Henry Edward Krehbiel

“ The lad's mind is, indeed, in a parlous state; he feels his body alternately burning and freezing; the mere sight of a maiden sends the blood to his cheeks, and he needs must sigh whenever he hears her voice; sleeping and waking, by lakeside, in the shadow of the woods, on the mountain, by stream and fountain, his thoughts are only of love and its sweet pains. It is quite impossible to describe the eloquence with which Mozart's music expresses the feverish unrest, the turmoil, and the longing which fill the lad's soul. ”

“ Boito's Margherita has more of Goethe's Gretchen than Gounod's Marguerite. Like the former, she wonders what a cavalier can find to admire in her simple self, and protests in embarrassment when Faust (or Enrico, as he calls himself) kisses her rough hand. Like Goethe's maiden, too, she is concerned about the religious beliefs of her lover, and Boito's Faust answers, like Goethe's Faust, that a sincere man dares protest neither belief nor unbelief in God. Nature, Love, Mystery, Life, God—all are one, all to be experienced, not labelled with a name. ”

“ But Brangäne suspects treachery on the part of Melot, a knight who is jealous of Tristan and himself enamoured of Isolde. It was he who had planned the nocturnal hunt. She warns her mistress, and begs her to wait. Beauty rests upon the scene like a benediction. To Isolde the horns are but the rustling of the forest leaves as they are caressed by the wind, or the purling and laughing of the brook. Longing has eaten up all patience, all discretion, all fear. In spite of Brangäne's pleadings she extinguishes the torch, and with wildly waving scarf beckons on her hurrying lover. ”

“ The merriest of opera overtures introduces "Le Nozze di Figaro," and puts the listener at once into a frolicsome mood. It seems to be the most careless of little pieces, drawing none of its material from the music of the play, making light of some of the formulas which demanded respect at the time (there is no free fantasia) , laughing and singing its innocent life out in less than five minutes as if it were breathing an atmosphere of pure oxygen. It romps; it does not reflect or feel. Motion is its business, not emotion. ”

“ The dignity and vigor of Wagner's poetical fancy are attested by the marvellous chose of the act. The tremendous hubbub of the street brawl is at its height and the business of the act is at an end. The coming of the Watchman, who has evidently been aroused by the noise, is foretold by his horn. The crowd is seized with a panic. All the brawlers disappear behind doors. The sleepy Watchman stares about him in amazement, rubs his eyes, sings the monotonous chant which publishes the hour of the night, continues on his round, and the moon shines on a quiet street in Nuremberg as the curtain falls. ”

“ The moon shines brightly on the rippling surface of the Nile and illumines a temple of Isis, perched amongst the tropical foliage which crowns a rocky height. The silvery sheen is spread also over the music, which arises from the orchestra like a light mist burdened with sweet odors. Amneris enters the temple to ask the blessing of the goddess upon her marriage, and the pious canticle of the servitors within floats out on the windless air. A tone of tender pathos breathes through the music which comes with Aïda, who is to hold secret converse with her lover. ”

“ The maiden sees in this a punishment meted out by Venus and offers herself as a propitiatory sacrifice. Left alone by parents and friends, she climbs the rocky steeps and falls asleep in the wilderness. Thither come the Zephyrs and carry her to a beautiful garden, where unseen hands serve her sumptuously in a magnificent palace and the voices of invisible singers ravish her cars with music. Every night she is visited by a mysterious being who lavishes loving gifts upon her, but forbids her to look upon his face, and disappears before dawn. ”

“ Under the windows the peasants dance, and out of the huge gateway come the soldiery and march off to battle. At the climax of the music which drove the people of Pesth wild at its first performance, so that Berlioz confessed that he himself shuddered and felt the hair bristling on his head—when in a long crescendo fugued fragments of the march theme keep reappearing, interrupted by drum-beats like distant cannonading, Gunsbourg's battalions halt, and there is a solemn benediction of the standards. ”

“ The vibration of sentiment, never amounting to actual passion, the mingled anguish and delight of the longing which can never be satisfied, are expressed with a power of beauty raising them out of the domain of mere sensuality. Very remarkable is the simplicity of the means by which this extraordinary effect is attained. A violin accompaniment passage, not unusual in itself, keeps up the restless movement; the harmonies make no striking progressions; strong emphasis and accents are sparingly used, and yet the soft flow of the music is made suggestive of the consuming glow of passion. ”

“ Swords are drawn. Sacrilege must be punished. Death confronts the impiously daring minstrel. But Elizabeth, whose heart has been mortally pierced by his words, interposes to save him. She has been stricken, but what is that to his danger of everlasting damnation? Would they rob his soul of its eternal welfare? The knight, indifferent to a score of swords, is crushed by such unselfish devotion, and humbly accepts the Landgrave's clemency, which spares his life that he may join a younger band of pilgrims and seek absolution at Rome. ”

“ A new melody, blither, happier, but always the violoncello murmuring in blissful harmony with the seductive voice and rejoicing in the cunning witcheries which lull Masetto's suspicions to sleep. Now all go into Don Giovanni's palace, from which the sounds of dance music and revelry are floating out. Donna Elvira, Donna Anna, and Don Ottavio, who come to confront him who has wronged them all, are specially bidden, as was the custom, because they appeared in masks. Within gayety is supreme. ”

“ Helen of Troy and Pantalis, surrounded by a group of sirens, praise the beauty of nature in an exquisite duet, which flows on as placidly as the burnished stream. Faust lies sleeping upon a flowery bank, and in his dreams calls upon Helen in the intervals of her song. Helen and Pantalis depart, and Faust is ushered in by Mefistofele. He is clad in his proper mediaeval garb, in strong contrast to the classic robes of the denizens of the valley in Thessaly. Mefistofele suggests to Faust that they now separate; the land of antique fable has no charm for him. ”

“ In vain does Brangäne sing her song of warning from the tower; the lovers have been transported beyond all realization of their surroundings; they sing on, dream on in each other's arms, until at the moment of supremest ecstasy there comes a rude interruption. Kurwenal dashes in with a sword and a shout: "Save thyself, Tristan!" the king, Melot, and courtiers at his heels. Day, symbol of all that is fatal to their love, has dawned. Tristan is silent, though Marke bewails the treachery of his nephew and his friend. ”

“ As this chant draws closer and closer, as the day drives farther back the night, that whir and soughing of the air—which had erewhile sounded like the eerie cry of souls condemned—now rises to ever gladder waves, so that when the sun ascends at last in splendor and the pilgrims' chant proclaims in ecstasy to all the world, to all that live and move thereon, salvation won, this wave itself swells out the tidings of sublimest joy. 'Tis the carol of the Venusberg itself redeemed from curse of impiousness, this cry we hear amid the hymn of God. ”

“ He craves youthfulness, with its desires and delights, its passions and puissance. Méphistophélès promises all, and, when he hesitates, inflames his ardor with a vision of the lovely Marguerite seated at her spinning-wheel. Eagerly Faust signs the compact—the devil will serve Faust here, but below the relations shall be reversed. Faust drinks a pledge to the vision, which fades away. In a twinkling the life-weary sage is transformed into a young man, full of eager and impatient strength. ”

“ Don Giovanni hesitates to draw against so old a man, but the Commandant will not parley. They fight. At first the attacks and defences are deliberate (the music depicts it all with wonderful vividness) , but at the last it is thrust and parry, thrust and parry, swiftly, mercilessly. The Commandant is no match for his powerful young opponent, and falls, dying. A few broken ejaculations, and all is ended. The orchestra sings a slow descending chromatic phrase "as if exhausted by the blood which oozes from the wound," says Gounod. ”

“ The moon throws a lurid light on the scene and shows us Caspar in his shirt-sleeves preparing for his infernal work. He arranges black stones in a circle around a skull. His tools lie beside him: a ladle, bullet-mould, and eagle's-wing fan. The high voices of an invisible chorus utter the cry of the owl, which the orchestra mixes with gruesome sounds, while bass voices monotonously chant:—
Poisoned dew the moon hath shed,
Spider's web is dyed with red;
Ere to-morrow's sun hath died
Death will wed another bride. ”

“ Sylphs circle around the sleeper and throw themselves into graceful attitudes while the song is sounding. Then to the music of the elfin waltz, others enter who have, seemingly, cast off the gross weight which holds mortals in contact with the earth. With robes a-flutter like wings, they dart upwards and remain suspended in mid-air at will or float in and out of the transporting picture. To Faust is also presented a vision of Marguerite. ”

“ Forgiveness is deserved only by those willing to forgive. All is well, and the Countess gives her hand to be kissed by her lord. Enters Figaro with joyous music to announce that all's ready for the wedding; trumpets sounding, pipes tootling, peasants singing and dancing. The Count throws a damper upon his exuberant spirits. How about that letter? In spite of the efforts of the Countess and Susanna to make him confess its authorship, Figaro stoutly insists that he knows nothing of it. ”

“ Oh, how doubly dear and above all honor is Mozart to me that it was not possible for him to invent music for 'Tito' like that of 'Don Giovanni,' for 'Cosi fan tutte' like that of 'Figaro'! How shamefully would it have desecrated music!" And again: "Where else has music won so infinitely rich an individuality, been able to characterize so surely, so definitely, and in such exuberant plenitude, as here?" {1}
Mozart composed "Don Giovanni" for the Italian Opera at Prague, which had been saved from ruin in the season 1786-1787 by the phenomenal success of "Le Nozze di Figaro." ”

“ In this street there walk soldiers, followed by students, singing their songs. Through them Faust finds his way and into the trellised enclosure. The strains of the songs are heard at the last blended in a single harmony. Marguerite enters through the street with her lantern and sings the romance of the King of Thule, which Berlioz calls a Chanson Gothique, one of the most original of his creations and, like the song in the next scene, "L'amour l'ardente flamme," which takes the place of Goethe's "Meine Ruh' ist hin," is steeped in a mood of mystical tenderness quite beyond description. ”

“ In a moment made wonderfully impressive by Wagner's music, while Amfortas bends over the grail and the knights are on their knees, a ray of light illumines the cup and it glows red. Amfortas lifts it high, gently sways it from side to side, and blesses the bread and wine which youthful servitors have placed beside each knight on the table. ”

“ The song is in ballad form, to suit the situation, the voice executing the clear, lovely melody, while the stringed instruments carry on a simple accompaniment pizzicato, to imitate the guitar: this delicate outline is, however, shaded and animated in a wonderful degree by solo wind instruments. Without being absolutely necessary for the progress of the melodies and the completeness of the harmonies, they supply the delicate touches of detail, reading between the lines of the romance, as it were, what is passing in the heart of the singer. ”