The Standard Cantatas Part 14

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 ent.i.tled "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 Bulow, 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 Ma.s.s," the "Hungarian Coronation Ma.s.s," 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 G.o.ds 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 Ocea.n.u.s 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 Ocea.n.u.s "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--Gaea 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 G.o.d's sacred Altars in the old Forest"). A dialogue follows between Gaea and Prometheus, in which the latter bravely defends his course. As the Dryads disappear, Prometheus soliloquizes:--

"'This is, in truth, the n.o.blest 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 t.i.tan 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 t.i.tan 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 t.i.tan 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 a.s.surance 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 G.o.ddess 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 Stra.s.sburger Munsters" ("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 ent.i.tled "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 princ.i.p.al part of the work.

The second part opens with a ma.s.sive introduction (_allegro agitato a.s.sai_), 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 ba.s.ses, 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 cas.e.m.e.nts 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 ba.s.ses 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 Ma.s.sive, iron-studded portals!

Sack the house of G.o.d, 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 ba.s.ses 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.