In Greek tragedy four forms of the chorus are found, representing four epochs. In the first, between the songs in which gods and heroes are extolled and genealogies, great deeds, and monstrous destinies are brought before the imagination, a few persons appear and carry the spectator back into the past. Of this we find an approximate example in the Seven before Thebes of, Eschylus. Here, therefore, are the beginnings of dramatic art, the old style. The second epoch shows us the chorus in the mass as the mystical, principal personage of the piece, as in the Eumenides and Supplicants. Here I am inclined to find the grand style. The chorus is independent, the interest centres in it; one might call this the Republican period of dramatic art; the rulers and the gods are only attendant personages. In the third epoch it is the chorus which plays the secondary part; the interest is transferred to the families, and the members and heads who represent them in the play, with whose fate that of the surrounding people is only loosely connected. Then, the chorus is subordinate, and the figures of the princes and heroes stand preëminent in all their exclusive magnificence. This I consider the beautiful style. The pieces of Sophocles stand on this plane. Since the crowd is forced merely to look on at the heroes and at fate, and can have no effect on either their special or general nature, it takes refuge in reflection and assumes the office of an able and welcome spectator. In the fourth epoch the action withdraws more and more into the sphere of private interests, and the chorus often appears as a burdensome custom, as an inherited fixture. It becomes unnecessary, and therefore, as a part of a living poetic composition, it is useless, wearisome, and disturbing; as, for example, when it is called upon to guard secrets in which it has no interest, and things of that sort. Several examples are to be found in the pieces of Euripides, of which I will mention Helen and Iphigenia in Tauris.
From all this you will see that, for a musical reconstruction of the chorus, it would be necessary to make experiments in the style of the first two epochs; and this might be accomplished by means of quite short oratorios.
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LETTER 553
Weimar, June 1, 1805.
Since writing to you last, I have had few happy days. I thought I should die myself, and instead I lose a friend,[33] and with him the half of my being. I would really begin a different mode of life, but for one of my years there is no way of doing that. I only look straight ahead of me each day, and do the thing nearest to me without thinking of the consequences.
But as people in every loss and misfortune try to find a pretext for amusement, I have been urgently solicited in behalf of our theatre, and on many other sides, to celebrate on the stage the memory of the departed one. I wish to say nothing further on the subject, except that I am not disinclined to it, and all I would ask of you now is whether you are willing to assist me in the matter; and, first, whether you would furnish me with your motet—"Man lives," etc., about which I have read in the Musical Review, No. 27; also whether you would either compose some other pieces of a solemn character, or else select and make over to me some musical pieces already composed—the style of which I will indicate later—as a foundation for appropriate compositions. As soon as I know your real opinion on the subject, you shall receive further details.
Your beautiful series of little essays on orchestra organization I have left lying around till now, and the reason is that they contained a sort of satire on our own conditions.
Now Reichard wishes them for the Musical Review. I hunt them up again, look them over, and I feel that I really could not deprive the Intelligence Page of our Literatur-Zeitung of them. Some of our conditions here have changed, and, after all, a man may surely be allowed to censure those things which he did not try to hinder.
Privy Councillor Wolf of Halle is here at present. If only I could hope to see you also here this year! Would it not be possible for you to come to Lauchstaedt the end of July, so as to help, there on the spot, in the preparation and performance of the above-mentioned work?