The Standard Cantatas Part 15

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 aeneas"

(1840); editions of "Belshazzar," "Judas Maccabaeus," 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 princ.i.p.al 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); a.n.a.lyses 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 Encyclopaedia 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 dest.i.tute 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 n.o.ble 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, ent.i.tled "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 wa.s.sail, 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 wa.s.sail-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 a.s.siduity 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.

"The Story of Sayid," a dramatic cantata in two parts, the libretto by Joseph Bennett, was first produced at the Leeds Triennial Festival, Oct.

13, 1886. Its story is founded upon that of a poem in Edwin Arnold's "Pearls of the Faith," and embodies a myth which is current among nearly all Oriental nations. The characters are Ilmas, daughter of Sawa (soprano); Sayid, an Arab chief (tenor); Sawa, a Hindoo prince (barytone); a watchman (tenor or barytone); and a horseman (barytone).

The opening scene pictures the desolation of the land of Sawa, caused by the invasion of an Arab band, led by their chieftain, Sayid. In the midst of the popular lamentations a messenger announces the defeat of the Arabs and the capture of their leader, who is brought to the city and sentenced to death on the spot. As Sayid prepares to meet his fate, he is recognized by Sawa as his rescuer at a time when he was hunting in the hills and perishing with thirst. He offers him any boon he may ask except that of life. Sayid entreats that he may be allowed to visit his aged father, promising to return afterwards and suffer his fate. When Sawa asks who will be hostage for him, his own daughter, Ilmas, offers herself. Moved to pity for the Arab, she persists in her offer, and her father at last reluctantly consents. The second scene opens in Ilmas's palace, and we discover that pity has grown into pa.s.sion for Sayid during his absence. She is interrupted in her meditations by Sawa, who enters with his counsellors, and announces that lightnings have flashed from the altars of Siva, and that the G.o.ds have demanded that the hostage must suffer in the absence of Sayid. Ilmas bids her attendants array her in bridal robes, and in the next scene appears in an open s.p.a.ce near the city gate, surrounded by the court retinue and soldiers, and accompanied by her maidens, strewing flowers in her path. Ilmas is led to the centre of the s.p.a.ce and kneels down, the executioner standing over her and awaiting the signal to be given by the watchman when the sun sets. Before that time comes the latter excitedly announces the rapid approach of an Arab horseman. While the crowd stand eagerly waiting his arrival, Sayid gallops through the gateway and presents himself to the Prince. He then turns to Ilmas, who warmly receives him, and affirms that whatever fate may overtake him she shall always cherish his memory. Sawa relents, bids the Arab live and be his friend, and we infer the happiness of the lovers from the invocation of "Love the Conqueror," which brings the Damon and Pythias story, to a close.

A very brief orchestral prelude introduces the opening chorus with solos:--

"Alas! our land is desolate, The children cry for bread; Around, fierce fire and sword devour, Our women wail their dead.

"We pray for vengeance on the foe, To death consign them all; Siva, arise and fight for us, Or see thine altars fall."

As the expressive chorus comes to a close, an allegro movement leads to a dialogue between the people and the watchman, and subsequently with the horseman, who announces the approach of the victorious army, followed by a second chorus of the people invoking Siva ("Vishnu, Vishnu, thou hast heard our Cry!"). The scene is very dramatic throughout, and is accompanied by vigorous and suggestive music. The next number is a triumphal march, remarkable for its local color, and gradually increasing in power and effect as the army approaches the city. It is followed by an excited dialogue between Sawa and Sayid, with choral responses, and leads up to a beautiful melody for Sayid:--

"Where sets the sun adown the crimson west My native valley lies; There by a gentle stream that murmurs rest My father's tents arise.

"Fearing no harm, the happy peasant tills, The woolly flocks increase; The shepherd's pipe is heard upon the hills, And all around is peace."

Another dramatic scene follows, in which Sawa consents to Sayid's return to his father, and accepts Ilmas as his bondswoman, which leads to a very spirited and elaborate melody for the latter ("First of his Prophet's Warriors he"). The first part closes with the departure of Sayid and a repet.i.tion of the choral invocation of Siva.

The second part opens in an apartment of Sawa's palace, and discloses Ilmas sitting with her maidens, as a thunderstorm dies away in the distance. The latter join in a graceful chorus, which is one of the most beautiful numbers in the cantata:--

"Sweet the balmy days of spring, And blushing roses that they bring; But sweeter far is love."

Ilmas answers them in a broad and exultant strain ("Ay, sweet indeed is Love"). As the song ends, Sawa and attendants enter, and the scene closes with a very dramatic chorus and solos, accompanying the preparations for death. The second scene opens with a solemn march for orchestra, preparing the way for the climax, and leading up to a chorus and solo for Ilmas ("What have these Sounds to do with bridal Robes?"). As she kneels, awaiting her fate, an orchestral interlude, set to the rhythm of the gallop, indicates the rapid approach of Sayid. A short and agitated dialogue follows between the watchman and the people. Sayid declares his presence, and a graceful duet with Ilmas ensues ("n.o.ble Maiden, low before thee Sayid bows"), leading to a powerful choral finale ("Never before was known a Deed like this"), closing with a stirring outburst for all the voices:--

"O Love, thy car triumphal Rolls round the subject world More glorious than the chariot Of the sun.

"We hail thee, Love victorious!

Ride on with strength divine, And quench all mortal pa.s.sion In thine own."

Jubilee Ode.[29]

This work, upon which Dr. Mackenzie has been engaged for some time past, is now complete, and on its way to several distant parts of the Empire, where arrangements are making to perform it in celebration of the Jubilee. Primarily, as our readers know, the Ode was intended for the Crystal Palace only, but it will be given also in Canada, Australia, Trinidad, Cape Colony, etc.; thus standing out from all its fellows as in some sort an Imperial work.