TWO EPISODES FROM LENAU'S "FAUST"
- THE NOCTURNAL PROCESSION
- THE DANCE IN THE VILLAGE TAVERN (MEPHISTO WALTZ)
In 1858-59 Liszt composed two orchestral paraphrases of episodes from the "Faust" of Nicolaus Lenau (1802-1850)—Der nachtliche Zug ("The Nocturnal Procession") and Der Tanz in der Dorfschenke ("The Dance in the Village Tavern"). These two pieces he desired should be played together; there was, he admitted, "no thematic connection" between the two; "but, nevertheless, they belong together, owing to the contrast of ideas." In spite of Liszt's wish, however, the two pieces are seldom heard together, the first ("The Nocturnal Procession") being, in fact, but seldom played, while the second—generally known as the "Mephisto Waltz"—is a familiar number on contemporary concert programmes. Mr. Frederick Niecks has thus presented the gist of the first episode, "The Nocturnal Procession":
"Heavy, dark clouds, profound night, sweet, spring feeling in the wood, a warm, soulful rustling in the foliage, fragrant air, carolling of the nightingale. Faust rides alone in sombre mood; the farther he advances the greater the silence; he dismounts. What can be the approaching light illuminating bush and sky? A procession, with torches, of white-dressed children carrying wreaths of flowers in celebration of St. John's Eve, followed by virgins in demure nuns' veils, and old priests in dark habits and with crosses. When they have passed by and the last glimpses of the lights have disappeared, Faust buries his face in his horse's mane and sheds tears more bitter than ever he shed before."
The programme of the second episode, "The Dance in the Village Tavern" or "Mephisto Waltz," has been set forth as follows by Mr. Philip Hale:
"Lenau, in this episode of his 'Faust,' pictures a marriage feast at a village tavern. There is music, there is dancing. Mephistopheles, dressed as a hunter, looks in at the tavern window, and beckons Faust to enter and take part in the sport. The fiend assures him that a damsel tastes better than a folio, and Faust answers that for some reason or other his blood is boiling. A black-eyed peasant girl maddens him at first sight, but Faust does not dare to greet her. Mephistopheles laughs at him, 'who has just had it out with hell, and is now shame-faced before a woman.' The musicians do not please him, and he cries out: 'My dear fellows, you draw a sleepy bow. Sick pleasure may turn about on lame toes to your waltz, but not youth full of blood and fire. Give me a fiddle: it will sound otherwise, and there will be different leaping in the tavern.' And Mephistopheles plays a tune. There is wild dancing, so that even the walls are pale with envy because they cannot join in the waltz. Faust presses the hand of the dark girl, he stammers oaths of love. Together they dance through the open door, through garden and over meadow, to the forest. Fainter and fainter are heard the tones of the fiddle: they are heard through songs of birds and in the wondrous dream of sensual forgetfulness."
It has been recalled—and the fact is historically interesting—that when the "Mephisto Waltz" was first played in Boston under Theodore Thomas (October 10, 1870), in a day that knew not the Till Eulenspiegel or Salome of Strauss, Mr. John S. Dwight, a critic of wide influence in the earlier days of music in America, was moved to stigmatize the music as "positively devilish, simply diabolical"; for, he held, "it shuts out every ray of light and heaven, from whence music sprang."
FOOTNOTES:
[70] Without opus number.
[71] Without opus number.
[72] Without opus number.
[73] This translation (the preface in the score is printed both in the original French of Liszt and in a German version made by Peter Cornelius) is probably the work of Mr. W. F. Apthorp.
[74] Without opus number.
[75] The English translation of this title, "Sounds of Festivity," would not identify it in the minds of most readers with Liszt's symphonic poem, which is most familiarly known by its German name.
[76] Without opus number.
[77] The Polish princess to whom Liszt was devoted for many years, and with whom he sought unsuccessfully to effect a legal union. She was born in Monasterzyska (Kieff), February 8, 1819, and died in Rome, March 3, 1887.
[78] Without opus number.
[79] Translated by Constance Bache.
[80] Without opus number.
[81] The order in which the verses are quoted by Liszt is not the order which they follow in Schiller's poem; and Liszt has included certain passages which Schiller omitted in the final revised form of Die Ideale.
[82] The quotations in verse are from Lord Lytton's translation. The prose passage in the "Aspiration" section is from a translation by Mr. Frederick Niecks.
[83] Without opus number.
"Alles Vergängliche
Ist nur ein Gleichniss;
Das Unzulängliche,
Hier wird's Erreigniss;
"Das Unbeschreibliche,
Hier ist's gethan;
Das Ewig-Weibliche
Zieht uns hinan."
[85] Without opus number.
[86] This translation, and those that follow, are from the English version of Longfellow.
[87] The translation of these lines in the prose version of Dr. John A. Carlyle—"There is no greater pain than to recall a happy time in wretchedness"—may appear to some to be more felicitous, as it is more precise, than that of Longfellow.
[88] The final passage is said to have been conceived as an expression of the thought in these lines of Dante (from the twenty-first canto of the "Paradiso"):
"I saw rear'd up,
In color like to sun-illumined gold,
A ladder, which my ken pursued in vain,
So lofty was the summit; down whose steps
I saw the splendors in such multitude
Descending, every light in heaven, methought,
Was shed thence."
—Translated by H. F. Cary.
[89] The English of this "introduction" is from the translation of Mr. Philip H. Goepp.