Montezuma, Act III, Introduction

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Frederic Grant Gleason

EXCERPT FROM AN ORCHESTRAL SCORE BY MR. GLEASON.

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In the first act Guatemozin, who has been exiled by Montezuma, appears disguised as an ancient minstrel and sings prophetically of the coming of a god of peace and love to supplant the terrible idol that demands human sacrifice. This superbly written aria provokes from the terrified idolaters a chorus of fear and reproach that is strongly effective. The next act begins with an elaborate aria followed by a love duet of much beauty. A heavily scored priests' march is one of the chief numbers, and like most marches written by the unco' learned, it is a grain of martial melody in a bushel of trumpet figures and preparation. The Wagnerian leit-motif idea is adopted in this and other works of his, and the chief objection to his writing is its too great fidelity to the Wagnerian manner,—notably in the use of suspensions and passing-notes,—otherwise he is a very powerful harmonist and an instrumenter of rare sophistication. A soprano aria with orchestral accompaniment has been taken from the opera and sung in concert with strong effect.

Another work played at the World's Fair by Thomas, is a "Processional of the Holy Grail." It is scored elaborately, but is rather brilliant than large. It complimentarily introduces a hint or two of Wagner's Grail motif.

The symphonic poem, "Edris," was also performed by the Thomas Orchestra. It is based upon Marie Corelli's novel, "Ardath," which gives opportunity for much programmism, but of a mystical highly colored sort for which music is especially competent. It makes use of a number of remarkably beautiful motives. One effect much commented upon was a succession of fifths in the bass, used legitimately enough to express a dreariness of earth.