Part 13
Franz Liszt, the most eminent pianist of his time, who also obtained world-wide celebrity as a composer and orchestral conductor, was born at Raiding, Hungary, Oct. 22, 1811. His father was an accomplished amateur, and played the piano and violoncello with more than ordinary skill. He was so impressed with the promise of his son that he not only gave him lessons in music, but also devoted himself to his artistic progress with the utmost assiduity. In his ninth year Liszt played for the first time in public at Oedenburg. His performances aroused such enthusiasm that several Hungarian noblemen encouraged him to continue his studies, and guaranteed him sufficient to defray the expenses of six years' tuition. He went to Vienna at once and studied the piano with Czerny, besides taking lessons in composition of Salieri and Randhartinger. It was while in that city that his first composition, a variation on a waltz of Diabelli, appeared. In 1823 he went to Paris, hoping to secure permission to enter the Conservatory; but Cherubini refused it on account of his foreign origin, though Cherubini himself was a foreigner. Nothing daunted, young Liszt continued his studies with Reicha and Paer, and two years afterwards brought out a two-act opera entitled "Don Sancho," which met with a very cordial reception. The slight he received from Cherubini aroused popular sympathy for him. His wonderful playing attracted universal attention and gained him admission into the most brilliant Parisian salons. He was a favorite with every one, especially with the ladies. For two or three years he made artistic tours through France, Switzerland, and England, accompanied by his father, and everywhere met with the most brilliant success. In 1827 the father died, leaving him alone in the world; but good fortune was on his side. During his stay in Paris he had made the friendship of Victor Hugo, George Sand, Lamartine, and other great lights in literature and music, and their influence prepared the way for his permanent success. From 1839 to 1847 he travelled from one city to another, arousing the most extraordinary enthusiasm; his progress was one continued ovation. In 1849 he went to Weimar and accepted the post of conductor at the Court Theatre. He made that city the musical centre of Europe. It was there that his greatest compositions were written, that the school of the music of the future was founded, and that Wagner's operas first gained an unprejudiced hearing; and it is from Weimar that his distinguished pupils, like Von Bülow, Tausig, Bendel, Bronsart, Klindworth, Winterberger, Reubke, and many others date their success. In 1859 he resigned his position and after that time resided at Rome, Pesth, and Weimar, working for the best interest of his beloved art, and encouraging young musicians to reach the highest standards. Few men of this century have had such a powerful influence upon music, or have done so much to elevate and purify it. His most important works were the "Divina Commedia" and "Faust" symphonies, the twelve symphonic poems, the six Hungarian rhapsodies, the "Graner Mass," the "Hungarian Coronation Mass," and the oratorios "Christus" and "The Legend of the Holy Elizabeth." Besides these he wrote a large number of orchestral pieces, songs, and cantatas, and a rich and varied collection of piano-forte solos, transcriptions, and arrangements. He died July 31, 1886.
Prometheus.
Liszt's cantata "Prometheus," composed in 1850, is based upon the poem of the same name, written by Johann Gottfried von Herder, the court preacher of Weimar. The poem closely follows the well-known legend of Prometheus' punishment for stealing fire from heaven, and his ultimate rescue by Hercules from the vulture which preyed upon his vitals. The poet pictures the victim in the midst of his sufferings, consoled by the knowledge that he has been a benefactor to the human race. The spirits of the ocean mock and menace him, but the harvesters and tillers of the soil praise him for the bounteous gifts he has given to the earth. Ceres and Bacchus, protectors of the soil and its products, also pay their tribute of sympathy to him and thank him for the blessing of fire. Hercules at last releases him from his torture by killing the vulture and breaking the chains which bind him to his rock. The sufferer is brought before Themis, who announces that the divine wrath has been appeased by his long punishment, and that the gods forgive him.
In building up his cantata Liszt has introduced several prologues from the poem without music, which serve as narrators explaining the situations, linking and leading up to the musical numbers, which are mainly choral. Thus the opening prologue pictures the sufferings of Prometheus, the crime for which he is forced to endure such a terrible penalty, and the patience, hope, and heroism of the victim. The closing lines,--
"Now through the hush of night burst well-known voices Upon his ear. From out the slumbering ocean, Fanning his cheek with breath of the sea waves, The daughters of Oceanus approach,"--
introduce the opening chorus of sea-nymphs ("Prometheus, Woe to thee"), for female voices, arranged in double parts, and set to a restless, agitated accompaniment, expressive of fear and despair. The second prologue, reciting the wrath of Oceanus "on his swift-winged ocean steed," that mortals should have dared to vex his peaceful waters, and the reply of Prometheus that "on the broad earth each place is free to all," introduces the choruses of Tritons and Oceanides. The first is a mixed chorus full of brightness and spirit ("Freedom! afar from Land upon the open Sea"). Their exultant song is followed by a fascinating melody ("Hail! O Prometheus, hail!") for female chorus, with short but expressive solos for soprano and alto ("When to our Waters the golden Time shall come"), the number closing with double chorus in full rich harmony ("Holy and grand and free is the Gift of Heaven"). Thereupon follows the third prologue:--
"Scarcely has ceased the Ocean's song of joy, Which, breathing peace unto Prometheus' soul, Wakens within his breast long-buried hope, When once again the sound of lamentation Bursts on his ear and fills the air with sighs. Seated within a lion-drawn chariot comes The founder of his race--Gæa herself-- With her a train of wood-nymphs, loudly weeping."
It introduces a chorus of Dryads ("Woe to thee, Prometheus") of the same general character as the opening chorus of sea-nymphs, and containing a very dramatic and declamatory alto solo ("Deserted stand God's sacred Altars in the old Forest"). A dialogue follows between Gæa and Prometheus, in which the latter bravely defends his course. As the Dryads disappear, Prometheus soliloquizes:--
"'This is, in truth, the noblest deed Mortal has ever dared. Beat high, my heart! On this foundation built I up my race,-- On deathless friendship and fraternity. Courage, Alcides! Bravely fight thy fight. Conquer, and thou shalt free me.' From his dreams, Roused is the Titan by a song of joy. Before him, crowned with the rich harvest, stands Ceres with her train of reapers."
A mixed chorus of gleaners follows ("With the Lark sweetly singing"), which can hardly be excelled for grace and loveliness of melody. In the next prologue Ceres consoles Prometheus, and while she is speaking a shout of gladness rises and Bacchus appears. He smites the rock, and at his touch a bower of grape-vines and ivy boughs interlaces over the head of the Titan and shadows him. This serves to introduce the chorus of Vine-dressers ("Hail to the Pleasure-giver"), a lively strain for male voices with an effective solo quartet. As Prometheus resumes his soliloquy, Hermes approaches, leading Pandora, and seeks to allure him from his purpose by her enchantments, but in vain:--
"The Titan conquers, and he feels the hour-- The fated hour--draw near. Above his head The vulture hovers, fearing to approach; While the earth trembles, and the rocks are shaken. Voices are heard from out the gloomy depths."
The voices are those of the spirits in the lower regions singing a very melodramatic chorus ("Woe! woe! the sacred Sleep of the Dead has been disturbed"). An _allegro moderato_ for orchestra follows, preluding the approach of Hercules, who bends his giant bow and kills the vulture, strikes the fetters off and bids him "Go hence unto thy Mother's Throne." The scene introduces the seventh number ("All human Foresight wanders in deepest Night"), an expressive and stately male chorus with solo quartet. The last prologue describes the scene at the throne of Themis, the pardon of Prometheus, and her assurance that "Henceforth Olympus smiles upon the Earth." Pallas presents him with a veiled figure as the reward of his heroism, "who will bring to thy race the richest blessing,--Truth." The goddess unveils her and declares her name "Agathea. She brings to man the purest, holiest gift,--Charity." The closing chorus of the Muses follows:--
"Of all bright thoughts that bloom on earth, That raise poor mortals high as heaven, The holiest, the blessedest is Charity. Hail, Prometheus! Hail to mankind!"
The Bells of Strasburg.
"Die Glocken des Strassburger Münsters" ("The Bells of Strasburg Cathedral") was written in 1874, and is dedicated to the poet Longfellow, from whose "Golden Legend" the composer took his theme for musical treatment. The cantata, however, does not deal with the beautiful legend itself as related by the old minnesinger, Hartmann von Aue, which Longfellow has told so powerfully in his "Christus," but simply with the prologue, describing the futile attempt of Lucifer and the Powers of the Air to tear down the cross of the Strasburg Cathedral during the night storm. It was a subject peculiarly attractive to Liszt, as it offered him free scope for his fancies and unlimited opportunity for the display of his unique and sometimes eccentric orchestration. The work is written for barytone solo and mixed chorus, and is divided into two parts,--a short prelude which is entitled "Excelsior" (_andante maestoso_), and in which this word is several times repeated by the chorus with gradually increasing power from piano to fortissimo; and "The Bells," which comprises the principal part of the work.
The second part opens with a massive introduction (_allegro agitato assai_), in which the bells, horns, and trumpets play an important part, leading up to the furious invocation of Lucifer:--
"Hasten! Hasten! O ye spirits! From its station drag the ponderous Cross of iron that to mock us Is uplifted high in air!"
Without a break comes the response of the spirits, first and second sopranos, altos, and tenors ("Oh! we cannot, for around it"), followed by the Latin chant of the bells sung by tenors and basses, with a soft tremolo accompaniment:--
"Laudo Deum verum! Plebem voco! Congrego clerum!"
Again with increasing power Lucifer shouts his command:--
"Lower! Lower! Hover downward! Seize the loud, vociferous bells, and Clashing, clanging to the pavement, Hurl them from their windy tower!"
As before, the chorus responds in a sweet harmonious strain ("All thy Thunders here are harmless"), again followed by the slow and sonorous chant of the bells:--
"Defunctos ploro! Pestem fugo! Festa decoro!"
Lucifer reiterates his command with constantly increasing energy:--
"Shake the casements Break the painted Panes that flame with gold and crimson; Scatter them like leaves of autumn, Swept away before the blast."
In its response this time the chorus is full of energy and impetuosity as it shouts with great power, "O, we cannot! the Archangel Michael flames from every window." The chant of the bells is now taken by the basses alone:--
"Funera plango! Fulgura frango! Sabbato pango!"
Lucifer makes his last appeal with all the strength that voice and orchestra can reach:--
"Aim your lightnings At the oaken Massive, iron-studded portals! Sack the house of God, and scatter Wide the ashes of the dead."
In the choral response ("The Apostles and the Martyrs wrapped in Mantles") the sopranos and altos are in unison, making with the first and second tenors a splendid effect. For the last time the first and second basses sing the chant of the bells:--
"Excito lentos! Dissipo ventos! Paco cruentos!"
With no abatement of vigor the baffled Lucifer sounds his signal for retreat, and the voices reply, sopranos and altos in unison:--
"Onward! onward! With the night-wind, Over field and farm and forest, Lonely homestead, darksome hamlet, Blighting all we breathe upon."
As the voices die away, choir, organ, and orchestra join with majestic effect in the intonation of the Gregorian chant:--
"Nocte surgentes Vigilemus omnes! Laudemus Deum verum."
The cantata shows Liszt's talent rather than his genius. It is a wonderful mosaic-work of fancies, rather than an original, studied composition with definite purpose. Its motives, while not inspired, are finely conceived, and are presented not only gracefully, but in keeping with the spirituality of the subject.
MACFARREN.
George Alexander Macfarren, one of the most prominent of modern English composers, was born in London, March 2, 1813. He began the study of music under the tuition of Charles Lucas in 1827. Two years later he entered the Royal Academy of Music, and in 1834 became one of its professors. The latter year dates the beginning of his career as a composer, his first work having been a symphony in F minor. During the next thirty years his important works were as follows: overture, "Chevy Chace" (1836); "Devil's Opera," produced at the Lyceum (1838); "Emblematical Tribute on the Queen's Marriage" and an arrangement of Purcell's "Dido and Æneas" (1840); editions of "Belshazzar," "Judas Maccabæus," and "Jephthah," for the Handel Society (1843); the opera "Don Quixote" (1846); the opera "Charles II." (1849); serenata, "The Sleeper Awakened," and the cantata "Lenora" (1851); the cantata "May Day," for the Bradford Festival (1856); the cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque "Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the last year his sight, which had been impaired for many years, failed. His blindness, however, did not diminish his activity. He still served as professor in the Royal Academy, and dictated compositions,--indeed some of his best works were composed during this time of affliction. In 1873 appeared his oratorio "St. John the Baptist," which met with an enthusiastic reception at the Bristol Festival of that year. In 1875 he was elected professor of music at Cambridge, to fill the vacancy occasioned by the death of Sterndale Bennett, and in the same year was also appointed principal of the Royal Academy of Music. In 1876 his oratorio "The Resurrection" was performed at the Birmingham Festival, and in 1877 the oratorio "Joseph" at Leeds, besides the cantata "The Lady of the Lake" at Glasgow. Grove catalogues his other compositions as follows: a cathedral service, anthems, chants, psalm-tunes, and introits for the Holy Days and Seasons of the English Church (1866); "Songs in a Cornfield" (1868); "Shakspeare Songs for Four Voices" (1860-64); songs from Lane's "Arabian Nights," and Kingsley's and Tennyson's poems: overtures to "The Merchant of Venice," "Romeo and Juliet," "Hamlet," and "Don Carlos;" symphonies, string quartets, and a quintet; a concerto for violin and orchestra; and sonatas for piano-forte alone, and in combination with other instruments. As lecturer, writer, and critic, Sir George Macfarren also holds a high place, among his important works being "Rudiments of Harmony" (1860); six Lectures on Harmony (1867); analyses of oratorios for the Sacred Harmonic Society (1853-57), and of orchestral works for the Philharmonic Society (1869-71); and a "Musical History," being a reprint of an article on this subject contributed by him to the Encyclopædia Britannica.
Christmas.
"Christmas," the poem by John Oxenford, was written in 1859, and was first performed at one of the concerts of the Musical Society of London, on the 9th of May 1860. The poem itself contains no story. It is merely a tribute to the season; but at the same time it is not destitute of incident, so that it possesses considerable dramatic interest.
After a short instrumental introduction the cantata opens with a double chorus in antiphonal style, in which both the bright and the dark sides of winter are celebrated. The second choir takes up the theme:--
"The trees lift up their branches bare Against the sky: Through the keen and nipping air For spring's return they seem to cry, As the winds with solemn tone About them sadly moan;"
and the first choir replies:--
"Old Winter's hand is always free, He scatters diamonds round; They dart their light from every tree, They glisten on the ground. Then who shall call the branches bare, When gems like those are sparkling there?"
The two then join and bring their friendly contest to a close:--
2nd Choir.--"Come in, and closely shut the door Against the wintry weather; Of frost and snow we'll think no more, While round the fire we sit together."
1st Choir.--"Rush out from every cottage door, 'Tis brave and bracing weather; A madder throng ne'er met before, Than those which now have come together."
This double number, which is very effective, is followed by a soprano recitative and romance ("Welcome, blest Season"), tender and yet joyous in character, which celebrates the delight of friendly reunions at Christmas tide, and the pleasure with which those long absent seek "the old familiar door." In the next number, an old English carol ("A Blessing on this noble House and all who in it dwell"), Christmas is fairly introduced. It is sung first in unison by full chorus, then changes to harmony, in which one choir retains the melody, and closes with a new subject for orchestral treatment, the united choirs singing the carol. Christmas would not be complete without its story; and this we have in the next number for contralto solo and chorus, entitled "A Christmas Tale." It is preceded by recitative, written in the old English style, and each verse closes with a refrain, first sung as a solo, and then repeated in full harmony by the chorus:--
"A bleak and kindless morning had broke on Althenay, Where shunning Danish foemen the good King Alfred lay; 'In search of food our hunters departed long ago, I fear that they have perished, embedded in the snow.' While thus he sadly muses, an aged man he sees, With white hair on his forehead like frost upon the trees. An image of the winter the haggard pilgrim stands, And breathing forth his sorrows, lifts up his withered hands: 'The Heavenly King, who reigns on high, Bless him who hears the poor man's cry.'
"'Our hearts are moved with pity, thy sufferings we deplore,' Said Alfred's queen, the gentle, 'but scanty is our store; One loaf alone is left us.' 'Then give it,' said the King, 'For He who feeds the ravens, yes, He will fresh abundance bring.' The wind was roaring loudly, the snow was falling fast, As from the lofty turret the last, last loaf he cast. An image of the winter, the haggard pilgrim stands, And Alfred's welcome pittance he catches with his hands. 'The Heavenly King, who reigns on high, Bless him who hears the poor man's cry.'
"The snow is thickly falling, the winter wind is loud, But yonder in the distance appears a joyous crowd. The hunters bring their booty, the peasants bring their corn, And cheering songs of triumph along the blast are borne. Before another morning down-stricken is the foe, And blood of Danish warriors is red upon the snow. Amid the conquering Saxons the aged pilgrim stands, And like a holy prophet exclaims with lifted hands, 'The Heavenly King, who reigns on high, Bless him who hears the poor man's cry.'"
A graceful little duet for female voices ("Little Children, all rejoice"), picturing the delights of childhood and its exemption from care, follows the Saxon story and leads up to the finale, which is choral throughout, and gives all the pleasant details of Christmas cheer,--the feast in the vaulted hall, the baron of beef, the boar with the lemon in his jaw, the pudding, "gem of all the feast," the generous wassail, and the mistletoe bough with its warning to maids. In delightfully picturesque old English music the joyous scene comes to an end:--
"Varied sports the evening close, Dancers form in busy rows: Hoodwink'd lovers roam about, Hope to find the right one out, And when they fail how merry is the shout! Round yon flickering flame of blue Urchins sit, an anxious crew; Dainties rich the bold invite, While from the fire the timid shrink with fright. Welcome all, welcome all. 'Tis merry now in the vaulted hall, The mistletoe is overhead, The holly flaunts its berries red, The wassail-bowl goes gayly round; Our mirth awakes the echoes sound, All eyes are bright, all hearts are gay; Thus ends our Christmas day."
MACKENZIE.
Alexander C. Mackenzie, one of the very few successful Scotch composers, was born at Edinburgh, in 1847. His father was a musician, and recognizing his son's talent, sent him to Germany at the age of ten. He began his studies with Ulrich Eduard Stein at Schwartzburg-Sondershausen, and four years later entered the ducal orchestra as violinist. He remained there until 1862, when he went to England to study the violin with M. Sainton. In the same year he was elected king's scholar of the Royal Academy of Music. Three years later he returned to Edinburgh and established himself as a piano-teacher. The main work of his life, however, has been composition, and to this he has devoted himself with assiduity and remarkable success. Grove catalogues among his works: "Cervantes," an overture for orchestra; a scherzo, for ditto; overture to a comedy; a string quintet, and many other pieces in MS.; piano-forte quartet in B., op. 11; Trois Morceaux pour Piano, op. 15; two songs, op. 12; besides songs, part-songs, anthems, and pieces for the piano. This catalogue can now be increased by four of the most important works he has produced: a Scotch Rhapsody, introduced into this country by the Theodore Thomas orchestra; the oratorio "Rose of Sharon" (1884); an opera, "The Troubadour" (1885), and the cantata, "The Story of Sayid" (1886), which forms the subject of the subjoined sketch.
The Story of Sayid.