54 w^:^.^ 13. 'A^-^ :^i iM^ (•S>« ■^ , -*■■' .4 ;5ci*' &*« -\^»j ' jS**"^?^ r^wT^ Cornell University Library ML 54.S94G6 1888 The golden legend / 1924 018 639 579 CRYSTAL PALACE, PROGRAMME OF THE SIXTH SATURDAY CONCERT, NOVEMBER ijtk, 1888. SIR ARTHUR SULLIVAN'S DRAMATIC CANTATA, THE GOLDEN LEGEND. Words adapted by Joseph Bennett from Longfellow's Poem. VOCALISTS : MISS EMILY SPADA. MADAME BELLE COLE. MR. EDWARD LLOYD. MR. HARRINGTON FOOTE. MR. ANDREW BLACK. THE CRYSTAL PALACE CHOIR. THE FULL ORCHESTRA OF THE SATURDAY CONCERTS. Organ: MR. ALFRED J. EYRE. Conductor MR. AUGUST MANNS. It is requested that all attending these Concerts will be seated before Three o'clock in con- sideration of the comfort of those desirous of hearing the first piece ; also that any one desirous of entering or leaving during the Concert will do so between the pieces. Numbered Stall in Area or Gallery, Half-a-Crown ; Unnumbered Seats, One Shilling. ' HENS HAW RUSSELL, Manager. ALL EIGHTS RESERVED. PRICE ONK SHILLING. THE GREATEST OF ALL PIANOFORTES. THE STEINWAY PIAKOFORTES. NEW YORK AND LONDON. GOLD MEDAL, INVENTIONS EXHIBITION, 1885, GOLD MEDAL, SOCIETY OF ARTS, 1886. STEIN WAY & SONS ^^e the only Manufacturers who make all component parts of their Pianofortes, exterior and interior (including the casting of the full Metal Frames), in their own Factories. DR. J. COLLIS BROWNE'S CHLORODYNE. n/^nfiniAII* ''^^ ORIGIN AI. AND ONLY GENUINE, n n I is the best remedy known for Cou^hs, Colds, Con- sumption, Bronchitis, Asthma. effectually checks and arrests those too often fatal diseases — Diphtheria, Fever, Croup, Ague, acts like a charm in Diarrhosa, and is the only specific in Cholera and Dysentery. effectually cuts short all attacks of Epilepsy, Hysteria, Palpi- tation, and Spasms. I J I ^^ ^^^ ^^^y palliative in Neuralgia, Rheumatism, Gout, Cancer, W bW Ulv Ik Toothache, Meningitis, &c. CAUTION.— BEW.A.RE of PIRACY and IMITATIONS. Caution. — Vice-Chancellor Sir W. Page Wood stated that Dr. J. Collis Browne was, undoubtedly, the Inventor of CHLORODYNE ; that the story of the Defendant Fkebman was deliberately untrue, which, he regretted to ."say, had been sworn to. — See Titnes, 13th July, 1864, Sold in Bottles at is. j%d., 2r, 9^., 4^.6^. each. None is genuine without the words "Dr. J. COLLIS BROWNE'S CHLORODYNE" on the Government Stamp. Overwhelming Medical Testimony accompanies each bottle. Sole Maj nfaotnrer ; J. T, DAVENPOST, '33, Great Bussell Street, Bloomsbniy, London. WRIGHTS COAL PROTECTS FROM FEVER, SCARLA- TINA, MEASLES, AND SMALL-POX. Purchase Wright's Soap only; refuse all other Tar Soaps which axe spurious and worthless. " It is the only true atltiseptic Sii3o."—Bri/ish Medieal W/>./™„/ It, our hand's i, h,s proved "tost^ffecti™". SkfriTsea^^,,,,,,. Proprietors and Manniiacturers— W, V. WEIGHT & CO., Southwark, London, S E. Kecommended by the entire Medical Faculty. Invaluable for the Nursery. UNIIJUALLED FOR THE COMPLEXION. Unrivalled as a Toilet Soap. A LUXURY FOR THE BATH. ^old by all Chemists, Patent Medifine Venders, Perfumers. Tablets, 6d. & Is. each, ajid Boxes, Is. 6d. & 8s. each. SOAP. NOTICE. MADAME NORDICA being detained in America on important private business, it is impossible for her to keep her engagement to sing in " The Golden Legend " To day. MISS EMILY SPADA has kindly undertaken, at very short notice, to take the part of "Elsie" in the place of Madame Nordica. M 't^y. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924018639579 SIXTH SATURDAY CONCERT, NOVEMBER 17 th, 1888. :pi^OGi-T?,.A.3ynDM:ii!. SIR ARTHUR SULLIVAN'S Dramatic Cantata, THE GOLDEN LEGEND. (Words adapted by Joseph Bennett from Longfellow's Poem.) Prologue. Lucifer (Mr. Barrington Foote), and Chorus. Solo and Chorus ... ... ... " Hasten, hasten." Scene E. Prince Henry (Mr. E. Lloyd), Lucifer (Mr. Barrington Foote), and Chorus. Solo ... ... ... ... ... " I cannot sleep.'' Duet "All hail. Prince Henry." Solo (and Chorus of Female Voices) " Through every vein." Scene EK. Elsie (Miss Emily Spada), Ursula (Madame Belle Cole), Prince Henry (Mr. E. Lloyd), and Chorus. Introduction and Solo ... ... " Slowly, slowly." Chorus ... ... ... ... Evening Hymn, " O gladsome light." . Duet... ... ... ... ... " Who was it said Amen ? " Solo ... ... ... ... ... " My Redeemer and my Lord." Scene III. Elsie (Miss Emily Spada), Prince Henry (Mr. E. Lloyd), Lucifer (Mr. Barrington Foote), and Chorus. Duet... ... ... ... ... " Onward and onward." Chorus-^ / " Me receptet Sion ilia." Solo I I " Here am I too." Solo "It is the sea." Solo and Chorus ... ... ... " The night is calm and cloudless." Scene EF. Elsie (Miss Emily Spada), Prince Henry (Mr. E. Lloyd), Lucifer (Mr. Barrington Foote), and Chorus. ' Ensemble ... ... ... ... " My guests approach." Scene F. Ursula (Madame Belle Cole), and a Forester (Mr. Andrew Black). Recitative ... ... ... ... " Who is it coming ? " Solo ... ... ... ... ... " Virgin, who lovest the poor and lowly." Scene FE. Elsie (Miss Emily Spada), and Prince Henry (Mr. E. Lloyd). Duet... ... ... .. ... " We are alone." iE))tIog:ue. Chorus ... ... ... ... " God sent His messenger, the rain." AUGUST MANNS, Conductor. NOVELLO'S SERIES OF THE WORDS OF ORATORIOS, CANTATAS, &c. FOR THE VSE OF CHORAL SOCIETIES. THE GOLDEN LEGEND ADAPTED FROM THE POEM OF LONGFELLOW BY JOSEPH BENNETT AND SET TO MUSIC BY ARTHUR SULLIVAN, BOOK OF WORDS WITH ANALYTICAL NOTES BY JOSEPH BENNETT, Price One Shilling. LONDON & NEW YORK NOVELLO, EWER AND CO. ALL RIGHTS RESERVED. The Words are used by Permission of, and by Special Arrangement with, Messrs. Houohton, Mifflin & Co- Boston, Publishers of Mr. Longfellow's works. \ THE GOLDEN LEGEND. PROLOGUE. The Spire of Strasburg Cathedral. Night and storm. Lucifer, with the Poivers of the Air, trying to tear down the Cross. LUCIFEB. Hasten ! Hasten ! ye spirits ! From its station drag tlie ponderous Cross of iron, that to mock us Is uplifted high in air ! Voices. 0, we cannot ; For around it All the saints and guardian angels Throng in legions to protect it ; They defeat us everywhere ! The Bells. Laudo Deum verum ! Plebem voco ! Congrego clerum ! LUCIFEII. Lower ! Lower ! Hover downward ! Seize the loud vociferous bells, and Clashing, clanging, to the pavement Hurl them from their windy tower. Voices. All thy thtuiders Here are harmless ! For these bells have been anointed And baptized with holy water ! They defy our utmost power. The Bells. Defunctos ploro ! Pestem fugo ! Festa decoro. Lucifer. Shake the casements ! Break the painted Panes, that flame with gold and crimson Scatter them like leaves of Autumn, Swept away before the blast 1 Voices. 0, we cannot ; The Archangel Michael flames from every window, With the sword of fire that drove us, Headlong, out of heaven, aghast ! The Bells. Funera plango ! Fulgura frango ! Sabbata pango ! LUCIEEB. Aim your lightnings At the oaken. Massive, iron studded portals ! Sack the house of God, and scatter Wide the ashes of the dead ! Voices. 0, we cannot ; The Apostles And the Martyrs, wrapped in mantles, Stand as warders at the entrance, Stand as sentinels o'erhead ! The Bells. ' Excito lentos ! Dissipo ventos ! Paco cruentos ! Lucifer. Baffled! Baffled! Inefficient, Craven spirits ! leave this labour Unto Time, the great Destroyer ; Come away, ere night is gone ! Voices. Onward I onward ! With the night-wind. Over field, and farm, and forest, Lonely homestead, darksome hamlet, Blighting all we breathe upon. [They sweep away. Organ and Gregorian Chant. Choir. Nocte surgentes Vigilemus omnes. For the illustration of this scene the composer gathers to himself ample resources. The Powers of the Air are represented by the female chorus, the male voices sing the music of the BeUs and of the Choir, and the orchestra includes, in addition to its regular members, a piccolo, bass clarinet, oontrafagotto, two cornets, and a set of four bells specially cast for the work they have to do. The Prologue opens with an orchestral representation of the storm that rages around the Cathedral. For such a picture the means employed must almost of necessity be 6 more or less conventional, and here we have, breaking m upon the tremolando of the violins and the sustained high notes of the woodwind, those rushes up and down tlie chromatic scale which are generally approved under such circumstances. The composer succeeds in obtaining a complex noise, and it may be well to show how he ■loes it : — With the effect thus indicated, the movement proceeds till Lucifer's voice is heard above the murmuring strings, the lugubrious low notes of the clarinets and the soft chords of tlie trombones. The Spirits make answer in three-part harmony, supported by flutes, oboes, and clarinets, the strings meanwhile keeping up the storm effect. Beyond question the vocal music here is well studied. There is in it the accent of distress and despair arising from a sense of impotence — AU the raints and guardian angels Throng in When this dies away the Voices of the Bells are heard, the chorus basses uttering the words in unison with their tones, the bass strings and the bass clarinet (with a sustained G flat) furnishing the sole accompaniment — m Lau - do De - um ve - rum ! ^A A A , A A A - U. bJ- p- ^- , b^^ Pie - bem vo - co ! A A A A, bJ- I, J, ,bJ- i>J- Con-gre-go cle-rum f^ r^ r^ r= r^ This completes one section of the piece, as a glance at the structure of the poetry shows, and now we have again Lucifer's injunction, the answer of the Spirits, and the solemn outcry of the Bells. The musical plan is also repeated with variations only in tonality and orchestral detail. But the Bell music remains ever the same, and by its passionless mechanical character supplies a vivid contrast to surroundings. A third time does the poetic and musical plan unfold itself with more strenuous effect than before. As Lucifer cries " Break the painted panes," the storm rages louder ; the brass instruments and bass drum join in the hurly-burly, and the rushing scale passages am more continuous. Other orchestral changes help to secure variety, without inter- feriag with the outline, but an important departure from the model occurs when the Spirits give their third answer, "0, we cannot ; the Archangel Michael iames from every window." There is no episode in | measure. Instead theneof w« have a st^dy advance to a oHmax of anguish and terror — . cr c for r '^- "^- ^- ^" With the sword of fire that drove us, Headlong, out which intensifies the wonted contrast of the chime— now heard upon a dominant pedal (C sharp, enharmonic equivalent of D flat). The fourth section, beginning " Aim your lightnings," brings with it a wider departure from the original construction, though the main characteristics of the music are unaffected. All the musical elements heretofore introduced singly are now presented together in the manner shown below — V0ICES.. • '^a 'C C^ K r^- .-:^ Lord, I be-seechThee, I en-treat Thee, Guide me in each act and word, That here X^' When the strings enter it is to attend upon a phrase heard again as Lucifer (in Scene III.) calls Elsie the " most ethereal, most divine " of his intended victims — Vlns. 1. in Sves, with Voice. If . . . my fee - - ble prayer can reach Thee, ' h Pi , I 1 — F^ This passage determines the character of all the after part of the solo. The flowing quavers occur everywhere in the orchestra ; as in the extract below, for example — 88 Thee, J. 0, my Sa - viour. Let me die, . . if dy - ing and thus the maiden's calm assurance finds musical expression. The whole tone of the solo is in keeping. Elsie's offer to Prince Henry, " My life is httle," &c., rivals her prayer in refine ment and reticence of means. Only two flutes accompany the unpretending vocal phrases — Elsie. My life is lit - tie, On - ly a cupofwa-ter, But pure and lim-pid;&c. Flutes. ^ , , J. /•3- J J ^ j ' J . J J- 39 Following the Angels' " Amen" comes a prolonged ritornello, suggested by the accom- paniment of Elsie's prayer. As this goes on Prince Henry and the maiden pass slowly into the house, and with it the Scene ends. 24 SCENE III. On the road to Salerno. Prince Henry, Elsie, and their Attendants. Elsie. Onward and onward the highway runs to the distant city, impatiently bearing Tidings of human joy and disaster, of love and of hate, of doing and daring! Prince Henry. This life of ours is a wild jEolian harp of many a joyous strain, But under them all there runs a loud perpetual waU, as of souls in pain. Elsie. All the hedges are white with dust, while onward the horses toil and strain. Prince Henry. Now they stop at the wayside inn, and the waggoner laughs with the landlord's daughter. Elsie. All through life there are wayside inns, where man may refresh his soul with love ; Even the lowest may quench his thirst at rivulets fed by springs from above. [They turn down a green lane. Sweet is the air with the budding haws, and the valley stretching for miles below Is white with blossoming cherry trees, as if just covered with hghtest snow. Prince Henry. Hark, what sweet sounds art those, whose accents holy Fill the warm noon with music sad and sweet ? Elsie. It is a band of pilgrims moving slowly On their long journey, with uncovered feet. Pilgrims. [Chanting the hymn to St. llildebert. Me receptet Sion Ula, Sion David, urbs tranquilla, Cujus faber auctor lucis, Cujus portae lignum crucis, Cujus clavis Ungua Petri, Cujus cives semper laiti, Cujus muri lapis vivus, Cujus custos Kex festivus ! 25 r LUCIFEE. [As a Friar in the procession. Here am I, too, in the pious band, The soles of my feet are hard and tanned. There is my German Prince again, Far on his journey to Salern, And the love-sick girl, whose heated brain Is sowing the cloud to reap the rain ; But it's a long road that has no turn ! Let them quietly hold their way, I have also a part in the play. But first I must act to my heart's content This mummery and this merriment. And drive this motley flock of sheep Into the fold where drink and sleep The jolly old friars of Benevent. Of a truth, it often provokes me to laugh, To see these beggars hobble along, Lamed and maimed and fed upon chaff, Chanting their wonderful piff and paff, And, to make up for not understanding the song, Singing it fiercely, and wild, and strong ! PiLGEIMS. In hac urbe, lux solennis, Yer aeternum, pax perennis ; In hac odor implens ccelos. In hac semper festum melos ! [The pilgrims pass on, their chant is heard in the distance. Urbs coelestis, urbs beata, Supra petram coUocata, Urbs in portu satis tuto, De longinquo te saluto, Te saluto, te suspiro, Te affecto, te requiro ! [TaiNCE Heney, Elsie, and Attendants journey on. They reach a height overlooking the sea and encamp. Evening. 26 Pbince Henry. It is the sea, it is the sea, In all its vague immensity ; Fading and darkening in the distance I Silent, majestical, and slow The white ships haunt it to and fro, With all their ghostly sails unfurled, As phantoms from another world Haunt the dim confines of existence. Elsie. The night is calm and cloudless, And still as still can he, The stars come forth to hsten To the music of the sea ; In snow-white robes uprising The ghostly choirs respond. And sadly and unceasing The mournful voice sings on, And the snow-white choirs still answer, Christe eleison ! Attendants. The night is calm and cloudless, And still as still can be. The stars come forth to hsten To the music of the sea ; In snow-white robes uprising The ghostly choirs respond, And sadly and unceasing The mournful voice sings on. And the snow-white choirs still answer, Christe eleison ! The pluasant dialogue with which this scene opens ia set to music {Allegretto moderato, A minor, |) that may well be called conversational. It requires no repetition of a single word, and runs on with ease and fluency, the orchestra attending with a rhythmical accompardment, which perhaps suggests the clatter of the Prince's cavalcade 27 as it moves along the road. The vocal pnrasea have almost a uniform character, and an example may be taken from the first that offer — On-ward and on- ward the highway runs . to the dis - tant ci - pa - tient- ly bear ing Ti- dings of hu - man joy and dis - as ter. So the talk goes expressively on till a broad, reiterated phrase from flute and clarinet- marks the opening up of a new prospect as the riders turn down a green lane. Observe here the bright change from B flat to A major. Now the voices, before heard separately, join in harmony, singing as those sing to whom the beauties of Nature have brought a sense of outward calm and inward peace — n^r- r- -f — F — Z r r l^'-f — r—r^ ^ -Uff 1 '■ . miles be- low Is U ! \e — '^ — 1^ ir 1 1 1 — 1 white with blossoming cher - ry trees, 1> *• ^^ .r 1 f .i * •- 1,^ i tI' T -1 — !* — =1 — T 1 r i 1 — ^^-4- At the close of fhs duet there comes from afar the sound of a Pilgrims' Hymn. Here mark another instance of the composer's thoughtfulness. Th« sacred strains are supposed not to araest attention at once, wherefore the orchestra, by repeating some of the phrases of the duet, suggests that Elsie and the Prince are still in conversation^ str. . . 2« Presently the Prince hears the advancing music, and then the instrumental dialogue at once ceases. As the Pilgrims draw near their chant is supported more and more fully by the orchestra, till at last it monopolises attention. As thus formally presented [Andante, G flat major), it has no effects of harmony, the only accompaniment (three clarinets and bassoons) being in unison with the voices — • Tenors & Basses. Me re - cep - tet Si - on il - la, Si- on Da - vid, urbs tran - quil-la, &c. At the last phrase of the Hymn, as thus given, the shadow of Lucifer is thrown forward in the shape of a rhythmic figure — ■ 45 ^1. ni2j^u7^m followed by the Fiend himself, with the trombones and tuba behind him. His mocking phrases are heard above the resumed Hymn, which, however, is soon hushed, leaving Lucifer in full possession of the field. He is not now the medical scholar, and no scholastic accompaniment waits on his words. He speaks in his true character, and the brass instruments, with flippant rhythm, give impudent emphasis to his words — But first I must act to my heart's content This mummery and this mer-ri-ment, And 46 This extract shows the character of the entire solo, which reaches a climax of scornful daring when Lucifer imitates the Pilgrims' chant — Chant - - ing . . their won-der - ful piff and paff. just before it is again taken up by those who have a better right to it. The voice of the Fiend ceases, but the chant significantly continues with triumphant fulness till, as the Pilgrims pass on, it gradually dies away ; Elsie remarking that the sound " fills the warm noon with music sad and sweet." This episode ended, the orchestra, by repeating some phrases of the duet, intimates that the journey and the conversation are resumed. But soon a new source of interest arises. The travellers are approaching the sea, and hear its distant murmur — Ce 29 which presently becomes continuous, and increases in strength, so leading up to Prince Henry's solo, " It is the sea " {Un poco piii lento, B flat). The noise of the waters goes on throughout this movement, the aim of the accompaniment generally being to iatensify its descriptive power. Thematic uitc-rest, of course, lies with the voice, and here we have a genuine rhythmical melody — Prince Henry. vague , im- men-si- ty ; MT C g"c CI- ^Irtn'- r^-lT-^-g^C C r rl^P^f ^'^'^ Fa - ding and darkening in the dis-tance, fa- ding and darkening in the dis-tance I some phrases of which are doubled, with good effect, by the cor Anglais. At the line, " Silent, majestical, and slow," the accompaniment ceases, but quickly resumes and remains unvarying to the end. The rich and changeful harmony of this solo will speak for itself with eloquence sufficient. Elsie follows in an air (Andante tranquillo, D flat, 'g^), " The night is calm and cloudless," which opens as peacefully as possible ; the strings pulsating in chords of repeated quavers, while the voice proceeds thus — The night is calm and cloudless, And still as still . . can be. The stars come forth to lis-ten , come forth to . . lis ten . . To . . the mu sic of . . the sea. . . Independent phrases for the woodwind are very noticeable here, and add much to the attraction of the music, standing well out, as they do, from the mere harmony of the strings. But supremacy of thematic interest lies with the vocal melody, which, in spirit as well as form, answers the demands of the truly poetic lines. After a full tonic close on the words " Christe eleison," the chorus takes up the theme of the solo, now harmonised in four parts, beginning with a point of imitation — The night is calm and cloudless. And still as still . . can be. and cloudless, And still as The night is calm Presently the solo voice joins the ensemble, as does the entire orchestra, and, with a fine climax, the scene reaches its close. 30 SCENE IV. The Medical School at Salerno, Lucifer dressed as a doctor. Lucifer. My guests approacli ! There is in the air An odour of innocence and of prayer ! I cannot breathe such an atmosphere ; My soul is filled with a nameless fear, That after all my restless endeavour, The most ethereal, most divine, Will escape from my hands for ever and ever. But the other is already mine. [Enter Pbince Henkt and Elsie, with Attendants. Prince. Can you direct us to Friar Angelo ? LUCIFEB. He stands before you. Prince. Then you know om- purpose. I am Prince Henry of Hoheneck, and this The maiden that I spake of. Lucifer. Does she Without compulsion, of her own free will, Consent to this ? Prince. Against all opposition. She wUl not be persuaded. Lucifer. [To Elsie. Have yon thought well of it ? Elsie. I come not here to argue. But to die. 31 Attendants. pure in heart ! from thy sweet dust shall grow Lilies, upon whose petals will be written " Ave Maria " in characters of gold ! Elsie. [To the Attendants. Weep not, my friends ! rather rejoice with me, 1 shall not feel the pain, but shall be gone. And you wUl have another friend in heaven. There is no more to say, let us go in. Prince. Not one step further ! I only meant To put thy courage to the proof. Friar Angelo ! I charge you on your life, Believe not what she says, for she is mad. Elsie. Alas ! Prince Henry ! LUCIFBE. Come with me this way. [EiiSiE goes in with Lucifee, who thrusts Pkince Heney back, and closes the door. Peince. ' Gone, and the light of all my life gone with her ! A sudden darkness falls upon the world. \To the Attendants. Why did you not lay hold on her and keep her From self-destruction ? Angelo ! Murderer ! [Struggles at the door, but cannot open it. Elsie. [Within. Farewell, dear Prince, farewell ! Prince and Attendants. Unbar the door ! Lucifer. It is too late ! 32 Prince and Attendants. It shall not be too late ! [They burst the door open and rush in. Lucifer's soliloquy before the arrival of his " guests " calls for little remark, after what has been already said. Being again a learned Doctor, he is introduced by the quaint, scholastic music which accompanied hiTn in Scene I. But this ceases when he begins to speak ; partly, perhaps, that the flowing phrase which in Elsie's song, " My Eedeemer and my Lord," waited on the words, " If my feeble prayer can reach Thee," may perform a similar office for the description of her as " most ethereal, most divine." Prince Henry is ushered into the presence of Friar Angelo by a dignified orchestral passage [Allegro maestoso), portions of which re-appear in the subsequent dialogue, but nothing calls for special remark till a short Adagio is reached, in which Elsie quietly and firmly says : " I come not here to argue. But to die." This is a happy touch — Elsie. I come not here to ar gue, But to die. It is immediately followed by one of the most beautiful and affecting parts of the work — a choral setting (unaccompanied) of the lines : " pm-e in heart ! from thy sweet dust shaU. grow," &c. The temptation to quote all of it is hard to resist, but a portion must suffice — Chorus. 53 P pure in heart, O pure in heart! from thy sweet dust shall grow Li- lies, up- 83 lu this manner the too brief chorus proceeds to an affecting close. It is connected with Elsie's solo : " Weep not, my Mends," by a passage for the violas — 54 ££^h i , jj.,j ^j:^ violas. before heard, when Ursula pleaded " In God's own time, my heart's delight,' while the solo itself embodies the melody to which, in Scene II., the maiden sang, " For at Salerno, far away, over the mountains, over the sea, it is appointed me to die." Prince Henry's somewhat tardy protest against Elsie's resolve is a dramatic point, and earnest enough to be sincere — Prince Henry. I charge you on your life, Bassi.tf T" T 1^ Be - lieve not what she says, J. ..^J. J^J^ for she is ^ 55 r ' f r r->7y^ ^ *i- f I f f- r f mad. she is mad. Moreover, it enables the trombones and tuba accompanying Elsie's reproachful exclama- tion, " Alas, Prince Henry," to effect a vivid and striking contrast by means of their sustained and solemn harmonies. The dramatic cUmax of the scene (we pass over several points that will be under- stood at once) is certainly not over elaborated, yet quite long enough for a situation which cannot, in the very nature of the case, be extended. While the orchestration here is of a conventional character there is special force in passages hke this — Chorus. 50 ffMuT- der - er. Prince Henry. Mur der - er. Mur- der - er. and this— 57 Un-bar the door! Too late ! Un - bar the door ! &c. Lucifer, t „ i which give indication sufficient of the very graphic style in which the composer with an exciting incident. has dealt 34 SCENE V- Ursula's Cottage. Uesula. [Looking through the open door. Who is it coining under the trees ? A man in the Prince's Hvery dressed ! He fills my heart with strange alarm ! {Enter a Forester. Forester. Is this the tenant Gottlieb's farm ? Ursula. This is his farm and I his wife. Forester. News from the Prince ! Ursula. Of death or life ? Forester. Your daughter lives, and the Prince is well. You will learn, ere long, how it all befell. Her heart for a moment never failed ; But when they reached Salerno's gate, The Prince's nobler self prevailed, And saved her for a nobler fate. Ursula. Virgin, who lovest the poor and lowly, If the loud cry of a mother's heart Can ever ascend to where thou art, Into thy blessed hands and holy. Receive my prayer of praise and thanksgiving, Our child who was dead again is living. bring me to her ; for mine eyes Are hungry to behold her face ; My very soul within me cries ; My very hands seem to caress her, To see her, gaze at her, and bless her ; Dear Elsie, child of God and grace ! The music to the dialogue between Ursula and the Forester is so clear in character and piirport that no explanatory remarks are called for by it. A reference to the stately orchestral passage which ushered Prince Henry into the presence of Friar Angela at Salerno will instantly be noticed, as also will a citation of the phrase — Vlns. first connected (Scene II.) with the words " Over the momrtains, over the sea," next (Scene IV.) with " And you will have another friend in heaven," but, now, with " Her heart for a moment never failed." Ursula's solo, " Virgin, who lovest the poor and lowly " [Andante allegretto, E major, |), is cast in regular aria form — principal subject, episode, return of principal subject. The strings only accompany the vocal melody, which affords another example of deep and heart-felt expression. What can be simpler, yet, in its way, more eloquent than the leading subject ? — Vir-gin,who lov-estthe poor and low-ly, If the loud cry of a mother'sheartCan ev - er as cend to where thou art, O bring me to her ; for mine eyes . . Are hungry to behold her face ; My 36 The spisode is less tranquil, since it has to express Ursula's eagerness for sight of her daughter. But its character is fairly uniform, and a short example will suffice — GO When the first subject comes back it is soon varied, to suit the exigencies of a Coda with which the air ends as tranquilly as it began. SCENE VI. The Castle of Vautsherg on the Bhine. Peince Henry and Elsie stand on the Terrace. It is the evening of their marriage day. The sound of hells heard from a distance. Prince. We are alone ; the wedding guests Eide down the hill with plumes and cloaks, And the descending dark invests The forests hoar and haunted oaks. Elsie. What bells are those that ring so slow, So mellow, musical, and low ? Prince. They are the bells of Geisenheim That with their melancholy chime Eing out the curfew of the sun. Elsie. Listen, beloved ! 37 Peincb. They are done. Dear Elsie, many years ago These same soft bells at eventide Bang in the ears of Charlemagne, As, seated by Fastrada's side At Ingelheim, in all his pride, He heard their sound with secret pain. Elsie. Their voices only speak to me Of peace and deep tranquihty, And endless confidence in thee. Prince. Thou knovT^'st the story of her ring, How when the court went back to Aix, Fastrada died ; and how the king Sat watching by her night and day. Till into one of the blue lakes Which water that delicious land, They cast the ring drawn from her hand ; And the great monarch sat serene And sad beside the fated shore. Nor left the land for evermore. Elsie. That was true love. Prince. For him the queen Ne'er did what thou hast done for me. Elsie. Wilt thou as fond and faithful be ? Wilt thou so love me after death ? 38 Prince. Thou hast Fastrada's ring. Beneath The calm blue waters of thine eyes, Deep in thy steadfast soul it hes, And, undisturb'd by this world's breath. With magic hght its jewels shine. Both. , In life's delight, in death's dismay, In storm and sunshine, night and day. In health and sickness, in decay, Here and hereafter I am thine. [They go in. The duet which occupies all the final scene opens {Andante tranquillo, D flat; J) with the bell music demanded by the words. Bells are actually employed ia the score, and lightly struck, to convey an idea of distance ; while, above them, piccolo, flutes, cor Anglais, clariaets, and harp have passages which might stand of themselves for the desired effect, provided only a suggestion be required. The material of this prelude serves also for interludes when the voices enter. Elsie's question concerning the beUs is worth quoting — slow, So mel-low, mu - si - cal, and low? What bells are Elsie. that ring so ^ J J and a good deal in her husband's more extended answer deserves notice, especially the quietly flowing accompaniment, which recalls that of Ursula's solo, " Slowly, slowly up the wall." On the hne, " Thou know'st the story of her ring," the orchestral music changes its character for awhile — but soon resumes its pristine tranquility, important use being made of a theme given to all the strings in octaves (double basses excepted), as the picture of Charlemagne sitting serenely by the lake is drawn — Str. The continuation of the duet, and the ensemble of the voices at the end. will tell their own effective story. All is simple, and simply beautiful. CHORAL EPILOGUE. God sent His messenger, the rain. And said unto the mountain brook, " Kise up, and from thy caverns look. And leap, with naked snow-white feet. From the cool hills into the heart Of the broad and arid plain." , God sent His messenger of faith, And whispered in the maiden's heai't, " Rise up, and look from where thou art, And scatter with unselfish hands Thy freshness on the barren sands And solitudes of death." The deed divine Is written in characters of gold That never shall grow old. But through all ages Burn and shine ! After a short orchestral exordium {Andante maestoso, E major, I), anticipa|ing the vocal theme, and confined to the brass instruments, the male-voice chorus has a fine, broad melody to sing in unison, with a hglit accompaniment of strings, horns, and wcoJ- 40 wind. This melody is one of the best features in the work. It is a genuine tune, of unimpeachable symmetry, and decided character. Thus it begins — Tenors and Basses, God sent His messenger, the rain, And said un-to the moun-tain brook, " Rise up, rise up, and from thy caverns look. And leap, . . .with nak-ed snow-white feet, and thus it grandly ends — From the cool hills in- to the heart Of the broad and a plain, the broad and a - rid plain." The same subject is next taken up by the female voices, to a similar accompaniment^ and followed by a fugue having as its theme a phrase which preluded and accompanied Ursula's solo, " Slowly, slowly up the wall," in Scene II. — The deed di - vine Is written in cha-rac-ters of gold, is writ ten in Sopranos. The deed di - vine Is written in This is worked out in spirited style, and with masterly ease ; the whole endhig with the original melody, sung by aU the voices in unison, and accompanied by the full power of orchestra. So the work ends with triumphant expression. IMPORTANT TO ALL. As a natxiral product of nature, use ENO'S "FRUIT SALT." ^ You cannot overstate its great value in keeping the BLOOD PURE. W Withput sttch a simple precaution the JEOPARDY of life is im- '«H J^^sely increased. 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