d'INDY
(Vincent d'Indy: born in Paris, March 27, 1852; now living there)
ORCHESTRAL LEGEND, "THE ENCHANTED FOREST": Op. 8
This work, which the composer calls a Legende-symphonie, is based on a ballad by Uhland entitled "Harald." It was composed in 1878. On a fly-leaf of the score is printed, in French, this paraphrase of Uhland's ballad:
"Harald, the brave hero, rides at the head of his warriors. They go by the light of the moon through the wild forest, singing many a song of war.
"Who rustle in ambush in the thickets? Who come down from the clouds and start from the torrent's foam? Who murmur in such harmonious tones and give such sweet kisses? Who hold the knights in such voluptuous embrace? The nimble troop of Elves; resistance is in vain. The warriors have gone away, gone to Elfland.
"He alone has remained—Harald, the hero, the brave Harald; he goes on by the light of the moon through the wild forest.
"A clear spring bubbles at the foot of a rock; scarcely has Harald drunk of the magic water than a strong sleep overpowers his whole being; he falls asleep on the black rocks.
"Seated on this same rock, he has slept for many centuries—and for many centuries, by the moonlight, the elves have circled slowly round about Harald, the old hero."[67]
"SAUGEFLEURIE" ["WILD SAGE">[, LEGEND FOR ORCHESTRA: Op. 21
Saugefleurie, Legende d'après un conte de Robert de Bonnière, was composed in 1884. The tale upon which it is based is from the Contes des Fées of de Bonnière, excerpts from which are prefaced to the score. The story has been retold in English prose as follows:
"Once upon a time a young and beautiful fairy, Saugefleurie, lived humbly and alone by the edge of a lake. The bank was covered with jonquils. She lived quietly in the trunk of a willow, and stirred from it no more than a pearl from its shell. One day the king's son passed by a-hunting, and she left her tree to see the horses, dogs, and cavaliers. The prince, seeing so fair a face, drew rein and gazed on her. She saw that he was handsome; and, as her modesty was emboldened by naïve love, she looked straight into his eyes. They loved each other at first sight, but not a word was spoken. Now it was death for Saugefleurie to love a mortal man, yet she wished to love the prince, and was willing, loving, to die. Nor was there any kindly power to save her. 'My lord,' she said, 'the fine days are past; do you not find solitude beautiful, and do not lovers love more warmly when their love is hidden? If it seem good to you, let us stay here without fear; our eyes can speak at leisure, and we shall find pleasure only in dwelling together. My heart will be light if it be near you. My lord, I give you my life. Take it, and without a question.' Love and death are always ready and waiting. Do not think that Saugefleurie, whose fate I mourn, was spared. She withered at once, for she was Saugefleurie." [68]
The music opens quietly; there is a violin solo; then the approach of the prince's hunting-party is suggested. The love-scene follows—solo first and second violins, solo viola, and flutes; there is an increase of intensity, and the music becomes passionate and stressful. The hunt music returns, followed by a reminiscence of the love-theme; then the end.