New-York tribune., 1885-03-01
MUSIC AND THE DRAMA.
THE LEGEND OF ST. ELIZABETH.


records which convenient indicate that this tho
first performance Of the work In America but told
that was brought out several ago by the German
Ledsrkranz under the direction Of Mr. Agrcola Paur
It therefore becomes necessary to amend our
announcement of few days ago 80 a. 70
mako 1t read the first public performance
In America the Ledcrkranz concerts being private
The programme of last nights concert contained
the statements that this the first performance of ths
work in English and that the vocal had been pub
lshed by NOveo, Ever Co. especially for the Brook
lyn Philharmonic Society,"" We fear that the first state
ment is open doubt Mr.. Walter Bache, Able Liszts
most jealous champion in London, who has for a
long time given annual concert OF Liszt's musfo
brought out this oratoo II we are not greatly mistaken
about ten years They not in the habit OF sing
ing works of the dimensions Of this in German In Lon
don and the translation of the book the work Of
Constance Bache it is extremely likely the present
version was used. The publication of the
vocal score, however, was unquestionably
prompted by the choice of the work for
performance by the Brooklyn Philharmonic and the
Cincinnati Festival Association So much IN the inter.
est Of correct history merely for the facts neither add to
detract from the interesting character of the work
In reviewing the vocal few weeks ago we took
occasion to classify The Legend OF st. Elizabeth"
with Mr.. Macksnze's Rose OF Sharon and those
familiar with the two works must have had the relation
ship impressed them the performance of the former
last night and Friday afternoon Both are equally
foreign in spirit to the old oratorio idea What Mr.
Mackenzie did with timdity. however List long
before had done with audacy in its way vigorous
that shown by Wagner his operate revolution Tho
germ OF the dramatic oratoro might be found in Handel
II wished look closely. certainly in Mendessohn
but in the latter the manifest action
OF the spirit Is but slight. IL is only
since the modern German opera acquired dominant
influence vocal music that the old forms cut
loose from entirely. Few writers since then
have dared to go back Rubinstein thought
to overcome the objections which modern tastes
offered the old--tyle oratorio> by inventing
his biblical stage-plays," or sacred operas"
Concerning his tor adopting the new treatment
of oraoro material he has instructed u.s. In gossippy
series of articles grouped under the head: Vor den
Coulisscn, printed in German journal in 1882, he in
timated that his "sacred operas" embodied his
protest against the oratorio Even the masterpieces
in this form, he said, had always left him
unmovcd in the coneert-room after they had az
fected HIM deeply in the study The stiffness Of the
FORMS musical well poetical, but especially
the latter. seemed to him harshy contradic-
tory of the intensely dramatic character OF tho
Old Testament stories and personages; and the
incongruity was heightened by the spectacle
of the representatives OF those personagcs in evening
dress lie thought that duty TO the dramatic essence OF
the biblical stories required that they should have ade
quate dramatic representation. To DIR. Damrosch
Herr Rubinstein said few years before that
the first impulse in the new direction
cam to him while he was looking at a ballet
Illustrative OF n Biblical story Paris In spite Of the
excellence OF Herr Rubnseins reasoning however, and
the grandeur and mpressiyeness OF much OF the music
in The Tower OF Babel must be confessed that he
has succeeded only III producing a mOngrel thing, an
opera that not be represented oratorio which
not oratoro.
Though OF its features have been initiated in
cent dramatic oraoros and cantatas, The Legend Of
St. Elizabeth" Is unique work. Mr.. c. a. Barry, in his
preface the English edition. says that the oratoro
"ws specially composed at the nsgation OF the Grand
Duke of Wemar for festival held at the Wartburg
the 2sth OF August, 1867, In commemoration OF the
eighth centenary OF the founding. aud in honor
OF the restoration then just completed OF that remark
able and historically interesting relic OF the middle ages"
This statement is correct but the work performed
in Pesth and Esenach places with which incidents IN
t5 life OF ST. Elizabeth associated two before
the Wartburg festival The famous castle had been
rched by six rescOesb by MOrtZ Schwud illustrating
the chcfepsodcn the saints history and these the
starting-point OF Liszt's inspiration Otto Roquette
the words FOR scenes, which List grouped
three parts and set to music These in brief
be described follows: l. Arrival OF Elizabeth as q
child, at the Wartburg; she is accompanied By
Hungarian magnates. and is received with
JOY by the children. her paymat9s, and by the
nobility. II. Elizabeth has matured and been married
10 Ludwig OF Thurngia. On hunting expedition the
Landgraye detects her carrying bread and wine the
poor contrary to his commands. lie upbraids her,
but. opening the basket discovers that miracle has
changed the yiands to Ill Ludwig at the head Of
his vassas out crusade. ~ Ludwig dies in the
Holy Land and the Landgravne Sophie usurps Ezabcths
rights and drives her out OF the Warburg V. Elizabeth
dies surrounded the poor whom she had befrended
and with whom she shares her last crust OF bread. VI
Burial OF Elizabeth in the Cathedral at Marpurg. Tho
dramatic idea has been kept uppemos throughout in
the setting Of these scenes. and Wagner's scheme
OF typical melodies, typical melodie
phrases has been accepted and consistently
IL.
ceeded In manner that enables him TO infuse poecal
purposes into the work which touched upon only
lightly by the poet One OF them has added local
TO the score which greatly helps its pict-
uresqueness and variety. The melody used to
typify Elizabeth is a church tune. Anaphona IN
tcso & Elizabeth. formerly sung in Hungarian churches
to hymn beginning quasi stella nsdh,tna" With this
he has associated Hungarian National tune with all
the rhythmca characteristics which his rhapsodics
have made familiar The former melody opens
the instrumental introduction; the latter is heard when
the Hungarian MGgndte addresses the household hs
arrival Of the train bringing the princess to the Wart
burg Another phrase is Gregoran ntonaton OF three
notes, which plays conspicuous part in tho
p0mpous OF the Crusaders. The
made OF this phrase serves to show
how effectively this style OF composition which sup
posed to reflection elevate the poetical
and ethical OF composition. Liszt describes the
intonalion as "a tonal symbol OF the cross" aud
its appropriateness the basis OF the Crusa-
ders' and subsequent march is selfevident
But had appeared earlier in the score; IN the orche
tral part marked the recognition by Ludrig OF the
miracle. Thus, Won Bulow and Pohl have pointed
out establishes spiritual connection between the
miracle aud the holy crusade, making the latter Q
fruit of the change OF heart wrought In
Ludlcig by the former fourth borrowed
melody chora-ike tune which is sung by the
aders IN the third and last and supposed to be
relic OF crusadng times fifth is quaint old Hunga-
ran church tune dedicated to the Saint which furnishes
the material handled in marveously beautiful manner
in the Chorus OF the Poor of the NTH scene.
The characters introduced in the oratorio besides