The prologue, however, seems to me to contain more than the psychological content of these lines from the fifth canto of the "Inferno."
The slow introduction in C minor begins with a long, deep sigh, followed by a downward passage in the violas and 'cellos that seems to indicate the steps that bring Dante and Vergil down to the edge of the precipice past which the cyclone of the damned rolls eternally. There is some shrieking and shuddering, and ominous thudding of the tympani (which are tuned to unusual notes), then follows a short recitative which might represent Dante's query to Francesca how she came to yield to love. Suddenly out of the swirling strings the first subject is caught up; it is a frenzy passionately sung by the first violins, reënforced by the flutes at the crises. The second subject appears after a sudden prelude by the brass; it is a very lyric waltz-tune in the relative major, and doubtless depicts the joy recalled in sorrow. The conclusion is quite lengthy; it is also in waltz form, and is first announced by a single flute over the violins and violas, the first violins keeping to the gloomy G string. This air is now given to a solo horn, and a fierce and irresistible dance fervor is worked up. The elaboration begins with the first subject in F sharp minor, caught up fiercely from a downward rush. The reprise is not long delayed, and the second subject appears, contrary to custom, in the tonic major instead of the tonic minor. The coda is deliciously tender and beautiful, possibly because, being a prologue, the work must prepare for a drama that begins cheerfully; possibly because after all there is comfort in bliss remembered in sorrow.
Tschaïkowski has written a symphonic poem on the same subject, which has been also the inspiration of numberless dramas, and is one of the most pathetic pages in all literature; even the stern old Dante says that when he heard Francesca tell her story he almost died of pity, and fell to the ground as one dead.
A Serenade for string orchestra (op. 25) contains a Prelude, a tender Air, a luscious Intermezzo in the rich key of B major with soli for violin and 'cello, a Romance with a good climax, and a gallant Gavotte with special attention to the too much slighted violas.
Opus 36 is a suite for full orchestra. It has been played by the Boston Symphony, and consists of a brilliant Allegro; an Adagio of deep sincerity and beautifully varied color, a period wherein the brass choir, heavily scored, chants alone, and the division of the theme among the wood-wind over the rushing strings is especially effective; a very whimsical Andante with frequent changes of tempo, and soli for the English horn in antiphony with the first oboe; and a madcap Presto that whisks itself out in the first violins.
Two other published works are a string quartette (op. 4) and a quintette for piano and strings (op. 36). This begins in A minor with a well woven and well derived set of themes, and ends in a scherzo in A major with spinning-song characteristics. Between these two movements comes an intermezzo of strongly marked Scotch tone. This has been performed by the Kneisel Quartette.
S.G. Pratt.
Almost every musician has heard of Christopher Columbus, and holds him in a certain esteem as a man without whose push the invention of America would have been long deferred; but few American musicians have felt under a sufficient debt of gratitude to make his troubles and triumphs the foundation of an appropriate musical work. Silas G. Pratt was bold enough to undertake the monumental task; and he expended upon it large resources of scholarship, research, and enthusiasm. The work was performed at New York during the Quadricentennial of the discovery of America.
If Pratt had been born in old Egypt, he would have found his chief diversion in the building of pyramids, so undismayed is he by the size of a task. His patriotism is a sharp spur to him, and has enabled him to write an orchestral composition devoted to Paul Revere's Ride; a fantasy descriptive of a battle between the Northern and Southern armies; "The Battle of Manila;" "The Anniversary Overture," in commemoration of the centennial of American Independence, performed in Berlin twice, and in London at the Crystal Palace, during Grant's visit there; and a march called by the curious name of "Homage to Chicago." Besides these works Pratt has written the "Magdalen's Lament," his first orchestral composition, suggested by Murillo's picture; the lyric opera, "Antonio;" a first symphony, of which the adagio was performed in Berlin, the other movements being produced in Boston and Chicago; a second symphony, "The Prodigal Son;" a romantic opera, "Zenobia," produced in Chicago; a lyric opera, "Lucille," which ran for three weeks in Chicago; a symphonic suite based on the "Tempest;" a canon for a string quartette; a serenade for string orchestra; a grotesque suite, "The Brownies," produced in New York and at Brighton Beach by Anton Seidl. Besides these works of musical composition, Pratt has delivered various musical lectures, ingeniously contrived to entertain the great public and at the same time inform it. He has been active also in the organization of various musical enterprises, among them the Apollo Club of Chicago.
Pratt was born in Addison, Vermont, August 4, 1846. At the age of twelve, he was thrown on his own resources, and connected himself with music publishing houses in Chicago. After various public performances, he went to Germany in 1868, to study the piano under Bendel and Kullak, and counterpoint under Kiel. In 1872 he returned to Chicago and gave a concert of his own works. But the phœnix city had not entirely preened its wings after the great fire of 1871, and Pratt found no support for his ambitions. After teaching and giving concerts, he returned to Germany in 1875, where he attended the rehearsals of Wagner's Trilogy at Bayreuth, met Liszt here, and gave a recital of his own compositions at Weimar. His "Anniversary Overture" was cordially received by the press of both Berlin and London. A third visit to Europe was made in 1885 for the production of the "Prodigal Son" at the Crystal Palace, on the occasion of which, Berthold Tours wrote that both the symphony and the "Anniversary Overture" were "grandly conceived works, full of striking originality, modern harmony, flowing melody, and beautiful, as well as imposing effects."