e grave. W.=54, 2
= t knew . . . of that dread ful 11
....= lJ "- ---. .,, W-., . o I g .I > >---> P' 7 "=
-4--
night, W. hen
F-, ?"I I -low "
"\ It. _ _ : , ;
This content downloaded from 142.66.3.42 on Fri, 24 Jun 2016 01:31:20 UTC All use subject to http://about.jstor.org/terms 216 THE MUSICAL TIMES.-APRIL I, I883. resolution never to think of him if he sheds the blood of his enemy. In the following scene Colomba re-enters with Savelli, Chilina, and some villagers all Pie- tra - ne - ra a- woke . . with from Pietranera. Addressing the villagers, she refers to her brother's return, and expresses her assurance that he will avenge their murdered father. In reply they name her enemy, and give the leading motive always associated with the Barracini:-
CHORUS.
No. 6.
The Bar- ra - ci - ni. Then, as Colomba sings a few bars of the Vocero, Lydia immediately recalls the melody, and comprehends its fatal fright, . import. Then Colomba takes up the Vocero where Chilina had broken off, slowly at first, but gradually her voice swells into a rapturous ardour of passion, calling on Orso to avenge
A- --- his father. The chorus, aflame with her enthusiasm, shout " Vendetta! " The finale of the act is reached in a Quintet and Chorus of remarkable dramatic force in which varied 141 T and opposing passions are finely expressed. Lydia urges Orso not to stain his honour, Colomba triumphs in antici- pation, Orso wavers, while Chilina and Savelli encourage him. The accompaniment thus opens in 4-4 time:- Colomba, who is a celebrated improvisatrice, had written a song which had become popular in the neighbourhood and which the crowd now insist upon hearing from Chilina, No. 7_ un poco pi4 animato. .3 : who, excited by the reminiscences of Savelli, and undeterred - by the severity of the law against those who incite others to the vendetta, complies. The highly characteristic and beautiful "Vocero" here follows. From it, it may be mf &c. observed, is deduced the second motive (of revenge) heard in the Prelude:-
No. ANo. 4 ndante. 4.V_= 92. CHILINA. - The second act opens on a green in the village of Pietranera. A large mulberry tree stands in the back of the scene, on which are hung withered garlands of flowers Gen-tle dove, thy voice is sad . . n the and laurels, while the house of the Barracini is seen to the left facing that of the Della Rebbia. By the side of the tree Colomba soliloquises on the prospect of revenge, and impetuously expresses her compunction in these striking tree be - neath my window, Night and day. . I phrases:-
'-- -- T - . - - -r ------r- No. 8.,Allegro impetuoso. Sadly.
hear thee sing- ing, Hear thee mourning night and But what am I . . that . at s al t grv-an&c. A C=o4. -, "P2, - - 14 -- day... What is all . . thy gricv-ance, say'? This delicate and mournful melody is interrupted by the gendarmes heralding the approach of the Count and his party. The crowd acclaim the Governor, and withdraw apart. Some tender passages between Orso and Lydia introduce the following love-motive:- r
No. ~ ---5. &c.-
No. 5. &C.--,- . I to fier - est com - bat. This motive is repeatedly heard throughout the work where- ever Lydia's affection for Orso is displayed, or where it worthily influences the latter. Then succeeds a beautiful duet between the lovers. Lydia expresses her interest in the songs of the people, having heard a Corsican sailor sing one of them at night on the deck of the vessel, -d- and the Count inquires the nature of the song their arrival had interrupted. Savelli reminds Orso, aside, of the pull, _--_ _ law, and also hints that he might do worse than hear the Vocero that Colomba had written. At this juncture a This mood is, however, of short duration, for she soon tinkling of bells is heard, and Colomba enters, riding lapses into fatalism, and resolves to wait the course of on a mule, and clothed in black, followed by two events. As she passes into her brother's house a number armed attendants. The brother and sister are about of village girls enter with garlands of flowers and com- to embrace, when Colomba starts back, and appears to mence to dance a graceful measure to a gradually accele- shun Orso, and to be overpowered with grief. A short rated time. This is interrupted by the entrance of a young chorus here most dramatically expresses the bewilderment girl bearing a wreath of white flowers which she attempts of all at this meeting. A passionate scene follows in which to hang upon the old tree, while the others endeavour to Colomba recalls to Orso her vow, and his duty of revenge, entangle her in their garlands, dancing to the jocund and Lydia declares to Orso her abhorrence and her rhythm of a saltarello. As she, at length, succeeds in
This content downloaded from 142.66.3.42 on Fri, 24 Jun 2016 01:31:20 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-APRIL I, I883. 217 suspending her wreath her companions tear down the the village church is heard striking the hour. Prior to the withered garlands and replace them with their own, at the rise of the curtain the orchestra prefigures the nature of same time hailing the young girl Queen of May, singing the scene by some charming idyllic phrases :- in unison a simple and stately chorus, " Salve, Regina del No. Ii. Allegretto moderato quasi pastorale. Maggio; Ave, Regina della Belta," &c. While this is yet being chanted, behind the scene are heard in gradual crescendo the wild strains of a rustic march, very individual and piquant in character, and a procession of rural musicians, &c., enters, followed by the Count, Orso, the two Barracini, and others. The Count wishes to know the meaning of the picturesque ceremony, which Giusetpe Barracini ex- plains, and the chorus repeats the salutation to the May U_ 3 3 Queen. The Count then proceeds to express his satis- faction that the feud between the two families of the Della Rebbia and the Barracini is about to be extinguished, and, after some soft words addressed to Orso by Giuseppe (during which is heard once more the motive of murder), the two Barracini and the Count and Orso declare the necessity for reconciliation in a Quartet which seems to suggest the hollowness of the proposed compact by the insinuating suavity of its melody. The partisans are about to make mutual friendly advances, and Orso is on the point of taking the hand of the elder Barracini, doV when Colomba rushes from the house and throws herself between them, and, in great excitement, forbids Orso to touch the hand that shed their father's blood. The Count requires proof of this charge, and Colomba re-enters the house and returns with Savelli. From this scene to the powerful finale of the act the music is strikingly dramatic in character. Barracini sneers, and throws doubt on the y.b r7. testimony of Savelli, while the brigand, fixing his eye on Giuseppe, repeats his affirmation that he knows the secret Orso enters, armed with his gun. He falls into a tender of Della Rebbia's death; for though the foul deed was reverie, and anticipates his approaching meeting with done in the night he asserts:-- Lydia in a Corsican love-song, one of the most original and striking numbers in the Opera, and demanding of the No. 9. Con espressione. , .~ singer considerable executive powers:- No. 12. I saw the flash;.. I heard the ball whis-tle past me
Wil"she come from the hill, .... will she as it went on its bane - ful way. Savelli concludes his testimony by presenting Orso with a pocket-book, in which the murdered man had come . . . from the val - - ley? partly written the name of his assassin thus, " Giuseppe Sitting down by the wayside with his head on his hand, Barra-." Colomba turns to Orso, and in increasing Orso becomes abstracted from all around him, when agitation points at the Barracini. The proof is enough for Orso, and he rises to the occasion :- suddenly Chilina's voice is heard singing an old Corsican ballad (introduced in the Prelude). At first he pays no heed No. io0. to the singing, but at length the words of warning arrest ORSo.. him and he recognises Chilina's voice. This ballad con- trasts remarkably with the song of Orso. It is mournful and full of boding. Both these numbers, through their in- It is e - nough; my path is clear. This sud -den herent beauty, should achieve instant popularity:- No. i.3. CHILINA (invisible).
light Thrown on the deed . of night Makes my So he thought of his love and went on his
way, And she wait - ed for him a night and a day&c. du - ty bright as the day ap - pear.
He declares he will not follow the custom of his country, way, And she wait - ed for him a night and a day. but challenges Barracini to fight with him fairly, while Chilina appears one moment above the overhanging rock, Colomba appears inclined to remonstrate with Orso because and then disappears still singing. Orso, however, regard- of this leniency. In the meanwhile great activity is going less of the warning conveyed in the ballad, breaks forth once on around them. The doors and windows of both houses more into his song, singing with increased vigour and are closed, shutters with loopholes for guns are fixed, and warmth. He has resolved to meet Lydia at once, and is everything prepared as if to sustain a siege. The curtain starting for that purpose when he is confronted by Giuseppe falls on a scene of great perturbation and excitement, the Barracini. An altercation ensues, during which Barracini adherents of both parties confronting each other in silence, mocks Orso and confesses that, though he did not actually while Orso and Colomba and the Barracini enter their commit the murder, it was through him that Della Rebbia houses under cover of their armed followers. died. A sudden change occurs in his manner towards Orso, The third act is prefaced by a short but very graceful whom he threatens, and raises his hand as a signal to his prelude worked on the theme of the beautiful " Old Corsican brother, who from behind a wall fires and wounds Orso in ballad " of the following scene, combined with the sinister the arm. With his right hand, however, Orso shoots "Barracini "motive. The curtain rises and discloses a valley Giuseppe dead, and, after a pause, fires the second barrel road leading to Pietranera, which is visible not far distant. at Antonio Barracini, who has incautiously exposed To the left a large rock hangs over the road, while to the his head above the wall, and kills him also. He then right is a thicket. It is early morning-and the clock of faints from loss of blood and is discovered, lying in the
This content downloaded from 142.66.3.42 on Fri, 24 Jun 2016 01:31:20 UTC All use subject to http://about.jstor.org/terms 218 THE MUSICAL TIMES.-APRIL I, 1883. road by Savelli and Chilina, who carry the wounded man and impressive chorus, replete with profound pathos and away with them into the mountains. The Count and the deepest religious feeling. Colomba then arrive on the scene, and soon the whole In the preceding remarks we have but reviewed Mr. of the village population appear, showing by their grief Mackenzie's Opera from the pianoforte arrangement. After or delight to which of the two parties they are adherent. its representation we shall hope to give a more detailed The bodies are laid on biers by the monks, and after the account, that shall more fully reveal the beauty of the excitement of the discovery has abated, the chorus sing music and its dramatic force. in unison a requiem, the solemn dignity of which follows closely on the very expressive agitato of the finale. Ekkehard. Sketches for the Pianoforte, for four Hands, Colomba watches the procession of monks and villagers illustratingillustrating thethe novelnovel byby JosephJoseph VictorVictor vonvon Scheffel.Scheffel. Com-Com- as they disappear, and while the chant of the monks is posed by Heinrich Hofmann (Op.(op. 57).57)- yet audible she celebrates her triumph in an outburst of [Novello, Ewer and Co.] great brilliancy and passion, her final cry of " Vendetta! " HOFMANN is fond of writing music to a "1programme,"" programme," blending with the " Requiem aeternam " behind the scene. andand inin thisthis casecase hehe hashas hithit uponupon thethe originaloriginal ideaidea ofof takingtaking In the fourth act an element of tragedy is introduced as his text scenes and situations from a novel.novel. TheThe that is absent from Prosper Merimee's romance, which, exampleexample maymay findfind manymany followers,followers, andand thusthus deprivedeprive poetrypoetry excepting in some unimportant particulars, has hitherto of one among its distinctive advantages. There are been closely followed. The music of this act is distin- numerous instances of musical illustrations applied to guished by qualities even higher than any preceding it. the sister art of verse; but now prose steps in, and we It possesses an exaltation and dignity of expression, and may soon have pieces suggested by every popular work rare chastity of form. The scene opens in a mountain of fiction as it appears. In view of this, we can only valley, under the cloud-rack of a storm, and fitfully lit hope that all will be as good as Hofmann's. The sketches by lightning. Colomba and Lydia on either side are beforebefore usus asas areare sixsix inin number,number, andand thethe first,first, entitled entitled searching for each other. At length they meet, and in "Ekkehard's" Ekkehard's Departure,"Departure," showsshows aa youngyoung monkmonk leavingleaving a duet of a most engaging melody mutually encourage his convent to become Latin teacherteacher ofof thethe Duchess,Duchess, one another:- whom he has learned to love. The movement is an unpretending Allegro in F, easy to play and pleasant to No. 14. LYDIA hear, because full of life and buoyancy. No. 2, a Moderato assai leading to Allegro in G, illustrates a little squabble between two female hermits onon thethe dutyduty ofof psalm-singing,psalm-singing, Cou - - - rage be which wearies one but not the other. Here we have a COLOMBA. good deal of piquancy and more than a little humour, the movement being full of droll though not demonstrative significance. Amateurs of a sprightly turn will revel in Cou - - rage,.. cou - rage be with us, this charming effusion. The Moderato grazioso, which constitutes No. 3, depicts Praxedis, the Duchess's Greek waiting-woman, and is also a gem in its way. It is, so to speak, as roguish as the character that suggested it, yet with . . us! Van - ish dis - may I graceful withal, as one might expect a fair Greek to be. Hofmann's repertory contains few pieces more thoroughly acceptable. No. 4, "The March of the Huns," is aa characteristic Allegro in A minor, full of barbaric effects Van - - ish, . van - ish dis - may! and savage strength. In point of charm, however, it must yield to No. 5 (Moderato, G major), which shows Colomba then leads Lydia to where Orso lies sleeping in how the people of HeganHegan tooktook exampleexample byby thethe strangestrange the moonlight on a couch, hid by some rushes. She dance of a young Hunnish prisoner. Hofmann is here leaves them and a scene of remarkable beauty ensues. Orso in hishis mostmost fancifulfanciful mood,mood, andand aa veryvery agreeableagreeable moodmood wewe gradually awakens and discovers Lydia who, after many find it to be. The movement, indeed, might pair with struggles, reproves him for slaying the Barracini, and No. 2 for attractive power. An Allegro maestoso inin C,C, declares that they must part for ever. Orso asserts his entitled ""German German HeroHero Stories,"Stories," closescloses thethe setset withwith aa innocence and relates the foul attempt on his life, during kind ofof march,march, notnot veryvery original,original, perhaps,perhaps, butbut fullfull ofof which Lydia relents, and as he concludes breaks forth vigour andand animation.animation. TheseThese Sketches Sketches are are eminently eminently into a strain of rapturous fervour:-- deserving of attention by amateurs, whose convenience No. 15 . 3 theythey studystudy throughthrough theirtheir comparativecomparative easiness,easiness, andand whosewhose favourable verdict they cannot fail to gain.
Say . . of Love . . Shall he change or FOREIGN NOTES. IN nearly all the important towns of the civilised world Concerts in commemoration of Richard Wagner have taken place, with the greatest success; this is an important sign of the acceptance of the much-abused Tone-Poet's al - ter, Shall he de - cay , or great works. Towns distinguished for their musical con- servatism, where, during the composer's lifetime, not a note of his music dared to enter the sacred halls, devoted entirely to works of a hundred years' reputation, have shall he . di - min - ish? not failed to pay their tribute, and have owned the greatness of his genius. Even in France, for which Orso replies, and then a duet ensues, from which it were country Wagner did not disguise his aversion, the old feud equally futile to quote as to attempt to describe its has been forgotten and Concerts, consisting principally of triumphant rapture. In the following scene Colomba his compositions, have been given at Paris and elsewhere. enters hastily, with Savelli and Chilina, bearing the in- It is satisfactory to see that the acknowledgment of his telligence that the gendarmes are upon them. They un- greatness which was denied him by so many during his dertake to divert the soldiers from Lydia and Orso, but lifetime is now given him on all sides. Berlin, the capital of Germany, which never showed itself very friendly while they climb the other side of the'valley the march of the gendarmes is heard, and Orso is finally arrested, to be, towards his principles, has given him a memorial by calling however, shortly released by the appearance of the Count. one of its streets " Wagnerstrasse," and the Royal Opera- The innocence of Orso is proved, but in the meanwhile houses of Wiesbaden, Hanover, and Cassel, have been Colomba enters, supported by Chilina and a soldier, directed to have extra performances for aWagner monument. mortally wounded. As the sun rises upon the scene all It has been arranged to give twelve performances of kneel about the devoted girl and pray for her in a noble " Parsifal " at Bayreuth on the following days : July 8, io,
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