Such is the horrible story which forms the theme of Dvořák’s cantata. It was written for the Birmingham Festival of 1884, and the text was translated by the Rev. Dr. Troutbeck, from a German translation of the original poem made by K. J. Müller. It contains eighteen numbers, each of considerable length, of which eleven are descriptive, the barytone, with chorus response, acting the part of the narrator, and accompanied by instrumentation which vividly paints the horrors of the nocturnal tramp, even to the realistic extent of imitating the various sounds described. It is unnecessary to specify each of these numbers in detail, as they are all closely allied in color and general effect. The music which accompanies them is picturesque and weird, increasing in its power and actual supernaturalism until it reaches its climax in the dead-house where the maiden takes refuge; and in these numbers the orchestra bears the burden of the work. The remaining numbers are almost magical in their beauty and fascination, particularly the first song of the maiden, lamenting her lover, and closing with the prayer to the Virgin, which is thoroughly devotional music, and the second prayer, which saves her from her peril. There are four duets, soprano and tenor, between the Bride and Spectre, and one with chorus, in which are recounted the episodes of the chaplet, prayer-book, and cross, besides the hurried dialogue between them as he urges her on. These, too, abound in quaint rhythms and strange harmonies set against a highly-colored instrumental background. The story is not a pleasant one for musical treatment,—at least for voices,—and the prevailing tone of the composition is sombre; but of the wonderful power of the music and its strange fascination there can be no doubt.
FOOTE.
Arthur Foote, a rising young composer of Boston, whose works have already made more than a local reputation, was born at Salem, Mass., March 5, 1853. While at Harvard College he studied composition with Prof. J. K. Paine, and after graduation determined to devote himself to the musical profession. He studied the piano-forte and organ with Mr. B. J. Lang of Boston, and soon made his mark as a musician of more than ordinary promise. Among his published works which have attracted favorable attention are various songs and piano compositions; pieces for violin and piano, violoncello and piano; a string quartet; trio for piano, violin, and violoncello; and “Hiawatha,” a ballad for male voices and orchestra. A suite for strings, in manuscript, has obtained the honor of performance at the London symphony concerts (January, 1887), and an overture, “In the Mountains,” also in manuscript, was played by the Boston Symphony Orchestra in February, 1887. He is now living in Boston, where he is engaged in teaching the piano and organ.
Hiawatha.
“The Farewell of Hiawatha,” for barytone solo, male voices, and orchestra, modestly styled by its composer a ballad, is a cantata in its lighter form. Its subject is taken from Longfellow’s familiar poem, and includes the beautiful close of the legend beginning with the stanza:—
“From his place rose Hiawatha,
Bade farewell to old Nokomis,
Spake in whispers, spake in this wise,
Did not wake the guests, that slumbered.”