“I write nothing about our monarchs and monarchies, for the newspapers give you every information on these subjects. The intellectual realm is the most precious in my eyes, and far above all temporal and spiritual monarchies.”
The cantata itself, while not one of the most meritorious of the composer’s works, for reasons which are sufficiently apparent, still is very effective in its choruses. The detailed parts do not need special description; they are six in number, as follows: No. 1, chorus (“Europa steht”); No. 2, recitative and chorus (“O, seht sie nah und näher treten”); No. 3, grand scena, soprano, with violin obligato and chorus (“O Himmel, welch’ Entzücken”); No. 4, soprano solo and chorus (“Das Auge schaut”); No. 5, recitative and quartet for two sopranos, tenor, and bass (“Der den Bund im Sturme festgehalten”); No. 6, chorus and fugue (“Es treten hervor die Scharen der Frauen”), closing with a stirring “Heil und Gluck” to Vindobona, the ancient name of the city. In 1836, nine years after the composer’s death, the cantata appeared with a new poetical setting by Friedrich Rochlitz, under the title of “Preis der Tonkunst” (“Praise of Music”), in which form it was better adapted for general performance.
Among other compositions of Beethoven which assimilate to the cantata form, are Op. 112, “Meeresstille und glückliche Fahrt,” for four voices, with orchestra accompaniment; Op. 121, “Opferlied,” for soprano solo, with chorus and orchestra accompaniment; and Op. 122, “Bundeslied,” for two solo voices, three-part chorus, and accompaniment of two clarinets, two bassoons, and two horns.
[12] Prince Rasoumowsky, who was the Russian ambassador at the Austrian Court for twenty years, was himself a thorough musician, and ranked as one of the best players in Vienna, of the Haydn and Beethoven quartets. His instrument was the second violin.
BENEDICT.
Sir Julius Benedict, whose name is so intimately connected with music in England, was born at Stuttgart, Nov. 27, 1804. After a short period of study with Hummel at Weimar he became a pupil of Weber. He progressed so rapidly that at the age of nineteen he conducted operatic performances in Vienna, and a few years afterwards was leader at the San Carlo in Naples, where he produced his first opera, “Giacinta ed Ernesto.” In 1835 he went to Paris and thence to London, where he remained until his death. In 1836 he led the orchestra at the Lyceum Theatre, and was also conductor at Drury Lane during the memorable seasons in which the best of Balfe’s operas were brought out. It was during this period also that he produced two of his own operas,—“The Brides of Venice” and “The Crusaders,” which are ranked among his best works of this class. In 1850 he accompanied Jenny Lind on her memorable tour through this country. On his return to England he was engaged as conductor at Her Majesty’s Theatre, and afterwards at Drury Lane. In 1860 he produced the cantata of “Undine;” in 1862 the opera “Lily of Killarney;” in 1863 the cantata “Richard Cœur de Leon;” in 1864 the operetta “Bride of Song;” in 1866 the cantata “St. Cecilia;” and in 1870 the oratorio “St. Peter.” In 1871 he received the honor of knighthood, and in 1873 brought out a symphony which met with great success. In 1874, the occasion of his seventieth birthday, he was made Knight Commander of the orders of Francis and Joseph and of Frederic, Austrian and Wurtembergian decorations. Nearly every sovereign in Europe had thus honored him. He was also conductor of the London Monday Popular Concerts for many years, and directed many chamber concerts. He died full of honors in June, 1885.
St. Cecilia.
The legend of St. Cecilia for two centuries has inspired the poet and composer, and the custom of celebrating her festival has obtained in nearly all European countries during the same period. The earliest observance was at Evreux, France, in 1571. The first celebration in England of which any record remains was that of 1683; though it is clear from the accounts of musical writers in the seventeenth century that the custom had been practised many years prior to that date. From 1683 to 1750 St. Cecilia festivals were given annually in London, and for these occasions an ode was written and set to music.[13] In the latter year the distinctive name of the festival fell into disuse, though large musical festivals were frequently held after that year on the saint’s day. In France regular entertainments were given on St. Cecilia’s Day from 1573 to 1601, when the record terminates. In Italy the anniversary of the saint has not been celebrated except as a church festival. In Germany the custom prevailed as early as the sixteenth century; and in the next century Cecilia festivals were quite common in Spain. Prior to Benedict’s work the most modern composition having the legend for its basis was a cantata by Van Bree, of Amsterdam, written in 1845.
These preliminaries will enable the reader the better to understand the introduction which Mr. Chorley has written to the text of the cantata by Benedict, composed for the Norwich Festival of 1866. Mr. Chorley says:—