Jubilee Cantata.
The “Jubilee Cantata” was written in 1818 to celebrate the fiftieth anniversary of the reign of King Friedrich August of Saxony. The King having expressed a desire that there should be a court concert on the day of the anniversary, September 20, Count Vitzthum commissioned Weber to write a grand jubilee cantata. The poet Friedrich Kind supplied the words. While engaged in its composition Weber was informed by friends that other arrangements were being made for the concert, and on the 12th of September the information was confirmed by a letter from the Count which informed him that notwithstanding his personal protests, the Jubilee Cantata was not to be given. The son in his biography of his father intimates that the change was the result of intrigues on the part of his Italian rivals, Morlacchi, Zingarelli, and Nicolini. The same authority says that the cantata was finally produced in the Neustadt church for the benefit of the destitute peasantry in the Hartz mountains, Weber himself conducting the performance, and that only the overture to the work, now famous the world over as the “Jubel,” was played at the court concert. The best authorities, however, now believe that the Jubel overture is an entirely independent work, having no connection with the cantata. The text of the cantata, which commemorates many special events in the life of the King, being found unsuitable for general performance, a second text was subsequently written by Amadeus Wendt, under the title of “Ernte-Cantata” (“Harvest Cantata”) which is the one now in common use, although still another version was made under the name of “The Festival of Peace,” by Hampdon Napier, which was used at a performance in London under the direction of the composer himself only a few days before his death.
The cantata is written for the four solo voices, chorus, and orchestra. It opens after a short allegro movement with a full jubilant chorus (“Your thankful Songs upraise”), the solo quartet joining in the middle part with chorus. The second number is a very expressive recitative and aria for tenor (“Happy Nation, still receiving”). The third is characterized by quiet beauty, and is very devotional in spirit. It begins with a soprano recitative and aria (“Yet not alone of Labor comes our Plenty”), leading up to a second recitative and aria (“The gracious Father hears us when we call”), which are very vivacious in style, closing with a tenor recitative (“The Air is mild and clear and grateful to the Reapers”). These prepare the way for a short but very powerful chorus (“Woe! see the Storm-Clouds”). In the next number (“How fearful are the Terrors Nature brings”) the bass voice moralizes on the powers of Nature, followed by a plaintive strain for two sopranos, which leads up to a majestic prayer for chorus (“Lord Almighty, full of Mercy”). A bass recitative (“Lo, once our Prayer”) introduces a beautiful quartet and chorus of thanksgiving (“Wreathe into Garlands the Gold of the Harvest”). They are followed by a tenor recitative and soprano solo (“Soon noble Fruit by Toil was won”), and the work comes to a close with a stately chorus of praise (“Father, reigning in Thy Glory”).
Kampf und Sieg.
In June, 1815, Weber arrived in Munich and during his stay made the acquaintance of Fraulein Wohlbrück, the singer, which led to an introduction to her father, who was both an actor and a poet. On the very day that he met Wohlbrück, the news came to Munich of the victory of the Allies at Waterloo, the whole city was decorated and illuminated, and a great crowd, Weber with them, went to St. Michael’s Church to listen to a Te Deum. While there the idea of a grand cantata in commemoration of the victory came into his mind. On his return home he met Wohlbrück and communicated his purpose to him. The enthusiastic poet agreed to furnish the words. About the first of August the text was placed in Weber’s hands, and he at once set it to music. It was first produced on the 22d of December at Prague, and made a profound impression by its stirring military character and vivid battle-descriptions.
The cantata is written for the four solo voices, chorus of sopranos, altos, two tenors, and basses and orchestra. A stirring orchestral introduction leads up to a people’s chorus which describes the disappearance of dissensions heralding the approach of victory. No. 3 is a bass solo entitled “Faith,” with a delightful violoncello accompaniment. In No. 4, Love (soprano) and Hope (tenor) join with Faith in a song full of feeling. No. 5 is a soldiers’ chorus of an enthusiastic and martial character, while in the distance is heard the Austrian Grenadier’s march mingling with it. In the next number the approach of the enemy is heard as the chorus closes with the majestic phrase, “Mit Gott sei unser Werk gethan.” The lively march of the enemy comes nearer and nearer, interwoven with the next chorus, which is set to Körner’s prayer “Wie auch die Hölle braust.” Then follows the opening of the battle, with the roar of cannon, the shouts of the soldiers, and the cries of the wounded, through which is heard the French national air defiantly sounding. Another soldiers’ chorus follows. It pictures the advance of the Prussian Jägers (“Ha! welch ein Klang”), followed by the simple strains of “God save the King!” In No. 9 the fight is renewed, the music reaching a pitch of almost ferocious energy, until the joyous cry is heard, “Hurrah! Er flieht,” and the triumphant march of victory emphasizes the exultant pæan, “Heil dir im Siegerkranz.” The rest of the cantata is purely lyrical in style. Once more the voices of “Faith” and “Love” are heard, leading up to the final majestic chorus, “Herr Gott, Dich loben wir,” accompanying a solo voice chanting the theme “Gieb und erhalte den Frieden der Welt.”
WHITING.
George Elbridge Whiting was born at Holliston, Mass., Sept. 14, 1842. He began the study of the piano at a very early age, but soon abandoned it for the organ. His progress was so rapid that at the age of thirteen he made his public appearance as a player. In 1857 he went to Hartford, Conn., where he had accepted a position in one of the churches, and while there organized the Beethoven Society. In 1862 he removed to Boston, but shortly afterwards went to England, where he studied the organ for a year with Best. On his return he was engaged as organist of St. Joseph’s Church, Albany, N. Y., but his ambition soon took him to Europe again. This time he went to Berlin and finished his studies with Radecke and Haupt. He then returned to Albany and remained there three years, leaving that city to accept a position at the church of the Immaculate Conception, Boston. In 1874 he was appointed organist at the Music Hall, and was also for some time at the head of the organ department of the New England Conservatory of Music. In 1878 he was organist for the third Cincinnati May Festival, and in 1879 accepted a position in the College of Music in that city, at the same time taking charge of the organ in the Music Hall, with what success those who attended the May Festivals in that city will remember. He remained in Cincinnati three years and then returned to his old position in Boston. Mr. Whiting ranks in the first class of American organists, and has also been a prolific composer. Among his vocal works are a mass in C minor (1872); mass in F minor (1874); prologue to Longfellow’s “Golden Legend” (1873); cantatas, “Dream Pictures” (1877), “The Tale of the Viking” (1880); a concert overture (“The Princess”); a great variety of organ music, including “The Organist,” containing twelve pieces for that instrument, and “the First Six Months on the Organ,” with twenty-five studies; several concertos, fantasies, and piano compositions, and a large number of songs.