Weber, in his vocal setting of the ballad, with his usual ability in grasping and utilizing every realistic suggestion of his subject, has emphasized both the martial and the spectral phases of the theme, treating with equal skill the spirit of martial daring and heroic patriotism which spoke in Lützow’s deeds, and the supernatural terrors which they awoke. One moment the “Black Huntsmen” sweep by us across some open moonlit plain, with a wild haste, with the clang of saber, the ring of bugle, and the tramp of rushing steeds; the next they flit before us through the gloom of the forests, vague, mysterious, like the indistinct phantoms of war. The distinct imitation of the rhythmic beat of galloping hoofs, so frequent a device in descriptive music, is effectively utilized here in accompaniment, while the melody of the song, full of trumpet-like suggestions, is raid to consist in part of actual bugle calls which were used among Lützow’s raiders.
Kullak, in his instrumental transcription, while preserving with artistic fidelity the composer’s intention in all the original effects of the song, has broadened, enriched, and intensified them, and at the same time adapted them cleverly to the resources of the piano. In places they may be still further enhanced by playing, as I would recommend to those possessing sufficient technic for it, all the scale passages for both hands in octaves, instead of single notes, as they are written, thus adding volume and brilliancy to the work as a whole.
The introduction, in rapid triplets, with marked accentuation, reproducing the exact rhythm of the gallop of horses, should begin softly, as if distant, and rise in a steady crescendo to a strong climax, suggesting the swift approach of a troop of riders; then the melody enters, bold and distinct, as if in trumpet tones, or given by the resonant voices of the dashing troopers. The piece must be varied by frequent and marked contrasts; now a trumpet-call, clear and sharp, answered by a distant echo; now a whispered hint of spectral terrors; again the sweep and rush, the clash and clamor, the delirious excitement of the impetuous charge.
The exultant climax, at the close, well expresses the sentiment of the final verse of the ballad:
“The Fatherland is free, famous, and triumphant,
Glory to the heroes whose blood has bought the victory!”
This composition of Weber’s, when given by a rousing, ringing, full-voiced male chorus of Germans, stirs the martial spirit in every breast, just as the Marseillaise fires the blood of the French. In its piano transcription, by Kullak, I recommend it to every player and teacher who is seeking something which is very difficult to find—namely: a good and effective number, martial and rhythmic in character, which is of real merit, and is a novelty to the audience of to-day, and yet has a classic name attached. It is admirably adapted to close a program or to end a group of several shorter compositions of varying mood.
| SCHUBERT | ||
| 1797 | 1828 | |