Part 17
The story of the Theban hero, his ignorance of his own parentage, his dismay at the revelation of the oracle that he would kill his father and marry his mother, his quarrel with the former, resulting in the very tragedy he was seeking to avoid, his solution of the riddle of the sphinx, the reward of the Queen's hand which Creon had promised, leading to the unfortunate marriage with his mother, Jocasta, thus completing the revelation of the oracle, does not need description in detail. The marriage was followed by a pestilence that wasted Thebes, and at this point the plot of the drama begins. It concerns itself with the efforts of Oedipus to unravel the mystery of the death of his father, Laius, which lead to the discovery that he himself was the murderer, and that he had been guilty of incest with his own mother. Jocasta hangs herself, and Oedipus, rushing frantically into the palace, beholds her, and overwhelmed with horror at the sight and the fulfilment of the oracle, seizes her brooch-pin and blinds himself. In the Oedipus at Colonos the sequel is told. The hero dies in the gardens of the Eumenides, happy in the love of his daughters and the pardon which fate grants him.
The music to the tragedy is thoroughly classical in spirit, and has all the nobility, breadth, dignity, and grace characteristic of the Greek idea. The principal lyric movements of the chorus, the choral odes, of which there are six, comprise the scheme of the composer. The melodramatic practice of the orchestra accompanying spoken dialogue only appears to a limited extent in the third ode; and the chorus, as narrator, is accompanied by music only in the seven last lines of the play, which form the postlude. The orchestral introduction, which is treated in a very skilful and scholarly manner, epitomizes the spirit of the work. The odes are divided as usual into strophes and antistrophes, assigned alternately to a male chorus of fifteen and full chorus. The first ("Oracle sweet-tongued of Zeus"), which has the genuine antique dignity and elevation, is a description of the sufferings of the people from the pestilence which has wasted Thebes since the unnatural marriage of Oedipus and Jocasta, and a fervent prayer to the gods for aid. The second ("Thou Delphic Rock, who can he be?") concludes the scene where the blind prophet Teiresias arrives upon the summons of Creon and accuses Oedipus of the crime, accompanying the accusation with dark hints of further guilt. In this ode, which is specially noticeable for its rich and graceful treatment, the chorus expresses its disbelief of the charges. In the third scene, Creon enters to protest against the accusations of Oedipus, but a quarrel ensues between them, which results in the menace of death to the former. Jocasta appears, and upon her intercession Creon is allowed to depart. In the ode, the chorus joins in this appeal to Oedipus,--a strong, vigorous number, the effect of which is heightened by the intervening spoken parts of Creon, Oedipus, and Jocasta, with musical accompaniment. The fourth ode ("O may my Life be spent in Virtue") is a vigorous denunciation of the impiety of Jocasta in speaking scornfully of the oracles. The fifth ode ("If I the Prophet's Gift possess") is full of idyllic grace and sweetness, realizing in a remarkable degree the old Grecian idea of sensuous beauty. It is a speculation upon the divine origin of Oedipus, after the messenger relates the story of the King's exposure in his childhood upon Mount Cithæron, and contains a charming tenor solo. The last ode ("O Race of mortal Men") bewails the vicissitudes of fortune, and is full of the tragic significance of impending fate. The work comes to a close with the postlude:--
"Ye who dwell in Thebes our city, fix on Oedipus your eyes, Who resolved the dark enigma, noblest liver and most wise. Glorious like a sun he mounted, envied of the popular throng, Now he sinks in seas of anguish, quenched the stormy waves among. Therefore I await the final hour, to ancient wisdom known, Ere I call one mortal happy. Never shall that thought be shown, Till he end his earthly being, scathless of a sigh or groan."
Six public performances of the "Oedipus" were given in 1881, and every season since that time selections from the music have been performed in New York, Boston, and other cities. As the most important and scholarly work an American composer has yet produced, it cannot be heard too often.
The Nativity.
The text of "The Nativity," for chorus, solo voices, and orchestra, is taken from the hymn in Milton's ode "On the Morning of Christ's Nativity," and is composed in three parts. The first part includes the first, third, fourth, fifth, sixth, and seventh; the second, a combination of the eighth and ninth; and the third, the thirteenth, fourteenth, and fifteenth verses. After a short instrumental introduction, which works up to an effective climax, the cantata begins with a chorus ("It was the Winter wild"), introduced by the soprano, developing to full harmony at the words, "Nature in Awe to Him," and closing pianissimo. After a short soprano solo ("But, He her Fears to cease") the chorus resumes ("With Turtle Wing the amorous Clouds dividing"). A succession of choral passages follows, admirably suggestive of the sentiment of the poem,--a vigorous, stirring allegro, "No War or Battle's Sound was heard the World around;" "And Kings sat still with awful Eye," broadly and forcibly written; and a tender, graceful number, "But peaceful was the Night." They are followed by another soprano solo ("And though the shady Gloom"), full of brightness and animation, which leads directly to a majestic chorus ("He saw a greater Sun appear"), which closes the first part.
The second part, a quartet and chorus, is pastoral in character, and reflects the idyllic quiet and beauty of the text. The quartet, "The Shepherds on the Lawn," is introduced by short tenor, bass, and alto solos, and also contains a very melodious and graceful solo for soprano ("When such Music sweet their Hearts and Ears did greet"), after which the full quartet leads up to a vigorous chorus ("The Air such Pleasure loath to lose"), closing the part.
The third part is choral, and forms an effective climax to the work. It opens with the powerful chorus, "Ring out, ye crystal Spheres," emphasized by the organ bass with stately effect, and moves on majestically to the close,--
"And Heaven as at some festival Will open wide the gates of her high palace hall."
The Realm of Fancy.
"The Realm of Fancy" is a short cantata, the music set to Keats's familiar poem:--
"Ever let the fancy roam, Pleasure never is at home: At a touch sweet pleasure melteth, Like to bubbles when rain pelteth."
With the exception of a dozen lines, the dainty poem is used entire, and is set to music with a keen appreciation of its graceful beauty. A short allegretto fancifully trips along to the opening chorus ("Ever let the Fancy roam"), which is admirable for its shifting play of musical color. A soprano solo ("She will bring in spite of Frost"), followed by a very expressive barytone solo ("Thou shalt at a Glance behold the Daisy and the Marigold"), leads up to a charming little chorus ("Shaded Hyacinth, always Sapphire Queen"). A short instrumental passage, in the time of the opening allegretto, introduces the final chorus ("O Sweet Fancy, let her loose"), charmingly worked up, and closing in canon form. The cantata is very short; but rarely have poem and music been more happily wedded than in this delightful tribute to fancy.
Phoebus, Arise.
Mr. Paine's ripe scholarship is shown to admirable advantage in his selection of the poem "Phoebus, Arise" from among the lyrics of the old Scottish poet, William Drummond, of Hawthornden, and the characteristic old-style setting he has given to it. Like "The Realm of Fancy," it is very short; but like that cantata, also, it illustrates the versatility of his talent and the happy manner in which he preserves the characteristics of the poem in his music. Drummond, who has been called "the Scottish Petrarch," and whose poems were so celebrated that even Ben Jonson could find it in his way to visit him, was noted for the grace and lightness of his verse, and the pensive cast with which it was tinged. It has little of the modern poetic style, and the composer has clothed his poem in a musical garb to correspond.
The cantata is written for tenor solo, male chorus, and orchestra, and opens with a brilliant chorus ("Phoebus, arise, and paint the sable Skies with azure, white, and red"), closing with a crescendo in the old style. An expressive and somewhat pensive tenor solo follows:--
"This is that happy morn And day, long-wishèd day, Of all my life so dark (If cruel stars have not my ruin sworn And fates my hope betray), Which purely white deserves An everlasting diamond should it mark. This is the morn should bring unto the grove My love, to hear, and recompense my love."
A short choral passage with tenor solo ("Fair King, who all preserves") leads to a full rich chorus ("Now, Flora, deck thyself in fairest Guise"). In the next number the chorus returns to the opening theme ("Phoebus, Arise"), and develops it with constantly increasing power to the close.
PARKER.
Horatio W. Parker, a young American composer of more than ordinary promise, was born at Auburndale, Mass., Sept. 15, 1863. After his fifteenth year he began the study of music, taking his earlier lessons of the three Boston teachers, Stephen A. Emery, John Orth, and G. W. Chadwick. In 1882 he went to Munich and studied the organ and composition with Josef Rheinberger, for three years. In the spring of 1885 he wrote the cantata "King Trojan," and it was produced for the first time in that city with success during the summer of the same year. Since then it has been given in this country by Mr. Jules Jordan, of Providence, R. I., Feb. 8, 1887. His string quartet in F major was played at a concert of the Buffalo Philharmonic Society in January, 1886; and a short scherzo was performed by the Van der Stücken orchestra in New York City in the same year. Besides these compositions, he has written three overtures, quite a number of songs and pieces for the piano-forte, and a symphony in C, and ballade for chorus and orchestra, both of which were played in Munich last year. In 1886 he accepted the professorship of music at the Cathedral School of St. Paul, Garden City, L. I., and in February, 1887, went to New York, where he now resides, to take charge of a boy choir in St. Andrew's Church, Harlem.
King Trojan.
"King Trojan," composed for chorus, solos, and orchestra, was written in March, 1885, and first performed in July of the same year, at Munich. Its story is the poem of the same name, by Franz Alfred Muth, the English version being a free and excellent translation by the composer's mother, Mrs. Isabella G. Parker, of Auburndale, Mass.
After a short and graceful introduction, the cantata opens with a solo describing the quiet beauty of a summer night, daintily accompanied by wind instruments and harp. A second voice replies ("O Summer Night"), and then the two join in a very vigorous duet ("O fill thou Even with Light of Heaven"). A short solo for third voice leads up to a chorus which gives us a picture of King Trojan's castle gleaming in the moonlight. It is followed by a very effective solo for the King ("The Horse is neighing, O Page of mine"), in which he bids his Page saddle his steed for a night ride to visit his distant love. The chorus intervenes with a reflective number ("What thinks she now?"), which is very dramatic in style, describing the mutual longing of the lovers to be together.
The second scene opens with a short solo by the Page ("Up, up, O King, the Horses wait"), followed by the chorus as narrator, describing the ride of the King and his companion through the greenwood, with which is interwoven Trojan's solo ("How sweet and cool is yet the Night"). In the next number, a vivacious allegro, the story of the ride is continued by the chorus, with a characteristic accompaniment, and again Trojan sings a charming tribute to the summer night, which is followed by responsive solos of the King and the Page, in the allegro and penseroso style,--the one singing of the raptures of night, the other of the gladness of day and sunlight. A passionate bit of recitative ("Now swift, ye Horses") by Trojan reveals the secret of the King's haste. He is King of the night, and the morning ray will be fatal to him. A short choral number ("And forward fly they") brings the first part to a close with the arrival of the riders at the Queen's castle.
The second part opens with a beautiful solo, quartet, and chorus ("Good-Night, the Lindens whisper"), which describes the meeting of the lovers, while
"Beneath the lofty castle gate Slumbers the page who so long must wait. Then crows the cock, the hour is late."
At this note of warning the Page appeals to his master to fly, for the sunlight will bring him pain and harm. The dallying King replies, "Hark! how the Nightingale yet sings." A small chorus intervenes with the warning, "Love is so fleeting, Night is so fair." The Queen appeals to him, "What seest thou, O King?" To which Trojan replies with agitation, "The ruddy Morning, it is my Death." Again comes the Page's warning. The King springs up in alarm and hastens to his steed. In a choral presto movement the ride back is described. The King conceals himself in a dark thicket, hoping to escape, but the night has vanished and the day has begun. Its beams penetrate his refuge, and with a last despairing cry ("Accursed Light, I feel thee now") he expires. A short choral passage, with harp accompaniment, brings this very dramatic and fanciful composition to a close:--
"And from his horse the king now falls, He was but king of the night; The sunlight sparkles, the sunlight shines, But death comes with morning light."
PARKER.
James C. D. Parker, an American composer, was born at Boston, Mass., June 2, 1828. He received his primary education in the schools of that city, was graduated from Harvard University in 1848, and immediately thereafter began the study of law. His love for music, however, was irresistible, and he soon dropped law-books and entered upon a thorough course of musical instruction, at first in Boston, and afterwards at the Conservatory in Leipsic, where he finished the regular course. He returned to Boston in 1854, and at once devoted himself to musical work in which he took a prominent part, and made an excellent reputation as pianist, organist, and teacher, as well as composer, though he has not as yet attempted any very large or ambitious works. In 1862 he organized an amateur vocal association under the name of the Parker Club, which has performed several works by Gade, Mendelssohn, Berlioz, Schumann, and others, with success. His most important composition is the "Redemption Hymn," which he wrote for the Boston Handel and Haydn Society during the period he was its organist. He has also held the position of organist and choir-director of Trinity Church in that city, and of Professor of the College of Music connected with the Boston University. During his unostentatious career he has earned an enviable reputation as an earnest, honest musician deeply devoted to his art.
The Redemption Hymn.
"The Redemption Hymn," for alto solo and chorus, was written for the Fourth Triennial Festival of the Handel and Haydn Society, and was first given on that occasion, May 17, 1877, Anna Louise Cary-Raymond taking the solo. The words are taken from Isaiah li. 9-11.
Chorus:--"Awake, put on strength, O arm of the Lord! "Awake as in the ancient days, in the generations of old. "Art thou not it that hath cut Rahab and wounded the dragon? Awake, put on strength, O arm of the Lord! Solo and Chorus:--"Art thou not it that hath dried the sea, the waters of the great deep, that hath made the depths of the sea a way for the ransomed to pass over? Therefore the redeemed of the Lord shall return and come with singing unto Zion, and everlasting joy shall be upon their head; they shall obtain gladness and joy, and sorrow and mourning shall flee away."
The work opens with a brief but spirited orchestral introduction, which leads to an exultant chorus ("Awake, O Arm of the Lord"), changing to a well-written fugue in the middle part ("Art thou not it?"), and returning to the first theme in the close. The next number is an effective alto solo ("Art thou not it which hath dried the Sea?") alternating with chorus. It is followed by a slow movement for alto solo and chorus ("Therefore the Redeemed of the Lord shall return"), which closes very gracefully and tenderly on the words, "Sorrow and Mourning shall flee away." This little work has become a favorite with singing societies, by the scholarly and effective manner in which it is written.
RANDEGGER.
Alberto Randegger was born at Trieste, April 13, 1832, and began the study of music at an early age with Lafont and Ricci. In his twentieth year he had written numerous minor pieces of church music, several masses and two ballets which were produced with success in his native city. From 1852 to 1854 he was engaged as a conductor in the theatres of Fiume, Zera, Brescia, and Venice. In the latter year he brought out a grand opera in Brescia, called "Bianca Capello," shortly after which he went to London, where he has since resided and made a world-wide reputation as a teacher. In 1857 he conducted Italian opera at St. James's Theatre; in 1864 brought out a comic opera, "The Rival Beauties," at the Theatre Royal, Leeds; in 1868 was appointed Professor of Singing at the Royal Academy of Music, in which he has since become a director; in 1879-80 was conductor for the Carl Rosa English Opera Company at Her Majesty's Theatre, London; and has since been appointed conductor of the Norwich Festival in the place of Benedict. His principal works, besides those already mentioned, are: "Medea," a scena, sung by Madame Rudersdorff at the Gewandhaus, Leipsic (1869); the One hundred and fiftieth Psalm, for soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin" (1873); soprano scena, "Saffo" (1875); funeral anthem for the death of the Prince Consort; and a large number of songs which are great favorites on the concert-stage.
Fridolin.
"Fridolin, or the Message to the Forge" was written for the Birmingham Triennial Musical Festival of 1873. The words, by Mme. Erminia Rudersdorff, are founded on Schiller's ballad, "Der Gang nach dem Eisenhammer." The _dramatis personæ_ are Waldemar, Count of Saverne; Eglantine, Countess of Saverne; Fridolin, page to the Countess; and Hubert, squire to the Count. The story closely follows that of Schiller. The preface to the piano score gives its details as follows:--
"Fridolin and Hubert are in the service of the Count of Saverne. Hubert, aspiring to win the affections of his beautiful mistress, conceives a violent hatred of Fridolin, whom he regards as an obstacle in his path. Taking advantage of Fridolin's loyal devotion to the Countess, Hubert excites the jealousy of the Count, and prompts a stern revenge. The Count forthwith writes to some mechanic serfs, ordering that whoever comes asking a certain question shall be at once thrown into their furnace. Fridolin, innocent of wrong and unconscious of danger, receives the 'message to the forge;' but, ere setting out, he waits upon his mistress for such commands as she might have to give. The Countess desires him to enter the chapel he would pass on his way and offer up a prayer for her. Fridolin obeys, and thus saves his own life; but vengeance overtakes the traitor Hubert, who, going to the forge to learn whether the plot has succeeded, himself asks the fatal question, 'Is obeyed your lord's command?' and himself becomes the victim. Fridolin subsequently appears, and is about to perish likewise, when the Count and Countess, between whom explanations have taken place, arrive on the scene, to preserve the innocent and to learn the fate of the guilty."
The cantata opens with a short but stirring prelude, introducing the declamatory prologue-chorus:--
"A pious youth was Fridolin, Who served the Lord with zeal, And did his duty faithfully, Come thereby woe or weal. For this when subtle foe conspired And sought o'er him to boast, About his path in direst need Kept guard the angel host."
The cantata proper opens with a recitative by Fridolin ("Arising from the Lap of star-clad Night"), leading up to the quiet, dreamy air, "None but holy, lofty Thoughts." It is followed by a bass scena for Hubert ("Proceed thou, hateful Minion, on thy Path") which opens in an agitated manner, but grows more reposeful and tender in style as the subject changes in the passage, "For one kind Glance from out those Eyes divine." Again the scena changes and becomes vigorous in the recitative, "Dispelled by jealous Rage is Hope's fond Dream," set to an imposing accompaniment, and leading to a brilliant fiery allegro ("A thousand hideous Deaths I'd make him die"). The next number is a very graphic and spirited hunting-chorus ("Hark! the Morn awakes the Horn"), introduced and accompanied by the horns, and full of breezy, out-door feeling. A long dialogue follows between Hubert and the Count, somewhat gloomy in character, in which the former arouses his master's jealous suspicions. The gloom still further deepens as Hubert suggests the manner of Fridolin's death ("Mid yon gloomy Mountains"). Then follows the message to the forge by the Count in monotone phrases ("Mark, ye Serfs, your Lord's Commands") and the scene closes with a very dramatic duet ("Death and Destruction fall upon his Head"). In striking contrast with these stormy numbers comes the charming, graceful chorus of the handmaidens ("Calmly flow the equal Hours"), followed by a very expressive song for the Countess ("No Bliss can be so great"). A short scene in recitative leads up to a tender duet ("Above yon Sun, the Stars above") for Fridolin and the Countess, closing with a powerful quartet for the four principal parts ("Now know I, Hubert, thou speakest true").