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SEVENTH BIENNIAL iVLusical Festival

AT CINCINNATI,

MAY I8, 19, 20, 21, AND 22, 1886.

Theodore Thomas,

MUSICAL DIRECTOR.

PUBLISHED AND SOLD BY THE FESTIVAL ASSOCIATION, 1886. COPYRIGHTED, 1886, BY THE CINCINNATI MUSICAL FESTIVAL ASSOCIATION.

H. E. KREHBIEL, Editor.

ALDIHE PfllNTINI WORKI, CINCIKNATI, 0. ]Board of 2)irectors.

WILLIAM N. HOBAET, President.

LAWRENCE MAXWELL, Jr. Vice-President

LUCIEN WULSIN, Secretary.

HENRY G. ROELKER, Treaturer.

STEWART SHILLITO, A. HOWARD HINKLE, HARLEY T. PROCTER, EDWARD GOEPPER, GHAS. P. TAFT.

3 Ubc (Beneral Committee for tbe ifesttval,

Comprising the members of the Festival Association, and contribu­ tors to the fund for the maintenance of the Chorus.

W. p. ANDERSON, NICHOLAS LONGWORTH, MRS. LOUISE N. ANDERSON, MRS. NICHOLAS LONGWORTH, F. H. ALMS, H. P. LLOYD, ROBERT B. BOWLER, ROBT. F. LEA MAN, ALBERT C. BARNEY, LAWRENCE MAXWELL, Jr. JULIUS J. BAN TLIN, FLORENCE MARMET, A. E. BURKHARDT, ARTHUR MEES, JULIUS BALKE, JB., JOHNH. MARTIN, D. H. BALDWIN & CO., ALEXANDER MCDONALD, BRIGGS S. CUNNINGHAM, JAMES McDOXALD, A. H. CHATFIELD, ROBERT MITCHELL, ROBERT CLARKE & CO., GEO. W. McALPIN, JOHN CHURCH CO., THE MRS. MARIA LONGWORTH STORER, COMMERCIAL GAZETTE CO., PETER RUDOLPH NEFF, JULIUS DEXTER, PERCY PROCTER, B. P. DAVIS, HARLEY T. PROCTER, WM. HENRY DAVIS, EDMUND PENDLETON, RICHARD DYMOND, HENRY G. ROELKER, ALBERT ERKENBRECKER, EDWARD RAWS( )N. J. F. ELLIOTT, CHAS. W. SHORT, CINCINNATI ENQUIRER, JOHN L. STETTINIUS, DR. F. FORCHHEIMER, STEWART SHILLITO, SETH C. FOSTER, EDWIN STEVENS, JAMES GILMORE, WM. STICIITENOTH, Jr., THOS. T. GAFF, W.;W. SCARBOROUGH, EDWARD GOEPPER, LEWIS SEASONGOOD, WILLIAM N. HOBART, M. M. SHOEMAKER, A. HOWARD HINKLE, DR. W. W. SEELEY, H. C. HALL, CHAS. P. TAFT, M. E. INGALLS, WM. H. THORNE, DR. JOHN D. JONES, L. VAN ANTWERP, ADOLPH KLEIN, LUCIEN WULSIN, CHAS. H. KELLOGG, Jr., MRS. MARY EMERY, JOHN V. LEWIS, RUPUS KING, AND THE HON. AMOR SMITH, I JR., Mayor of Cincinnati. HIS EXCELLENCY, J. B. FORAKER, Governor of Ohio. tlbe jFestival Guarantors.

Alms & Doepke. Gano, John A. Otte, Geo. F. & Co. Anderson, W. P. Glenn, Wm. & Son, Fape Bros. & Kugemann, Gibson House Co., The. Peebles, Joseph R. Sons. Baldwin, D. H. & Co. Gilmore, James. Pendleton, Edmund H. Baumes, J. R. Goepper, Herman & Co. Pogue, H. & 8. Bell, John E. Grand Hotel. Procter & Gamble, Bell, Miller & Co. Procter, Harley T. Bradley, C. P. & Co. Hafer, Geo. Putnam, Hooker & Co. Burkhardt, A. E. <& Co. Hall, H. C. Burnet House, The. Harms Palais Royal. Rawson, Edward. Harrison, L. B. Resor, Wm. & Co. Chatfield, A. H. Haven, James L. & Co. Chatfield & Woods. Roelker, P. G. Hinkle, A. Howard. Roelker, H. G. Church Co., The John. Hlnkle, Thornton M. Cincinnati Cooperage Co. Rogers, Brown & Co. Holmes, Chas. S, Rookwood Pottery. Cincinnati Gas Light and Coke Howard, Jerome B. Co. Roth, Edward N. Howe, C. L. Roth & Co. Cincinnati Enquirer Co. Huntington, F. G. Cincinnati, Hamilton & Day­ Schmidlapp, J. G. ton R.R. Co., The. Ingalls, M. E. Schneider, Geo. Cincinnati, Indianapolis, St. Jones, Prank J. ShlUito, Co., The John Louis & Chicago R. R. Co. Jones, John D. Smith, Charles E. Cincinnati Street Railway Co. Kellogg, Chas. H., Jr. Spencer & Craig Printing Cincinnati & Suburban Tele­ Klein, Adolph. Works. graph Co. Krehblel, C. J. Cincinnati, New Orleans & Springer, R. R. Stanwood, J. B. Texas Pacific R. R. Co. Lawson, F. H. & Co. Cincinnati Volksblatt Co. Stettlnlus, John L. LeBoutlUier & Simpson Stevens, Edwin. Cincinnati Warehouse and Levy, James. Malting Co. Stewart's, W. H. Sons. Lewis, John V. Storer, Bellamy C. Clark, Albert G. Longworth, Nicholas. Clarke, Robert & Co. Storer, Mrs. Maria Longworth. CoUier, Budd & Co. MoAlpln, Wm, Times-Star Co. Commercial Gazette Co., The. McDonald, Alex. & Co. McHenry & Co. Van Antwerp, L. Dana, S. P. Mabley & Carew. Vleth, Wm. Dexter, Julius. Maddux, Hobart & Co. Volksfreund, The. Duhme & Co. Maxwell, Lawrence, Jr. Dykins, Robert A. Meader Furniture Co. Wald, Gustavus H. Merrill Chemical Co.,The W.S. Walker, The Brewing Co. Empson, J. H. Walsh, James & Co. Errett, Isaac. Mills, Chas. L. Mitchell Furniture Co., The Weatherby, Stevens & Co. Errett, Russell. Weir, L. C. Evans & Kinney. Robert. Moerlein Brewing Co., The C. West, H. F. Bro. & Co. Evans, Lippincott & Cunning- Wilde, James, Jr., & Co. bam. Morrison, James & Co. Mt. Adams Inclined Plane R. Windisch-Muhlhauser Brew­ Farnbam, C. A. , R. Co. ing Co., The. Fleischmann, Chas. Mellen, Brown & Co. Wlnslow, A. S. Foley, B. W. Murdook, J. R. Winslow, John Flack. Frele Presse. Wood, Adolph. Freiberg & Workum. Neff, Peter Rudolph. Woodruff, Cox & Co. Gambrlnus Stock Co. Netter, Albert. Wulsln, Luclen. tal Subscription, $53, OC 5 MR. THEODORE THOMAS, MUSICAL DIRECTOR.

MR. ARTHUR MEES, Assistant Director.

SOPRANOS:

MISS LILLI LEHMANN,

MISS EMMA JUCH, MME. HELENE HASTEEITER.

CONTEALTO:

MISS EMMA CRANCH.

TENORS:

ME. WILLIAM CANDIDUS, :MR. WHITNEY MOCKEIDGE.

BARITONES AND BASSES:

MR. MYRON W. WHITNEY.

ME. WILLIAM LUDWIG, MI;. ALONZO E. STODDARD.

Festival Chorus of 600. Festival Orchestra of 118. Chorus of Children from the Public Schools.

6 ©rOer of performances.

Tuesday Evening, May 18.. . . First Concert. Wednesday Evening, May 19 Second Concert. Thursday Afternoon, May 20 Third Concert. Thursday Evening, May W Fourth Concert. Friday Evening, May SI Fifth Concert. Saturday Afternoon, May 2Z Sixth Concert. Saturday Evening, May 22 Seventh Concert. Evening Concerts begin at 7:30 o'clock. Afternoon Concerts begin at 2:00 o'clock.

PARTICULAR NOTICE. The doors will be closed and the concerts will begin precisel/*at the minute advertised. The doors will not be reopened nor persons admitted until some convenient point in the programme is reached. No encores will be given. The Intermissions, which have proved such an attractive feature of the former Festivals, will be continued. At each concert the Intermission will last from half an hour to an hour, during which time the audience will have an opportunity for promenade, and to take refreshments in other parts of the building. They will be called to their seats by th' ^ound of a trumpet. While the performances are going on, the doTo which give access to the places of refreshment will remain closed. Season Tickets, including reserved seats for all seven performances, (on sale only until May 1st) $10 00 (Tickets for each performance detachable and accepted separately.) Single Concert, reserved seat, (for sale on and after May 4th) $2 00 and 2 50 General Admission $100 Auction sale of choice of seats for Season Tickets begins at College Hall (Walnut Street), Tuesday, April 20th, at 10 o'clock, a. m. Regular sale of Season Tickets, without premium, begins on Thursday, April 22d, at 9 o'clock, a. m., at Church's Music Store, 74 West Fourth Street, and continues until Saturday, May 1st, after which date Season Tickets cannot be purchased. Sale of single reserved seats begins at Church's Music Store, Tuesday, May 4th, and continues until the close of the Festival. Persons residing at a distance can obtain reserved seats by addressing the Secretary of the Festival Association, 60 Pike's Building, who will furnish plats of the Hall, and any other information about the Festival, upon application. 7 jgtrst Cloncert,

Tuesday Evening, [May eighteenth.

©ratorlo, "Xlbe Creatfon,'^ .... HAYDN.

(First and Second Jfarts.) miss LILLI LEHMANN. MR. WILLIAM CANDIDUS. MR. MYRON W. WHITNEY. CHORUS AND ORCHESTRA.

3ntermtS5ion.

S^mpbonS, ino. 7, % m&\ox, ®p. 92, . . BEETHOVEN.

Poco sostenuto—Vivace. Allegretto. Presto. Allegro con brio.

i jQeconb Qoncert.

Wednesday Evening, 0\4ay nineteenth.

/IDass in JS /IBinor, ...... BACH. /. Chorus—Kyrie eleison. 2. Duet—Cbriste eleison. MISS LEHMANN and MISS CRANCH. 3. Chorus—Kyrie eleison. 4. Choriis—Gloria in excelsis Deo. 5. Air—Laitdamns te. MISS CRANCH. 6. Chorus—Gratias agimus. 7. Domine Dens. MISS LEHMANN and MR. MOCKRIDGE. 8. Chorns—Qiii tollis. Q. Air—Qiii sedes ad dexterain patris. MISS CRANCH. JO. Air—Quoniam tu solus san£lus. MR. WHITNEY. II. Chorum—Cum San£fo Spiritu.

3ntccmTsston.

Sl^mpbOni?, mo. 2, C mnox, ©p. ei, . '. . SCHUMANN. Sostenuto affai—Allegro ma non troppo. Scherbo: Allegro vivace. Adagio espreffivo. Allegro molto vivace. •(Recitative an^ aria, JfiacUo, * - - BEETHOVEN. MISS LILLI LEHMANN. ©Verture, Ibosltsfta, .... , . DVORAK. 9 JI[bir& 0onccrt.

Tbursdciv (Afternoon, May twentieth.

SpmpbOnV?, tlo. S, .us /IRtnor, (Unfinished) . . SCHUBERT. Allegro moderato. Andante con moto. Scena, armlCe, "lEnfln il est Cans ina pulseancc." . GLUCK. miss LILLI LEHMANN. part Songs for Momen's IDoices, ®p. i7, . . BRAHMS. (With accorapaniment of ^arp and yrencb l^nrns.)

SCber30 CaprtCCiOSO, ©P. 66, .... DVORAK.

3ntcrnussion.

/IDUSiC to (5oetbe'8 Egmont, . BEETHOVEN. (a.) Overture, Op. 84. (b.) Lied, "Die Trommel ij^enihrt." MISS LILLI LEHMANN. (c.) Entr'acte, Larghetto. (d.) Lied, " Freudvoll und Leidvoll." MISS LILLI LEHMANN. (e.) Entr'acte, Allegro, Allegretto, Finale.

IRecit. anb aria, IRulns of atbens, . BEETHOVEN. MR. MYRON W. WHITNEY.

S^mpboniC poem, yeethlange, . ... LISZT.

10 ^ourtb Concert.

Thursday Evening, May twentieth.

damnation of ffaust, BERLIOZ. A Dramatic Legend in li ur parts. MME. HELENE HASTREITER, MR. WILLIAM CANDIDUS. MR. WILLIAM LUDWIG, MR. MYRON W. WHITNEY. CHORUS AND ORCHESTRA. CHORUS OF CHILDREN.

InterBJtsaiou between tbe Second and Third Ufarts. ;E[iftb Qoncert.

Friday Evening, OVIay twenty-first.

S^mpbOnS, mo. 3, Erotca, ©p. 55, . . . BEETHOVEN. Allegro con brio. Marcia Funebre. Scherbo: Allegro vivace. Finale: Allegro molto.

IRecit. anb aria, ©rpbcus," 5 bavc lost mg EutBOlce," . GLUCK. MME. HELENE HASTREITER.

3ntermtssion.

XEbe XlOWer of Babel, ..... RUBINSTEIN. MR. WILLIAM CANDIDUS, MR. ALONZO E. STODDARD, MR. MYRON W. WHITNEY, CHORUS AND ORCHESTRA. CHORUS OF CHILDREN.

12 jStytb C[onccrt.

Saturday (tAfternoon, ^ay twenty-second.

©verture, mcluaine, ..... MENDELSSOHN. ariabne auf IFlajos, ...... HAYDN. MME. HELENE HASTREITER. psalm XXIII, SCHUBERT. CHORUS OF WOMEN. OLes IRameaus, FAURE. iMR. WILLIAM LUDWIG. IRecit. anb aria, jaust," me etlllc macbt entwclcbt," SPOHR. MISS EMMA JUCH. Der Zan3 in ber Borfscbenhe, (Mepbisto Waiti) . LISZT. (Episode after Lenau's Faust.) /IBignon, ...... LISZT. MME. HELENE HASTREITER.

~Sntermission.

Swipbonte jfantastique, BERLIOZ. "Episode de la Vie d'un artiste" [in five parts.) Part I. Reverie—Passions. Part II. Un Bal. Part III. Schie aux champs. Part IV. Marcbe au Supplice. Part V. Sou'ie d' line iitiit de Sabbat.

13 jQevcntb (Concert.

Saturday Evening, May twenty-second.

WAGNER ^IGHT. filling 2)utcbman. (a.) Overture. (b.) Duo "Like to a vision." MISS JUCH and MR. LUDWIG. Uristan unb 5solbe. {a.) Vorspiel. (b.) Finale: Liebestod. MISS LILLI LEHMANN. Siegfried. Waldweben (Voices of the Forest.) ORCHESTRA. (Botterbammerung. "Zu neuen That en." MISS LEHMANN and iMR. CANDIDUS. Siegfried's Rhine Journey, \ f.,.^^ Siegfried's Death. ] ^'^^*«'^'^"-

3ntermtssion. 3>ie /iDeistersinger—act III. (a.) Prelude. (b.) Hans Sachs's Monologue. (c.) Quintet. (d.) Chorus of Cobblers, Tailors and Bakers. (e.) Dance of Apprentices. if.) Procession of Master singers. (g.) Chorus, "Awake." (J}.) Priie Song and finale. ^'"'^- • • • . . M/SS JUCH. Magdalena, . , . j^j^g CRANCH. Walter Von Stolzing, . MR. CANDIDUS. David, . . . j^iji MOCKRIDGE. Pogner, . . . ^/^. STODDARD. Hans Sachs, . . . MR. LUDWIG.

14 ^he Hcstival.

THE preparations for the Seventh May Festival have been carried on in the same spirit of conscientious endeavor that has character­ ized the Festivals from the beginning. The lofty purposes originally set for the institution have been kept steadily in view, and have been more nearly fulfilled with each succeeding Festival. It was the general verdict that the Sixth Festival, held in 1884, was a more brilliant artistic success than any of its predecessors, and it is con­ fidently submitted that a stiU further advance is now made. The friends of the enterprise at home and the lovers of music everywhere find grounds for congratulation in what has been aicomplished. The influence of the Festivals, especially that which they have exerted upon the cultivation of choral music, has not been confined to Cincinnati. Half a dozen festivals, held elsewhere within the last five or six years, particularly those held in iS'ew York, under the direction of Mr. Thomas and Dr. Damrosch, and in Chicago and Bufl!alo, under the direction of Mr. Thomas, have been the fruit of the seed sown in Cincinnati; and to the same source may be traced the Philadelphia Festivals of 1883 and 1884, held under the direction of Mr. Gilchrist, who was brought into prominence as the prize- composer at the Cincinnati Festival of 1882. The failure of these enterprises of other cities to establish themselves as permanent insti­ tutions is due, partly, at least, to the disparity between their aims and methods, and those of the Cincinnati Festivals, and partly to the absence of that commendable public spirit and private generosity that has furnished men and means for the carrying on in Cincinnati of every worthy effort in the cause of art. But the festivals of other cities, by no mean.« measure even the direct influences of the Cincinnati Festivals. The fact that the >5 THE FESTIVAL. festivals of New York and Chicago were to be given in connection with the Cincinnati Festivals in 1882 and 1884, enabled Mr. Thomas to bring artists of great renown from Europe, and wherever these artists appeared in conjunction with Mr. Thomas' orchestra, the peo­ ple reaped advantage. If an equivalent for work like this could be entered in the list of assets of the Cincinnati Musical Festival Asso­ ciation, there could be no fear of ever exhausting its funds. And now let us cast a retrospective glance over what the Cincin­ nati Festivals have accomplished in the thirteen years of their existence. Striking monuments which will tell a portion of the story to coming generations, exist in the great Music Hall and Organ. But they speak chiefly of the material triumphs which have been gained. An equally proud monument which has had its foundation vastly strengthened since the last Festival, is the Festival Chorus, with an organization whose continuance is no longer contingent on the receipts at the biennial meetings, and whose activity, extending from festival to festival, and directed by the same intelligent and unselfish policy as characterizes the administration of the festivals themselves, is the most potent of all factors in musical culture. The truth of this proposition is recognized the world over. There is no better gauge of the musical standing of a community than the extent to which choral music is cultivated in it by amateurs. Thousands of dollars spent in the importation of great artists from abroad do not speak of the gentleness, refinement, and musical love of a people with one-half so much eloquence as the weekly meeting of the choir to study choral music. Schumann recognized this when he gave the admirable advice: " Sing diligently in choirs, particularly the middle voices. This will make you musical." The case was excellently put by Hermann Kretschmar, in a monograph published on the occasion of the 25th anniversary of the famous Riedel'sche Verein of Leipzig, in 1879, in which he said: " We owe it to them [singing societies] that a serious spirit is again become dominant in music; and they give the strongest protection against the encroachments of that super­ ficial enjoyment, which is the product of the modern system of con­ cert-giving, by confronting that great portion of the public whose relation to our masterpieces is confined to a passing hearing, with a band of persons who are accustomed, through diligence, profound i6 THE FESTIVAL. study, and enthusiasm, to reach the significance of the music. Yet as much as art profits by singing societies, and notwithstanding that through their influence it has entered upon a new phase of life, the greatest good accrues to the members themselves. In no other art are amateurs privileged to enjoy the spiritual beauties of a creation in the degree that music oflers to choristers. Whoever belongs to a singing society in which the study is well conducted, at each perform­ ance accomplishes a work and receives an artistic reward analogous to that of the painter who copies a masterpiece; and one who has spent a generation in such a society can cherish his recollections like a museum." Then referring to the programmes of the society, which included six performances of Bach's B minor Mass and ten of Beet­ hoven's Missa Solennis, he continues : "That such a treasure of the loftiest art works extending with equal justice over all nations, times, and tendencies, should be confided by a small circle of cognoscenti to a few hundred collaborators, and then delivered over to be the intellectual property of a whole city, is one of the wonders of modern times." What are the artistic treasures which the choristers of the Cincin­ nati Festival have laid up ? The list is one which wiU stand the test of comparison with that of any city of Europe, and as the pro­ gramme of the Seventh Festival marks the culmination of one ten­ dency, and in a manner, the beginning of another, the occasion is appropriate to review the work done. A tabular statement is the most telling: FIRST FESTIVAL, 1873. Beethoven . • Ninth Symphony. Gluck . • • Scenes from Orpheus. Handel . Dettingen Te Deum. Mendelssohn . The First Walpurgis Night. Schubert . . . . . Twenty-third Psalm. Schumann ...... Gypsy Life. SECOND FESTIVAL, 1875. Bach . Magnificat in D. Beethoven • Ninth Symphony. Brahms . Triumphal Hymn. Ligzt .... Prometheus. Mendelssohn Elijah. Wagner Scenes from Lohengrin. 17 THE FESTIVAL.

THIRD FESTIVAL, 1878. Beethoven . . . Ninth Symphony. Berlioz . . Romeo and Juliet Symphony. Gluck . Scenes from Alceste. Handel . . The Messiah. Liszt . . ... Missa Solennis. Otto Singer . . . Festival Ode.

FOURTH FESTIVAL, 1880. Bach .... . Cantata, A Stronghold Sure. Beethoven . . Missa Solennis. Buck . Prize Composition—Scenes from Longfellow's Golden Legend. Handel • Utrecht Jubilate and Coronation Anthem, Zadok, the Priest.

FIFTH FESTIVAL, 1882. Bach . . St. Matthew Passion. Berlioz . . Scenes from Fall of Troy Gilchrigt . Prize Composition—Psalm XLVI. Handel . ... Dettingen Te Deum. Mozart ... . . Requiem Mass. Schumann . Scenes from Goethe's Faust (Part III).

SIXTH FESTIVAL, 1884. Beethoven . Ninth Symphony and Chorus from Kuins of Athens. Brahms . . The German Requiem. Gounod ... . . The Redemption. Handel ... . Israel in Egypt. Wagner . . . Scenes from Tannhiiuser.

These schemes, from which the orchestral and miscellaneous fea­ tures have been omitted, in order that the work done by the chorus may stand in relief, afford interesting food for thought. It will be noticed that in the choral department there has been a steady develop­ ment from compositions of not more than average difficulty of per­ formance and appreciation to the most stupendous works in choral literature. With Beethoven's Mass in D, Handel's Israel in Egypt, and Bach's Passion according to St. Matthew, the acknowledged mas- i8 THE FESTIVAL. terpieces in three styles of choral writing were reached. It only remained to associate with them the great Mass in B minor and one mission of the festivals would be attained. This is to be the crown­ ing achievement of the Seventh Festival. With this colossal work the keystone will have been placed in the great arch which must stand as the proudest memorial that music in America has to show. This done, regard is had in the remaining programmes to extend­ ing public knowledge touching striking compositions in various departments of musical composition. The result of this endeavor is seen in a set of programmes full of variety and replete with ele­ ments that will extend a charm as well over the cognoscenti as those who are merely music lovers. To help the public to an understand­ ing of these compositions, is the purpose of other pages in this pamphlet. A few words as to the factors employed in these programmes. Great soloists and a great orchestra can always be commanded, though only a great occasion can make their engagement possible, by bringing to­ gether great audiences, and as a result, great sums of money. A great Chorus, however, is the result of much unselfish labor on the part of hundreds of individuals. The significance of the present thoroughly organized body of singers which has been preparing for two years for the Seventh Festival, can be deduced from the words of the German writer already quoted; the amount of labor which its organization and its work represents, can scarcely be set forth. The labor has been cheerfully given and the reward will be reaped by each individual in the refined knowledge acquired and the higher pleasure which has come from communion with artistic masterpieces. The Chorus stands for the Festival, which it alone makes possible, and in marshalling the Fes­ tival forces it must take the first place. At the earlier Festivals the Chorus was formed for the occasion by combining the forces of the various local singing societies. As the programmes grew in dignity and difiaculty the plan of bringing heterogeneous elements together at intervals was found to be inadequate, and in 1880 the Festival Chorus was organized as a permanent body. A year later Mr. Arthur Mees was secured as Chorus Director. He had been identified with the veryfirst Festiva l as its organist, and had rendered Mr. Thomas valuable assistance in preparing the Chorus for the

19 THE FESTIVAL.

Festival of 1880. Since 1881 the actual work of training the chorus has devolved entirely upon Mr. Mees, and to him is due the credit of the steady growth and musical progress in that department, without which, the stupendous choral programmes of the later Festivals would have been impossible. But the Festival Association has not been content to regard the Chorus simply as a factor in the Festival concerts. There has been kept in mind its development as a high school of choral music, and to that end, and also with a view to increasing the efiiciency of the choir and the individuality of its members, chorus classes, numbering from ten tofifty members each, have been organized and maintained during the past two years. At the weekly meetings of these classes are taught the rudiments of music and reading at sight. Illustrations are drawn from the works under study for the Festival, and abundant opportunity is presented to explain the peculiarities of the composers, and to acquaint the singers with the technical details and the general character of the works under consideration. The funds for this work are secured under a reorganization of the Association, whereby each stockholder now contributesfifty dollars per annum for the support of the Chorus. The soloists are the most eminent singers in their respective de­ partments now in the United States. The name of Lilli Lehmann has been mentioned almost as often as that of any living vocalist during the last ten years, which means since she took part in thefirst Bayreuth Festival, where she and her sister united their brilliant voices in the music assigned by Wagner to the Rhine-daughters in the Niblung dramas. Then Miss Lehmann had only achieved distinction as a soprano leggiero; since then she has developed into an artist, who has equal command of dramatic and florid parts. She was born on November 24, 1850, at Wurzburg. Like Patti, she is a child of the operatic stage. Her father was the tenor Lehmann, her mother the famous dramatic soprano, Marie Lowe, who had sung under the direction of Spohr at Cassel, and been a friend of Wagner when both were beginning their careers. Her younger sister, Marie, is now engaged at the Imperial Opera at Vienna. Concerning her career. Miss Lehmann writes with characteristic brevity: " We sisters were educated in Prague, where my mother was pro­ fessor of the harp and of singing. Under her tuition we made our vocal

20 THE FESTIVAL. studies, and I began my career at Dantzig in 1868 as coloraiur Sangerin. From there I went after six months to Leipsic to Heinrich Laube, and from there after a year, to Berlin, where I have sung for fifteen years, and for ten years have held the appointment of court singer for life. During that time, I have everywhere sung in concerts and ora­ torios, twice for six weeks at the Royal Opera, in Stockholm ; three months in Vienna, and four months in Dresden. Have sung twice with Mapleson, in London, at the Italian Opera, and once at the German Opera. Now, I am here in New York, wo es mir tehr gut gefaUt (where I like it very much). Voila tout." Miss Lehmann came to New York as principal soprano of the German Opera at the Metro- politan Opera House in the fall of last year. She was the chief attrac­ tion of the season, and has been reengaged on such favorable terms that it is a question whether the Berlin Opera House will ever echo to her voice again, except as "guest". Miss Emma Juch is no stranger in Cincinnati, where she is held in special remembrance for her exquisite singing in Brahm's Eequiem at the last Festival. She was born in Vienna in 1861, of naturalized American parents. Herfirst operatic success in " Mignon," with Mr. Mapleson's Company, was followed by her instant success as Violetta in "Traviata," Queen of the Night in "The Magic Flute," Jifart/ja in "Martha," MxrgfMerite in "Faust," the Qween in "The Huguenots," and Isabella in "Robert le Diable." She continued with Mr. Mapleson during three seasons, making a distinct success in each new role. Her work was of the most difiicult character. Two years ago, having been brought to the favorable attention of Theodore Thomas, she accepted an offer to share the arduous duties imposed upon Mesdames Nilsson and Materna, on the Wagner concert tour. Miss Juch alternated with Mme. Nilsson in singing the role of Elsa to Mme. Materna's Otirud. Mr. Thomas has since intrusted Miss Juch with much important soprano work in his exacting concerts, and she has been one of the chief supports of the American Opera since it began its successful career last January, winning fresh laurels in the parts of Eurydice, Elsa, Pamina, and Srnta. Miss Juch has also sung at many of the principal concerts this season, including those of the Boston Symphony Orchestra and of the New York and Brooklyn Philharmonics. She is now rightly considered the foremost American soprano in opera or concert. 21 THE FESTIVAL.

Mme. Helene Hastreiter has made herself a prime favorite wher­ ever she has sung, since her return to this country last fall. She was born in Louisville of German parentage. She sang in public at eight years of age, and two years later began the study of music in Madison, Wisconsin, where her parents had made their home. When she was fourteen years old she went to Chicago, where she subsequently achieved local celebrity as a church singer. In 1875 she went abroad tofinish he r studies. At -Milan she enjoyed some of the last lessons given by Trivulsio and became a pupil of Lamperti. Having chosen the operatic career, she made her debut in Trieste as Elizabeth in Ver­ di's " Don Carlos." Under the nom de theatre of Elena de Vasco she sang in Milan, Florence, Rome, Naples, and Nice, her list of operas, comprising "Don Carlos," " Aida," " L'Africaine," "LaForzadel Destine," "Trovatore," "Ruy Bias," "La Gioconda." In the winter of 1884 she returned to Chicago and sang solos at Dr. Lorimer's church, returning to Europe in the summer. After singing in London, she came to New York at the suggestion of Mr. Abbey's London agent, who had selected her tofill th e concert engagements of Mme. Gerster, who had fallen ill. In New York she sang for Mr. Thomas and was promptly engaged for the American Opera, making her American operatic debut as Orpheus in Gluck's Opera. Her success was instanta­ neous, and her popularity has since been steadily and deservedly increasing. It would be carrying coals to Newcastle to introduce Miss Emma Cranch or Mr. Whitney to patrons of the Cincinnati festivals. Miss Cranch has sung at all of them since 1875, and Mr. Whitney at all of them except the last. Mr. William Candidus, the principal tenor of the Festival of 1886, will be remembered asfilling th e same posi­ tion in the Festival of 1882. Though his career is identified with some of the chief opera houses of Germany, Mr. Candidus is an American by birth. He was born in Philadelphia in June, 1840, of German parents. Until he grew to manhood, his musical activity was confined to singing with a German men's chorus. At the break­ ing out of the war he entered the army, served two years, and returned home. He took up his residence in New York, became an active member of the Arion and Liederkranz Societies, and in 1866 attracted considerable attention by his singing of the music of Max

22 THE FESTIVAL. in a performance by the Arion of " Der Freischutz." In 1872, he went abroad and began his career as a professional singer. His first successes were scored at Weimar, where he sang in operas and con­ certs. He was then engaged as one of the leading tenors of the Royal Opera at Berlin, and during the seasons of 1874-75, he sang alternately in Berlin and Hanover. He was next engaged at Hamburg, and the season of 1879-80 he was at Her Majesty's in London, where he created & furore by his impersonation of the characters of Lohengrin and Florestan. In the fall of 1880, he entered upon an engagement at Frankfort-on-the-Main, where he remained until he came to New York last winter to join the American Opera. Whitney Mockridge was born at Port Stanley, Ontario, Canada, where his father was an Episcopal clergyman. He was educated at Trinity College, Toronto, with a view to entering the ministry; he had a beautiful voice as a boy and was for two years solo soprano in the choir. He left school when seventeen years of age, being deter­ mined to adopt the musical profession, and appeared with the Toronto Philharmonic Society in Mendelssohn's "Hymn of Praise," and " Elijah." Mr. Mockridgefirst studied under P. H. Torrington, and subsequently with Mr. A. Randegger, of the Royal Academy of Music, London. He was for some time a member of Carl Rosa's En­ glish Opera Company, and sang in London and through the British provinces with this company. He returned to America in 1884, since which time he has fulfilled engagements as leading tenor at the Wor­ cester Festival and other important festivals and concerts. William Ludwig was born in Dublin, in 1847, and when quite a youth, developed unusually promising vocal talent. He studied first under Signer Cellini, at the Catholic University, Dublin, and subse­ quently under Mr. Charles Santley. Mr. Ludwig made his first professional appearance on the stage at the Gaiety Theatre, London, under Mr. John Hollengohead's management, where he had excellent dramatic training. He remained there for six years, appearing with great success in comic opera. He then joined Carl Rosa's English Opera Company, and for nine consecutive seasons played the leading baritone roles in the extensive grand opera repertoire of Mr. Rosa's Company. Mr. Ludwig was thefirst t o play in the English language such roles as Tdramund in '' LoheUgrin ;" Wolfram in '' Tannhauser,"

23 THE FESTIVAL.

sjidi Amonastro \n "Aida"—in more modern works the leading bari­ tone parts in Mackenzie's " Colomba;'' Goring-Thomas' "Esme­ ralda;" Villiers-Stanford's " Canterbury Pilgrims" were written for him and originally sung by him. Mr. Ludwig has also an extensive oratorio repertoire, and has sung at the leading oratorio concerts and festivals in London, the English provinces, and in Ireland. Alonzo E. Stoddard was born in Massachusetts, and came to New York in 1865. He was heard in about thirty different oratorios and cantatas. In 1879 he became a member of the Abbott Opera Com­ pany, and remained with it for four seasons. Mr. Stoddard has a baritone voice and a repertoire of over thirty operas. Mr. Thomas has reorganized his orchestra during the past year, and has been able, not only from that circumstance, but by reason of its constant and daily engagement under his direction during the entire season at his concerts, and in connection with the American Opera, to bring it to a state of perfection even higher than that which had already entitled it to rankfirst amon g the orchestras of the world. The Festival band is composed of his orchestra with additions from the New York and Cincinnati Philharmonic Societies, forming together a company of instrumentalists such as can be heard nowhere except under Mr. Thomas' direction. It is needless to add that the entire musical direction of the Festivals has been in Mr. Thomas' hands from the first. No other living conductor could have accom­ plished his task. The record is the most brilliant in the history of musical expositions. In thirteen years the heterogeneous musical ele­ ments of a western city are organized and developed so as to have pre­ sented programmes which will stand the test of comparison with those of any similar institution of Europe, either in point of artistic dignity or of worthy rendering. The Cincinnati May Festivals are a monu­ ment, not only to Mr. Thomas' skill as a conductor, but to his sound judgment, his wise counsels, and his executive tact. In all of the operations of the Festivals, involving the employment and control of thousands of persons during thirteen years, there has never been the slightest jarring nor a single miscarriage. Of his aides, next to Mr. Mees, should be remembered Mr. George Schneider, whose faithful and efficient services as accompanist are held in grateful appreciation by the Chorus and by the Directors. 24 Hirst Concert.

CyT{ATOT{lO, " THE C%EATION," Haydn.

(First and Second Parts.)

HAYDN'S oratorio, "The Creation," comes next in popular acceptance after Handel's " Messiah." In Haydn's oratorio, as Handel's, there is relevance throughout of music to verbal text. But manifestly the subject of Haydn's work, though interesting, is second in sublimity to that of Handel's; the verbal text deals not with the spiritual, but with the physical; and the general result is a lighter, though an admirable and a pleasant, production. The book to which Haydn has attached his music consists of two ele­ ments, judiciously set forth. In the course of Parts I. and II., the Bible narrative of the Creation is introduced, piece by piece, gener­ ally in recitative assigned to one of the three angels (Raphael, Uriel, Gabriel) who are supposed to take part in telling the story. Then each portion of the sacred text, after delivery in recitative, is supple­ mented or extended by the author of the words, in sentences exceed­ ingly well devised to carry musical color; these portions usually form the text of an air, duet, or trio, and lead up to a chorus, the full stream of which is sometimes suspended for the momentary and most pleasant introduction of short passages of duet or trio. These suc­ cessions of recitative, air, chorus, constitute the framework of Parts I. and II.; the choruses forming a series of climaxes, culminating, at the end of the first part, with "The heavens are telling," at the end of the second part with "Achieved is the glorious work." Thefirst ste p toward being able to listen well to the work is the perception of these the main lines on which it is laid out: let it next

25 FIRST CONCERT. be noticed that a different and appropriate treatment characterizes each of the three classes of numbers: the music composed for the declamation of the actual Bible words in recitative is invariably full of easy dignity, and comparatively reserved in style ; in the descrip­ tive settings of non-Biblical words which follow, on the contrary, the composer lets his graceful fancy have full play, phrase after phrase of the text being suggestively and specially painted as it comes ; in the choruses, lastly, gushes out exuberant praise, so brilliant in its purity> so celestial in its simplicity, that the strains may well be attributed, as they are, to the heavenly host themselves. The instrumental introduction to "The Creation," labelled " Rep­ resentation of Chaos," is an orchestral prelude which aims at fulfilling its intention chiefly by its harmonies; which, as the merest glance will reveal, are of that class in which chromatic alterations, con­ stantly succeeding each other in one or other of the parts, induce a quiet stream of weird, mysterious modulation. As the number pro­ gresses the rhythms get more animated and varied; triplets of quavers, played staccato, occur in the bass; tbe middle parts are divided into shorter pulses, and at length break into triplets of semi­ quavers ; the chromatic modulations continuing. The upper parts presently get into more rapid motion; and then the whole subsides, after accomplishing the composer's purpose of producing a sensation as of an unsettled, restless condition of things. The story to be illustrated is then introduced in thefirst recitative number, '' In the beginning God created the heaven and the earth." A few musical sentences, well turned to admit of an effective declamatory opening of the narrative, carry these Biblical words; and the hearer should mark how a single link of harmony—a chord of B-flat—at its close, brings the ear to a long-expected, carefuUy-prepared-for rest in the key of E-flat, in which is cast the succeeding chorus, thefirst o f the work, "And the spirit of God." Short as is this number, it is full of telling touches worth attention. Mark first the soothing restful effect, already mentioned, of a definite subsidence into the key of E- flat, the "relative major," as musicians term it, and the true caden- tial home, as we will call it, of the relative minor key of C with three flats, round which, mainly, the previous unrestful harmony has turned. Mark the quiet short lead of trebles with which the chorus 26 THE CREATION. begins; the slight heightening of color in the harmony at the words '' moved upon the face of the;" the silence of all accompaniment at "And God said," and again at " Let there be light." The setting, lastly, by Haydn of the four words, ' 'And there was light" in this, the first choral number of his work, is a well-known point of musical effect. Of these four words thefirst three—let the reader here turn to the music for a moment—are announced by the voices unaccompanied, in monotone and unison: at the word "light' there is a burst of harmony from the whole force of voices and instru­ ments, the chord chosen being—to put it somewhat paradoxically— that of the relative minor of the key with its third made major. In this outburst the E natural strikesfire to the ear. After these few bars of eloquent chorus, the Bible story is carried on by a few words of recitative, at the end of which the simple nar­ rative of Holy Writ is interrupted; and we have an example of that descriptive extension of tbe subject which has already been referred to as one element of the book, in the air and chorus:

"Now vanish before the holy beams the gloomy shades of ancient night : thefirst o f days appears : Now chaos ends, and order fair prevails. "Afi"righted fled Hell's spirits black in throngs; down they sink in the deep abyss to endless night; Despairing, cursing rage attends their rapid fall. "A new-created world springs up at God's command."

Reading the words of this number the listener will be ready to per­ ceive how appropriate is its musical treatment. Of the three sen­ tences in which it is printed above, the middle one presents a strong contrast in tone of meaning to the tone of thefirst and third ; and it is to the coloring of the contrast outlined by the words that the mas­ ter's music is directed. At first the text is set in solo, to an aria for the angel Uriel, the character of which changes entirely at tbe words "Affrightedfled Hell' s spirits;" the change in the voice part being em­ phasized, of course, by the orchestral parts, as the listener must not fail to notice. Presently the chorus enters, the bass voices breaking in with the words, " Despairing, cursing rage," to a crude, violent, chro­ matic theme, well calculated to illustrate the sense. This theme and its turbulent accompaniment rage for awhile, as a storm; then the clouds part, and the sun shines through, as the voices, singing softly, 27 FIRST CONCERT. revert in quiet harmonies to the key, at the words, "A new-created world." The solo voice returns for a few bars to the stormy theme, followed by a musical sentence or two in the same violent phraseology for the chorus ; then comes a second time the contrast, "A new-cre­ ated world," and a number well worth listening to with the under­ standing as well as the ear ends in peaceful sunshine. The narrative now advances in a solo, for Raphaelfirst, to the next succeeding portion of the Bible narrative: this is then extended by further descriptive text, giving reference to wind, lightning, rain, hail, and snow; in all which, as throughout the oratorio, is to be marked vivid and appropriate orchestration, imitative, or illustrative of the language of the book. A bright solo, " The marvelous work," accompanied by a chorus simple, sunny, and effective, "And to the ethereal vaults resound," furnishes, in its combination of principal singer with background of full choir, an instance of several similar resorted to in this charming oratorio. The well-chosen course of treating the subject now proceeds, the descriptive air, "Rolling in foaming billows," calling presently for the listener's attention, as a salient example of Haydn's allusive orchestra­ tion. Billowy figures of accompaniment prevail as the singer sings of the "boisterous sea;" when "mountains and rocks emerge'' the accompaniment changes its character ; and again when '' through th' open plains outstretching wide in serpent error rivers flow;" the char­ acter of the graphic air changesfinally, emergin g from the minor to the major mood, as the words, "Softly purling glides on through silent vales the limpid brook." Of the well-known air which comes presently, breathing spring in its every phrase, the always delightful, "With verdure clad," it must be said shortly that it is one of the purest outwellings of music that ever came from the soul of a composer; in listening to it let the learned musician forget his learning, and lend his ears unembarrassed by his science; the unlearned listener may, for this time at least, forego all effort, and let the music flow in upon his soul, making its own impression. The chorus "Awake the harp! the lyre awake!" provides the de­ sirable climax of a full triumphant number to close the narration of 28 THE CREATION. the third day of Creation : in the music of the fourth day mark first the sunrise prelude to "In splendor bright is rising now the sun ;" and note how the time and style of the voice part and its accompani­ ment change for a moment, in illustration of the words, "With softer beams and milder light steps on the silver moon through silent night." This listened to, special but not laborious attention must be bespoken for the well-known chorus, "The heavens are telling," into which is interjected presently a trio of the three angels, '' To-day that is com­ ing speaks it the day; the night that is gone to following night." Close upon the dusky harmonies which carry the last limb of this sentence, allusive to night, bursts in again the chorus, "The heavens are telling;" after which, with the same lovely effect as before, comes the trio of angels, "In all the lands resounds the word;" the chorus breaking in again presently, and carrying the number in a triumphant swing of celestial joy to the end of thefirst part . Four of the six days of Creation have now been described in words, and the description colored by music: in the second part the task is resumed, on the same plan as before. To Gabriel is assigned, after a recitative in Bible words, the air, "On mighty pens;" wherein, as in the similar descriptive numbers, the instrumentation studiously follows the sense; vigor and rapidity in the orchestra accompany the voice as it mentions the soaring eagle; the lark sug­ gests a bar of twittering triplets; the cooing of the dove calls forth anotherfigure, i n two parts, and special ingenuity is devoted by the composer, with pleasing effect, to an instrumental imitation of the song of the nightingale. All these points will be obvious to the list­ ener if he listens at all. No chorus follows this air, but the narrative proceeds in a number of some elaboration for the three angels, " Most beautiful appear;" in which, after a sprightly instrumental prelude, a solo isfirst assigned to Gabriel; and the graceful music of this re­ peated, by Uriel, to other words—"In lofty circles play," while a short solo assigned to Raphael in turn presents other leading images from the world of nature, and at every successive phrase the master puts into the picture a pertinent dash of instrumental color, rapid bass passages of an amusing tournure introducing "th' immense levi­ athan." The three angels having, immediately upon this, united in a combined movement, "How many are thy works, 0 God!" their 29 FIRST CONCERT

voices are presently joined by the entry of the full chorus—now for some time silent; and a number of importance, brilliance, and some grandeur ("The Lord is great") results, in which the last few bars, forming a cadence of imposing solidity, are one of several effective points. The many instances of curious orchestral illustration which pres­ ently come will speak for themselves; and the listener will scarcely need prompting to notice the " roar" of imitative sort in the orchestra as the " tawny lion" is mentioned, the chromatic runs which intro­ duce "the flexible tiger," the change of rhythm which heralds the " nimble stag," the buzz of the " host of insects," and the significant orchestral expression invented to accompany the words, '' In long dimension creeps with sinuous trace the worm." For a bar after the voice ceases, the worm crawls on in the or­ chestra ; and with this last touch of ingenuity the number closes. After one more piece of imitative accompaniment heard presently at the words, '' By heavy beasts the ground was trod," this element of effect, carried to the brink of the ludicrous, disappears from the ora­ torio, giving way to a more dignified style at the words which prelude the creation of man. Tbe sentences. Biblical and other, in which this act of the Great Creator is set forth, are assigned to strains of a grace and appropriateness habitual to Haydn; and succeeded pres­ ently by the chorus, "Achieved is the glorious work.'' Early in this is interposed the beautiful and religious duet, '' On Thee each living soul awaits." Variety is further developed in this number by a pas­ sage for single bass voice, "But when Thy face, O Lord, is hid;" and a trio for the three angels, '' Thou sendest forth Thy breath again;" elaborated episodes which should all be noted as contributing to the due development of the work at this stage. The chorus pres­ ently returns: "Achieved is the glorious work—hallelujah!" and a number of considerable vigor and breadth brings us to the end of the second part.

3° THE CREATION.

ipart tbe #trst. Now furious storms tempestuous rage; As chaS", by the winds are impelled INTRODUCTION (Orchestra).—EEP- the clouds; EESENTATION OF CHAOS. By heaven's fire,th e sky is inflamed; And awful thunders are rolling on RECIT.—iJop/iaeJ. high; In the beginning, God created the Now from the floods in steams ascend heaven and the earth ; and the earth reviving showers of rain. was without form and void ; and dark­ The dreary wasteful hail, the light ness was upon the face of the deep. and flaky snow. CHORUS. AlB..—Gabriel. And the Spirit of God moved upon the face of the waters; and God said The marvellous work behold amazed Let there be light, and there was light. The glorious hierarchy of heaven ; And to th' ethereal vaults resound REGIT.—UWei. The praise of God and of the second And God saw the light that it was day. good ; and God divided the light from CHORUS. the darkness. And to th' ethereal vaults resound AIR. The praise of God and of the second Now vanish before the holy beams. day. The gloomy shades of ancient night; REGIT.—Raphael. The first of days appears. And God said, Let the waters un­ Now chaos ends and order fair pre­ der the heavens be gathered together vails : into one place, and let the dry land Afirighted fled, hell spirits black in appear, and it was so. And God throngs; called the dry land earth, and the Down they sink in the deep abyss gathering of waters called He seas ; To endless night. and God saw that it was good. CHORUS. Despairing cursing rage attends their AIR. rapid fall: Rolling in foaming billow A new-created world springs up at Uplifted, roars the boisterous sea. God's command. Mountains and rocks now emerge. B.EClT.—Iio.phael. Their tops into the clouds ascend. And God made the firmament, and Through the open plains out-stretch­ divided the waters which were under ing wide, the firmament from the waters which In serpent error rivers flow. were above the firmament, and it Softly purling glides on was so. Through silent vales the limpid brook. 31 FIRST CONCERT.

RECIT. -Gabriel. To run his measured course. With softer beams and milder light, And God said, Let the earth bring forth grass, the herb yielding seed, Steps on the silver moon through si­ and the fruit-tree yielding fruit after lent night; his kind, whose seed is in itself upon The space immense of azure sky. the earth ; and it was so. In numerous hosts of radiant orbs adorns. AIR. The sons of God announce the fourth With verdure clad thefields appear . day, Delightful to the ravish'd sense ; In song divine, proclaiming thus His Byflowers sweet and gay power— Enhanced is the charming sight. CHORUS. Here fragrant herbs their odors bhed; The heavens are telling the glory of Here shoots the healing plant; God, With copious fruit the expanded The wonder of His work displays the boughs are hung; firmament. In leafy arches twine the shady groves TRIO. O'er lofty hills majestic forests wave. To-day that is coming speaks it the RECIT— Uriel. day. And the heavenly host proclaimed The night that is gone to following the third day, praising God, and say­ thing. ing— CHORUS. CHORUS. The heavens are telling the glory of Awake the harp, the lyre awake, God, And let your joyful song resound, The wonders of His work displays the Rejoice in the Lord, the mighty God : firmament. For He both the heaven and the earth Hath cloth'd in stately dress. TRIO. In all the lands resounds the word, REGIT.—CTneZ. Never unperceived, ever understood. And God said. Let there be lights The heavens are telling the glory of in thefirmament of heaven, to divide God, the day from the night, and to give The wonder of His work displays the light upon the earth; and let them firmament. be for signs and for seasons, and for days and for years. He made the stars also. part tbe Second.

RECIT.—Accompanied. REGIT.—GairieZ. In splendor bright is rising now the And God said. Let the waters bring sun. forth abundantly the moving creature And darts his rays; a joyful, happy that hath life, and fowl that may fly spouse, above the earth in the open firmament A giant proud and gl ad of heaven. 2 THE CREATION

AIR. The glittering plumes are dyed as rainbows by the sun. On mighty pens uplifted soars The eagle aloft, and cleaves the air Raphael. In swiftestflight t o the blazing sun. See flashing through the wet in His welcome bids to morn the merry thronged swarms lark. Thefish o n thousand ways around, And cooing calls the tender dove his Upheaved from the deep, the immense mate. leviathan From every bush and grove resound Sports on the foaming wave. The nightingale's delightful notes ; No grief affected yet her breast, Gabriel, Uriel, Raphael. Nor to a mournful tale were tufi'd How many are thy works, O God ! Her soft enchanting lays. Who may their numbers tell! HECIT—Raphael. TRIO AND CHORUS. And God created great whales, and The Lord is great, and great His every living creature that moveth; might, and God blessed them, saying, Be His glory lasts for ever and for ever­ fruitful all and multiply. more. Ye winged tribes, be multiplied. REGIT.—i2apAae;. And sing in every tree; multiply. Ye finny tribes, and till each watery And God said, Let the earth bring deep; forth the living creature after his Be fruitful; grow, and multiply. kind; cattle, and creeping thing, and And in your God and Lord rejoice. beast of the earth, after his kind. Straight opening her fertile womb, And the angels struck their im­ The earth obeyed the word. mortal harps and the wonders of the And teem'd creatures numberless, fifth day sung. In perfect forms, and fully grown. TRIO. Cheerful roaring stands the tawny Gahriel. lion. With sudden leap Theflexible tiger appears. The nim­ .Most beautiful appear, with verdure ble stag young adorn'd Bears up his branching head. With The gently sloping hills; their nar­ flyingmane, row sinuous veins Andfiery look , impatient neighs the Distil, in crystal drops, the fountain noble steed. fresh and bright. The cattle, in herds, already seek Uriel. their food In lofty circles play, and hover in the Onfields an d meadows green. air. And o'er the ground as plants are The cheerful host of birds ; and in the spread flying whirl. Thefleecy, meek , and bleating flocks FIRST CONCERT.

Unnumbered as the sands in swarms A woman, fair and graceful spouse. arose Her softly smiling, virgin looks, The hosts of insects. In long dimen­ Offlow'ry sprin g the mirror, sion Bespeak him love, and joy, and bliss. Creeps with sinuous trace the worm. 'RECIT.—Raphael.

AIR. And God saw everything that he had made, and behold it was very Now heaven in fullest glory shone ; good: and the heavenly choir, in song Earth smil'd in all her rich attire ; divine, thus closed the sixth day. Th' room of air by fowl isfiU'd ; The water swell'd by shoals offish ; CHORUS. By heavy beasts the ground is trod ; .Vchieved is the glorious work ; But all the work was not complete ; The Lord beholds it, and is pleas'd. There wanted yet that wondrous be­ In lofty strains let us rejoice. ing, Our song let be the praise of God. That, grateful, should God's power admire. TRIO. With heart and voice His goodness Gabriel and Uriel. praise. On Thee each living soul awaits. REGIT.—Ui-ie^. From Thee, O Lord, all seek their And God created man in His own food. image, in the image of God created Thou openest thy hand. He him. Male and female created And all arefilled wit h good. He them. Raphael. He breathed into his nostrils the But when Thy face, O Lord, is hid. breath of life, and man became a liv- With sudden terror they are struck jng soul. Thou tak'st their breath away. ^ AIR. They vanish into dust. In native worth and honour clad. With beauty, courage, strength, Gabriel, Uriel, and Raphael. adorn'd, Thou sendest forth Thy breath again, Erect, with front serene, he stand.s And life with vigour fresh returns ; A man, the lord and king of nature Revived earth unfolds new strength all. And new delights. His large and arched brow sublimo, Of wisdom deep declares the seat! CHORUS. And in his eyes with brightness shines Achieved is the glorious work; The soul, the breath and image of his Our song let be the praise of God. God. Glory to His Name for ever. With fondness leans upon his breast He, sole, on high, exalted reigns. The partner for him form'd. Hallelujah.

34 SEVENTH SYMPHONY.

SYMPHONY IN ^ M^JOR, No. 7, Op. 92, Beethoven.

Poco sostenuto. Vivace. Presto. Allegretto. Allegro con brio.

BEETHOVEN'S great Symphony in A major has called forth vol­ umes of critical comment, and innumerable suggestions as to its meaning. On one point, however, all have agreed—that it is a de­ lineation of joy and mirth. One writer (Ambros) has treated it as the description of a wedding ; another (Marx) of Moorish knight­ hood ; a third (Oulibischeff) of a masked ball, while a fourth (L. Bischoff) thinks it a sequel to the Pastoral Symphony. Wagner, struck by the strongly marked rhythm which pervades the whole work, speaks of it as " the apotheosis of the dance, the ideal embodi­ ment in tones of bodily movements." The introduction (Poco sostenuto) is full of striking beauties, and sounds the joyous key-note for the entire work, which has a tinge of melancholy only in the second movement. It is the only one of Beet­ hoven's introductions written in moderate tempo, the rule being to have the introduction form a sharp contrast to the rapid first movement. In this case, apparently, the great composer did not wish that his music, the embodiment of joy and gladness, should be overshadowed by a gloomy cloud even for a moment. It is character­ ized by the following pleasing cantabile, given out by thefirst obo e supported by the second oboe, clarinets and bassoons :

.foco sostenuto.

The first movement, strictly speaking, is a vivace in 6-8 time. Theflutes an d oboes, which have been hesitating and alternating with the violins on E, at the close of the introduction, continue the note 35 FIRST CONCERT.

without interruption for five bars in the more rapid tempo. In the sixth bar thefirst flutes, supported two bars later by the clarinets and bassoons, lead off with thefirst period of the theme :

Viracc. SnipreSra.

The melody thus begun, together with the second period, is decid­ edly rustic in its character; it forms the theme of the whole move­ ment, yet so successfully does the composer treat it, and so varied are the imitations and modulations employed, that it does not become wearisome for a moment, but on each appearance is heard with a thrill of delight. The second period of the melody is taken up by theflute and oboe immediately at the close of the first:

^Ivme.

One of the most beautiful and chaste ot all the great master's symphonic movements, and a worthy companion piece to the cele­ brated andante of the C minor Symphony, with which we love to associate it, is the second movement of this symphony, an allegretto in A minor, 2-4 time. Amid the festive strains of the work, it comes like a brief interval, in which the absence of some dear familiar face conjures up recollections of past scenes and past delights. It breathes in its every bar a sweet melancholy like the distant murmuring of the sea, and the incessant beating of its peculiar rhythm falls upon the ear like the musical plashing of tiny wavelets upon the beach or the pattering rain-drops upon the forest's leafy roof There is hardly a bar in the movement in which tbe regular stroke of its marked rhythm is not heard; but so far from being in the 36 SEVENTH SYMPHONY. slightest degree monotonous, this very feature is one of the work's chief beauties, and one which most strikingly demonstrates the great­ ness of the master's genius. After two bars, in which the oboes, clarinets, bassoons, and horns sound the minor chord, which dies away like a sigh with thefirst beat of the third bar, the subject of the movement is heard, coming like a mere aspiration from the low register of the violas, harmonically sup­ ported in the same rhythm by the violoncellos and basses. It is entirely developed in this form, the concluding strains dying away into the softest piani.ssimo. The lovely second melody, which, beginning in the tenor as a mere subordinate accompaniment, becomes, after a while, the principal tune of the orchestra. More striking still, per­ haps, is the passage where the clarinets come in with a fresh melody, the key changing at the same time from A minor to A major, and the effect being exactly like a sudden gleam of sunshine. During this truly heavenly melody, the bass with a kind of grim repose, keeps up inexorably the march rhythm with which the movement started, and which is maintained even through the fughetto, which so effectively continues the latter half of the movement. No wonder that the alle­ gretto was encored at thefirst performanc e of the symphony. The whole of the presto is a marvel of grace and lightness, the very incarnation of that laughter which bubbles up from the soul, breaks forth in merry ripples of sound, and, dying away, leaves the countenance beaming with a smile of serene contentment and perfect happiness. Its joyous pulsations are purer, more exalted, less bois­ terous than the bacchanalian finale. The movement is a striking example of Beethoven's boldness, his audacity in repeating again and again strains, and even whole move­ ments, which he knows will be effective. There is no introductory chord, but from the veryfirst ba r the merry theme bursts from violins, flutes, and bassoons simultaneously, and is played to its conclusion, which provides for the hearer the first startling surprise. Instead of concluding on the dominant or tonic, as would naturally be expected, it ends, by a bold and brilliant transition, on A. The theme is then repeated at once in the same manner, and, after an interlude, taken up by the reeds in the key of B-flat, to a joyous accompaniment on the strings,first, pizzicato, and then in bowed staccato notes. The 37 FIRST CONCERT. whole presto, as it has now been developed, ending with the coda, the tone A sustained by the orchestra in different octaves through four bars, is repeated before the trio is entered upon. This is built upon the following theme :

Assai meno prr^tn. ^^ii^i

It is taken up at once and carried out to its conclusion by the clar. inets, bassoons, and cornets, and subsequently by all the other wind instruments, while high above the melody the violins hover on A, sustained throughfifty-six bars. Only at every seventh and eighth bar do they descend a semi-tone for half a beat, as though to take breath. Subsequently the strings unite their voices to the other instruments in executing the theme, when a like feat is accomplished by the trombones and tympani, which obstinately sustain E and A until the end is reached. The presto is now repeated, followed by the trio, and again by the presto. After the coda, thefirst phrase of the trio is again sounded dolce by clarinets, bassoons, and cornets, and the movement hurries to a sparkling and original conclusion by a succession of full chords fortissimo on thefirst beat offive bars. It is in thefinale that Beethoven appears in all his greatness as a musical wit. It fairly bubbles over with a mad fun, a ceaseless frolic from the opening bar to the closing chords. Unlooked-for modulations, extraordinary transitions, abruptly marked nuances, and novel instrumental effects meet us in every page of the score. Two chords, given out very abruptly and loud by all the instruments, precede the subject of the movement. AUegro con hrtn

etc.

The coda, introduced by an overpowering pedal point, is of extra­ ordinary brilliancy and worthy to close a masterpiece full of taste, phantasy, knowledge, and enthusiasm. 38 SEVENTH SYMPHONY.

The following beautiful interpretation of the symphony was written by L. Bischoff, for a performance at Diisseldorf, in 1860:

" To us it has always appeared as though' there were some connection between the A major and Pastoral symphonies, and if the latter presents us, in a series of tone pictures, with the blossoming of Spring, the murmur­ ing of the brook, the trembling of the earth in the fructifying showers, that confident hope of the husbandman in the coming blessing, the A major Symphony leads us into the joyous Autumn, the rejoicings of the gleaners and vine-dressers who celebrate the reception of the blessing contained in the sheafs, grapes, and fruit under the lindens and beeches in the holiday to which they looked forward with joyous anticipation during the whole Summer. True, in the midst of the merry scene, there wanders (allegretto) a lonely youth ; tearsfill his eyes and a low lamentation for lost love forces its way from his breast; but a troop of merry maidens approach him, and while the others pass him on their way, one whispers sweet words of hope into his ear : ' Dry your tears, youth, and hope beckons you ; see ! how beautiful is nature!' and the alluringflutes, oboe s and shalms again sum­ mon (scherzo) all to the merry dance. » « * " Suddenly a brilliant ray of light meets all eyes ; the sun bursts forth once again from behind dark clouds which lie on the horizon, the hilltops glow in the evening red, the breath of God trembles through the beech- tops, heads are uncovered, eyes turned to heaven, four voices begin the evening hymn, which is repeated in chorus from the fullness of the hearts of the grateful people. Then joy beckons again and the dance-melodies float out upon the air (finale), and none stand idle; the ground trembles, joyous shouts sound through the merry din, and old and young are borne off in the mazes. For a long time some hesitate and enter on the second quarter, until the power of the rhythm and the wild frolic draw everything into the whirlpool of joy."

39

Second Concert*

MASS IN B MINOR, "Bach.

(KYRIE AND GLORIA.)

Miss Lilli Lehmann, Miss Emma Cranch, Mr. Whitney Mockridge, Mr. Myron W. Whitney.

ITH phe performance of the great mass in B minor, the forces of the Cincinnati Festivals will have given as perfect an ex­ position as is possible of the choral writing of the composer, who, though hme wrot e a century and a half ago, is yet ranked the greatest of all ab­ solute musicians. At the Festival of 1875, his Magnificat in D was performed—a work based on a portion of the ritual of the Roman Catholic Church, though still employed in the worship of the Luth­ eran Church in Bach's time. In 1880 we heard one of the most pompous and thrilling of his Church cantatas—works written for performance at the various festivals and Sundays of the Protestant Church year. In 1882 we reached the pinnacle of his achievements in the line of peculiarly Protestant Church music in the '' Passion according to St. Matthew." Finally, in 1886, the cycle will be com­ pleted with the Mass which stands as the most tremendous monument extant of contrapuntal learning applied to a liturgical hymn. It is an interesting fact that the works of Bach which have been per­ formed at the Cincinnati Festivals, in their spirit, make as perfect an exposition of the catholicity and intensity of Bach's religious feeling as they do of his musical ability. Only in a formal sense can it be admitted that dogma makes distinctions in music. Conceding a divis­ ion thus made, we would class the Magnificat and the Mass as

41 SECOND CONCERT.

Catholic music and the Cantata and Passion oratorio as Protestant. Yet it is not difficult to see how in Bach the lines run into each other and even outgrow all church walls. In this respect the B minor Mass is like the solemn Mass in D of Beethoven, which was per­ formed at the Festival of 1880. That great work was originally planned for the ceremonies of installing his pupil, Archduke Rudolph, as Bishop of Olmutz, yet, though he began working on the Mass :i year before the installation took place, he did not complete it until two years after the occurrence, and when it was finished it had outgrown the apparatus of the Church and become a portion of the unfixed liturgy of universal religion. The same is true of Bach's Mass, though here the result seems to have been due to the fact that a profoundly and devoutly Protestant spu-it was working with ma­ terial which, though borrowed by the Reformed Church, was still peculiarly a Catholic vehicle of expression. It is not altogether fanciful to say that Bach impressed a sublimity on the missal text which demolishes the boundaries of sectarianism. In. the Cantata, "Ein' feste Burg," and the Passion Music, he gave voice in a special sense to the religious sentiment of Protestant Germany. They reflect with rarefidelity an d clearness the essential qualities of the religious character of the German people, their warm sympathy, profound compassion, fervent love and sturdy faith. Bach composed the mass in B minor between 1732 and 1738. It is cast into 24 numbers, of which thefirst eleven will be performed at this Festival. These eleven numbers form a complete whole, and were composed by Bach and presented at the Saxon Court at Dresden as an act of devotion to the successor of Friedrich August II, King and Elector, who died on February 15, 1733. The presentation took place in July, 1733, and there is no evidence that Bach at tbe time contemplated the composition of more than the Kyrie and Gloria of the missal text. Spitta says : '' His desire to prove himself service­ able to the court was the inducement which led Bach to undertake- the composition of a complete full mass. The Kyrie and Gloria were, in this instance, conceived of as a whole from thefirst, flowed fro m the same fount, and were cast in the same mould. This is evident even from the scheme of key by which the last subject of the Kyrie is set—not in B minor, but in F-sharp minor, to obviate the effect of

42 MASS IN B MINOR. a full close, and also, as the Gloria was to consist of two movements, in B minor, to avoid monotony." The facts that Bach gave the work dimensions which make its performance in a church service impossi­ ble, and that in the Domine Deus, he inserted the word altissime in the phrase Domine Fili nnigenite, Jesu Christe altissime, are in the nature of evidence that Bach designed the work originally for use in the Protestant service. It was only in the Leipsic service, says Spitta, that the Domim Deus was thus sung : " In the B minor Mass Bach has followed the Leipsic custom ; but when he became more familiar with the Catholic mass, he left the word out in other works of this class." In Bach's time there were many relics of the Catholic liturgy in the Protestant service. Several Latin hymns and motets, the Mag­ nificat and portions of the Mass were integral portions of the service in the two churches, the care of whose music was in Bach's hands by virtue of his position as Cantor of the St. Thomas school. The beau­ tiful Magnificat sung at the Cincinnati Festival of 1875 was composed for a Christmas vesper service, probably in the year 1723. He made many settings of the Sanctus, which were sung on high festival days in the forenoon before the sermon. At the Reformation Festival and on thefirst Sunda y in Advent the Kyrie was sung in Leipsic, and the Gloria, being the angelic hymns with which the heavenly hosts greeted the birth of the Savior, was a part of the annual Christmas music. Yet the incentive to compose the so-called "short masses,"— Missae breves—did not come from Leipsic but from Dresden, where the court was still Catholic, and where, after 1736, he held the office of Court Composer. It is extremely significant that while the Kyrie and Gloria of the B minor Mass—the portions which, though com­ posed for and dedicated to the new King and Elector, were yet too extended for use in the Catholic Church—are made of entirely new and original material, so far as has as yet been discovered, his Protes­ tant cantatas were placed under tribute for the portions which were added to make the work a full Catholic mass. Spitta, in the third volume of his Life of Bach, has written an elaborate analysis of the B minor Mass, from which the following ex­ tracts are taken : Among the twenty-four numbers into which the B minor Mass is divided there are six arias and three duets. The preference for the 43 SECOND CONCERT. chorus form was required by the nature of the great undertaking which is nowhere open to subjective treatment; and though solos could not be wholly avoided in so colossal a work, as they were indis­ pensable for the sake of contrast, it is very intelligible that they should assume a less personal character than is usual even with Bach. But the intrinsic contradiction which is inherent in the very nature and idea of impersonal solo singing can be removed by the whole work which this subserves. And this is the case in the B minor Mass; these arias and duets would have less charm apart from their con­ nection than those even of the cantatas and Passion music, but in the course of the work they adequatelyfill their place. The duet, Christe eleison, conveys something of the trustful and tender feeling of the sinner toward the Divine Mediator, and the introduction of the sub-dominant in thefirst ba r of the symphony suggests it at once. In the course of ideas presented by the text of the Gloria—which suggests the proceeding of Christ from God, His deeds and sufferings

It is, as it were, the musical symbol of the unity which this dogma inculcates, and is thus put forward at the very beginning of the piece. The phrases Domimi Deus rex codestis, Deus Pater omnipo- tens—Domine Fili unigenite, Jesu Christe altissime, are not sung straight through as the mass text gives them, but the tenor addresses himself 44 MASS IN B MINOR. to God the Father, and the soprano, beginning a bar later, to God the Son; each develops the melody, which proceeds in imitation, by extensions of the motive quoted above, and presently both sing it to­ gether in its original form. The way in which the motive constantly recurs, not prolonged to any fuller melody, but isolated, distinct, and stern as a dogma, is unique among Bach's compositions. As, in considering Christ as a Priest, there is again a distinction between Atonement and Mediation, Bach has figured the former by the chorus Qui tollis, and the latter by the alto aria Qui sedes, but in close connection, for the key is the same in both. The chorus itseli at the end delivers the words Susdpe deprecationem, preparing for the aria by a half close ; thus the function of intercession, in accordance with the orthodox dogma, appears as a personal outcome of the work of atonement—an application of it to the individual soul. The bass aria which follows, Quoniam tu solus sanctus, thus refers to the kingly office which is broadly indicated by the dignified form of the principal subject, and by the solemn blasts of two bassoons and a horn added to the organ and bass solo.

I. CHORUS; Kyrie eleison. Lord have mercy upon us. n. DUET : Miss LEHMANN AND MISS CKANCII. Christe eleison. Christ have mercy upon us.

III. CHORUS : Kyrie eleison. Lord have mercy.

IV. CHORUS : Gloria in excelsis Deo, et in terra Glory be to God on high, and on pax hominibus, bona; voluntatis. earth peace, good will towards men.

V. AIR :

MLSS CKANCH. Laudamus te, benedicimus te, ado- We praise Thee, we bless Thee, we ramus te, glorificamus te. worship Thee, we glorify Thee. 45 SECOND CONCERT.

Yl. CHORUS Gratias agimus tibi propter mag- We give thanks to Thee for Thy nam gloriam tuam. great glory.

VIL DUET.

MISS LEHMANN AND MK. MOCKEIDGE. Domine,Fili unigenite, Jesu Christe <) Lord, the only begotten Son, Je- altissime! Domine Deus, Rex cnles- sus Christ, the Most High! O Lord tis, Deus Pater omnipotens, Domine God, heavenly King, God, the Father Deus, Agnus Dei, Filius Patris. Almighty, O Lord God, Lamb of God, Son of the Father !

Vin. CHORUS: t^ui tollis peccata mundi, miserere Thou that takest away the sins of nobis. Qui tollis peccata mundi, sus- the world, have mercy upon us. Thou cipe deprecationem nostram ! that takest away the sins of the world, receive our prayer !

IX. AIR: Miss CEAKCH. Qui sedes ad dexteram patris, mis- Thou that sittest at the right hand erere nobis ! of God the Father, have mercy upon

X. AIR:

MK. WHITNEY. Quoniam tu solus sanctus, tu solus For Thou only art holy, Thou only Dominus, tu solus altissimus, .lesu art the Lord: Thou only, O Christ, Christe. art Most High.

XL CHORUS Gum Sancto Spiritu in gloria Dei With the Holy Ghost in the glory Patris. Amen. of God, the Father. Amen.

46 SECOND SYMPHONY.

SYMPHONY, No. 2, C Major, Op. 61, Schumann.

Sostenuto agsai. Allerjro ma non troppo. Scher'-i). AUegro rieace. Adagio espressivo. Allegro molto vivace. J IIHIS is the third of Schumann's symphonies, though numbered as J- the second. It was sketched at the close of 1845, and completed in the following year. It thus falls after the symphonies in B-ilat, D minor and E (called "Overture, Scherzo, and Finale"), and the Pianoforte Concerto, but before Schumann's other orchestral works. It wasfirst performe d at a Gewandhaus Concert at Leipsic, on the 5th of November, 1846. The composer has given us a clue to the gen­ eral intention of his work by stating that he sketched it during a period of great physical suffering and severe mental conflict, in the endeavor to combat the difficulties of his circumstances, a conflict which, he says, left its traces behind it, and which, in fact, led at last to his unhappy death. And this character of obstinate conflict and determination wefind strongl y impressed on the greater portion of the Symphony.

%ECITATIVE AND A%IA, "Abscheulicher!" (Fidelio), Beethoven. Miss LiLiii LEHMANN.

RECIT.^TO what new and dreadful Oh, come, the distant goal illumine. crime, Tho' far it be, love the end can see. Will thy vengeance now induce thee? And lead me thither. Oh, monster! can no touch of pity Gome, sweet hope, my soul illumine. From thy brutal heart be look'd for? Let the last faint star But vain shall be your machinations: Still on my dark way diffuse its radi- A sweet presentiment of that assures ance— me. Let it not pale and die. For his infamies, the Almighty Tho' far the goal, true love Afitting rewar d will mete him. Shall lead me safely on. Ah ! I feel within me new hopes arise; The end attaining. An inward sense of coming happiness Love will thither guide me. Sustains and cheers my heart. By love and hope supported. No more with fear I tremble. .VRIA.—O hope, dear solace of the O, thou, whom alone I love, desolate ! Soon will thy true wife thy cruel tor- Sweet, all-sustaining hope ! raents end. 47 SECOND CONCERT.

OVERTURE {Hositika), - - - Dvorak.

THE "Hositzka" or "Husitzka" Overture had its first perform­ ance outside of Bohemia, under the direction of its composer at a concert of the London Philharmonic Society in March of last year. It was composed in the summer of 1883. Herr Dvorak having been asked to compose a piece for the opening of the Bohemian Theatre at Prague, determined, instead of writing au ordinary piece d'occasioii, to commemorate in music a great epoch in the history of his country, and chose the wars of the Hussites for the purpose. Students of mu­ sical history know the significance which attaches to the hymns of the Hussites, and will learn with interest that Dvorak has used a phrase from one of these hymns as the second theme of the introductory Lento of this overture. This theme assumes a representative char­ acter of the course of the piece; it undergoes many metamorphoses, now being hurled out defiantly by the cornets, then dying away to a sigh, andfinally wit h bright major harmonies calling up in the fancy a vigorous picture of battle.

48 ^hird Concert.

SYMPHONY, No. 8, B minor {Unfinished) - Schubert.

Allegro moderato. Andante con moto.

THE two movements of Schubert's " Unfinished" Symphony in B minor make up the loveliest torso in the literature of music. Among the composer's papers the beginning of the Scherzo has been found, but there are few who are susceptible to the transporting beauty of the completed movements, who will be able to repress a feeling like that inspired by a view of the Venus of Milo—a feeling of unwilling­ ness to imagine the work in any other shape than that which won their love. The movements were composed in 1822, the same year that saw the creation of the opera, "Alfonso and Estrella," and the Mass in A-flat. Until his death a few years ago, the manuscript was in the hands of Herr Johann Herbeck, Court Capellmeister in Vienna. The work remained in manuscript until the spring of 1867, when it was published by Spina.

SCENA, " Enfin il est dans ma puissance" {Armide) Gluck.

MISS LILLI LEHMANN. ACT II. SCENE V. Armide (Rinaldo sleeping.) Ha ! At last the die is cast and fate has given the enemy into avenging hands ! Careless sleep offers him a victim to vengeance; this sword shall pierce his stony heart. From bonds be freed, you horde of slaves. Ha ! Armide will avenge the wrong ! 49 THIRD CONCERT.

what hesitation's this ? Why halts my arm ? A strange feelingfills my angry bosom. A blow—Ha! what restrains me ? Away! to the deed! O my heart I O vengeance ! I tremble ! Was this my grim determina­ tion ? What tenderness is this thatfills m y breast ? Alas ! each look awakens pity in me, and quivering falls my idle weapon. Ah! who will strike the blow ? who will end the life of this youthful hero ? My heart isfilled with pity. What was it sent him forth to strife ? Who by the gods was made alone for love ? Must it perforce be death ? Is there no other measure of revenge ? Can not he be bound for punishment by the bonds of love ? Ha ! since his proud heart withstood my charms, let him by sorcery become my slave I Then, if I wish it, I can hate him. Appear, ye demons ; answer to my call. Appear as zephyrs, and in beau­ teous forms. My vengeful rage hasfled, Rinaldo has triumphed. O, hide my shame in the gloomy desert! Bear us away on clouds, far into space !

PART SONGS FOR WOMEN'S VOICES, Op. 17, - Brahms.

With accompaniment for Harp and French Horns.

THESE beautiful songs are thoroughly unique and original. Brahms has given free scope to his talent for tone-color, and produces most striking and exquisite effects. The song from Ossian's "Fingal" is full of strong contrasts, and thoroughly dramatic. The preceding ones are lighter and more flowing.

No. 1—"J Hear a Harp." I hear a harp so mild and soft. It tells of love and longing; The troubled heart it bears aloft, And long-pent tears are thronging.

O flow, ye tears, I stay ye not, O break, thou heart of anguish ! The love I mourn is unforgot; In sorrow must I languish.

No. 2—Song from Shakeipeare's " Twelfth Mght." Come away, come away, death ! And in sad cypress let me be laid ; Fly away,fly away, breath ; I am slain by a fair cruel maid. 50 PART SONGS.

My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it.

Not a flower, not a flower sweet, On my cofiin let there be strown ; Not a friend, not a friend, greet My poor corpse, where my bones shall be thrown.

A thousand, thousand sighs to save. Lay me, O, where Sad true lover ne'er find my grave, To weep there!

No. 3—Oietiings.

Where'er I look or wander, In meadow, field, or wold, On thee, fair maid, I ponder. And greetings fond and tender, I send thee thousand fold.

Where'er there blooms a flower Within my garden close, I pick it for thy bower. To greet thee the blossoms shower, For thee doth bloom the rose.

To thee I dare not send them. Thou art too high and fair; In fragrant garlands I bend them, The cruel breezes rend them. And waft them forth in air.

Of life's dull round partaking 1 journey to and fro; My heart the while is breaking, I will not show 'tis aching. Come death, and end my woe.

So. 4—Song from Ossian's "Fingal." [Book 1. Lament over the fall of the hero Trenar, at the battle of Cromla, between Ca- thuUin, leader of the tribes of Erin, and Swaran, King of Lochliu.] Weep on the rocks of the stormy sea breezes; weep, oh, thou maiden of Inistore ! Oh! bend o'er the billows thy head so fair, lovelier thou than the

51 THIRD CONCERT. mountain spirit, when as a sunbeam it moveth o'er the hill, over the silence of Morven's snow. Ah ! he is fallen; in earth thy hero liveth, pale, 'neath Cathullin's relentless sword ! Never again shall his high valor rouse him, to match his strength with the mighty heroes. Trenar, the golden-haired Trenar, died, oh, maiden of Inistore! Lo, his faithful hounds are howling at home; they howl when they see his ghost pass by. His bow hangs unstrung; his shafts all are scattered; hushed in silence are the halls of his fathers !

SCHERZO CAP%ICCIOSO, Op. 66, Dvorak.

MUSIC TO GOETHE'S EGMONT, Op. 84, Beethoven.

BEETHOVEN'S music to Goethe's " Egmont," and Mendels­ sohn's music to Shakespeare's "A Midsummer Nighfs Dream," are generally acknowledged to be thefinest examples extant, of incidental dramatic music. Beethoven composed the Egmont mu­ sic in 1809, and it was performed for thefirst tim e on May 24, 1810. Critics have caviled at the operatic character of the song settings with their orchestral accompaniments, but they have all paid the de­ served tribute of admiration to the instrumental numbers. Liszt set the Egmont music down as one of the earliest examples in which a great composer drew his inspirations directly from the work of a great poet ; and it was on hearing this music that the youthful Wagner determined to abandon the career of a dramatic poet, which he had made up his mind to follow, in order to become a composer. The success of the Egmont music led Breitkopf & Hartel, the music pub­ lishers, to send Rochlitz to Beethoven, in 1822, with a commission for incidental music in the same style for Faust. Beethoven was fired into enthusiasm by the idea, but declined the commission because he was at work on two symphonies " differing from each other and both different from any others." Out of his plans for these two symphonies came the Ninth. The plot of Goethe's tragedy is the story of Count Egmont, Prince of Gavre, who had made himself the darling of the Netherlanders by labors in their behalf. When their land is invaded by the soldiery of the Spanish Duke of Alba, they turn to Egmont as their deliverer. Egmont remains strangely inactive, finding surcease of his gloomy 52 MUSIC TO GOETHE'S EGMONT. thoughts in the society of Clarchen, a plebeian maiden, who loves and admires him with passionate intensity. Alba lures him into giving expression to words which are treason to the Spanish King, orders his arrest and has him beheaded. At the foot of the scaffold Egmont has a vision of the events which are to follow his death. The smoldering coals of popular fury are fanned into a blaze, tbe people rise up and burst the chains that have bound them. (a) Overture. The overture begins with an outcry, a cry for help, uttered by an entire nation. Then follow heavy, determined chords, which seem to press down the very life of the people, who seem helpless (the last two chords are piano) to yield to their fate. Only the all-pervading woe remains impressively sounded forth,first b y the oboe and then by the clarinets, bassoons, and violins. From every side the wail is repeated (the interval of the diminished seventh B—A-flat, bringing before us, as in a picture, the hands of the nation uplifted in prayer to heaven) until it is lost in the unison of thefirst outcry, fortissimo Only one ray of hope remains—Egmont. But even his light-hearted nature seems imbued with anxiety for his oppressed country. His motive is as if bound in chains by the simultaneous repetition of sombre chords. In deep melancholy the violins repeat the motive, seeming to languish more and more. But with a sudden impulse it revives ; Eg­ mont shakes off the gloom which surrounds him; his pulse beats quickly and gladly. '' On every side his fellow-citizens cry to him for aid; they flock together and in excited bands surround him, their only champion and deliverer." As if to arouse ^Egmont still more to action, the sombre chords of the introduction are beard suddenly; but now in agitated measures, shorter, more commanding, and more inci sive. Egmont heeds not these warnings. His short, lightly-given answers indicate that the decisive moment has not yet arrived for him. Three times the stringed instruments th under j forth the Spanish word of command. Then, as if Egmont, with a prophetic eye saw the future before him, he seems to press forward with a. mighty rush to meet the oppressors. The hosts of followers, faithful to his call, rally to a spir­ ited attack, and infierce contes t the victory seems to be won. But this is only a dream. True to his nature, he is playing with his doom Two vehemently interrupting chords try to 53 THIRD CONCERT.

arouse Egmont from his reveries; but still he dreams on and heeds them not. Beethoven now follows for a time the laws of the sonata form. Then with rapid strides he leads to the dramatic catastrophe and to the musical climax. Harshly and powerfully the authoritative chords resound again from the horns, clarinets, and bassoons. This time they arouse Egmont from his reveries: and for thefirst time he seems to have a presentiment of the actual^danger; but his vision of before has not yet left him; it still hovers about him, and even the repeated alarm will not shake it from his mind. For the third time the terrible chords resound with trumpets and kettle-drums thundering out from the orchestra fortissimo. At last the illusion is over ; at last Egmont perceives with horror the peril of his country. A cry of anguish escapes him. His fate is sealed—death is his doom. In mute horror the people surround the scaffold of their idol, and their heart-felt prayers ascend to heaven. But now their wrath gaining double force from the martyr­ dom of their hero and from the hope that heaven will listen to their prayers, bursts forth. Atfirst a distant murmur is heard. But in wild turmoil the storm of insurrection swells onward; and soon tri­ umphal sounds of victory announce the tyrant's downfall. We hear the chains resolutely rent asunder, and louder rises the cry of victory. (6) Song: "Die Trommel geruhret."

Miss LEHMANN. Clarchen sings this song to Brakenburg, a lover whom she sacri­ fices to her passion for Egmont. Her thoughts, of course, are with her hero as she sings. The realism of drum andfife sound s can not escape notice. The drum is resounding. And shrill the fifeplays . My love for the battle, His brave troop arrays ; He lifts the lance high .A.nd the people he sways. My blood it is boiling I My heart throbs pit-pat! Oh, had I a jacket. With hose and with hat! 54 MUSIC TO GOETHE'S EGMONl.

How boldly I'd follow, And march through the gate ; Through all the wide province I'd follow him straight. The foe yield, we capture Or shoot them ! Ah, me! What heart thrilling rapture .\ soldier to be !

(C) Entr'acte II. Larghetto. This music occurs between the second and third acts. It is full of the gloom and doubts with which the Prince of Orange hasfilled the breast of Egmont, and the presagings of coming disaster.

(d) Song: " Freudvoll und Leidvoll."

MISS LEHMANN. [Clarctien enters. " humming a song:"] Blissful And tearful. With thought-teeming brain; Hoping And fearing In passionate pain ; Now shouting in triumph, Now sunk in despair— With love's thrilling rapture What joy can compar-e!

(e) Entr'acte III. In this piece, when played as here, entire, there is a beautiful illustration of Beethoven's method of maintaining the mood of the play between the acts,*and giving his music an expository character. The entr'acte begins with an echo of Cldrchen's song, and runs out into a march which informs the listeners thus early of the entrance of the Spanish troops—the exciting incident of the next act. Thefinale is a triumphant symphony which Goethe himself prescribed as the close of his drama, thereby accomplishing what Schiller described as " a saUo mortale into the world of opera." 55 THIRD CONCERT. AIR, "DEIGN, GREAT APOLLO," {Ruins of Athens), Beethoven.

MR. MYKON W. WHITNEY.

Deign, great Apollo, now to hear our supplication, And grant that he whose mem'ry we revere. He who still teaches by lips of his creation, Enthron'd within thy temple may appear ! The Bard, whose art embellish'd Nature, Shall ever be admir'd and renown'd.

SYMPHONIC POEM {Festklange) - - Lisit.

LISZrS Symphonic Poem "Festklange" (Festival Sounds) was composed in 1853, and performed for thefirst tim e as an instrumental introduction to Schiller's "Huldigung der Kiinste"at the celebration of the 50th anniversary of the production of that work on November 9, 1854. It was published in 1856, and was remodeled and published in a new form in 1860.

56 ^fourth Concert.

THE DAMNATION OF F^UST, Berlio^.

(\ Dramatic Legend in Four Parts.)

THE Damnation of Faust is dedicated to Liszt, who was in­ strumental in its production, to the extent that it was he who persuaded Berlioz to read a French prose translation of Goethe's poem. The effect of the work on the susceptible mind of the then young composer he has himself described in his memoires, in these words: '' Another of the most remarkable events of my life was the deep and wonderful impression made on my mind by Goethe's Faust, which I read thefirst time in a French translation by Gerard de Nerval. I was fascinated by it instantly, and always carried it about with me, reading it anywhere and everywhere—at dinner, in the theater, even in the streets. The translation was in prose, with some fragments of songs. I yielded to the temptation of setting these; and no sooner was this difficult task ended than I was foolish enough to have them printed—at my own expense, without having even heard a note of them. They were published in Paris under the title of Huit Sci^nes de Faust, and a copy fell into the hands of Marx, the celebrated Berlin critic and theorist, who wrote me a very kind letter about it. This unexpected encouragement, coming as it did from Germany, gave me the greatest pleasure; but it did not blind me to the many and grave defects of the work, which was incomplete and badly written. It had, however, some good points which I retained and developed in quite a new form in my legend, " La Damnation de Faust." As soon as I became convinced of its worthlessness I with­ drew the work from circulation, and destroyed all the copies I could lay hands on." 57 FOURTH CONCERT.

Though Berlioz himself condemned this first fruit of the enthu­ siasm inspired by Goethe's poem, he never felt himself called upon to condemn the second, which was the wonderfully fascinating Symphonic Fantastique which will be performed at the sixth concert of this Festi­ val on Saturday afternoon. Twenty years after he had composed the "Eight Scenes" he recurred to his old ambition to write music for Faust. The impulse seized him while he was making an artistic journey on the continent. That which is chiefly interesting in the history of the work is all set out in Chapter LXX. of the Memoires from which we quote : " During these travels in Austria, Hungary, Bohemia, and Silesia, I began the composition of the Legend of Faust which I had long been planning. When I had once decided upon undertaking it I also made up my mind to write nearly the whole of the book myself, as not more than one-sixth of the work was taken up by a translation of fragments of Goethe's poem made by Girard Ner­ val twenty years before, and then set to music by me, and by a few more scenes written by M. Gaudonnidre. from notes given him before I left Paris. "Such being my decision I attempted to write the verses for my music as I rolled along in my old German post-chaise. I began by Faust's invocation to nature, not trying to translate or even imitate, but only to use it as an inspiration, and extract all its musical sub­ stance. My attempt gave me hopes of being able to continue:

^'Nature immense, impenetrable et fiere! Toi seule donnes treve a mon ennui sajis Jin, &c.

" Once launched I wrote the rest by degrees as my musical ideas came to me, and composed the score with a facility I never experi­ enced with any of my other works. I wrote when I could and where I could; in the coach, on the railroad, in steamboats, and even in towns, notwithstanding the various cares entailed by my concerts. Thus I wrote the introduction : ' The winter has departed, spring is here,' in an inn at Passau. At Vienna I did the Elbe scene, Mephis- topheles's song, 'Fields full of roses,' and the Ballet of Sylphs. "I have already mentioned my writing a march at Vienna in one night on the Hungarian air of Rakoczy. The extraordinary effect it produced at Pesth made me resolve to introduce it into Faust by 58 THE DAMNATION OF FAUST. taking the liberty of placing my hero in Hungary at the opening of the act, and making him present at the march of a Hungarian army across the plain. A German critic considered it most extraordinary in me to have made Faust travel in .such a place. I do not see why, and I should not have hesitated in the least to bring him in any other direction if. it would have benefited the piece. "One night, when I had lost my way in Pesth, I wrote the choral refrain of the Ronde des Paysans by the gaslight in a shop. At Prague I got up in the middle o£ the night to write down an air I was afraid of forgetting, the angels' chorus in Marguerite's apothe­ osis: 'To heaven ascend, O trusting spirit.' At Breslau I wrote the words and music of the students' Latin song: Jain nox stellata velamina pandit. On my return to France I composed the grand trio, 'Angel adored, whose dear and lovely image,' while staying on a visit to the Baron de Montville, near Rouen. The rest was written in Paris, but always improvised, either at my own house, or at the cafd, or in the Tuilleries gardens, and even on a stone in the Boulevard du Temple. I did not search for ideas, I let them come, and they pre­ sented themselves in a most unforeseen manner. When at last the whole outline was sketched, I set to work to re-do the whole, touch up the different parts, unite and blend them together with all the patience and determination of which I am capable, and tofinish ofl the instrumentation which had been only indicated here and there. I look upon this as one of my best works, and hitherto the public seems to be of the same opinion." '' The Damnation of Faust," is unprovided with an overture. It opens with a scene of Faust alone in thefields o n a plain of Hun­ gary. The sun is rising, and Faust sings a song to awakening Spring. Like Goethe's Faust at work in his study, he is in search of content­ ment, but fails to find it. The phrases of his monologue are inter­ rupted by instrumental music, in which we bear suggestions of a rustic dance, and the Hungarian march which makes up the second scene. Piccolos intone fragments of the dance measure, horns play the fanfare which afterward usher in the march which ends the scene. This march is the Rakoczy, and as Berlioz confesses, it was introduced in the score simply because it proved so immensely successful on bis concert tour. It has been heard frequently in our concert rooms and 59 FOURTH CONCERT was on the Festival programme of 1878. Liszt has made a brilliant piano-forte arrangement of it. Berlioz, in one of his letters, gives an extravagant account of the influence which it had on his audience at Pesth, and as it contains a description of his treatment of the national Hungarian tune, a portion of it is given here. M. Hor- wath, who is referred to in the letter, was the editor of a news­ paper at Pesth, who had seen the score of the march and had expressed a doubt touching its effectiveness, because the theme was begun pianissimo, whereas the Hungarians were accustomed to hear it played/ortissimo. Berlioz relates the incident and then continues: '' The day of the concert, a certain anxiety brought my heart up into my mouth, notwithstanding, as the time drew nigh for bringing out this devil of a piece. After a Fanfare of trumpets in tbe rhythm of thefirst measure s of the air, the theme appears, as you will remember, l)layed piano by the flutes and clarinets, accompanied by a pizzicato on the strings. The audience remained calm and silent at this unex­ pected opening; but when in a long crescendo, fugued fragments of the theme kept re-appearing, interrupted by dull beats on the big drum like distant cannon shots, the hall began to ferment with indescriba­ ble noise; and when the orchestra, let loose at last, launched forth its long restrained/oriissimo midst a furious melie, shouts and unheard-of stamping shook the hall; the concentrated fury of all those boiling souls exploded in accents that caused a shudder of terror to me ; I seemed to feel my hair bristling on my head, and from that fatal measure I had to bid farewell to the perforation of my piece, the tempest in the orchestra not being able to vie with the eruption of that volcano whose violence nothing could check. You can imagine that we had to begin over again; even the second time the audience was hard put to contain itself for two or three seconds longer than at first, to hear a few measures of the coda. M. Horwath raved in his box like one possessed; I could not help laughing as I threw him a glance which meant: ' Well, are you afraid now ? Are you satis­ fied with your JoHe T It was well that I had placed Ralcoczy-indulo (that is the title of the piece in the Hungarian tongue), at the end of the programme, for all that I should have tried to make people listen to after that, would have been lost."

60 THE DAMNATION OF FAUST.

The account, like so much that Berlioz wrote, is probably over. drawn, yet it must be remembered that the March is to the patriotic Hungarians what the Marseillaise hymn is to the French Republicans. The Austrian government, fearful of its influence during periods of political excitement, has several times prohibited its performance on public occasions, and confiscated all the copies found in the music shops. " When I hear the Rakoczy," exclaimed a Hungarian gentle­ man, " I feel as if I must go to war to conquer the whole world. My fingers convulsively twitch to seize a pistol, a sword, a bludgeon, or whatever weapon may be at hand—I must clutch it and march for­ ward !" The army passes by, and Fav^t, with a regretful sigh that even military glory leaves him cold, withdraws. We find him alone in his study in North Germany. The scene is copied after that which opens Gounod's opera, or rather that of Goethe's poem, of which Gounod's is an imitation. Faust, in despair, is about to drink a cup of poison, when his hand is arrested by the Easter hymn, which recalls the inno­ cence and happiness of his boyhood, and revives his early faith. At this instant Mephistopheles appears to a most highly-colored orchestral explosion. The demon offers Faust a taste of pleasure, and they disappear in the air together. The music of the scene, as in fact, all of that which has to do with Mephistopheles, is in the highest degree delineative and spectacular. The demon takes Faust to Auerbach's cellar in Leijisic, where the scene so graphically depicted by Goethe is enacted, with a musical ornament of capital effectiveness added by Berlioz. Brander sings the song of the rat, who, by good living, had developed a paunch "like Dr. Luther's,'' but who died from poison laid by the cook. The drinkers shout a boisterous refrain after each stanza, and supplement the last with a mock-solemn Requiescat in pace. Amen. The phrase suggests new merriment to Brander, who imme­ diately calls for a fugue to the Amen, and one is immediately impro­ vised on the theme of the rat song. Of course it calls out hearty commendation from Mephistopheles, who rewards the carousers by singing for their edification his "Song of the Flea." The suggestive- ness of the accompaniment to this bit of musical grotesque scarcely needs analysis. The skipping of the pestiferous little insect, and the fate which it usually meets when captured outside of a court in which 6i FOURTH CONCERT.

it is favored, as was the hero of Mephistopheles's song, are pictured very graphically in Berlioz's music. The seventh scene is laid on the bushy meadows on the banks of the Elbe, and isfilled wit h idyllic beauty. Faust is lying asleep, and Mephistopheles summons gnomes and sylphs to fill his mind with lovely fancies. They do their work so well as not only to entrance Faust, but all those who hear their strains. The instrumental Ballet of Sylphs is a fairy waltz, of 'filmy delicacy, based on the subject of the slumber chorus. Tbe combination of drum taps with harmonics on the harp is one of the most novel, as well as dainty, instrumental effects imaginable. The musical device used is that of a piece of simple construction built on a pedal point D, which the basses hold throughout the movement. In his sleep Faust sees a vision of Mar­ guerite, and starts up. Night is falling. Faust makes his way through groups of soldiers and students, who sing their songs as the pair pass them, into the chumber of Marguerite, where Faust conceals himself behind a curtain. When the strain of the soldiers' and stu­ dents' choruses are heard they are blended into a single harmony. After the drums and trumpets have sounded the tattoo. Marguerite enters and sings the song of the King of Thule (which Berlioz calls a Gothic song) while disrobing. Mephistopheles invokes the will-o'-the- wisps to aid in the bewilderment of Marguerite. They come, and their dance take the shape of a grotesque minuet running out into a rapid movement, in which we recognize later the serenade which the fiend sings at Marguerites door, the will-o'-the-wisps furnishing a demoniac chorus. Fatist discovers himself, and the usual love duet follows, Mephistopheles changing it into a trio when he enters to urge the departure of Faust. For the rest we draw upon an analysis which appeared in The Musical Review, in February, 1880, when the work was performed for thefirst tim e in America by the Symphony and Ora­ torio Societies, and the Arion, of New York : "At the opening of the fourth part Marguerite is in her chamber, weeping, despairing, hoping. She seats herself at her spinning-wheel and murmurs a melody full of anguish. As Marguerite's passion awakens at the thought of her lordly lover, the plaintive echo of her melody passes over the orchestra, and sheflies to the window. In the distance is heard the song of the students, the last echo of the 62 THE DAMNATION OF FAUST.

'retreat.' Nightfalls. Everything recalls to the unhappy child the remembrance of the one evening without a morrow. ' He comes not!' she cries, and falls, half dead, with remorse and anguish. In the following number. Forests and Caverns, the musician has been inspired by the fine Invocation to Nature, which is in the corresponding scene of Goethe's poem. '' The orchestral and vocal composition translates marvelously this burning cry, this ardent aspiration after infinite happiness. But the demon appears, recounting the remorse of the loved one, her crime, her imprisonment, her approaching death. It will be remembered that nothing has been said as yet of a compact between Faust and Mephistopheles. With delicate poetic feeling Berlioz has allowed Me­ phistopheles to appear only as the jolly companion, not as the tempting demon. But now, after playing upon Faustfs sympathies for the unhappy girl until he is seized with terrible anguish and remorse, he throws off the mask; and Faust, willing to sacrifice all, even eternal happiness, for his love, seals the compact. It is then Mephistopheles calls for the black steeds of hell. ' To me. Vortex, Giaour!' he cries, and, mounted on them, the devil and Faust rush into space. It is aflight t o the abyss. Here Berlioz gives free rein to his boldest imaginings. The unbridled race of the coursers of hell, the incanta­ tions of witches, wild exclamations of Faust, the sneers of the devil— all are depicted in a frightful unloosing of orchestral masses. "Berlioz ends the legend with two strange compositions of rare energy, and sharply contrasted:—Pandemonium: it is hell with a sinister gnashing, with its devouring joys; it is the triumph of the demon, clutching his prey in his talons. Heaven: it is pure, ineffable bliss; it is the apparition of the unhappy sinner; it is the divine, angelic concert, calling to the abode of the blessed the repentant, purified Marguerite."

Marguerite ...... MME. HELENE HASTBEITEB. Faust -^IR- WILLIAM CANDIDUS. Mephistopheles . . • MR. WILLIAM LUDWIG. Brander .... MB- MYBON W. WHITNEY.

63 FOURTH CONCERT. FIRST PART.

SCENE I. It is the village folk at early dawn. (Plains of Hungary.) Who dance and sing upon the grassy lawn : FAUST My misery begrudges them their joys. [alone in the fields. Sunrise.l The winter has departed, spring is SONG. here! But nimbly speeds it in the ring. River and brook again are flowing Right and left they dance and swing, free. Skirts are flying, as they skip. Behold from the dome of heaven, They all grow red, they all grow pouring forth. warm, Fresh splendor breaks, and gladness Take a breath a moment, arm in arm. everywhere. Hurrah, hurrah, huzza, huzza ! I greet with joy the cool, reviving They all go round together. breath of morning, I drink full draughts of sweet, deli­ " Be not familiar," then she cried ; cious balsam, " Many a man deceives his bride, I hear the birds awake 'midst the '' Ah, how many have cheated and reeds. have lied !" The low deep murmuring of waves But he persuaded her aside and water-reeds. And echoed from the linden-tree. Oh joy, to dwell within the lonely Hurrah, hurrah, huzza, huzza! forest. The shouting and the fiddles. Far from the crowded world and all its striving! SCENE III. SCENE II. (Another part of tlie plain—An army advanc­ (Dance of peasants underihe Imden-trees.) ing.) SON'O AND CHORUS. FAUST. The .shepherd donned his best array. A splendor of weapons is brightly Wreath and jacket and ribbons gay. gleaming afar. Oh, but he was smart to see! Ha! the sons of the Danube, appar­ The circle closed round the linden- elled for war. tree. They gallop so proudly along— All danced and sprang—like madmen How sparkle their eyes— danced away. How flash their shields! Hurrah, hurrah ! Huzza, huzza! All hearts are thrilled — they cant their battle's story— The fiddle-bowswen t merrily. My heart alone is cold—unmoved, FAUST. even by glory. What mean these cries, these songs, [Hungarian March—The army passes by- that distant noise ? Faust withdraws.] THE DAMNATION OF FAUST.

SECOND PART.

SCENE IV. With immortal splendors glowing— (North Germany.) When he hovers through the heavens. FAUST We, His true disciples. Are languishing here below. [alone in his study). Alas! He leaves us all again Without regret I left the smiling 'Neath the burning arrows of pain. meadows. Oh, dearest Savior! Where grief pursued me still. Thy bliss leaves us alone on this earth. And without joy I greet our haughty But let us cling full of hope to His mountains. Eternal word! With grief revisiting mine ancient We shall come town. To His celestial haven— I suffer! Oh, I suff'er! Starless night. Hosanna! Hosanna ! Spreading far her silence and her shades, FAUST. Adds another sorrow to my troubled What music ! O my memories ! heart— Oh, my poor trembling spirit, For me alone, O Earth, thou hast no Wilt thou too seek the heavens on flowers. wings of song ? Where shall Ifind tha t which my soul My feeble faith desires ? Revives, recalling all my peaceful in­ Vainly I seek ; itfiies my eager quest! fancy. Come, we will make an end.—But I My happy boyhood',s days. tremble! The blessedness of prayer. Why tremble at the abyss that before O joy, unrestrained. me yawns? Of dreaming, while I strayed Come, vial, from thy shelf. I the Through the verdant meadows— poison will drain 'Mid the infinite light Which must give me new light, or for Of the clear spring sun ! aye end my woes. Memory holds me now with childish [He puts the cup to his lips—Chimes of feeling bells are heard, and the singing of Easter Back from the last, the fatal step. Hymns in a neighboring church.] Alas! heavenly tones, why seek me in the dust ? EASTER HYMN. Why visit the accursed ? Sweet hymns CHORUS. and prayer. Christ has reascended! Why come and conquer suddenly my He has left the gloom stubborn will ? Of the awful tomb; Your gentle harmonies refresh my Soars divinely fair soul; Through heavenly air. Songs, more sweet than morning. 65 FOURTH CONCERT FAU.ST. I hear again! My tears spring fforth—tho e earth has Be it so! won me back! MEPHISTOPHELES.

Let us go ! Thou shalt study the world, SCENE V. And leave thy den—leave thy hateful FAUST AND MEPHISTOPHELES. study! MEPHISTOPHELES [They disappear in the air.] [suddenly appearing.] Oh ecstasy! Child of heaven, 'tis SCENE VI. • well! (Auerbach's cellar in Leipsic.) Your hand, dear Doctor! This glad FAUST, MEPHISTOPHELES, BRANDER, Easter bell. STUDENTS, BURGHERS, SOLDIERS. With silver-ringing strain. Has charmed to peace again DRINKING CHORUS OF STU­ Your troubled, earthly brain. DENTS.

FAUST, Another glass! Wine from the Rhine! And who art thou, whose glances so MEPHISTOPHELES. fierce, Here, Faust, behold a jolly set of fel­ Even as a poniard, through my mar­ lows. row pierce, Where wine and song make merry all And burn like flame my spirit? the day. Speak, tell me thy name! CHORUS. MEPHISTOPHELES. O what delight when storm is crash­ Why, for a Doctor, the question seems ing, flippant. To sit all the night round the bowl. I am thy friend, thy comfort, I will High in the glass be liquor flashing. end thy sorrow— While smoke fills all the tavern room. Joy, glory and pleasure are mine to When I was born and saw the sun­ bestow, light, All that thy wildest visions foreshow. I could not stand upon my legs ! FAUST. I came forth to the earth and stag­ 'Tis well, wretched demon; I wait; gered. let me hear. Drinking was then my only thought. SOME STUDENTS. MEPHISTOPHELES. The throats are tuned—who now com­ Hark ! I will bewitch thine eye and mences ? thine ear. In mirth tastes better the wine. Be buried no more, like the worms of Now, Brander, thou! the earth That gnaw at thy folios. Come, arise, OTHERS. follow me! He forgets all his ballads. 66 THE DAMNATION OF FAUST.

BRANDER. Fell on the hearth and squirming lay, Nay, I know one; I made it myself! In the last convulsion twitching. Then laughed the murd'ress in her CHORUS. glee: Let us all listen ! "Ha! ha! ha ! he's at his last gasp,'' BRANDER. said she, "As if he had love in his bosom." Since you invite me, I'll give you at once something new. CHORUS CHORUS. As if, etc., etc. Requiescat in pace ! Amen ! Bravo, bravo ! BRANDER. SONG. And now sing a fugue. BRANDER. On the "Amen " a fugue. Let's improvise a scholarly piece. There was a rat in the cellar nest, Whom fat and butter made smoother, MEPHISTOPHELES He had a paunch beneath his vest. [to Faust.] Like that of Dr. Luther. Take notice first! The cook laid poison cunningly. Their bestiality And then as sore oppressed was he. Will make a brilliant demonstration. As if he had love in his.bosom. CHORUS. CHORUS Amen 1 Amen ! [shouting.] [A fugue on the melody of Brander's song.] As if he had, etc., etc. MEPHISTOPHELES BRANDER. [advancing.] He ran around, he ran about. By heaven, sirs, your fugue is splen­ His thirst in puddles laving ; did! He gnaw'd and scratch'd the house To hear it throughout. Is to dream one is in some holy place. But nothing cured his raving. Pray, let me freely say it— He whirled and jumped, with torment 'Tis scholarly in style; devout, thor­ mad, oughly so. .\nd soon enough the poor beast had. One could not better express As if he had love in his bosom. The pious sentiments CHORUS Which, in closing all her petitions. Holy Church sums up in this one [as above.] word. As if, etc., etc. In my turn, I will respond. BRANDER. By your leave, with a song. And driven at last, in open day. On a no less pathetic theme than He ran into the kitchen, yours, sirs. 67 FOURIH CONCERT. FAUST CHORUS. [to Mephistopheles.] What! dares he to mock us un­ awares ? Enough! let's quit so foul and coarse Who is this fellow ? a place! How pale and ghastly ! With joys degrading and ignoble How red is his flowing hair !— deeds. No matter; well, go on! give us thy Hast thou no purer pleasures, calmer song! Begin! sports, To oflFer me, thou dread, infernal MEPHISTOPHELES. guide ? MEPHISTOPHELES. There was a king once reigning, Who had a big black Hea ; This is not to thy taste ? And loved him past explaining, Come on!— As his own son were he. [They fly away through the air ou Faust's He called his man of stitches; mantle.] The tailor came straightway. " Here, measure the lad for breeches. SCENE VII. And measure his coat, I say !" (Bushy meadows on the banks of tlie Elbi. FAUST, MEPHISTOPHELES. In silk and velvet gleaming. [Chorus of Gnomes and .Sylphs.] He now was wholly drest. Had a coat with ribbons streaming, MEPHISTOPHELES. A cross upon his breast. Fields full of roses He had the firsto f stations, The gentle night uncloses. A minister's star and name. On this flowery bed. And also his relations Dear Faust, let thy head Great lords at court became. Softly rest. Soothed by voluptuous repose, And the lords and ladies of honor Where rosy kisses on thy pale brow Were plagued, awake and in bed, creep. The queen, she got them upon her, Where blossoms ope their cups, thy The maids were bitten and bled. couch to wreathe. And they did not dare to brush them. Thine ear shall catch celestial tones ! Or scratch them, day or night. Appear, ye spirits of earth and of air. We crack them and we crush them Make music for his dream—a chant At once, whene'er they bite. divinely fair! Faust's vision. CHORUS CHORUS OF .SYLPHS AND GNOME.S. [shouting.] Sleep, happy Faust! for soon a veil Bravo, bravo, bravissimo! will rise We crack them and we crush them Of blue and gold, when thy eyelid.s At once, whene'er they bite. close, THE DAMNATION OF FAUST.

Visions of love to thee the spirit All of them lifeward hieing. shows. For rapture and for love! When the languid zephyrs breathing MEPHIST( IPHELES. Fill the green engirdled plain. Balmy fragrance, mist-veils wreath­ The charm is working; he is ours ! ing, 'Tis well, my spirits; I am pleased Twilight wafts to earth again. with you. Softly soothes the weary mortal, Rock, rock his magic sleep! Lulls the heart in child-like rest. [Dance of Sylphs (Orchestra).] Closes for his eyes the portal Of the day within the west. FAUST FAUST. [suddenly awaking]. Ah, on my eyes a veil is spreading. O Margaret! What a dream! CHORUS. What a celestial image ! Now pain and bliss have fled away. Serenest angel's face! Trust the new rising day ! Where art thou, dear ? Seek now rapturous pleasure I feel the purest bliss, In thy love's rosy arms! Since in my dream I saw thee ! In peace now enjoy MEPHISTOPHELES. The ravishing hours; Arise ! and follow me again All the transports of love. Unto the alcove balmy—sweet. Arising from her alone ! Where she, thy mistress, sleeps. See her with magic charms, For thee alone this treasure is re­ Faust, her love shall be thine ! served. Sleep, happy Faust! Here comes the joyous troop of stu­ The nymph no longer leaps. dents now. The leaves and boughs are moveless; Who pass before the door, Of healthy buds the balsam 'Mongst them mad fellows with their Pervades the silent air. noisy songs. Advance, ye gayest spirits. We also to thy beauty's home shall go. Your maddest measures dance ; But calm th)' raptures and obey my With sweetest dreams infuse him ! will! FAUST

[dreaming.] SCENE VIII.

O Margarita ! Chorus of Sttuknts and Soldiers marching to- ivard the town. CHORUS. SOLDIERS. And the winged races fly. Fly to enticing isles, Stoutly walled cities In whirl of dancing fly ! We fain would win, Some other spirits, scaling And maidens with lofty The highlands, boldly mount, And scornful mien. 69 FOURTH CONCERT.

Bold is the venture. VHa brevig fugaxqtie voluptas, Rich the reward. Qaudeamus igitur, gaudeamus.' Trumpets are sounded Nobis subridente luna. With powerful breath, Per urbem quaerentes puellas eamus ! Summon to glory Ut erasforlunali Qesares, dicamus : And summon to death. Veni, vidi, mci.' Life is worth living Qaudeamus igitur, gaudeainus ! In camp and in field. [Double Chorus of Soldiers and Students.] Maidens and cities, Force we to yield. SOLDIERS. Bold is the venture. Rich the reward. Stoutly wall_ed cities We soldiers go marching away, We fain would win, etc. STUDENTS. STUDENTS. Jam nox stellata velamina pandit. Nunc bibendum et amandum est. Jam nox stellata velamina, etc.

THIRD PART.

SCENE IX. I breathe pure air 1 (Drums and trumpets in the distance). Ah God I Ah God I FAUST After painful martyrdom, years of weariness, [In Marguerite's chamber—Evening.] What bliss is mine ! O thou gentle twilight, I greet thee from my heart. SCENE X. Thou softly fiU'stthi s spot, this holy shrine, FAUST AND MEPHISTOPHELES. Wherein I feel a vision kiss my brow. MEPHISTOPHELES Like a balmy breath of early morn­ [entering.] ing. O, this is love ! O, how I feel my Hush ! she comes—conceal thyself cares Behind these curtains. Take wing and flyawa y ! FAUST. How dear to me this silence ! How Heavens! my heart will break joyously I breathe this air! For very joy. Maiden beloved! most dear, O maiden divine, angelic, MEPHISTOPHELES. What awful joy this moment swells Now make the most of time! my heart! Be calm, or you will lose her. I gaze devoutly on thy chaste abode 1 [He conceals Faust behind the curtains.] 70 THE DAMNATION OF FAUST.

My host of spirits now There stood the old carouser. Shall sing for you most proper wed­ And drank the last life-glow ding songs. Farewell! And hurled the hallow'd goblet FAUST. Into the tide below. Calm thee, my heart, be quiet! He saw it plunging and filling And sinking deep in the sea : Then fell his eyelids forever. SCENE XI. And never more drank he. Enter Marguerite with a lamp. Faust con­ cealed. SCENE XII. MAROUERITE. (Square b^ore Marguerite's house.)

How sultry is the air! MEPHISTOPHELES AND WILL-O'-THE- I tremble like a child. WISPS. 'Tis my dream last night which fills [Invocation.] my heart with sadness. MEPHISTOPHELES. I saw him in my dream, him, my pre­ Ye spirits of flickering flame. destined love. Quick ! appear ! I need your aid. How handsome he was! How dearly Will - o'- the - wisps, your baneful, he loved me! treacherous lights And how dearly I loved him ! Must charm a maid and lead her And shall we ever meet upon this unto us. earth ? What folly ! Dance ! in the devil's name ! Mark the measure well, (She sings, while undressing.] Fiddlers of hell—else I will quench There was a King in Thule, your glow. Was faithful till the grave, [Orchestra — Minuet of the Will-o'-the- To whom his mistress dying, wisps.] A golden goblet gave.

Naught was to him more precious. Come on ! Let's sing a moral = ong He drained it at ev'ry bout: unto the lass. His eyes with tears ran over, To ruin her the surer then As oft as he drank thereout. SERENADE OF .MEPHISTOPHELES. When came his time of dying. Why dost thou wait The towns in his land he told. At sweetheart's door. Naught else to his heir denying. My foolish Kate, Except the goblet of gold. Ere night be o'er ? He sat at the royal banquet Let be! for he With his knights of high degree. Lets in a maid. In the lofty hall of his fathers, Who thence a maid In the castle by the soa. Never departeth more. 71 FOURTH CONCERT. MARGUERITE. Take heed! begone! What's done is done. In dreams I thee have seen, such as I And then—good-night. see thee now. He loves not aright. FAUST. He should not linger, For love is brief. Hast seen me in thy dreams? Trust not the thief. MARGUERITE. Save with the ring on finger. I know thy voice, thy face. CHORUS. Thy sweet and winning speech. Take heed ! begone ! etc., etc. FAUST. And did'st thou love me? MEPHISTOPHELES. MARGUERITE. Hush ! hush! away ! be still. Ah I for thee I longed. [Will-o'-the-wisps vanish.] FAUST. Now let us listen to our cooing doves! Margarita, I love thee! SCENE XIII. MARGUERITE. MARGUERITE. My tender love was thine by inspira­ OGod! tion. Wliatdol see? 'Tis he! Can I be­ FAUST. lieve mine eyes? Marguerite is mine!

FAUST. MARGUERITE. Angel adored, whose dear and lovely O dearest love, tliy sweet and noble image, image, While yet I had not known thee, il­ While yet I had not known thee,shone lumed my dark soul! brightly in my soul! At last I thee behold, and o'er the At last I thee behold, and o'er the jealous cloud-veil jealous cloud-veil Which hid thee from my sight my Which hid thee from my sight thy love the victory hath won. love the victory hath won. Margarita, I love thee ! FAUST. MARGUERITE. Angel adored, whose, etc.

Thou know'st my name ? And I, too. FAUST. Have often whispered thine—Faust! Dearest maid, sweetest trea.su re 1 FAUST. To my love without measure Yield thee now, I implore. That name is mine : But I will take another, if it please MARGUERITE. thee better. Oh, what transports of pleasure, 72 THE DAMNATION OF FAUST.

Born of love without measure. At Marguerite they are scoffing, and To his arms me impel ! they call for her mother. MARGUERITE, The dame will soon be here. , FAUST. What gentle languor seizes my whole being! O terror 1 FAUST. MEPHISTOPHELES. For thy embrace my heart fondly We must be off! yearneth. FAUST. -Come, oh come! Death and hell! MARGUERITE. MEPHISTOPHELES. In my eyes are tears . . . AUisdark- Soon shall you meet again. Consola­ ness . I faint, ah ! I die ! tion is near; Follows close upon sorrow. SCENE XIV. MARGUERITE. MEPHISTOPHELES Steps approach, dearest love ! [entering abruptly.] Ah, how bitter this parting— Away ! it is too late ! Too soon, farewell!

MARGUERITE. FAUST,

Who is that man ? Farewell, then, blissful night, FAUST. Which scarcely had begun. A brute! Farewell, rich feast of love. Which I had hoped to taste! MEPHISTOPHELES. MEPHISTOPHELES. Nay! a friend. Come on! the morning dawns. MARGUERITE. FAUST. Ah! his glance With horror freezes my blood. Too fleeting moment, wilt thou no more return. MEPHISTOPHELES. Wherein my soul at last found happi­ No doubt, I disturb— ness ? MEPHISTOPHELES. FAUST. Who bade thee enter here ? The crowd is coming, Let us haste away ! MEPHISTOPHELES. CHORUS This angel must be saved ! [of men and women in the street.] The neighbors all, awakened by our songs, Halloo! hear, Madame Martha, see Run hither and point out the house what thy child has done! to passers-by. Our counsel is none too soon. 73 FOURTH CONCERT.

Ah ! a lover is in the house. Ne'er before knew I heart's desire— You and your family will feel the Precious treasure of the world—thou dreadful mischief. art mine. Love keeps watch and ward. MARGUERITE. It cannot falter. O, heaven ! Hear their cries! I know What is all heavenly bliss, I shall be killed Breathing thy glowing kiss? If thou art found with me.

MEPHISTOPHELES. MARGUERITE. Come ! They knock at the door. Dearest Faust! FAUST. Thine is all I am ! Thou art ray life! We are lost! Love's wild passions embrace my soul MEPHISTOPHELES. With furious ardor, overpowering ! Oh what folly! To lose thee—would be death. MARGUERITE. Farewell, hasten, my love, MEPHISTOPHELES. Through the garden escape. Ha, the day of my conquest is here ! FAUST. Haughty Faust, thine hour, too, O my angel! Farewell ! draws near. Love, sweet love, enthralls thee. Now MEPHISTOPHELES. art thou my slave ! To-morrow night! Be quick! Servant thou to all devouring pas­ FAUST. sions, I am dissolved in dreams of love's Thou shalt forever perish in pains great rapture. And in torments!

FOURTH PART.

SCENE XV. My brain, so sore bewildered. (Marguerite's chamber.) Hath no power of thought; My dull and feeble senses MARGUERITE Are entirely distraught. [alone.] My heart with grief is heavy. I look out at the casement. My peace of mind is o'er! His fine, tall form to see. Ne'er again shall I find it. To meet him, and be with him, Ah ! never, never more ! Is heav'n's own joy to me.

Where my love is not with me His proud and noble bearing; Is to me as the tomb. Of his smile the winning grace ; My life, without his presence. Of his hand the soft pressure, All shrouded is in gloom. And ah 1 his fond embrace ! 74 THE DAMNATION OF FAUST.

My heart with grief is heavy, Thou only soothest my immortal My peace of mind is o'er ! grief. Ne'er again shall I find it. Upon thy mighty breast my woe Ah! never, never more ! abates, I find my strength again, again I live! All day long, to be near him Blow, blow, ye tempests! lift up, ye Fondly yearns my poor heart. forests. Ah, could I tightly clasp him, Melt, Crocks!—Plunge down, ye cat­ I would ne'er let him part. aracts ! Him with kisses I'd smother, My voice will blend with all your All glowing with love's fire; sounds august; And on his lips still hanging, Ye rocks and streams and woods, I I'd fain at last expire ! worship you. Ye worlds. (Drums and trumpets sounding the tattoo- Chorus of Soldiers and Students in the Sparkling above, towards you leaps distance.) forth the cry CHORUS. Of a despairing soul, The trumpets are sounded with pow­ Longing, craving for joy ! erful breath, They summon to glory, they summon SCENE XVII. to death. MEPHISTOPHELES Tho' daring the venture, yet rich is [scaling the rocks.] the prize. Seest thou above, within the azure MARGUERITE. vault. Day's reign will soon be ended. The star of constant love? Thou Dusky twilight approaches, needst his aid— The evening drums and trumpets now For thou art lost in dreams, whilst are sounding. that poor child, With songs and shouts of joy. Thy Marguerite, weeps. As on the blessed evening when first I O serpent! saw Faust. MEPHISTOPHELES, CHORUS OF STUDENTS. 'Tis, true, I should be still. Jam nox stellata, etc., etc. Thou lov'st no more. Yet dragged MARGUERITE. within a cell. He Cometh not! He cometh not! And as a parricide, condemned to Alas ! . . poor heart! deaths FAUST, SCENE XVI. What! (Cavern and forest.) [Hunters' horns heard in the distance.] FAUST MEPHISTOPHELES. [alone.] I hear the hunters' horns in the [Invocation to Nature.] Nature immense, proud and majestic, woods. 75 FOURTH CONCERT.

FAUST. Give it—there is my name ! Now to Speak further! Tell me more ! In the gloomy dungeon. Let us take wings and fly I O mad­ prison—Marguerite ! dening grief ! MEPHISTOPHELES. Marguerite, I come! A certain brownish drink, a harmless MEPHISTOPHELES. poison, Thou gav'st her to make her mother Appear, Vortex, Giaour I sleep Upon these two black steeds, as swift During your loving vigils, as thought. Engendered all this woe. Mount we and gallop. Justice will not wait. FAUST. O death and hell! SCENE XVIII. MEPHISTOPHELES. (Tlierlde to hell.) [Faust and Mephistopheles, galloping, on And thus— two black horses.] Her love for thee has led— FAUST. FAI'ST. Within my heart resounds her desper­ Save her ! Save her ! ate cry— Thou miscreant! Oh poor, forsaken one I MEPHISTOPHELES, CHORUS OF PEASANTS Ah! I am the miscreant! (kneeling before a rustic crucifix.) That is ever your way, Ridiculous mortals ! Enough ! Sancla Maria, ora pro nobis! I still am master to free her from Sa/ncta Magdalena, ora pro nobis ! prison and save her. FAUST. What hast thou done for me Ah! see those children, those praying Since I have been thy slave? women FAUST. Beneath the Cross! What dost thou ask ? MEPHISTOPHELES. MEPHISTOPHELES. No matter! Onward 1 On ! Of thee ? CHORUS. Naught save thy signature Sancta Margarita, ora pro nobis ! To this old scroll. Thy love at once is freed from judg­ [Cries of terror—The women and children scatter In confusion—The riders pass by.) ment and from death. If thou wilt sign this oath to-morrow, FAUST. to serve me. Gods ! What a hideous monster fol­ FAUST. lows us! What is to-morrow with me, if now I MEPHISTOPHELES. suffer? Thou dreamest. THE DAMNATION OF FAUST.

FAUST. They champ the bit, What a flock of birds of night! I see the earth What awful screams! They strike Before us swaying! me with their wings ! I hear the thunder Roll at our feet— MEPHISTOPHELES It raineth blood! [reining in his horse.] MEPHIST(JPHELES, The death-knell tolls already for thy Cohorts of hell arise ! love. Sound your triumphal trumpets ! Dost thou fear? Let's return ! He is mine ! [They halt.] FACST, FAUST. Ah ! Doomed ! No ! I hear it! Make haste ! MEPHISTOPHELES, [The horses quicken their speed.] Victor am I. MEPHISTOPHELES [They fall into the abyss.]

[urging on his horse.] SCENE XIX. Hopp ! hopp ! hopp ! PANDEMONIUM. FAUST. {Faust delivered to the flames.) See all around us that unending line PRINCES OF SHADOWS, Of dancing skeletons— Of this soul so haughty With what a horrid laugh they wel­ Ever more art thou master and sov­ come us! ereign, Mephisto? MEPHISTOPHELES MEPHISTOPHELES.

[spurring on his horse.] Yes, he is mine for aye! Hopp! hopp! Think of saving thy PRINCES. life ! Is it then our right to deliver And laugh at the dead ! His body to flames of hell? FAUST MEPHISTOPHELES. [more and more terror-stricken and breath­ less.] Of his own free will he signed. Our horses tremble. [Infernal orgies. Triumph of Mephisto­ Their manes are bristling; pheles.]

EPILOGUE.

(On earth.) The gnashing of teeth, the dismal howling of its victims— SOME VOICES. These sounds alone are uttered ; and Then all in hell was hushed. in its lowest depths The frightful roar of its seething lake A dread mystery of horror was of fire and brimstone; wrought. 77 FOURTH CONCERT. CHORUS. CHORUS OF HEAVENLY SPIRITS. [Marguerite's gloriflcation,] Awful doom! To heaven ascend, O trusting spirit, (In heaven.) By thy love led astray. Take on again thy primordial beauty, [Seraphim prostrate before the Almighty.]Whic h one single stain hath soiled. Come! the virgins celestial, Laus.' . . . Hosanna! Thy sisters, the seraphs, She, too, hath loved much, O Lord ! Will wipe away the tears Which thy sorrows on earth still [Harmonious murmurs.] bring to thine eyes. Thy sin is freely pardoned. Oh, be A VOICE FROM THE HIGHEST glad, HEAVEN. And rejoice! Thou art saved ! Margarita. Come, ^[argue^ite, come!

78 Fifth Concert.

SYMPHONY, No. j, Eroica, Op.

Allegro con brio. Slicrzo: Allegro vivace. Marcia funebre. Finale: Allegro molto.

THIS great work—this "heroic" symphony—which, according to the title, was composed " to celebrate the memory of a great man," is the third in the series of Beethoven's nine symphonies. Definite as is tbe title which the Eroica Symphony now bears, it originally had one still more definite, for it was composed in reference to an actual individual—the great Napoleon Bonaparte. Beethoven, whose mind was of a very sturdy independent character, the stuff out of which the antique republican heroes were made, and who had ma­ tured his principles by the constant perusal of Plutarch, Plato's Re­ public, and other ancient works, doubtless with many a pregnant commentary supplied by the artificial and home state of society at Bonn and Vienna—had watched the career of Napoleon with great interest and sympathy. It was probably not so much in the char­ acter of a military hero that he admired him, as for the manner in which he had raised himself in a few years to be the most prominent person in Europe, and for the power and ability with which, single- handed, he bad reduced the chaos of the great revolution into order andfitness, an d had brought back order and prosperity to France when all seemed hopelessly ruined. By the year 1802 this feeling had become so settled in Beethoven's mind that he readily fell in with a suggestion made to him—as he himself towards the close of his life admitted—by General Bernadotte, at that time ambassador from France in Vienna, that he should write a piece of music in honor of the First Consul. This was in the autumn of 1802, when Napoleon was perhaps at the zenith of his 79 FIFTH C ONCER I.

moral greatness. Beethoven was at that time, according to his usual autumn custom, living out of town, at the village of Heiligenstadt, a few mUes from Vienna, and it was here that the composition was begun. Knowing the deliberate manner in which this great master conceived and completed his works—the many sketches, the frequent erasures, the minute improvements, by which he brought an ordinary and almost commonplace idea to the highest beauty and dignity, we may imagine how long and arduous the process of elaborating the Eroica Symphony was. In fact, if the inscription on the MS. of the Symphony may be trusted, it occupied him until August, 1804. At length, however, the whole great work was completed, and a fair copy was made of it, which bore the following title :—

Sinfonia grande Napoleon Bonaparte No. 1. 804 im August del Sigr. Louis van Beethoven. Sinfonia 3 Op. 56

This copy was, it would appear, actually handed to the ambassador for transmission to the First Consul. Beethoven retained another copy which lay on the table of his work-room, and the cover of which bore the following words:

Luigi van Beethoven

No. 2.

Bonaparte

and no more. How the space between the two names was to be filled up no one knew, and probably no one dared to ask. 8o THIRD SYMPHONY

A change, however, for which Beethoven was not prepared, was about to take place—had indeed taken place—in Napoleon. On the 18th May, 1804, he accepted from the Senate the title of Emperor. News traveled slowly in those days, and some time probably passed before Beethoven heard of this event. When at length he was told of it by his pupil, Ferdinand Ries, he started up in a rage, and cried out, " After all, then, he's nothing but an ordinary mortal! He will tread all the rights of men under foot, to indulge his own ambition, and become a greater tyrant than any one—" sayinf,^ vs^hich, he went to the table, seized the score, tore off the first leaf, and threw it on the ground. After this his admiration was turned into hatred, and he is said never to have referred again to the connection between his work and the Emperor till twenty-two years afterwards, when the news of Napoleon's death at St. Helena arrived. He then said, " I have already composed the proper music for that catastrophe," mean­ ing the Funeral March which forms the second movement of the Symphony—if indeed he did not mean the whole work. The first leaf was then re-copied, while tbe copy intended for Paris was withdrawn from the ambassador, and the words '' Napoleon Bonaparte " scraped out, though not so effectually that they cannot still be discerned. At some later time Beethoven has written in pencil below bis own name the words "geschrieben auf Bonaparte." This latter copy is now in the Public Library at Vienna, and the ar­ rangement of the words given above is copied exactly from it.

RECIT<^TIVE zAND ^RIA, "Che faro se!i{a Eurydice.'' {Orpheus), - Gluck.

;MME. HELENE HASTREITEK.

Recitative : What in my haste have I done ? To the gulph of destruction My love thrown back once more ! O my consort, my Eurydice ! She is cold, she is mute. And forever more gone ! 'Tis I, 'tis I, who have the loved one slain. 8i FIFTH CONCERT

Fate, too fearful. Remorse, too vain. No aid can more avail me In a moment so terrible, Only despair and death Henceforth are ever left me!

Aria: Can I bear this anguish weary And my life wear out alone ? Earth is desert, wild and dreary. Now Eurydice is gone, Lost forever ! What silence ! But hear me— I for thee have braved dying, Hast thou no fond word replying ?

THE TOIVER OF BABEL, A Sacred Opera in one act, Op. 80, - - - - - Rubinstein.

ANTON RUBINSTEIN'S genius is as remarkable for its many- sidedness as for its fruitfulness. He has appeared as creator in aU the departments of musical composition, and has accomplished memorable, though not equal, results in every province. A peculi­ arity of his musical dramas is a manifest predilection for biblical sub­ jects. Other composers before him had treated sacred themes (Mehul, F6licien David, Berlioz) but none with such persistency as Rubinstein, and none in the manner that he invented. This manner has the sig­ nificance of a distinct type to which the composer has given the name, "sacred opera." It began with Paradise Lost (which, however, he called an oratorio in the original edition), and was continued in The Tower of Babel and The Maccabees, although the latter approaches the conventional opera, the book being an adaptation from a drama of the same name written by Otto Ludwig. The impulse to utilize biblical subjects for musical-dramatic purposes, Rubinstein confessed to the late Dr. Damrosch, came to him from witnessing a ballet, based on a similar subject, years ago, in Paris. The composer said he had seldom been so profoundly moved by any spectacle as this ballet, and it suggested to him the propriety of treating bible stories worthily in 82 THE TOWER OF BABEL. music, but in a style differing from the sacred oratorio. This was the origin of the sacred operas. They combine the oratorio and opera styles, by utilizing the powers of the old-time oratorio\chorus and the modern dramatic orchestra, with their descriptive capacity developed to its highest potency, to illustrate an action which is beyond the capabilities of the usual stage machinery. And yet Rubinstein dreams of a theatrical representation of not only Paradise Lost and The Tower of Babel, but also other works in the same style, yet to be written. His plan contemplates the establishment of a sacred stage. In the character of the forces employed in the work and the order of their marshaling, there is no startling innovation ; we meet the same alternation of chorus, double chorus, recitative and aria, duet and en­ semble, that we have known since the oratorio form was perfected ; but a change has come over the spirit of the expression, and the forms have all relaxed some of their rigidity. In the old works of Handel and Haydn there are instances not a few of musical delineation in the in­ strumental as well as the vocal parts; but nothing can be thought of, so far at least as the ambition of the design extends, as a companion piece to the scene in this opera which pictures the destruction of the tower of Babel. This is entirely beyond the horizon of the old masters' fancy as it is beyond the capacity of the instrumental forces which they controlled. The present is the instrumental age in music ; and though two hundred years ago the orchestra had been emancipated measurably from the restrictions which the Church placed upon it when it was looked upon as peculiarly the representative of the world, the flesh and the devil, there was then no thought of giving it equal privileges with the voice. That remained for the present century to accomplish, and Rubinstein is in the foremost rank of those who strive to prevent either element from asserting superiority of right in any kind of service. The action of tbe opera is all drawn within the limits of a single scene. First we have the call to work at the break of day by the mas­ ter-workman. Then follows the bustling activity of the laborers, as they arouse themselves from their sleep and begin work upon the tower. Tbe orchestral background of the number is essentially vigor­ ous and energetic, a broad march melody. This, which gives way to an eager, restless movement in eighth-notes, strongly descriptive of

83 FIFTH CONCERT.

the hurrying workmen, theflashing of the flames from the brick kilns and the falling hammers, after which is a recurrence of the march in pompous style. Nimrod approaches to contemplate the structure and boasts of his greatness and the vista which the piercing of heayen will open to him. Abram, a man of God, warns and admonishes him, and rebukes his wicked ambition, and for his audacity is thrown into a furnace. The excitement of the scene is developed in a thrilling manner and the climax reached in the interruption of the dramatic music of chorus and orchestra by the angelic voices (boys') singing in sweet sounding triads.

We cool thy brow with palm leaves. We fan thee with zephyrs sweet; With perfumed branches and grasses. We keep back thefire's heat, is wonderfully impressive. Abram walks unharmed from the furnace, thefires of which have been miraculously extinguished. Then fol­ lows the great choral number representing the quarrel between the people concerning the author of the miracle. They are divided into two groups, each one of which claims the miracle to be the work of its God—Baal, Jehovah—and seeks to compel the other to worship him. This furnishes the composer an occasion for the employment of a double chorus, characterized by strongly contrasting ideas. The tumult is quelled and the work of construction proceeds with a recur­ rence of the music of thefirst number . The angels now command the destruction of the tower, which comes as the climax to a terrifying and vivid piece of descriptive music. The 'confusion of tongues and dis­ persion of the tribes ToUows, and the descendants of Shem, Ham, and Japheth move off singing songs which tell of their future homes and occupations. Here Rubinstein has made a fascinating use of local coloring, and the three short choruses are of a charming effect. Nim- rod's conversion is brought about by Abram's exhortation, and his call upon Jehovah is taken up by two choruses simultaneously, a cho­ rus of angels and a chorus of people, while the dramatic effect of con­ trast is again provided by a chorus of demons, who shout of the tri­ umph which they will have over the human race so long as mortals rely on themselves alone. The melodic idea of the demons' chorus 84 THE TOWER OF BABEL.

•was used by Rubinstein in the orchestral introduction to the work, and is typical throughout of the principle of evil. In his analysis of the work, Mr. Dwight, of Boston, says of the songs of the dispersing races : " Passing tbe principal solo of the prostrate and repentant Nimrod, and Abram's announcement of the confusion of tongues, we come to what is certainly the most pictur­ esque, if not the most beautiful, portion of the work, tbe short cho­ ruses of the three dispersing races of mankind. These, it will be re­ membered, should be sung behind the scene, accompanying a series of dissolving views. First, a wild, quaint melody, sung in octaves (so­ pranos and tenors) by the Shemites. It is claimed by some to be Ara­ bian, by some Persian, while others say it is one of the oldest temple hymns of the Jews. At all events its peculiar feature is the use of tbe augmented second {i. e., tbe interval from the sixth to the seventh in our harmonic minor scale). Here it appears firsti n the persistent figure of the accompaniment (F-sharp, E-flat,) reversed in the voices ; and the strain dies out on a prolonged F-natural, with open fifthsan d fourths in the Itasses, as the strain is almost lost to sight on the horizon. But the voices burst out again in a yet wilder refrain, where the aug­ mented interval is from C-sharp to B-flat. Next the Hamites, ' No­ mads of the Desert,' also in unison (altos and basses), chant a monot­ onous and arid tune in C-sharp minor, with ceaseless tramp in empty fifths and fourths in the accompaniment. A gray picture of Sahara, worthy of Fdlicien David. Finally, the Japhethites, northward and westward bound, past grassy fields and waving forests. Their song blooms out in full fecundity of four-part, sometimes eight-part, har­ mony (in F-sharp major), with a flowing, charming six-eight modern melody in grateful contrast to the barren types preceding."

NIMROD—MB. WHITNEY. NIMKOD'S FOLLOWERS—MALE ABRAM—ME. CANDIDUS. CHORUS. MASTER WORKMAN—MR. STOD- THE PEOPLE—MIXED CHORUS. jj^RD. DEMONS—MIXED CHORUS. ANGELS—CHORUS OF CHILDREN.

[In the foreground a large oak tree on which hangs a brazeu shield ; below, a hillock. In the background a tower, on whose scaffolding the people are sleeping in groups Round about, brick kilns, derricks, &c. Stretching out on all sides, a view of a plain in the land of Shlnar, Day is dawning,] 85 FIFTH CONCERT.

Master Workman: Awake! Ye workers, awake! Before the dawning day Nowflies the night within whose quiet arms we rested. Like to a golden herald comes the sun before the day; O! See ! Its light already on the waves is glancing. Awake to labor! before from east to west its course has run We'll see its last rays brightly gleaming Where now are only clouds and mists- Shine on a work of human hands, upon our towers noble turrets.

Chorus of the People: To work ! To work ! Let the great massive rocks be made ready ! Let them be lifted! Range them together ! Thus shall we build up our beautiful halls. And the mighty, the strongly built tower. Heavenward rising, soon we shall finish, When to westward the sun sinks to rest. Rake up the furnace! Heat well the ovens ! So may we fashion bricks for our burning. Swing high the hammers ! Let us build swiftly ! Build a town and lofty tower Whose high turrets far up to heaven rise. Come, from every quarter, come Ye sons of Ham, Ye sons of Shem, Ye daughters and children of Japheth, Come build up our beautiful halls. [Toward the conclusion Nimrod approaches, accompanied by his followers, among them Abram. He takes his staml on the hillock, under the'tree.]

Nimrod: Stately rises our work on high ! Massive walls of granite surround the temple, and in the distance, just on the far horizon, in the land of Shinar, to southward of Hillah, below now the tower. Yes, joyfully rests my glance upon my labor. This work that binds together all earth's people, which through many seasons I watched in painful growth, now there it stands as the triumph of human labor! From out the sky it shall look down on hill and valley. On its strong walls up to the crystal firmament it bears me, high over the thunder, far over the lightning, high over the clouds, high over the storms. As noblest, best of all royal stations, this have I chosen for me- Here is my throne ! 86 TEE TOWER OF BABEL.

I mount on high, O spirit tremble not! Soon to my wondering sight unveiled will come the vision That now by day conceals the sun from me, And in the night the solemn, awful stillness. God shall I see in all His majesty. Undaunted shall I stand before His presence, Shall we see what human eye hath never seen, Shall draw away the veil from mysteries now hidden. Wliat the Creator's voice has never told. From His own lips I'll gather.

Abram: How, mortal, canst thou reach His presence? Thou art but a man?

Nimrod: See'st thou the tower there ? That leads the way to Him.

Abram: Oh, way of errors! What only faith itself with humble eye can see Ne'er canst thou gain with blind and willful daring.

Nimrod: Boy ! control thy tongue, nor censure me ; What Nimrod wills, that Nimrod does most surely. Abram: Thou art a mighty King. Thy people all bow before thee ; They obey thy wishes blindly. But hear my voice. The shepherd behold Who feeds hisflock on yonder meadows, .Vnd sings his song of praise. While the rippling streams in soft low murmurs join his singing. He sees with the eye of faith, .lehovah. Lord of hosts, who from thine eyes Still more and more is hid. O King, I warn thee! give up thy tower, for thou dost sin against thy God.

Chorus [FoUawers of Nimrod] : Arrest him ! the King is insulted! The catifl shall be punished !

87 FIFTH CONCERT.

Abram: Wouldst thou approach the lofty throne of day. Then bend thy head ; lift not thine eyes to heaven. And pray devoutly that he may forgive thee And for thy forwardness not punish thee ! Nimrod: Daring shepherd, down ! ask my forgiveness ; Abase thyself before my high command And thou shalt pay with life for the words that thou hast spoken. Seize him ! Throw him in the red glowing furnace That the hungryfire may consume him. Chorus [^Followers of Nimrod^ : Seize the catifl"! Let him die in the swift burning flames; He shall perish who hag braved the wrath of our monarch. Slay him! Down with the knave! [He is dragged to the blazing furnace.] Abram: Jehovah ! Chorus [^Followers of Nimrod'] : The flames now around him, leap with wild glee. They roar and they roll in a sea of fire. Three Angels, ^hovering in the air] : We cool thy brow with palm leaves. We fan thee with zephyrs sweet; With perfumed branches and grasses We keep back thefire's heat. Chorus [Followers of Nimrod] : See how the smoke rolls up in dark volume! How it is glowing withfire an d with vapor ! The Angels: We sing hymns from heaven. Songs from the beautiful land ; We fan thy brow with palm leaves, And lead thee forth by the hand. [Theflre goes out—Abram steps out of the furnace.] Chorus l^FoUovers of Nimrod] : Behold he comes from the flaming furnace! He comes forth safe, uninjured! His eyes are lifted up to heaven ; His hair has not been singed. Wonder ! He comes forth unharmed. [Nimrod is lost in thought] THE TOWER OF BABEL.

Abram: Lord, praised be thy holy name forevermore.

Chorus of the People [Various groups]: This wonder great Baal has done, ha, Baal! Praise his name ! No, no ! nevermore ! no ! This wonder our mighty God has done. Praise Him. This wondrous work Jehovah has done : Hallelujah, Hallelujah !

This wonder by . .°, v was done. Praise to him.

Before our God then humbly kneeling. Ask His pardon, fear His might; Or else tremble before our vengeance dread. Kneel to Him ; He alone is the God Almighty,

Fear your God ? No, nevermore ! Never will we kneel before your God ; We scorn you and your boasting words, Kneel to Him, worship Him or death ! Down to the ground ! slay them ! [Ximrod strikes the shield ; the quarrel ceases,] Nimrod: Cease your strife ; loose each other, oh ye raging people! Turn your hands to your work and finishi t quickly. Why trouble yourselves about God, the mighty ? Soon in the tower your own eyes shall behold him.

Angels' Voices: Come on, let us down to earth now hasten and destroy their mighty tower, and to their speech let us bring confusion, that each one may speak in a strange tongue. Master Workman [Stepping among the angry people separating them] : To work ! To work ! That to-day ye may finish. Swiftly, ye workers, be ready and active. To work.

Chorus of People : To work! To work ! Let the great massive blocks be made ready. Let them be lifted ! Range them together. Rake up the furnace! Heat well the ovens ! Swing high the hammers! [It gradually grows dark.] 89 FIFTH. CONCERT.

How the face of heaven is o'ershadowed. Stormy clouds gather fast, dark and threatening. How black, how awful is the storm ! Trembling with awe we stand, and shake with fear ! How dark! we scarce can see each other's faces ! The air is stifling with vapor; See!

Abram: No, 'tis not vapor, nor storm clouds that gather And banish the light of day from our eyes; The terrible power, almighty, breathes through the darknesi- That bounds us on every side. Vain are your struggles; the earth and its creatures Shall by the breath from His mouth be destroyed. Woe to us! Nought but the power of prayer—nought else can save us When from our trembling souls all hope is gone; Fearful, when malice and guilt are united, Comes the Lord's all powerful hand. Thenfly the wicked, and wrongs are righted ; Sin is driven forth from the land. Woe to us ! Temporal greatness falls !

Nimrod: False hearted wretch ! wilt thou with wicked, lying words mislead' my people ? Wouldst turn their hearts from their master and King ? Some unseen hand saved thee once ; see if the same power Will save thee again. Seize him ! Cast him down from the tower! The rocks below us shall be his grave. Why stand ye there ? Why do ye not obey me ?

Chorus of People: Hear ye ? The thunder's voice now shakes the earth ?

Nimrod: Soon shall we stand high above the storm! Cowards and slaves, obey now my command ! [Amidst thunder and lightning, the tower comes crashing down] 90 THE TOWER OF BABEL.

Chorus of People: Horror! Mercy ! Fly, our lives are in danger! Hasten ! Protect our children ! Woe to us! Destroyed is the tower ! Hasten from this place. Nimrod: The tower, whose lofty height was like my state, The tower wherein as King I sate. Strong in my might and full of power. Lies now in ruins; destroyed in an hour. Confusion and fear now reign supreme And all my pomp has vanished like a dream. And they who hastened at my slightest motion. Where are they now, my slaves who served me with devotion ? Trembling with fear, in wildest disorder Flying and rushing on every side. In vain do I call them, for they know not what I say. Unhappy monarch! No longer do I reign in might and glory ! Oh! How pitiful now seems my power ; My creations, all my earthly labors, my life's most ardent work— My dearest wish, my pride—a heap of shapeless stones Now lies before me. How fallen am I, how deeply fallen ! I, who strove with the might of heaven. With God's almighty power to cope; A flash, and ah! before me I see my error's punishment.

Abram: The Lord is strong in might! He wished it not that in the time to come all mortals should remain unchanged, and destroyed with his mighty hand the tower which to one kingdom bound the land. And that they might to east and west be scattered, upon their tongues he cast a spell that each should speak a strange and unknown language. Like a mighty stream which three times branches, so separate the tribes. To south, to west, to northward, wander the races. [Dispersion of the tribes.] Chorus of the Descendants of Shem: Slowly on, with never ceasing current. Still we hear the Jordan flowing; Gracefully the cedar branches Tremble in the breeze of morning; Yonder, yonder let us hasten!

91 FIFTH CONCERT.

Chorus of the Descendants of Ham: From out Euphrates' valley forth we wander. Forth to the dry and sandy desert, 'Neath the burning sun, where ne'er by night's darkness The air is cooled. We hasten still on, without pause or rest. Like the sand adrift in the whirlwind. We're nomads of the desert! We spread out our tents and our cattle graze And the place where we rest one night, Next day sees us no longer. Chorus of the Descendants of Japheth: Where in rocky inlets the ocean shines, Where by murmuring waters the shore is kissed. The margin that with grass is crowned— There shall wefind our home! Where in shadowy forests 'mid rocky pines. High the eagle hovers; Where far and near all is loneliness, There shall wefind our home ! Where the mountain rises to the sky, Where the horizon's mildness invites the eye. And the soulfinds peac e and rest— There shall wefind our home!

Angels' Voices: Thus by the almighty power of God, they're driven forth to foreign coun­ tries, that they cease forevermore to build the tower.

Abram: The dark and stormy clouds are scattered. And gleaming bright above the wind and storm. With many-tinted rays, the rainbow flashes. [A rainbow appears]. It is the gate of heaven, from whence like pilgrims, The three races wandered, cast forth upon the world. It is the token that tells them, when driven far and wide, that though by God's commands they have been parted—though now they wander forth abroad—still they shall know that from one fount they started, and are the children of God. Whenever storm-clouds gather, in desert, wood, or sea, this sign shall bind us; as in the day of parting, so shall it shine on the day when again we are united. 92 THE TOWER OF BABEL.

Oh! joyful happy day of meeting for which all men -with longing hope! He, who through years of bitter sorrow What seemed an endless length of time, has borne his errors— He wakes to rest his head upon his long lost brother's breast. And songs of heavenly rest are sounding, The songs which lulled him long ago. Oh, rapture ! now they know each other ; They hear the well-known sounds of home. And they who once as children parted. In manhood wander back again. The peace which youth knows not nor prizes, It is a joy that's bought by bitter pain. To fight with might and strength opposing. Oft dares the steel-protected hand— But now they've reached the summit, .\nd, gazing with awe, behold the promised land. Then does the world become an Eden, Where all are joyful, by the self-same spirit filled ; All in one language now are speaking, One voice by all is raised in loud acclaim, In praise to God. And children's children Heed the just commandment— Thou shalt love thy neighbor as thyself thou lovest

Nimrod: High over this bright crown of rainbows See how wide bright heaven's gates are flung, .\nd in his pomp of might and glory. Seated on his throne, the world's creator Girt by eternity's broad sea. I see the dazzling light increasing, I feel myself on high uplifted. High over all the dust of earth ; Oh, let me never more be parted from thee who boldest me to thy heart, But let me see thee, know thee, call thee, Yea, let me name thee : Jehovah, God of all! [Heaven opens, disclosing the throne of God. Hell yawns and Satan's throne becomes visible.] Triple Chorus, Angels: Hosanna! Hosanna! Thee, thou Lord of the world. Whose power can destroy and whose might can create, Hallelujah ! 93 FIFTH CONCERT.

People: Jehovah ! Though in darkness erring, Thou still mayst lead aright our footsteps. Lead us safe! De m o ns: We triumph ! Hail great Satan ! Great in might and power ; So long as mortals in themselves have trusted, Still is the truth with error entertained.

94 ^ixth Concert.

OVERTURE, Melusifie, Op. 32, Mendelssohn.

HO was "Melusine?" The following outline of the old Ger­ man legend will tell. Raimund, a knight of Poitiers, marries a lovely lady named Melusine, whom he has encountered in a mys­ teriouws manner while hunting. Before the marriage she exacts a promise from him that every Saturday she shall be allowed to remain entirely alone, unvisited and unwatched. After many years of happy life, Raimund is so tormented by the taunts and innuendos of his brother, that he breaks his promise, and secretly looking into Me- lusine's chamber discovers her in the form of a mermaid, to which she is forced by a spell to return every Saturday. The discovery con­ demns her to leave her happy home and human life, and to wander through space forever. They part: and he, heartbroken at his folly and his loss, enters the Monastery of Montserrat. When his last hour arrives, the voice of Melusine is heard in the air, weeping and wailing, and her form is seenfloating round and round the castle. Tbe autograph score of this Overture bears the date '' Diisseldorf, 14th November, 1833," and itsfirst performance took place in that town in July, 1834. Mendelssohn's own story of its composition is interesting. It is contained in a letter to his sister, dated April 7th, 1834; he says, " I wrote the Overture to an opera of Kreutzer's which I heard last year about this time. The overture (Kreutzer's, I mean) was encored, and displeased me most particularly; so did the whole opera, Mdlle. Hahnel only excepted, and she was thoroughly lovely, especially in one scene, where she comes on as a mermaid, and does her hair on the stage. It gave me a great desire to make an overture that might have rather more in it than Kreutzer's, even 95 SIXTH CONCERT.

though not encored; so I took what pleased me of the subject, and what happened to agree with the legend, and not long after the Over­ ture made its appearance in the world ; and that's its history."

"ARIADNE AUF NAXOS," Cantata for a solo voice, Haydn,

MME. HELENE HASTBEITER.

Recitative: Theseus, my life! Art thou not here? Whither hast thou fled? So sweetly didst thou rest here at my side! No! It was a dream that deceived me with its treacherous flattery! Terrible and ominous whispers come from yonder clefts—thy consort trembles—dear one, come, behold my tears now falling! Aria : Dearest consort, hear my calling, Bring sweet peace back to my heart. Sad, alone, see my tears falling. Thou alone canst joy impart. Deign a glance, ye gods all gracious, O, let fall a look of pity, Ye gave me this timid heart! Ah, where dost thou tarry, Theseus ?

Recitative: Yet, to whom do I speak ? Echo only answers my complaints! He re­ mains afar; Theseus sends no reply, no zephyr bears to him my sighs, my calls! On yonder shore a cliflF rears up its head toward heaven ; from its summit I can discover him if he be hid within the vale. 'Tis well, I'll climb the rock! Ye gods! Is't possible ? What do I see? That is the ship of the Greeks! Ha, how they hasten ! Theseus! He among them? No, it can not be ! And yet it is he! he flies! Whither shall I turn, where find compassion when Theseus deserts me ? My blood is chilled, my footsteps waver, darkness comes o'er my sight! Soon all will be over!

Aria: Deep in your depths now hide me, Gladly to you I confide me. Since comfort is denied me. Sacred, eternal sea ! 96 TWENTY-THIRD PSALM.

Ye Gods, now let me perish. From me all joy is taken. By happiness forsaken, Why should I life retain ?

TWENTY-THIRD PSALM, for chorus of female voices, Schubert.

THIS composition was heard for the first time in Cincinnati at the Festival of 1873. Schubert wrote tbe music for Moses Men­ delssohn's translation of the psalm in 1820. The accompaniment was set for the pianoforte. The orchestral arrangement Mr. Thomas got in 1867 from Herr Reinecke, conductor of the Gewandhaus concerts in Leipsic. It is in manuscript, and the name of the arranger is not given. Schubert's autograph score, which is preserved in Vienna, bears the inscription : "Psalm 23, December, 1820. Frz. Schubert." The work wasfirst performed at an examination of the pupils of the Vienna Conservatory, on August 30, 1821.

LES RAMEAUX, - Faure,

MR. AVILLIAM LUDWIG.

Around our way the palm trees and the flowers Send forth their perfume on our festal day; Jesus appears, He comes to dry our tears. Already crowds approach, and homage pay. All nations sing and chant his praise. Now let your voices join with ours and anthems raise. Hosanna ! Glory to God ! Blessed is He who comes bringing Salvation! His voice is heard, and nations at the sound Have now regained that freedom sought in vain. Humanity shall everywhere abound, For light to all the world is given again. All nations sing, etc. Rejoice e'en thou saintly Jerusalem, Thy children now sing thy Redeemer's name. For by His Grace the God of Bethlehem Brings them new faith, and hope confirms the same. All nations sing, etc. 97 SIXTH CONCERT.

%ECITATiyE AND ARIA, "Die stille Nacht ent-weicht" {Faust), - - - . _ Spohr.

Mi>^s EMMA JUCH.

Recitative:

The still night vanishes, and with it the phantasms of my dreams. In ever varying changes, like darkness and like light, now with torments, now with joys, they might haunt my fear-burdened soul. Oh ! what a dream has this night startled me from slumber. I saw my loved one—my . dearest Hugo. He stood before me with outstretched arms lovingly to embrace me. But alas 1 his features were pale and wan, and from his fixed eyes were gone the fire of love. Woe me ! From his faithful heart gushed a bloody stream. But no, it was but the empty vision of a dream, the illusion of a heated brain, that startled me from a restless sleep. He still lives, my Hugo, to avenge my wrongs on the wretch who holds me here imprisoned : who now with threats, and now with flatteries,woul d move me to love. O, what horror! But only greater and stronger grows my hatred, and firmer the faith I pledged to thee, O, Hugo ! Aria . Yes, I feel it, faithful love 'tis, gives the heart courageous power; 'Gainst it founder all the plottings nurtured in man's wicked hour. Even might must melt before it; Death himself it puts to shame; Human power cannot attain it—it is born of heavenly flame !

Come on, come on, base wretch, employ thy subtlest art, Ere I my love deny thy rage will hence depart. Yes, Hugo, I am thine; to thee my faith I've plighted. My all to thee I give, in life, in death, united !

DER TANZ IN DER DORFSCHENKE, {Mephisto IValt^ ; Episode after Lenau's Faust), - - Liszt.

THE " Mephisto Waltz " is one of two " episodes" inspired by the German poet, Nicbolaus Lenau's epic poem " Faust" and has no connection, as might be imagined, with Liszt's " Faust Sym­ phony." The episodes are a nocturnal procession and a dance in a village tavern. The latter is the piece known as the "Mephisto Waltz." They were composed in 1859. 98 MIGNON.

MIGNON, - - - Lisit.

:MME. HELENE HASTREITFR.

Know'st thou the land where flowers of citron bloom. The golden orange glows through leafy gloom, From the blue heavens the breezesfloat s o bland. The myrtles still, and tall the laurels stand ? Know'st thou the land ? O there, O there! Loved one, with thee I long to wander there !

Know'st thou the house? Its roof the columns bear— The polishedfloors, the halls so bright and fair. Where marblefigures, standing, look on me: " Thou poorest child, what have they done to thee? " Know'st thou the house ? O there, O there ! With thee, kind guardian, O could I be there !

Know'st thou the mountain peak ?—the airy bridge. Where loaded mules climb o'er the misty ridge ? In hollows dwell the serpent's ancient brood. The rent crag rushes down the foaming flood. Know'st thou the mount ? O there, O there ! Leadeth our way. O father, let us there !

SYMPHONIE FANTASTIQUE, Berlto^.

(Episode in the Life of an Artist, in five parts.)

Part I—Reverie—Passions. Part II—A Ball. Part III—Scene in the Fields. Part IV—March to the Scaffold. Pg^^l y.—Pream in the Night of the Witches' Revel.

HE Fantastic Symphony followed Berlioz's first efibrt at setting scenes from Goethe's "Faust" to music, and was written, so BerlioT z says, in his Memoires, while he was yet strongly under the 99 SIXTH CONCERT.

influence of Goethe's poem. He adds: "Some portions cost me great labor, while others were composed with incredible ease. For instance, I labored for three weeks on the Adagio {Scin^ aux Champs) which always eflects the public so keenly—and myself, too, for that matter—and three times gave it up as hopeless. La Marche au sup­ plice, on the other hand, was written in one night. Still I kept on addingfinishing touches to both numbers, and to the whole work, for several years." Berlioz wrote a programme for the Symphony, whicli we give in his own words, merely adding a few musical illustrations. FIRST ?A'R,1!—Reverie—Passions. The composer conceives the idea of realizing for a while a young musician—whose soul is consumed by that indefinite yearning, that soul sickness, which has been called the "vague passion," and which forms the subject of so much modern rhythm miscalled poetry. For thefirst time, he meets unexpectedly a woman who seems to realize all the perfection which he had longed for in his mind. Being a musician, it is natural that his ideal should become real only to his soul in the form of a phrase of melody, which appears in each move­ ment. L' IDEE FIXE.

In this he supposes himself to be possessed of the power to trace the character of the loved one—timid, yet noble; passionate, yet sweetly tender. This melody and the graceful figure it recalls to his mind, haunt him continually like the unchangeable fixed idea (I'id^e fixe)— melancholy reveries, dreamy thoughts, interrupted only by a few glimpses of the sunshine of happiness. Now dull and gloomy, now rising into the heights of maddening frenzy such as lovers only feel, then doubt, suspicion, jealousy, and self-torture, the joys and griefs of early love, and the soothing influence of religious consola­ tion. Such is the substance of thefirst movement . lOO SYMPHONIE FANTASTIQUE.

SECOND PART—^ Ball.

Alone amid the giddy whirl of a festival, where all is centered that can charm the senses and delight the eye, the artist gazes on the fair and comely forms thatfloat by in the whirling and exciting dance. But his fancies wander hither and thither, and tbe beloved one fol­ lows his every thought, and ripples and troubles the fountain of his ruoody dreamings.

.MELODY OF THE W.VLTZ MOVEMENT,

THIRD VAYIT—Srene in the Fields.

While the golden sun, dipping into the western horizon, tinges all nature with his warmest hues, the softened sound of the shepherd's pipe is heard in answering echoes o'er tbe hills. These sweet and simple melodies, the flowery bank on which he lies, the softness and balminess of the evening breeze, the whispering of the young leaves in the trees high over his head, all speak of hope and tell of mutual love. The soul of the artist is at rest, and his thoughts are happy. The day may not be far distant when two loving souls will be united, never more to part. But what if his heart deceives him ? Hope and fear, joy and sadness, light and gloom trouble him. And when again tbe shepherd renews his song, and there is no response ; and when the ruddy clouds are blotted out from the sky by blackened masses and the distant thunder growls, what can it be to him but an omen of loneliness and sadness ? Then comes deep silence. lOI SIXTH CONCERT.

FOURTH PART—TAe March to the Scaffold. Convinced by many signs that his love is not returned, he en­ deavors to poison himself with opium. The draught, not powerful enough to deprive him of life, plunges him into a sleep haunted by frightful dreams. He has bathed his hands in the blood of her he so madly loved. He is to die a shameful death upon the scaffold. Strange to say, he is to be the witness of his own execution. The Dies Tree, the hymn of the dead, is solemnly chanted, the passing bells are tolled.

THE "DIES IR^^" AS USED BY BEBLIOZ.

Dl - es 1 rse, Di = es 11 - la, Sol - vet sse-clum tr. r7\

In fav- il - la: Tes - te Da - vld cum Si - byl - la.

The sad and melancholy train sets forth to the strains of a march, now wild and gloomy, now glad and bright. The never-ceasing pat­ tering of footsteps, the never-silent murmurs of the crowd, accom­ pany them. Once again that strain of melody, that unchangeable "fixed idea," rears itself above all other sounds, only to be rudely broken in half by the swift fall of the axe upon the block.

FIFTH PART—^ Dream on the Night of the Witches' Revel. Our artist is now lying among witches, imps, familiars, misformed and obscene creatures, who have gathered to make merry at the burial of the murderer. The air resounds with yells, howls, cries of despair, and mocking and cruel laughter, the rejoicing over a fallen soul. Once more the '' melody" is heard, but this time in a vulgar, common dance-tune form, intermingled with scornful peals of jesting and shouting. She, the loved one, comes, and the wild unearthly herd rejoice at her coming in an unrestrained demoniacal orgy, for her work is done. The passing-bells ring backward, and the foul mob travesty the solemn hymn, Dies Irce, and so all ends.

102 Seventh Concert.

WAGl^ER NIGHT.

THE FLYING DUTCHMAN.

(a) Overture.

HE "Flying Dutchman" has been sentenced by the devil, who is an unbeliever in the faithfulness of woman, to wander about tilTl th e day of judgment, unless sooner released by the love of a woman "faithful unto death." Thinking that such a woman can not exist, the devil thinks to torture the poor skipper by permitting him to go ashore once every seven years to try his luck. After many failures The Dutchman falls in with a Norwegian merchant, and obtains his consent to marry his daughter. This daughter is named Senta. She is a dreamy sort of creature, who had already formed an attachment for the unfortunate sea-rover from hearing his sad fate and looking at his picture. When he enters the house she recognizes him at once, accepts his hand, and agrees to share his fate. The Dutchman, overhearing a conversation between Senta and Erik, a former suitor, from which he concludes that he has been disappointed again, attempts to sail away without his bride; but Senta throws her­ self into the sea from a high rock, thus attesting herfidelity unto death, and breaking the spell which held the Dutchman a rover. His ship sinks, and he enters into the long-sought rest.

103 SEVENTH CONCERT. (6) Duo: "lAke to a Vision."

Miss EMMA JUCH AND MR. WILLIAM LUDWIO. The Dutch man: Like to a vision, seen in days long bygone. This maiden's face and form appear. What I have sought thro' countless years of sorrow. Am I at last beholding here. Oft from the depth of darkness gazing upward. Sore have I longed a love like her's to gain ; A beating heart was left me for my torment, That I might still awake to all my pain! This quenchless flame I feel within me burning. Can I, unhappy one, love dare to call it? Ah no! It is but longing for release, That I, through such an angel, might have peace. Sen ta: And am I sunk in wondrous depths of dreaming? Is this a vision which I see. Or am I now set free from long delusion ? Has morning truely dawned on me ? See, there he stands, his face with sorrow clouded— He tells me all his mingled hope and fear; Is it the voice of sympathy that cheats me? As he has oft in dreams, so stands he here? The sorrow which within my breast is burning— Ah, this compassion, what dare I to call it? Thy heart is longing after rest and peace. And thou at last through me shaltfind release. The D utchm an: Wilt thou, thy father's choice fulfilling, Do what he said? Say, art thou willing? Wilt thou, indeed, thyself forever give to me? Shall I in truth, a stranger, thus be blest? Say, shall Ifind the time of sorrow ended— In thy true love my long-expected rest ? Senta: Whoe'er thou art, where'er thy curse may lead thee, And me, when I thy lot mine own have made— Whate'er the fate which I with thee may share in, My father's will by me shall be obey'd. 104 THE FLYING DUTCHMAN.

The Dutchman: So full of trust? what? canst thou, in thy gladness. For these my sorrows deep compassion know ?

Senta: Unheard-of sorrows! would I joy might bring thee !

The Dutchman: How sweet the sound that breaks my night of woe! Thou art an angel, and a love angelic Can comfort bring to one like me. Ah, if redemption still be mine to hope for. Heaven, grant that she my savior be !

Senta: Ah, if redemption still be his to hope for. Heaven, grant that I his savior be I

T he Dutch man: Ah, thou, the certain fate foreknowing. Which must indeed with me be borne, Wouldst not have made the vow thou madest— Wouldst not to be my wife have sworn ? Thou wouldst have shuddered ere devoting. To aid me, all thy golden youth— Ere thou hadst woman's joys surrendered. Ere thou hadst bid me trust thy truth ?

Senta: Well know I woman's holy duties ; O hapless man, be thou at ease ! Leave me to fate's unbending judgment— Me, who defy its dread decrees. Within the secret realm of conscience Know I the high demands of faith : Him whom I choose, him I love only. And loving e'en till death !

The Dutchman: A healing balm for all my sorrows From out her plighted word doth flow. 105 SEVENTH CONCERT.

Senta: 'Twas surely wrought by pow'r of magic That I should his deliv'rer be.

The Dutchman: Hear this! Release at last is granted ! Hear this, ye mighty : Your power is now laid low! Star of misfortune, thou art paling! Hope's glorious light now shines anew ! Ye angels, ye who once forsook me. Aid now my heart, and keep it true!

Senta: Here may a home at last be granted, Here may be rest, from danger free ! What is the power within me working ? What is the task it bids me do? .\lmighty, now that high Thou hast raised me, Grant me Thy strength, that I be true !

TRISTAN UND ISOLDE.

(a) Vorspiel.

THIS musical drama of Wagner deals with an old legend which, in various forms, is known to the reader of literature based on the mediteval epics. Its last treatment was received at the hands of Swinburne. Wagner's Tristan is the hero of Gottfried von Stras- burg's poem. English readers know the character better as Sir Tristrem, Tristram, or Tristam. Isolde, too, is the Irish princess Ysolde, or, as Arnold has it in one of his earlier poems, and Swin­ burne likewise, Isuelt. Wagner wrote "Tristan und Isolde" after he had halffinished th e Niblung tetralogy. "This work," he himself wrote, " I am willing to su1)mit to the severest tests that result from my theoretic assertions; not because I formed it in accordance with my system,—for all theory was completely forgotten by me—, but because here at last I moved about with the utmost freedom and io6 TRISTAN UND ISOLDE. the most absolute disregard for every theoretic consideration, in such a manner that in the course of execution I became aware that I went far beyond my system."

(6) Finale: Liebestod.

Isolde, Miss LILLI LEHMAMN.

ISOLDE

[unconscious of all around her, turning her eyes with rising inspiration on Triatan's\>oij].

Mild and softly he is smiling : how his eyelids sweetly open! See, oh comrades, see you not how he beameth ever brighter— how he rises ever radiant, steeped in starlight, borne above ? See you not how his heart with lion zest, calmly happy beats in his breast? From his lips in heavenly rest sweetest breath he softly sends. Harken friends! Hear and feel ye not ? Is it I alone am hearing strains so tender and endearing? Passion swelling, all things telling, gently bounding. 107 SEVENTH CONCERT.

from him sounding, in me pushes, upward rushes trumpet tone that round me gushes. Brighter growing, o'er me flowing, are these breezes airy pillows ? Are they balmy beauteous billows? How they rise and gleam and glisten I Shall I breathe them ? Shall I listen ? Shall I sip them, dive within them, to my panting breathing win them ? In the breezes around, in the harmony sound in the world's driving whirlwind be drown'd^ and, sinking, be drinking— in a kiss, highest bliss! [Isolde sinks, as if transfigured, in Brangdna's arms upon Tristan's body. Profound emo­ tion and grief of the bystanders. Mark invokes a blessing on the dead. Curtain.]

SIEGFRIED.

Waldweben, - Voices of the Forest, or Forest Sounds.

THIS exquisite piece of music was arranged by Wagner for con­ cert performance. In the Niblung tetralogy, it forms a por­ tion of the second scene of the second act of " Siegfried." The dwarf Mme has witnessed with terror the success of Siegfried in con­ structing anew the magic sword Noihung. Unable to prevent it he io8 SIEGFRIED. plots how to turn the deed to his advantage. With it the hero shall slay Fafn£r, who has the hoard and ring, and to guard which he has translated himself into a dragon and taken up his abode in a cavern; then when Siegfried has possessed himself of the treasure, he. Mime, will put him to sleep with a poisoned broth and kill him with the sword as he sleeps. Early on the following morning Mime leads Siegfried before the forest cg,ve in which Fafner lies. There he leaves him. Siegfried falls to musing. A peaceful figure has taken posses­ sion of the instrumental music which accompanies his imaginings thenceforth till the end of the scene. Tbe figure suggests the gentle, melancholy murmurs of the deep forest. Out of the murmurs arise the phrases which tell of Siegfried's thoughts, such as that of the suf­ fering Volsungs which comes as a struggling memory of his mother:

While thus musing he hears the songs of birds and attempts to imitate them upon a reed, which he cuts in the hope of mastering the mystery of the bird language, and thus learning something about his mother. The four phrases of the bird's song play an important part in the concert-piece under consideration. They are the following :

But he finds his efforts in vain, and he blows a call on his silver horn which awakens the dragon and precipitates the combat that re­ sults in Siegfried's gaining possession of the magic ring.

109 SEVENTH CONCERT.

DIE GdTTERDAMMERUNG.

(a) " Zu ni'uen Thaten."

Brunnhilde, Miss LEHMAITN. Siegfried, MR. CANDIDUS.

TTTI HE most sympathetic of the dramas of the Niblung tetralogy is JL " Die Gotterdammerung," with which it comes to a close. Here we meet the human element through whose participation in the tragedy the plot isfinally so l veil. It opens with a prelude or pro­ logue, of which the theater is the Walkyrie rock. It is night, and the three Norns, or fates, are seen engaged in twisting a golden rope, which is emblematic of the fate of the world. They toss it from one to the other, while they discuss the events which, by bringing about the downfall of the gods, are to change the order of the world. Sud­ denly the rope parts. The Norns bind their bodies together with the sundered pieces and disappear into the earth. As day breaks, Briinn- hilde and Siegfried enter, the former leading her horse by the bridle. The hero is about to set out in search of new adventures clad in Briinnhilde's discarded armor:

BRUNNHILDE.

From deeds and dangers, dearest hero, to hold thee long how were it love? A sin"'- -adness lets, ^^^^ oer; my worth so little it was to win !—

From gods I had gathered what I gave; rich was the hoard of holy runes; but all the maiden stay of my might stol'n has the hero, whom here I stoop to.— no DIE GOTTERDAMMERUNG.

Of wisdom bare— though her wish abounds ; alive with love— though strength she has lost; let not the woman's worth be little, who grudges nothing— but gives not again !

SIEGFRIED. More gav'st thou, woman, to me than well my grasp can wield ; and chide not, if thy lessons, I own, are left unlearned ! The knowledge I need is mine— for me Briinnhild' abides ; and the lesson was light that means Mindful to be of Briinnhild'.

BRUNNHILDE. Seek'st thou thy love to send me, be mindful but of Siegfried, about thy deeds be mindful! Forget not the girding fire, that found thee swift and fearless, when its blaze beset my bed—

SIEGFRIED. Briinnhild for bride to win !

BRUNNHILDF Forget not the woman whose .>ix- -d was her wasting slumber's shelter, till thou brok'st the hasp of her helm—

SIEGFRIED. Briinnhild' for wife to waken !

BRUNNHILDE. Forget not the oaths we gave together; 11 I SEVENTH CONCERT. forget not the truth we guard between us; forget not the love our life belongs to; and Briinnhild' will burn unhindered, hallowed and whole in thy breast I

SIEGFRIED.

Love, ere I leave thee behind in the holy fold of the fire, for gift against thy runes, thou hast from my hand a ring; of a deed I did the good is guarded in its gold, when I loosed from the world a Worm whofiercely fostered it long. Now mindfully treat its might, as greeting got from my truth 1

BRUNNHILDE.

I grasp it as all my good; for the hoop thy own is my horse! Mixed he once his mane in the wind at my warning— with mine the might of his ways has waned; over streaming storms, through thickening thunder, no more goes he as mate of the gale. But the way of thy feet —flows it withfire — Grane ungrieved will follow; to thee, O hero, wholly he hearkens! Uphold him well; he heeds thy word ;— O make to Grane oft greeting from me!

112 DIE GOTTERDAMMERUNG.

SIEGFRIED.

By might thou findest for me must so my searches be furthered ? Is thy help tofix my fights, will their fruit go home to thy hand ? With horse of thine to hold me— in shelter of thy shield— hereafter is Siegfried unseen; I am but Briinnhilde's arm !

BRUNNHILDE.

O were she the soul of Siegfried !

SIEGFRIED.

The heart I bear is of hers !

BRUNNHILDE.

So wert thou Siegfried and Briinnhild'.

SIEGFRIED.

Where goes he both are together.

BRUNNHILDE.

And my rock is bereft and cold ?

SIEGFRIED.

It keeps both in its bounds.

BRUNNHILDE. O hallowing gods, upholders of heaven ! Fix in your eyes the unaltering pair ? Apart—set not asunder! Asunder—put not apart! 113 SEVENTH CONCERT. SIEGFRIED.

Hail to Briinnhild', broadening star! Hail, lightening love!

BRUNNHILDE.

Hail to Siegfried, heightening sun! Hail, lightening life!

BOTH. Hail! Hail!

The music of this scene is based largely on three of the most significant typical phrases, or motives, of the tetralogy. They are: the heroic motive of Siegfried, which is an augmentation of his horn- call as a lad :

the BriinnhUde motive:

and the phrase which is typical of the human or heroic love of the pair:

After parting, Siegfried leads the horse down the rock. Brilnn- hilde watches him ecstatically until he disappears, the joyous sound of his horn reaching her ears from the distance. A curtain shuts Briinn­ hUde from view. Siegfried enters a skifl^ and starts up the Rhine toward the hall of the Gibichungs. 114 DIE GOTTERDAMMERUNG.

(b) Siegfried's Rhine-Journey. This division is purely instrumental, and is one of the most stir­ ring orchestral interludes of the tetralogy. It is the music that follows immediately on the scene just described, and leads into the drama proper. Siegfried's horn call blends entrancingly with the merry, skipping figure of the Loge motive. As the skifi" is born up by the water of the Rhine, so the music tosses buoyantly under the sway of the elemental Rhine motive :

m^^^^ Then the songs of the Rhine-daughters are heard: -1^ h- f-E^^ ms^^m^^ 3=3^ |z^: Rhinegold! mRhinegol d ! Burning de - light, howm brigh t i.s thy lord- ly laugh ! the motives of the magic ring:

-1^ etc. and curse or renunciation of love:

*^ Who from de- light of love wlth-holds, who for its might has need no

e a-lone he reaches tbe wonder, that rounds the gold to a ring.

Finally, the music runs out in the Rhinegold fanfare.

(c) Death of Siegfried.

"5 SEVENTH CONCERT.

"DIE MEISTERSINGER VON NURNBERG"—ACT III.

Eva, .... Miss JUCH. Magdalena, . . Miss CRANCH. Walter Yon Stolzing, MR. CANDIDUS. David, . . . MR. MOCKRIDGE. Pogner, . . MR. STODDARD. Hans Sachs, . . MR. LUDWIG.

DIE Meistersinger von Nurnberg" is Wagner's only comic opera, and in it the true comedy type, asfixed by the classics, is preserved. It deals with the manners, follies and vices of the common people, and has underlying it an ultimate aim of correc­ tion and reform. Its purpose is that set out in the old definition, Ridendo castigat mores. It gives a charmingly quaint and picturesque glimpse into a phase of German social and art life three hundred and fifty years ago. It hits off the follies and pedantry of the ridiculous old guild of master-singers who thought they were keeping alive the spirit of minstrelsy created by the Minue-singers in the age of chiv­ alry, but who were, in fact, only stifling the poetic impulse by their unelastic regulations. To do this and to show that in art expression it is the natural poetic impulse acquired from communion with nature and not the mastery of pedantic formulas that is essential—this is the corrective idea that lies at the base of the work.

(a) Prelude.

(b) Hans Sachs's Monologue.

MR. LUDWIG. SACHS [still with the book on his knees leans back deep in thought, resting his head on his hand and after a pause begins:] Mad! Mad ! All the world's mad ! Where'er enquiry dives In town or world's archives And seeks to learn the reason ll6 DIE MEISTERSINGER.

Why people strive and fight. Both in and out of season. In fruitless rage and spite. What do they gain For all their pain ? Repulsed in fight. They feign joy in fiight; Their pain-cries not minding. They joy pretend .When their own flesh their fingers rend. And pleasure deem they're finding. What tongue the cause can phrase? 'Tis just the same old craze ? Nought haps without it ever In spite of all endeavor. Pause doth it make ; In sleep it but acquires new force. Soon it will wake. Then, lo ! who can control its course? Old ways and customs keeping. How peacefully I see My dear old Nuremberg sleeping In midst of Germany? Bat on one evening late. To hinder in some fashion The follies of youthful passion, A man worries his pate ; A shoemaker, all unknowing. Sets the old madness going; How soon from highways and alleys A raging rabble sallies ! Man, woman, youth and child. Blindly fall to as if gone wild ; And ere the craze lose power The cudgel blows must shower; They seek with fuss and pother The fires of wrath to smother. God knows how this befel! 'Twas like some impish spell! Some glow-worm could not find his mate ! 'Twas he aroused this wrath and hate. The elder's charm—Midsummer eve :

117 SEVENTH CONCERT.

But now has dawned Midsummer day. Let's see, then, what Hans Sachs can weave To turn the madness his own way. To serve for noble works; For if still here it lurks In Nuremberg the .same, AVe'll use it to such aim As seldom by the mob's projected. And never without trick effected.

(c) Quintet. A song composed by Walter has been given the title "The glo­ rious morning dream's true story," by Sachs, who thereupon calls upon Eva to pronounce the customary christening speech. The quintet is the result: EVA. Dazzling as the dawn That smiles upon my glee. Rapture-laden morn To bliss awakens me. Dream of palmy beauty. Brilliant morning-glow 1 Hard but sweet the duty Thy intent to know. That divine and tender strain With its tones of gladness Has revealed my heart's sweet pain And subdued its sadness. It is but a morning dream ? Scarcely real doth it seem. What the ditty, Soft and pretty. Told to me, A quiet theme, Loud and free In the Masters' conclave wise Shall achieve the highest prize. WALTER. 'Twas thy love—the highest gain— Allured me by its gladness, llS DIE MEISTERSINGER.

To reveal my heart's sweet pain And subdue its sadness. Is it still my morning-dream ? Scarcely real doth it seem. What the ditty. Soft and pretty. Told to thee, A quiet theme. Loud and free In the Masters' conclave wise Shall achieve the highest prize.

SACHS. With the maiden I would fain Sing for very gladness ; But my heart I must restrain. Quell my passion's madness. 'Twas a tender evening dream ; Undiscovered let it beam. What the ditty. Soft and pretty. Told to me In quiet theme. Here I see ; Youth and love that never dies Flourish through the master-prize.

DAVID. Am I awake or dreaming still ? Scarce to explain it have I skill. Sure 'tis but a morning-dream ! All these things unreal seem. Can it be, man. You're a freeman ? And that she— Oh joy supreme !— My spouse shall be? Round and round my head-piece fiies, That a Master I now rise ! MAGDALENA. Am I awake or dreaming still ? Scarce to explain it have I skill. 119 SEVENTH CONCERT.

Sure 'tis but a morning-dream ! All these things unreal seem. Can it be, man, You're a freeman ? And that we— Oh joy supreme !— Shall wedded be ? Yes, what honor near me lies ! Soon I shall as Madam rise !

{d) Choruses of the Guilds. The scene is a field on the banks of the River Pegnitz, where the people have gathered for a holiday and to listen to the contest of the master-singers for Eva's hand. As the guilds march past they sing.

THE SHOEMAKERS.

Saint Crispin ! Honor him ! He was both wise and good, Did all a cobbler could. That was afine tim e for the poor! He made them all warm shoes ; When none would lend him leather more. To steal he'd not refuse. The cobbler has a conscience easy. No obstacles to labor sees he ; When from the tanner 'tis sent away Then hey ! hey ! hey ! Leather becomes his rightful prey. [The Town-pipers, Lute- and Toy-instrument- makers, playing on their instruments, follow. These are succeeded by THE TAILORS.

When Nuremberg besieged did stand And famine wrought despair. Undone had been both folk and land Had not a tailor been there Of craft and courage rare; Within a goatskin he did hide And showed upon the wall outside.

120 DIE MEISTERSINGER.

There took to gaily tripping And gamboling and skipping. The foe beheld it with dismay ; "The devil fetch that town away Where goats yet merrily play, play, play. Me-ey ! me-ey ! me-ey ! [Imitating the bleating of a goat.] Who'd think that a tailor within there lay !

THE BAKERS [coming close behind the Tailors, so that the two songs join together.] Want of bread ! Want of bread ! That is a hardship true, sirs ! If you were not by the baker fed Old death would feed on you, sirs. Pray ! pray ! pray ! Baker every day, Hunger take away!

(e) Dance of Apprentices. A gaily painted boat, filled with young girls in fine peasant-cos­ tumes, arrives. The prentices help the girls out and dance with them, while the town-pipers play, towards the front. The character of this dance consists in the prentices appearing only to wish to bring the girls to the open place; the journeymen endeavor to capture them, and the prentices move on, as if seeking another place, thus making the tour of the stage, and continually delaying their original purpose in fun and frolic.

(/) Procession of Master-singers. The Master-singers, having arranged their procession on the bank, march forward to take their place for the singing contest.

(gr) Chorale. ALL THE PEOPLE. Ha! Sachs! 'Tis Sachs ! See ! Master Sachs ! Sing all! Sing all! Sing all!

121 SEVENTH CONCERT.

[With solemn delivery]. "Awake! draws nigh the break of day: " I hear upon the hawthorn spray "A bonny little nightingale ; " His voice resounds o'er hill and dale. " The night descends the western sky, "And from the East the morn draws nigh, " With ardor red the flusho f day " Breaks through the cloud-bank dull and grey." Hail, Sachs ! Hans Sachs ! Hail, Nuremberg's darling Sachs!

(fi) Prize Song and Finale. WALTER, [who has mounted the mound with proud and firm steps]. " Morning was gleaming with roseate light, The air was filled With scent distilled Where, beauty beaming Past all dreaming, A garden did invite. [The Masters, here, absorbed, let fall the leaf; Walter notices it without seeming to do so, and now proceeds in a freer style]. Wherein, beneath a wondrous tree With fruit superbly laden. In blissful love dream I could see The rare and tender maiden Whose charms, beyond all price, Entranced my heart, Eva, in Paradise.

SACHS.

Witness in place! Sing apace!

WALTER, [with great exultation]. '' Thrice happy day, To which my poet's trance gave place!

122 DIE MEISTERSINGER.

That Paradise of which I dreamed. In radiance new before my face Glorified lay. To point the path the brooklet streamed She stood beside me Who shall my bride be, The fairest sight earth e'er gave; My Muse, to whom I bow So angel-sweet and grave, I woo her boldly now. Before the world remaining, By might of music gaining Parnassus and Paradise.

PEOPLE. Give him the prize! Maiden, rise! No one could woo in nobler wise!

MASTERS.

Yes, glorious singer! Victor rise ! Your song has won the Master-prize !

POGNER.

O Sachs ! All this I owe to you : My happiness revives anew. fEva who from the commencement of the scene has preserved a calm composure, and has s'ppmed rant from all that passed around, has listened to Walter immovably; but now when at the conclusion both Masters and people express their involuntary adinira- tion she rises advances to the edge of the platform and places on the brow of ^^al- tpi- who kneels on the steps, a wreath of myrtle and laurel, whereupon he rises and she leads him to her fatTier, before whom they both kneel. Pogner extends his hands in benediction over them.] SACHS, [pointing to the group.] My witness answered not amiss ! Do you find fault with me for this ?

PEOPLE [jubilantly.] Hans Sachs ! No ! It was well devised ! Your tact you've once more exercised ! 123 SEVENTH CONCERT.

SEVERAL MASTER-SINGERS. Now, Master Pogner! As you should, Give him the honor of Masterhood!

POGNER, [bringing forward a gold chain with three medallions.] Receive kind David's likeness true : The Master's Guild is free to you.

WALTER, [shrinking back involuntarily.] A Master! Nay ! I'll find reward some other way ! [The Masters look dlsooncertedly towards Sachs.]

SACHS, [grasping Walter by the hand.] Disparage not the Master's ways, But show respect to Art! So heed my words :— Honor your German Masters If you would stay disasters ! For while they dwell in every heart, Though should depart The pride of holy Rome, Still thrives at home Our sacred German Art! [All join enthusiastically In the last verse—Eva takes the crown from Walter's head and places it on Sachs's; he takes the chain from Pogner's hand and puts it round Walter's neck.—Walter and Eva lean against Sachs, one on each side: Pogner sinks on his knee before him as if in homage. The Master-singers point to Sachs, with out­ stretched hands, as to their chief. While the Prentices clap their hands and shout and dance, the people wave hats and 'kerchiefs in enthusiasm. ALL. Hail Sachs ! Hans Sachs! Hail Nuremberg's darling Sachs ! [The curtain falls.]

124 Ubc Cborus.

Sopranos. Davenport, Isabel C. Kolbe, Julia C. Drake, Ada P. Keck, Amanda. Allen, Lida. Dehner, Carrie P. Kellum, Ida L. Anderson, Emma B. Dehner, Bosa. Kellogg, Anita. Anderson, Sallie E. Davis, Julia. Kinsley, MoUie. Anshutz, Lulu E. Durain, Bertha. Krehblel, Helen L. Adams, Leona M. Drescher, Flora. Krucker, Lulu. Adelsdorfer, Laura. Davis, Mamie. Lietze, Margaret. Berger, Alice E. Ebbert, Libbie. Looker, Clara H. Boltz, Minnie. Ellison, Isabel. Letter. Mrs. Adolph F. Boyer, Mrs. S. H. Eckelman, Addie. Livingston, Sara. Brent, Annie D. Errett, Mrs. Eussell. Laws, Annie. Bentley, M. Louise. Frank, Amalia. Laws, Alice. Brown, Mrs. B. K. Fisher, Eliza A. Leonard, Mrs. L. A. Beazell, Adne. Frank, Laura. Lovie, Amy. Braunstein, Theresa. Fuerste, Lena. Loeb, Minnie. Baltzunet, Katie. Findley, Mattie J. Leopold, Elma. Barnard, Mrs. L. B. Geppert, Mrs. D. N. Long, Sadie. Bendinger, Mrs. ]Smma. Gerth, Lulu. Long, Alma. Belmer, Selina C. Gerth, Thekla. Lohmeyer, Emma. Burnet, Margaretha. Gribius, Lillie. Lawrence, I. Berteling, Katie. Haven, Sarah P. Lawrence, E. Bork, Emma. HoUaender, Josie W. Lingenfelter, Ella. Beazell, Lillian. Harris, Ada F. McDonald, Lillie. Bowman, Mrs. J. L. Harsch, Carrie. Mackenzie, Miss. Beach, Mary B. HoUaender, Emma E, Maxwell, Mrs. Lawrence, Jr. Bradley, Elizabeth C. Harris, Eva. MulhoUand, Alice C. Booth, MoUie. Horst, Laura T. MoReynolds, Mrs. K. W. McGregor, Mrs. B. Buck, Alice. Helman, Minnie W. Meakin, Nellie. Barnes, W. E. Hanna, Mary. Mackenzie, Maud. Bueschong, Ida. Healy, Emma E. Beach, Lulu. Healy, Nellie. McGregor, Nellie. Bolser, Clara. Harris, Julia A. Mathews, R. A. Crosby, Mrs. Clara A. Hennegan, Jennie. Merrell, Amelia. Cooke, Mrs. H. P. Hesing, Flora A. MulhoUand, Emma C. Cocbnower, Mary E. Hall, Mrs. A. Acton. Moser, Frieda. Corrigan, Fannie A. Iliflt, Ella F. Minton, Katie. Corrigan, Sallie. Jantz, Clara L. E. Minton, Maggie. Cohen, Juliet E. Jenny, Ida M. Moore, Jennie. Cunningham, Helen. Jones, Leona. Morris, Fannie.' Christopher, Adda B. Kemper, Caroline E. Meyer, Eda W. Coughlin, Alice. Kerr. Agues. Marshal, Annabel. Olough, Nellie. Kendall, Norma E. Mulford, Nellie B. Cullen, Jeannie. Koch, Emma. Minges, Amanda. Christopher, Emma. Kattenhorn, Mary. McGinniss, Ida. 125 THE CHORUS

Moers, Sallie C. stickler, Lena. Fillmore, Nettie. Maish, Mrs. Anna. Thiesing, Lena. Fithlan, C. Belle. Matthews, Mrs. C. B. Thiesing, Dora. Field, Elsie 0. Nunneker, Mrs. Carrie L. Talbott, Laura B. Foster, Lena. Frank, Amanda. Nowack, Anna. Thompson, Mrs. E. H. Fortman, Rose. Nickel, Carrie E. Von Behren, Minnie. Nickel, Bertha. Vlgnale, Mrs. Addie. Gazlay, Clara V. Nealeans, A. L. Whitten, Mrs. W. W. Glatz, Emma. Osmus, Sallie C. Walker, Annie. Gobrecht, Ida E. Ogborn, Lizzie J. Woods, BeUe. Glass, Edie. O'Neal, Lottie. Woods, Kate. Gobrecht, Minnie. Otten, Therese. Weigand, Annie. Grant, CalUe. Osenten, Jennie S. Weigand, Bertha. Graham, Etta. Osmond, Mrs. Anne. Whitaker, Lida J. Greer, Mrs. H. C. Peek, Amy V. Williams, Clara A. Hlrsch, Julia. Pollard, Laura F. Wolfe, Columbia E. Hill, Alfie G. Fortune, Lena. Wood, Mrs. Hettie. Hill, Mrs. A. C. Park, Eunice A. Wartcke, Millie B. Hoffman, Josiephine. Passauer, Annie. Wilcox, Lucy. Hartough, Mrs. J. C. Page, Binnie M. Winkler, Rose. Huntington, Helen F. Fohlman, Mrs. Sara. Winkler, Dena. Hall, Mollie A. Price, Mary McD. WooUey, Sallie. Humphreys, Ella. Pendery, Birdie. Heinrichsdorf, Martha. Ratclifi'e, Mrs. S. M. Altos. Harsch, Mary E. Rawsou, Mrs. Clara H. Halter, Mary B. Reynolds, Elizabeth. ^ Armstrong, M. Louise. Heckert, Flora. Ross, Minnia. Albert, Amalia. Heckert, Minnie. Rice, Julia H. Allen, Alice H. Hopkins, Mary J. Rapp, Cora. Allen, Carrie N. Herrou, Maria Clinton. Rogers, Judith. Allen, Alice W. Hollingshead, Lily. Ritchie, Miss. Abbott, Ida L. Harvey, Bertha. Smith, Mary A. Alden, F. H. Huseman, Louise. Siewers, S. M. Beamau, Elizabeth. Herrlinger, Carrie. Smith, Lillie. Beaman, Jenny. Holdt, Mary F. Smith, Tibbie. Beaman, Minnie. Hastie, Flora C. Sterling, M. F. Beard, Lida. Hastie, Maggie C. Sackett, A. Louise. Becker, Bertha L. Imniegart, Sallie. Sheppard, Anna M. Becker, Louise A. Jouvet, Anna T. Stein, Mary E. Betts, Mrs. Jos. Jennings, Anna K. Stauss, Emily. Betscher, Alphonsa. Jones, Mollie. Stubbs, Adaline A. Baker, Mollie M. Jones, Annie. Stanwood, Minnie W. Bailey, Maggie. Kolker, Nellie. Strubbe, Lottie C. Babbitt, Nellie. Kolker, Lizzie. Smith, Katie K. Benjamin, A. Kattenhorn, Ella. Seehausen, Anna J. Bolser, Ida. Kolker, Katie W. Smith, Anna W. CooUdge, Ada. Koenig, Mrs. H. F. Straus, Carrie. Caldwell, Mrs. Lillian. Koehnken, Adelheid. Sattler, Alma. Caldwell, Nettie. Latta, Luella. Stevenson, Virginia G. Davenport, Jennie M. Leach, Mrs. J. K. Semmons, Rose. DeWitt, Birdie. Lambour, Tlllle M. Shumard, Fanny G. Doppler, Minnie. Lapham, Luella. Strietelmeier, Mrs. Ella. Ehrman, Sallie B. MagiU, Grace. Steidle, Carrie. Eckelman, Alveua. Merryweather, Edith. Stokes, Carrie. Elliott, Myra D. McFarlan, Anna L. 126 THE CHORUS.

Morris, Lillian. Tenors. Webb, F. Moses, Frances. White, G. F. Morten, June M. Adams, F. A. Zipperleln, A. Mohr, Thekla T. Brown, E. K. McGowan, Mary. Brandebury, C. B. Millar, TiUle. Brown, H. Wilson. Basses. Morehouse, Alice M. Brown, W. G. Anderson, J. E. Mlnten, Annie. Birdsong, G. M. Allen, M. W. Mclvor, Flora. Brown, Howard H. Aiken, W. M. Moore, Mattie A. Cheeseman, Chas. H. Baker, W. H. McQuaid, Mollie. Chalfant, Frank. Betts, Joseph. Nicholson, Minnie. Cloke, J. P. Barrington, Albert G. O'Hara, Julie C. Caldwell, J. C. Bing, A. 0. Denton, S. F. Oskamp, Nettie. Bragdon, L. W. Ewart, B. C. Potter, Emma M. Burnham, Frank W. Freisens, Robert. Fortune, Frances. Cobb, Orris P. Friend, H. H. Parks, M. Effle. Collins, Wm. F. Griffith, M. A. Pomroy, Mrs. G. P. Chamberlin, W. G. Park, Eliza D. Griffith, W. W. Chatfield, Albert H. Reakirt, Anna T. Gregg, J. S. Collver, L. L. Skiff, Mrs. Harry 6. Geppert, J. P. Comegys, Charles G. Shaw, Mrs. A. F. Glass, Chas. Crane, Ira H. Sterling, Ida B. Hall, J. W. Conant, A. W. Sims, Anna. High, Geo. H. Cooke, Eussell P. Schmidt, Clara. Hillert, Louis, Jr. Dickman, R. C. Schneider, Mrs. Geo. Hayslip, S. C. Donovan, John, Jr. Short, Daisy. Haiu Frank. Davis, B. Frank. Schulte, Florence. Jackson, Lowry. Ellis, Frank R. Saure, Naomi. Jeuney, Alfred. Erwin, C. Schulte, Louise. Koenig, H. F. Fillmore, Challeu. Stewart, Fannie. Kahler, Jos. W. Fillmore, Chas. M. Schneider, Olga E. Kuersteiner, Albert F. Feckter, N. Spanagel, Th. Klausemeyer, Wm. Fisher, George Wood. Stewart, Marian. Lotter, Adolph F. Goepper, Edward. Tingley, Mrs. E. P. Lindsey, Wilbur P. Gohen, David M. Talbott, Mary E. Loewenstein, Max H. Gault, M. N. Thompklns, Mary. Lord, G. E. Goepper, Chas. W. Tilden, Mrs. Harvey. Males, Albert S. Gucken berger, Benj. Trout, Mrs. M. E. Nickels, Wm. Edw. Greve, H, A. Taft, Fanny L. Ostendorf, John M. Gruesser, Henry. Wayne, Mrs. J. L., Jr. Quehl, H. J. Geer, Wm. J. Watters, Cora. Ritchie, Walter T. Griuton, Robert Wm. Whitaker, Belle. Eobb, D. T. Howells, Edward. White, Nellie E. Rhodes, Charles Ward. Hall, A. Acton. Wehmann, MiUie. Sehwenker, Edward H. Harmeyer, Fred. W. Werner, Emelie. Schlueter, G. H. Hewitt, Edwin L. Werthmlller, Jessie M. Swing, David. Howard, Jerome B. Weeks, Mrs. R. E. Selmeler, John F. Harris, Wm. T. Wilkins, Alice. Selmeier, Henry. Holt, H. J. Wilklns, S. P. Smith, Ben. Hess, Jacob F. Walker, M. E. Schaeffer, J. M. Haatie, W. A. Steele, F. L. Hanks, John A. Taylor, E. C. Handel, Chas. Thalheimer, Will C. Jantz, O. W. A. 127 THE CHORUS.

Johnston, Geo. F. Osterday, John W. Tunison, J. A. Krehblel, Geo. H. Pflueger, Thos. B. Tingley, E, P. Kattenhorn, George. Phillips, T. W. Turner, W. M. Katzenberger, G. Paddock, W. L. Taylor, G. B. Krause, E. Eoelker, H. G. Thropp, Chas. H. Loomis, H. T. Eawson, Edward. Thiesing, W. W. Loewenstein, Louis H. Roberts, W. W. Tuechter, H. W. Lodwick, C. Ross. RoUwagon, Chas. W. Thomson, Chas. H. McCaughey, Henry A. Eiley, Charles. Vaupel, E. H. Males, Horace W. Eitchie, C, J. Voss, E. C. Marthens, Chester N. Eawson, E. S. Von Glenn, H. McGregor, Bradford. Stevenson, Chas. B. Williamson, A. W. McLean, T. E. H. Schulte, 0. E. Williams, E. W. Meier, Henry. Snodgrass, J. M, F. Wayne, J. L., Jr. McKean, Thos. N. Sehwenker, Oscar L. Wulfekoettar, J. Henry. Nickel, J. Adolph. Stanwood, Jas. B. Walber, Jacob. Newell, Thomas, Jr. Saure, Ernest. Youtsey, T. B. Nelson, Benj. Tibbitts, Wm. T.

SUMMARY. Sopranos, 206 Tenors, 56 Altos, 132 Basses, 100 Total, 494

COMMITTEE OF THE FESTIVAL CHORUS.

MISS ANNIE WALKER, C. B. BRANDEBURY, MISS ADNE BEAZELL, J. M. SCHAEFFER, MRS. L. A. LEONARD, S. F. DENTON, MISS ANNIE LAWS, MAX H. LOEWENSTEIN, MRS, J, L. WAYNE, JR., JAMES B. STANWOOD, MISS ELIZABETH BEAMAN, C. M. FILLMORE, MKS. GEOIiGE SCHNEIDEE, JEROME B. HOWARD, MISS CARRIE N. ALLEN, T. B. YOUTSEY.

ACCOMPANIST : MR. GEORGE SCHNEIDER.

128 Cborus of CbilCren

FROM THE PUBLIC SCHOOLS

Trained by PROF. G. P. JUNKERMAN, Superintendent of Music, and PEOFS. VICTOR WILLIAMS, WALTER AIKEN, J. L. ZEINZ and V. OTTO WILLIAMS, Teachers of Music in the Public Schools of Cincinnati.

HFIRST INTERMEDIATE Albert Hartsley, William Pistler, SCHOOL. Charles Jennings, Albert Eabbe, Llewellyn Jones, G. A. Caxnahan, Principal. Amalia Eemke, George Jayne, Gretchen Eiefstahl, Lillie Becker, Walter KoUing, Clara Schmidt, Sol. Bing, Stanley Krohn, Bertha Selbert, Mattie Caldwell, Morris May, John Seyler, George Flanders, Harry McGee, Katie C. Sullivan, Leah Freiberg, Clennie Mercer, Carrie W. Weber, Julius Freiberg, Edwin Milner, John Wilson. Sidney Freiberg, Isadore Moss, Herman Friedman, David Newburger, Emma Kleeman, Hugo Ockerman, FOURTH INTERMEDIATE Harry Klein, Abraham Popper, SCHOOL. Josie Lehman, Louis Rabanus, George F. Sands, Principal. Thomas Nestor, McLean Eemelln, William Nevin, James Eichardson, Edw. Beigel, Carrie Obendorfer, Fred Siedenburg. L. Bdgeu. Fannie M. Poage, Ealph Tate, Leora Caldwell, Charles Rose, Charles Thauwald, R. Crane, Richard Rowland, Charles Vandunker. Pauline Davis, Sidney Lauer, Chas. Dibowsky, Addie Shott, THIRD INTERMEDIATE Lillie Fieber, Mabel Shott, SCHOOL. Ida Fritsch, Albert Stix, Wm. Grischy, Monte Strauss, E. H. Prichard, Principal.Geo . Haehnle, Kittle Sullivan, Anna Ault, Eosa Hill, George Tyrrell, Paul Baur, Alta Houston, Horace Wildberg. Walter Browne, Fred. Hutzler, Charles Geis, Ed. Kreimer, SECOND INTERMEDIATE Fred. C. Giebel, Wm. Kreuskamp, SCHOOL. Charles Hertenstein, Wm. Lawler, Herman Heyne, Owen Owens, jolin Akels, Principal. Julia Jung, Maud Paris, Frank Bernard, Matilda Koehnken, Wm. Perkins, Harry Blomberg, Leo Kohlbrand, H. Plogstedt, William Davis, Amos Light, Lester Pollock, George Docker, Arthur Lussky, Lena Eaine, Edwin Ellison, Harry Lachman, Walter Roth, William Evans, Charles Meyer, May Schoonmaker, William.'Findley, Ida Muehlberg, Estelle Vallandingham 129 Zbc ©rcbestra.

FIRST VIOLIN.S. Schmidt, E. BASSOONS. Bendix, M. (Principal). Jager, H. Sohst, A. Kopff, F. Sachleben, H. Eeuter, R. Bernstein, J. Reinexcius, W. Friedrich, L. Klugescheid, R. Schroder, H. Pieschel, A. Hoch, A. Bahrs, H. HORNS. Bach, G. Riedrich, H. Hackebarth, A. Hildebrandt, C. Brand, M. Schiitz, A. Zeiss, A. Mattioli, L. Baumann, H. Ganzberg, J. DOUBLE BASSES. Landner, S. Schanz, E. Christ, Th. Ilthofi; Ch, (Principal). Schulz, W. Tramaglia, V. Kissenberth, G. Schmidt, W. Hemmann, F. Manoly, L. Nickel, F. Eich, H. Bareither, G. Niebling, C. Frohllch, H. Golde, C. COENETS. Hauser, C. Blettermann, H. Dietz, F. Lowaok, N. Sohst, C. SECOND VIOLINS. Straubel, A, Rietzel, J. (Principal). Rehder, F. TRUMPETS. Saip, F. Kalkhoff, A. Dietz, Jr. Herrmann, B. Melher, C. Schramm, O. Gatterdam, L. Storch, P. BASS TRUMPET. Brosche, C. HARPS. Frank, J. Dietz, F., Jr. Breitschuck, H. Rubel, G. Breitschuck, Miss A. TENOE TROMBONES. Jordan, E. Letsch, F. Grupe, H. FLUTES. Weinberger, A. Kiinstlen, H. Osterle, O. Schreiber, H. Stolz, E. Rietzel, F. Habes, H. Schafer, Ch. BASS TROMBONE. Hellwig, B. Wittgenstein, H. La Croix. Amrhein, A. TUBAS. Otremba, C. PICCOLO. Frank, J. Golde, H. Schafer, Ch. Lowack, W. VIOLAS. OBOES. KETTLE DRUMS. Risch, J. (Principal). Bour, F. Landner, J. Neumann, J. Lowe, W. Jordan, E. Lielienthal, A. Trepte, A. Schliven, E. Stubbe, C. La Croix. Nowack, A. Rose, C. ENGLISH HORNS. Schenck, L. BASS DEUM. Bour, F. Jacoby, Th, Rubel, 6. Schramm, C. Neumann, J. EUer, J. SMALL DEUM. CLARINETS. La Croix, J. Jordan, E. Broekhoven, J. A. Schreurs, A. Sylva, A. Kohl, R. " CYMBALS. Drewes, J. VIOLONCELLOS. Brosche, C. Freund, F. Hartdegen, A. (Principal). LIBRAEIANS. Mueller, W. BASS CLARINET. Eose, C. Bareither, J. Kohl, E. McNicol. 130 Summary.

First Violins, ... .16 Horns, Second Violins, ...... 16 Cornets Violas, . . . 12 Violoncellos, ...... 12 Bass Trumpet, Double Basses, . . . .12 Tenor Trombones Harps, 2 Bass Trombone, Flutes, ...... 4 Tubas Piccolo . . .1 Kettle Drums, . . ... Oboes . . 4 Bass Drum, English Horns, . ... 2 Small Drum, .... Clarinets, .4 Bass Clarinet, • - .1 Librarians, Bassoons, • • .4

"Total, . 118

131 STAGE.

AUDITOKITJM.

11 81 9 16 1 11 81 |9 16 1 14/ 117 24 1 2,3 32 1 117 241 125 321 133 40 1 41 48 1 133 40 1 141 481 149 56 1 57 64 1 149 56 1 157 64| JSJ 165 721 73 801 165 721 173 801 l«l 881 m 96 1 181 881 189 961 •-S,' 197 104 1 105 112 1 197 101 1 1105 112 1 1 113 120 1 121 128 1 1113 120 1 1121 128 1 1 129 136 1 137 144 1 1129 136 1 1137 144 1 1145 152 1 153 160 1 1 145 162 1 1 153 160 1 1 161 168 1 169 176 1 1161 1681 1169 176 1 i4ei 1177 184 1 185 192 1 1177 184 1 1 185 192 1 JS9J 1 193 .200 1 201 208 1 1193 200 1 1201 2081 _174j 1209 216 1 217 224 1 1209 216 1 1217 224] 1233 240 1 1891 1225 232 1 233 240 1 1225 2321 1241 248 1 249 2561 1241 248 1 1249 2561 ^; 1257 2641 265 2721 1257 2641 1 265 2721 219/ 1273 2801 281 2881 1273 2801 1281 2881 1289 2%| 297 3041 1289 296 1 1297 3041 isns 312 1 313 320 1 1305 S12 1 1 313 320 1 1321 328' 329 3.36) 1321 328 1 1329 3361 1337 344 1 345 3.52 1 1337 344 1 1345 352 1 1353 360 1 361 368 1 1353 360 1 1361 3681 1369 376 1 n77 384 1 1369 376 1 1377 3841 1385 392 1 393 40O| 13^ 392 1 1393 4001 1401 408 1 409 416 1 1401 4081 1409 416 1 1417 424 1 425 4321 1417 424 1 1425 1321 351/ ?! 1433 440 1 < 441 44S| 1433 440 1 < 1441 448 1 1 449 456 1 4,57 464 1 1449 466 1 1457 4641 1 46, 472 1 473 4801 1465 4721 1473 4801 1481 488 1 489 496 1 1481 488 1 1489 496 1 1497 504 1 505 512 1 1497 604 1 1605 612 1 1513 620 1 521 528 1 1513 620 1 1 521 5281 1 529 .536 1 637 544 1 |S29 5361 1637 544 1 1545 552 1 553 660 1 1645 562 1 1653 6601 1.561 568 1 569 576 1 1561 5681 1669 576 1 1.577 584 1 5&5 692 1 1577 5841 1 585 592 1 -!5l/ 1 .593 660 1 601 60S 1 1593 600 1 1 601 6081 .49?/ 1 609 616 1 617 624 1 1609 616 1 1617 624 1 -5J2/ 1625 632 1 633 640 1 1625 632 1 1 633 6401 1641 648 1 649 656 1 1641 648 1 1649 6661 S42i 1657 664 1 665. 672! 1657 6641 1666 672 1 1673 6801 688 1 1681 688 1 «5?/ 681 1673 6801 1689 6% 1 697 704 1 1689 696 1 1697 TO4| 1705 712 1 713 720 1 1705 7121 1713 7201 1721 7281 729 736 1 1721 7281 1729 7361 17.37 744 1 745 752 1 1737 744 1 1746 762 1 «7«/ 1 r.-.n 760 1 1 761 768 1 1753 760 1 1761 768 1 1769 776] 1777 784 1 1709 776 1 1777 784 1 1785 792 1 1793 8001 1785 792 1 1793 8001 1801 803 1 1 809 816 1 1801 8081 1 809 816 1 1817 m 8231 1834 8311 1817 824 1 |82S « 8311 1837 « 843 1 1832 • 8381 5 i

During tlie Festival v' of their grounds and the views to be had from them. Admission to the following will he by card, to he obtained of the Secretary of the Festival Association, Room 60, Pike's Building:

IN CLIFTON",

On Wednesday Afternoon, May 19th, from 2 to 4 o'clock, and on Saturday Morning, May 22nd, from 10 to 12 o'clock, Conservatories and Q-rounds of R. B. Bowler, Esq., the Residences of G. K. Shoenberger, Esq., and O. J. Wilson, Esq. IN EAST WALNUT HILLS,

On Thursday Morning, May 20th, from 10 to 12 o'clock, and on Friday Afternoon, May 21st, from 2 to 4 o'clock, the Residences of Hon. W. S. Groesbeck, L. B. Harrison, Esq., and Judge Nicholas Longworth.

8451 G