"He particularly disliked the croaking of the frogs, and realized how much it lowered his art. Swieten showed him an old piece of Grétry's in which the croak was imitated with striking effect. Haydn contended that it would be better if the entire croak were omitted, though he yielded to Swieten's importunities. He declared afterwards, however, that the frog passage was not his own. 'It was urged upon me,' he said, 'to write this French croak. In the orchestral setting it is very brief, and it cannot be done on the piano. I trust the critics will not treat me with severity for it. I am an old man, and liable to make mistakes.'"
After a quaintly melodious prelude the third part opens with a terzetto and chorus ("Thus Nature ever kind rewards"), an invocation to virtue and industry, and a quaintly sentimental duet ("Ye gay and painted Fair"). The next number, an aria by Simon ("Behold along the dewy Grass"),--which gives us a picture of the hunter and his dog pursuing a bird,--prepares the way for the great hunting chorus ("Hark! the Mountains resound"), one of the most graphic and stirring choruses of this description ever written. The whole scene,--the vales and forests resounding with the music of the [175] horns, the finding of the quarry, the flying stag outstripping the wind, the pack at fault, but starting in again as they find the scent, the tally-ho of the hunters, the noble animal at bay, his death, and the shouts of the crowd,--are all pictured with a freshness and genuine out-door feeling which seem almost incredible considering Haydn's age. This remarkable number is separated from its natural companion, the bacchanalian chorus, by a recitative extolling the wealth of the vintage. This chorus ("Joyful the Liquor flows") is in two parts,--first a hymn in praise of wine, sung by the tippling revellers, and second, a dance tempo, full of life and beauty, with imitations of the bagpipe and rustic fiddles, the melody being a favorite Austrian dance-air. With this rollicking combination, for the two movements are interwoven, the third part closes.
A slow orchestral prelude, "expressing the thick fogs at the approach of winter," introduces the closing part. In recitative Simon describes the on-coming of the dreary season, and Jane reiterates the sentiment in the cavatina, "Light and Life dejected languish." In Lucas's recitative we see the snow covering the fields, and in his following aria, "The Traveller stands perplexed," a graphic tone-picture of the wanderer lost in the snow is presented. At last he espies the friendly light in the cottage. "Melodious voices greet his ears," and as he enters he beholds the friendly circle, the old father telling over his stories of the past, the mother plying the distaff, the girls spinning, and the young people [176] making the night merry with jest and sport. At last they join in a characteristic imitative chorus ("Let the Wheel move gayly"). After the spinning they gather about the fire, and Jane sings a charming love-story ("A wealthy Lord who long had loved"), accompanied by chorus. Simon improves the occasion to moralize on the sentiment of the seasons in the aria, "In this, O vain, misguided Man," impressing upon us the lesson that "Nought but Truth remains;" and with a general appeal to Heaven for guidance through life, this quaint and peaceful pastoral poem in music draws to its close. It was the last important work of the aged Haydn, but it has all the charm and freshness of youth.
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LISZT.
Franz Liszt, the most eminent pianist of his time, who also obtained world-wide celebrity as a composer and orchestral conductor, was born at Raiding, Hungary, Oct. 22, 1811. His father was an accomplished amateur, and played the piano and violoncello with more than ordinary skill. He was In his ninth year Liszt played for the first noblemen encouraged him to continue his studies, and guaranteed him sufficient to defray the expenses of six years' tuition. He went to Vienna at once and studied the piano with Czerny, besides taking lessons in composition from Salieri and Randhartinger. It was while in that city that his first composition, a variation on a waltz of Diabelli, appeared. In 1823 he went to Paris, hoping to secure admission to the Conservatory; but Cherubini [178] refused it on account of his foreign origin, though Cherubini himself was a foreigner. Nothing daunted, young Liszt continued his studies with Reicha and Paer, and two years afterwards brought out a one-act opera entitled "Don Sancho," which met with a very cordial reception. The slight he had received from Cherubini aroused popular sympathy for him. His wonderful playing attracted universal attention and gained him admission into the most brilliant Parisian salons. He soon became known as the "wonder-child," and was a favorite with every one, especially with the ladies. For two or three years he made artistic tours through France, Switzerland, and England, accompanied by his father, and everywhere met with the most brilliant success. In 1827 the father died, leaving him alone in the world; but good fortune was on his side. During his stay in Paris he had made the friendship of Victor Hugo, George Sand, Lamartine, and other great lights in literature and music, and their influence prepared the way for his permanent success. Notwithstanding that he was in many senses a Bohemian and a man of the world, he had a strong religious tendency. For a time he became deeply interested in the doctrines of Saint-Simon; but his adherence to that system did not last long. He speedily returned to the Roman Church, and some years afterwards went to Rome, at the suggestion of the Pontiff took orders, and set himself about the work of reforming the church music,--a task, however, which he soon [179] abandoned; too many obstacles stood in his way. He expected to become Capellmeister at the Sistine Chapel; but, as he himself said: "I was thwarted by the lack of culture among the cardinals; and besides, most of the princes of the Church were Italian." The Abbé was soon in Germany again, where he resided until the close of his life. From 1839 to 1847 he travelled from one city to another, arousing the most extraordinary enthusiasm; his progress was one continued ovation. In 1849 he went to Weimar and accepted the post of conductor at the Court Theatre. He made Weimar the musical centre of Europe. It was there that his greatest compositions were written, that the school of the music of the future was founded, and that Wagner's operas first gained an unprejudiced hearing; and it is from Weimar that his distinguished pupils, like Von Bülow, Tausig, Bendel, Bronsart, Klindworth, Winterberger, Reubke, and many others date their success. In 1859 he resigned his position, and after that time resided at Rome, Pesth, and Weimar, working for the best interests of his beloved art, and encouraging young musicians to reach the highest standards. Few men of this century have had such a powerful influence upon music, or have done so much to elevate and purify it. His most important works were the "Divina Commedia" and "Faust" symphonies, the twelve symphonic poems, the six Hungarian rhapsodies, the "Graner Mass," the "Hungarian Coronation Mass," and the oratorios "Christus" and [180] "The Legend of the Holy Elizabeth." Besides these he wrote a large number of orchestral pieces, songs, and cantatas, and a rich and varied collection of pianoforte solos, transcriptions, and arrangements. He died July 31, 1886.
The Legend of the Holy Elizabeth.
The oratorio, "Legend of the Holy Elizabeth," was written in 1864, and first produced Aug. 15, 1865, upon the occasion of the twenty-fifth anniversary of the Conservatory of Pesth-Ofen. The text is by Otto Roquette, and was inspired by Moritz von Schwind's frescos at the Wartburg representing scenes in the life of the saint. A brief allusion to her history will still further elucidate the story which Liszt has treated so powerfully. She was the daughter of King Andreas II. of Hungary, and was born in 1207. At the age of four she was betrothed to Ludwig, son of the Landgrave Hermann of Thuringia, whom she married in 1220. After his death, in 1227, she was driven from the Wartburg and forced to give up the regency by her cruel and ambitious mother-in-law. After long wanderings and many privations she retired to Bamberg, where her uncle, the bishop, dwelt; but shortly afterwards her rights were restored to her. She renounced them in favor of her son, Hermann II., and died in 1231. Four years later she was canonized at [181] Marpurg by order of Pope Gregory IX. Her life was devoted to the relief of the poor and suffering.
The characters introduced in the oratorio are Saint Elizabeth, Landgrave Ludwig, Landgrave Hermann, Landgravine Sophie, a Hungarian Magnate, the Seneschal, and the Emperor Frederick II. The last three rôles are usually assigned to Ludwig, thus reducing the number of solo-singers to four. The work is laid out in two parts, each having three scenes corresponding in subjects with Von Schwind's six frescos. The first describes the arrival of Elizabeth at the Wartburg, and the welcome she receives. In the second she is married, and her husband, Ludwig, has succeeded to the throne. His devotion to knight-errantry leads him from home. During his absence a famine breaks out, and Elizabeth in her devotion to the sufferers impoverishes herself and incurs the wrath of her mother-in-law, the Landgravine Sophie. While carrying a basket of bread and wine one day to the victims of the scourge, she is met by her husband, who has unexpectedly returned. Amazed at the absence of her attendants, he questions her, and she excuses herself with the plea that she has been gathering flowers. Doubting the truth of her statement, he snatches the basket from her. She confesses her falsehood; but upon examining the basket it is found to be full of roses. The Lord has performed a miracle. Overcome with remorse for doubting her, Ludwig begs her forgiveness, and the two join in prayer that the Lord may continue His goodness to them. The third scene opens at [182] Schmalkald, on the borders of Thuringia, where Ludwig has assembled his knights and nobles who are to accompany him to the Holy Land. They declare their allegiance to Ludwig as their leader, and he calls upon them also to swear fealty to his wife. After a sad farewell Ludwig rides away at the head of his Crusaders. The fourth scene opens with the news of Ludwig's death. The Landgravine claims the castle as her inheritance, compels Elizabeth to abandon the regency, and drives her out in the midst of a furious storm. In the fifth scene we find her at a hospital which she has founded, and notwithstanding her own troubles and sufferings still ministering to others in like affliction. This scene closes with her death, and in the last we have the ceremonies of her canonization at Marpurg.
The first scene opens with a long orchestral introduction, working up to a powerful climax, and based mainly upon a theme from the old church service, which is Elizabeth's motive, and is frequently heard throughout the work. An animated prelude which follows it introduces the opening chorus ("Welcome the Bride"). A brief solo by Landgrave Hermann ("Welcome, my little Daughter") and another of a national character by the Hungarian Magnate attending the bride intervene, and again the chorus break out in noisy welcome. After a dignified solo by Hermann and a brief dialogue between Ludwig and Elizabeth, a light, graceful allegretto ensues, leading up to a children's chorus ("Merriest Games with thee would we play"), [183] which is delightfully fresh and joyous in its character. At its close the chorus of welcome resumes, and the scene ends with a ritornelle of a plaintive kind, foreboding the sorrow which is fast approaching.