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”).
The ninth scene is admirably constructed. It opens with an animated and picturesque dance and chorus of villagers (“Song is resounding, Dancers are bounding”), which swings along in graceful rhythm until it is interrupted by a solemn phrase for organ, introduced by horns, which prepares the way for a chorale (“Guardian Angels sweet and fair”), closing with Fridolin’s prayer at the shrine, interwoven with a beautiful sacred chorus (“Sancta Maria, enthroned above”). In a recitative and ballad (“The wildest Conflicts rage within my fevered Soul”) the Count mourns over what he supposes to be the infidelity of his wife, followed by a long and very dramatic scene with the Countess (“My Waldemar, how erred thine Eglantine?”). The last scene is laid at the forge, and after a short but vigorous prelude opens with a chorus of the smiths (“Gift of Demons, raging Fire”), in which the composer has produced the effect of clanging anvils, roaring fire, and hissing sparks with wonderful realism. The chorus closes with passages describing the providential rescue of Fridolin and the fate of Hubert, and an andante religioso (“Let your Voices Anthems raise”). The epilogue is mainly choral, and ends this very dramatic work in broad flowing harmonies.
