The Standard Cantatas Part 10

and "nestled on her snowy breast." They gather about to hear his doom, and do not have to wait long; for the tenor song leads without break to a barytone solo, in recitative form, by the Fairy King ("Fairy, Fairy, list and mark"), p.r.o.nouncing the penalties he must pay for his transgression,--the catching of a drop from the sturgeon's silver bow to wash away the stain on his wings, and the relighting of his flamewood lamp by the last faint spark in the train of a shooting star.

A graceful chorus ("Soft and pale is the moony Beam") opens the second part, picturing the scene upon the strand bordering the elfin land; and the leaps of the sturgeon, followed by a tenor solo and recitative describing the sorrow of the lonely sprite and his desperate effort to push his mussel-sh.e.l.l boat down to the verge of the haunted land. The alto, which does all the mystery work, goes on with the description of the vain attempt of the river imps to wreck his frail craft, and his discovery and pursuit of the sturgeon; then there is a pause. The full chorus, in a quick movement, pictures the pretty scene of the sturgeon's leap, the arch of silver sheen, and the puny goblin waiting to catch the drop. The tenor recitative announces his success, and a full jubilant chorus of the sprites ("Joy to thee, Fay! thy Task is done") bids him hasten back to the elfin sh.o.r.e.

The third part opens with a full chorus, very animated in its progression ("Up to the Cope, careering swift"), describing the ride of the Fay past the sphered moon and up to the bank of the Milky Way, where he checks his courser to wait for the shooting star. In the next number, a short recitative, the alto has a more grateful task; this time it is the graceful sylphs of heaven who appear, weaving their dance about the Fay, and leading him on to the palace of the Sylphide Queen. It is followed by two charming soprano solos,--the one descriptive of her beauty as she listens to the story of the Fay, and the other ("O Sweet Spirit of Earth") of her sudden pa.s.sion and the tempting inducements by which she seeks to make him forget the joys of fairy-land. Once more the tenor, who plays the part of narrator, enters, and in solo and recitative a.s.sures us how like a brave homunculus the Fay resisted her blandishments. A very vigorous and descriptive chorus, as fast as can be sung, pictures the Fay careering along on the wings of the blast up to the northern plain, where at length a star "bursts in flash and flame." The tenor announces his second success, and the final chorus ("Ouphe and Goblin! Imp and Sprite") sings his welcome back in an animated manner, beginning with a moderate movement which constantly accelerates and works up to a fine climax; after which--

"The hill-tops glow in morning's spring, The skylark shakes his dappled wing, The day glimpse glimmers on the lawn, The c.o.c.k has crowed and the fays are gone."

The Praise Song to Harmony.

"The Praise Song to Harmony," written in 1886, is a musical setting of a poem of the same name by David Ebeling, a German poet who lived in the latter part of the eighteenth century. The composition is in a strict sense a symphonic cantata, somewhat in the manner of Mendelssohn's "Hymn of Praise," being prefaced with a symphonic allegro in the cla.s.sical form which is written in a very scholarly manner and displays great skill in thematic treatment.

The cantata proper opens with a short introduction, consisting of ma.s.sive chord foundations for the full orchestra, connected by a figure for the strings, ushering in a chorus for male voices ("Hail thee, O Harmony, offspring of Heaven"). The words contain a description of the creation of worlds and of music, as the song of stars unites with the angel chorus in praise of the Almighty. At the close of this number begins a choral theme for trumpets, horns, and trombones, followed by strings and woodwinds, and introducing a soprano recitative ("With Grace, thy Gaze, O Harmony") descriptive of the blessing brought into the world by music, followed by a picture of the misery of the race without its consolation. At the close the bra.s.ses give out a solemn march-like theme. A short chorus ("Joy to us! Again descending, thou Heavenly One") describes the might of song. A brief orchestral interlude follows, preparing the entrance of a barytone solo with chorus ("Blessed Comforter in Grief"). The work closes with a partial repet.i.tion of the opening chorus, with a more elaborate and brilliant figural accompaniment, in the course of which the march-like subject is heard again in the bra.s.ses. At the end the strings maintain a tremolo while the rest of the orchestra presents a pa.s.sage with varied harmonies. The opening theme of the cantata, though not a repet.i.tion, bears a strong a.n.a.logy to the introduction of the symphony movement.

HANDEL.

George Frederick Handel was born at Halle, in Lower Saxony, Feb. 23, 1685, and like many another composer revealed his musical promise at a very early age, only to encounter parental opposition. His father intended him to be a lawyer; but Nature had her way, and in spite of domestic antagonism triumphed. The Duke of Saxe-Weissenfels recognized his ability and overcame the father's determination. Handel began his studies with Zachau, organist of the Halle cathedral. After the death of his father, in 1697, he went to Hamburg, and for a time played in the orchestra of the German opera. It was during his residence in that city that he wrote his first opera, "Almira" (1705). In the following year he went to Italy, where he remained several months under the patronage of the Grand Duke of Florence. During the next two years he visited Venice, Rome, and Naples, and wrote several operas and minor oratorios. In 1709 he returned to Germany, and the Elector of Hanover, subsequently George I. of England, offered him the position of capellmeister, which he accepted upon the condition that he might visit England, having received many invitations from that country. The next year he arrived in London and brought out his opera of "Rinaldo," which proved a great success. At the end of six months he was obliged to return to his position in Hanover; but the English success made him impatient of the dulness of the court. In 1712 he was in London again, little dreaming that the Elector would soon follow him as king. Incensed with him for leaving Hanover, the King at first refused to receive him; but some music which Handel composed for an aquatic fete in his honor brought about the royal reconciliation. In 1718 he accepted the position of chapel-master to the Duke of Chandos, for whom he wrote the famous Chandos Te Deum and Anthems, the serenata "Acis and Galatea," and "Esther," his first English oratorio. In 1720 he was engaged as director of Italian opera by the society of n.o.blemen known as the Royal Academy of Music, and from that time until 1740 his career was entirely of an operatic character. Opera after opera came from his pen. Some were successful, others failed. At first composer, then director, he finally became _impresario_, only to find himself confronted with bitter rivalry, especially at the hands of Bononcini and Porpora. Cabals were inst.i.tuted against him. Unable to contend with them alone, he formed a partners.h.i.+p with Heidegger, proprietor of the King's Theatre, in 1729. It was broken in 1734, and he took the management of Covent Garden. The Italian conspiracies against him broke out afresh. He failed in his undertaking and became a bankrupt.

Slanders of all sorts were circulated, and his works were no longer well received. In the midst of his adversity sickness overtook him, ending with a partial stroke of paralysis. When sufficiently recovered he went to the Continent, where he remained for a few months. On his return to London he brought out some new works, but they were not favorably received. A few friends who had remained faithful to him persuaded him to give a benefit concert, which was a great success. It inspired him with fresh courage; but he did not again return to the operatic world.

Thenceforward he devoted himself to oratorio, in which he made his name famous for all time. He himself said: "Sacred music is best suited to a man descending in the vale of years." "Saul" and the colossal "Israel in Egypt," written in 1740, head the list of his wonderful oratorios. In 1741 he was invited to visit Ireland. He went there in November, and many of his works were produced during the winter and received with great enthusiasm. In April, 1742, his immortal "Messiah" was brought out at Dublin. It was followed by "Samson," "Joseph," "Semele," "Belshazzar,"

and "Hercules," which were also successful; but even in the midst of his oratorio work his rivals did not cease their conspiracies against him, and in 1744 he was once more a bankrupt. For over a year his pen was idle. In 1746 the "Occasional Oratorio" and "Judas Maccabaeus" appeared, and these were speedily followed by "Joshua," "Solomon," "Susanna,"

"Theodora," and "Jephthah." It was during the composition of the last-named work that he was attacked with the illness which finally proved fatal. He died April 14, 1759, and was buried in Westminster Abbey. During the last few days of his life he was heard to express the wish that "he might breathe his last on Good Friday, in hopes of meeting his good G.o.d, his sweet Lord and Saviour, on the day of His resurrection." The wish was granted him; for it was on Good Friday that he pa.s.sed away, leaving behind him a name and fame that will be cherished so long as music retains its power over the human heart.

Acis and Galatea.

The first idea of Handel's famous pastoral, "Acis and Galatea," is to be found in a serenata, "Aci, Galatea, e Polifemo," which he produced at Naples in July, 1708. The plan of the work resembles that of the later pastoral, though its musical setting is entirely different.[21] Little was known of it however until nearly a quarter of a century afterwards, when the composer revived portions of it in one of his London concerts, as will shortly be seen.

In 1718 Handel entered the service of James, Duke of Chandos, as chapel-master, succeeding Dr. Pepusch. His patron had acc.u.mulated an immense fortune and spent it in a princely manner. He had built a marble palace, at an enormous expense, at Cannons in Middles.e.x, where he lived in almost regal state. It was the chapel attached to this mansion over which Handel was called to preside, and there were ready for his use a large choir, a band of instrumental performers, and a fine organ. The anthems and services of his predecessor were laid aside, and that year Handel's busy pen supplied two new settings of the Te Deum and the twelve Chandos Anthems, which are really cantatas in form. His first English opera, "Esther," was also composed at Cannons, and was followed by the beautiful pastoral which forms the subject of this sketch. "Esther" was first performed Aug. 20, 1720, and it is generally agreed that "Acis and Galatea" followed it in the same year, though Schoelcher in his biography a.s.signs 1721 as the date. Nine characters are contained in the original ma.n.u.script,--Galatea, Clori, and Eurilla, sopranos; Acis, Filli, Dorinda, and Damon, altos; Silvio, tenor; and Polifemo, ba.s.s.

After this private performance the pastoral was not again heard from until 1731-32, when it was given under peculiar circ.u.mstances. On the 13th of March, 1731, it was performed for the benefit of one Rochetti, who took the role of Acis; but with this representation Handel had nothing to do. The act of piracy was repeated in the following year, when Mr. Arne, father of Dr. Arne the composer, and the lessee of the Little Theatre in the Haymarket, announced its performance as follows:--

"At the new theatre in the Haymarket, on Thursday next, 11th May, will be performed in English a pastoral opera called 'Acis and Galatea,'

with all the choruses, scenes, machines, and other decorations, etc.

(as before), being the first time it was ever performed in a theatrical way. The part of Acis by Mr. Mourtier, being the first time of his appearance in character on any stage; Galatea, Miss Arne.[22] Pit and boxes, 5_s._"

Handel had taken no notice of the 1731 performance; but this representation, given at a theatre directly opposite the one of which he was manager, roused his resentment, though piracy of this kind was very common in those days. He determined to outdo the manager "over the way."

On the 5th of June he announced in the "Daily Journal":--

"In the King's Theatre in the Haymarket, the present Sat.u.r.day, being the 10th of June, will be performed a serenata called 'Acis and Galatea,' formerly composed by Mr. Handel, and now revised by him, with several additions, and to be performed by a great number of the best voices and instruments. There will be no action on the stage,[23] but the scene will represent in a picturesque manner a rural prospect, with rocks, groves, fountains, and grottos, among which will be disposed a chorus of nymphs and shepherds; the habits, and every other decoration, suited to the subject. Also on the 13th, 17th, 20th. The libretto printed for J. Watts, in three acts."

The rival establishment had produced the work as it was originally given at Cannons; but as intimated in his advertis.e.m.e.nt, Handel made additions, interpolating a number of airs and choruses from the serenata which he had composed at Naples, thus requiring the work to be sung both in Italian and English,--a polyglot practice from which our own times are not exempt. The part of Acis was sung by Senesino, a male soprano; Galatea by Signora Strada; and Polyphemus by Montagnana. The other parts--Clori and Eurilla sopranos, Filli and Dorinda contraltos, and Silvio tenor--were also represented. It was performed eight times in 1732, and was brought out in the same form at Oxford in 1733; but in 1739 Handel restored it to its original shape as it had been given at Cannons.

It is now generally performed in two parts with the three characters Galatea, Acis, and Polyphemus, and choruses of nymphs and shepherds.

The pretty pastoral will always possess more than ordinary interest, as four celebrated poets are represented in the construction of the poem.

Gay wrote the most of it. It also contains a strophe by Hughes, a verse by Pope,[24] and an extract from Dryden's translation of the Galatea myth in the Metamorphoses of Ovid.[25] The story is based on the seventh fable in the thirteenth book of the Metamorphoses,--the sad story which Galatea, daughter of Nereus, tells to Scylla. The nymph was pa.s.sionately in love with the shepherd Acis, son of Faunus and of the nymph Symoethis, and pursued him incessantly. She too was pursued by Polyphemus, the one-eyed Cyclops of aetna, contemner of the G.o.ds. One day, reclining upon the breast of Acis, concealed behind a rock, she hears the giant pouring out to the woods and mountains his story of love and despair: "I, who despise Jove and the heavens and the piercing lightnings, dread thee, daughter of Nereus; than the lightnings is thy wrath more dreadful to me.

But I should be more patient under these slights if thou didst avoid all men. For why, rejecting the Cyclop, dost thou love Acis? And why prefer Acis to my embraces?" As he utters these last complaints, he espies the lovers. Then, raging and roaring so that the mountains shook and the sea trembled, he hurled a huge rock at Acis and crushed him. The shepherd's blood gus.h.i.+ng forth from beneath the rock was changed into a river; and Galatea, who had fled to the sea, was consoled.

The overture to the work, consisting of one movement, is thoroughly pastoral in its style and marked by all that grace and delicacy which characterize the composer's treatment of movements of this kind. It introduces a chorus ("O the Pleasures of the Plains!") in which the easy, careless life of the shepherds and their swains is pictured. Galatea enters seeking her lover, and after the recitative, "Ye verdant Plains and woody Mountains," relieves her heart with an outburst of melodious beauty:--

"Hush, ye pretty warbling choir!

Your thrilling strains Awake my pains And kindle fierce desire.

Cease your song and take your flight; Bring back my Acis to my sight."

Acis answers her, after a short recitative, with another aria equally graceful ("Love in her Eyes sits playing and sheds delicious Death"). The melodious and sensuous dialogue is continued by Galatea, who once more sings:--

"As when the dove Laments her love All on the naked spray; When he returns No more she mourns, But loves the live-long day.

Billing, cooing, Panting, wooing, Melting murmurs fill the grove, Melting murmurs, lasting love."--

Then in a duet, sparkling with the happiness of the lovers ("Happy We"), closing with chorus to the same words, this pretty picture of ancient pastoral life among the nymphs and shepherds comes to an end.

In the second part there is another tone both to scene and music. The opening chorus of alarm ("Wretched Lovers") portends the coming of the love-sick Cyclops; the mountains bow, the forests shake, the waves run frightened to the sh.o.r.e as he approaches roaring and calling for "a hundred reeds of decent growth," that on "such pipe" his capacious mouth may play the praises of Galatea. The recitative, "I melt, I rage, I burn," is very characteristic, and leads to the giant's love-song, an unctuous, catching melody almost too full of humor and grace for the fierce brute of aetna:--

"O ruddier than the cherry!

O sweeter than the berry!

O nymph more bright Than moons.h.i.+ne night, Like kidlings, blithe and merry.

"Ripe as the melting cl.u.s.ter, No lily has such l.u.s.tre.

Yet hard to tame As raging flame, And fierce as storms that bl.u.s.ter."

In marked contrast with this declaration follows the plaintive tender song of Acis ("Love sounds the Alarm"). Galatea appeals to him to trust the G.o.ds, and then the three join in a trio ("The Flocks shall leave the Mountain"). Enraged at his discomfiture, the giant puts forth his power.

He is no longer the lover piping to Galatea and dissembling his real nature, but a destructive raging force; and the fragment of mountain which he tears away buries poor Acis as effectually as aetna sometimes does the plains beneath. The catastrophe accomplished, the work closes with the sad lament of Galatea for her lover ("Must I my Acis still bemoan?") and the choral consolations of the shepherds and their swains:--

"Galatea, dry thy tears, Acis now a G.o.d appears; See how he rears him from his bed!

See the wreath that binds his head!

Hail! thou gentle murmuring stream; Shepherds' pleasure, Muses' theme; Through the plains still joy to rove, Murmuring still thy gentle love."

[21] The superior attractions of the English serenata will probably prevent the earlier work from ever becoming a popular favorite; more especially since the role of Polifemo needs a ba.s.s singer with a voice of the extraordinary compa.s.s of two octaves and a half.--_Rockstro's Life of Handel_.

[22] Miss Arne, afterwards Mrs. Cibber, enjoyed, under the latter name, a great reputation as a singer. Her husband was Theophilus Cibber, the brother of Colley Cibber, a poet laureate in the reign of George II.--_Schoelcher's Life of Handel_.

[23] This undoubtedly is the manner in which this charming little piece ought to be performed. It is a dramatic poem, but not an acting play, and the incidents are such as cannot be represented on the stage. A few years ago another attempt was made to perform it as an opera, but without success. Polyphemus is entirely an ideal character, and any attempt to personate him must be ridiculous; and the concluding scene, in which the giant throws a huge rock at the head of his rival, produced shouts of merriment. "Acis and Galatea" is performed in an orchestra in the manner in which oratorios are performed; but its effect would certainly be heightened by the picturesque scenery and decorations employed by Handel himself.--_Hogarth's Musical Drama_.

[24]

"Not showers to larks so pleasing, Not suns.h.i.+ne to the bee, Not sleep to toil so easing, As these dear smiles to me."

[25]

"Help! Galatea! Help, ye parent G.o.ds!

And take me dying to your deep abodes."

Alexander's Feast.

Handel composed the music for Dryden's immortal ode in 1736. In the original score the close of the first part is dated January 5, and the end of the work January 17, showing rapid composition. Three years before this time he had had a violent quarrel with Senesino, his princ.i.p.al singer at the opera-house in the Haymarket, which led to his abandonment of the theatre and its occupancy by his rival, Porpora. After an unsuccessful attempt to compete with the latter, which nearly bankrupted him in health and purse, he decided to quit opera altogether. He sought relief for his physical ailments at Aix-la-Chapelle, and upon his return to London in October, 1735, publicly announced that "Mr. Handel will perform Oratorios and have Concerts of Musick this Winter at Covent Garden Theatre." One of the first works for these concerts was "Alexander's Feast," completed, as stated above, Jan. 17, 1736. The poem was prepared by Newburgh Hamilton, who says in his preface:--