“The whole chorus sings the Cantus firmus in unison, while the orchestra plays a whirl of grotesque and wildly leaping figures, through which the chorus makes its way undistracted and never misled, an illustration of the third verse, as grandiose and characteristic as it is possible to conceive.”
The sixth number is a recitative for tenor followed by a duet for alto and tenor (“How blessed then are they who still on God are calling”). The work closes with a repetition of the chorale, set to the last verse of the hymn, sung without accompaniment. The cantata is colossal in its proportions, and is characterized throughout by the stirring spirit and bold vigorous feeling of the Reformation days whose memories it celebrated.
[8] This assumption, repeated by others, grows out of the similarity of sentiment in the third stanza to that of Luther’s famous reply when he was urged not to attend the Diet of Worms.
[9] There is yet a fourth rearrangement, which we may assign to 1730. The assertion is no doubt well founded that in this year the celebration of the Reformation Festival was considered of special importance, and kept accordingly; and it is evident that the cantata “Ein’ feste Burg” must have been intended for some such extraordinary solemnity.—Spitta, vol. ii. p. 470.
The Reformation Festival had no doubt a very distinct poetical sentiment of its own; and when any special occasion took the precedence, as in 1730 and 1739, the years of Jubilee, it would be misleading to seek for any close connection between the sermon and the cantata. Thus the cantata, “Ein’ feste Burg,” may very well have been connected with the sermon in 1730; still, it is possible that it was not written till 1739.—Ibid., vol. iii. p. 283.
[10] Salomo Franck, a poet of more than ordinary ability, was born at Weimar, March 6, 1759. He published several volumes of sacred lyrics.
BALFE.
Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of all the English opera-composers, his career was the most versatile, as his success, for a time at least, was the most remarkable. At seven years of age he scored a polacca of his own for a band. In his eighth year he appeared as a violinist, and in his tenth was composing ballads. At sixteen he was playing in the Drury Lane orchestra, and about this time began taking lessons in composition. In 1825, aided by the generosity of a patron, he went to Italy, where for three years he studied singing and counterpoint. In his twentieth year he met Rossini, who offered him an engagement as first barytone at the Italian opera in Paris. He made his début with success in 1828, and at the close of his engagement returned to Italy, where he appeared again on the stage. About this time (1829-1830) he began writing Italian operas, and before he left the country had produced three which met with considerable success. In 1835 he returned to England; and it was in this year that his first English opera, “The Siege of Rochelle,” was brought out. It was played continuously at Drury Lane for over three months. In 1835 appeared his “Maid of Artois;” in 1837, “Catharine Grey” and “Joan of Arc;” and in 1838, “Falstaff.” During these years he was still singing in concerts and opera, and in 1840 undertook the management of the Lyceum. His finest works were produced after this date,—“The Bohemian Girl,” in 1843; “The Enchantress,” in 1844; “The Rose of Castile,” “La Zingara,” and “Satanella,” in 1858; and “The Puritan’s Daughter” in 1861. His last opera was “The Knight of the Leopard,” known in Italian as “Il Talismano,” which has also been performed in English as “The Talisman.” He married Mademoiselle Rosen, a German singer, whom he met in Italy in 1835. His daughter Victoire, who subsequently married Sir John Crampton, and afterwards the Duc de Frias, also appeared as a singer in 1856. Balfe died Oct. 20, 1870, upon his own estate in Hertfordshire.