By all odds the best of these choruses, however, is "The Legend of the Bended Bow," a fine war-chant by Mrs. Hemans. Tradition tells that in ancient Britain the people were summoned to war by messengers who carried a bended bow; the poem tells of the various patriots approached. The reaper is bidden to leave his standing corn, the hunts-man to turn from the chase; the chieftain, the prince, mothers, sisters, sweethearts, and the bards are all approached and counselled to bravery. After each episode follow the words "And the bow passed on," but the music has been so well managed that the danger of such a repetition is turned into grim force. The only prelude is five great blasts of the horns. A brawny vigor is got by a frequent use of imitation and unison in the voices. The choric work is marked throughout with the most intense and epic power, almost savagery; a magnificent martial zest. The climax is big. It is certainly one of the best things of its kind ever done over here.
Another work of fine quality throughout is "A Christmas Idyl," for solos, chorus, and orchestra. A terrible sombreness is achieved in its former half by a notable simplicity. The latter part is in brighter tone; the solo, "And Thou, Bethlehem," is especially exultant. In manuscript is "An Easter Idyl," of large proportions, for solos, chorus, and orchestra, or organ.
In the single songs the influence of Gilchrist's early training in hymns is patent. In only a few instances do they follow the latter-day methods of Schumann and Franz. "A Song of Doubt and a Song of Faith" is possibly his best vocal solo. It begins with a plaint, that is full of cynic despair; thence it breaks suddenly into a cheerful andante. "The Two Villages" is a strong piece of work on the conventional lines of what might be called the Sunday ballad. "A Dirge for Summer" has a marked originality, and is of that deep brooding which is particularly congenial to Gilchrist's muse. The Scotch songs are charming: "My Heart is Sair" is full of fine feeling, and must be classed among the very best of the many settings of this lyric of Burns'.
Most modern in feeling of all Gilchrist's vocal solos is the group of "Eight Songs." They interpret the text faithfully and the accompaniment is in accord with the song, but yet possessed of its own individuality. "[A Love Song]" is tender and has a well-woven accompaniment; "The Voice of the Sea" is effective, but hardly attains the large simplicity of Aldrich' poem; "Autumn" is exquisitely cheery; "Goldenrod" is ornately graceful, while "The Dear Long Ago" is quaint; "Lullaby" is of an exquisitely novel rhythm in this overworked form.
A LOVE SONG.
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By Barry Cornwall.Music by W.W. Gilchrist.
Copyright, 1885, by Arthur P. Schmidt & Co.