The Indianapolis journal., 1898-04-10
BENoIT'S FAMOUS WORK
sLUcsFER" TO BE GIVEN HERE FOR
FIRST TIME IN AMERICA.
A Description OF the Great Oratorio
Composed by MIR. Van Der
stucken's Maestro.

Tor the first time in America, BenoitS great
oratorio 'Lucifer," and that many of the
eminent musical critics of the country will
be here to witness the presentation, has
aroused great interest in this composition.
The festival chorus of four hundred voices
and two hundred OF the members of the
children's chorus are now rehearsing it
under Mr.. Van der Stucken's direction
twice a week, and the solo chorus of six
teen trained voices viii begin rehearsals
this week.
The oratorio OF "Lucifer' is one of the
great works of the Netherland master. Be
MOTT The childrens cantata, Into Life"
given at the last festival and to be repeated
this year. is by the same composer. 1t, is
easy to trace a likeness between the two
works. despite their dissimilar nature.
'Lucifer'' is exceedingly difficult, but its
worth and beauty repay the study it de-
mands.
Leonard Leopold Peter Benoit was born
at l5aerlebeke. West Flanders Aug. IL,
1884, He was a pupil of Fetis at the Brus-
sells Conservatory. where he won the second
prize in 1853 and the first in 1854. In 1857 he
obtained the grand prize for his cantata,
lie Meutre d'Abel," after which he studied
in Leipsic. Dresden, Prague and other
cities of Europe. He became director of the
Antwerp Conservatory in 1860. where he has
been active in advancing the national ten
dency in music, taking for the basis of all
his own compositions the Flemish language
and traditions. He stands, indeed, at the
head of the Flemish school, Benoit is ex-
ceedingly versatile. having written operas,
oratorios, cantatas, masses and songs. He
is also the author of many musical criti-
cisms published in European journals.
'Luciferawas composed in 1866, the text
being furnished by Emanuel Hiel. 1t was
first performed in Brussels the following
year. The scheme of the work lends itself
excellently to musical dramatic treatment.
Even a single perusal of the text shows it
10 be eminently adapted to musical uses and
full of suggestion. The measure of the
work-its great signihcance-makes itself
1elt from the start in the deliberation of
movement and a certain largeness of
theme
ARGUMENT OF THE WORK.
The argument is AS follows:
In Part /, Lucifer appears surrounded by
them his intention to challenge the powers
Of heaven, and to incite man to rebellion.
lpersonihed) to aid him in this attempt.
The part concludes with q choir of spirits,
who describe mans object state.
In Part 2, earth, water and fire respective
ly relate the means they will employ to en-
compass the ruin of man.
In Part 8, Lucifer's attempt fails signally.
Spirits Of day appear, and celebrate the vic
tory. A choir CT humanity is introduced, in
which men, women and children describe
their own happiness and the hounteouS gifts
Of nature. The whole concludes with song
Of praise.
Tho orchestra introduction is gloomy and
by intention, indefinite in character. 1t
forms the sombre background against
which are presently to be heard the clash
ing and lasting and dashing'' OF the waters
described in mighty choruses by the spirits
OF night; Lucifer's defiant challenge, his
call to the three great elements, earth, fire
and Water, TO aid him in his work Of de-
struction, a call supported in each instance
by magnificent chordi the answer Of each
power, expressed in melodies highly deScrip-
tive; the failure Of Lucifer's attempt; the
exquisite chorus of the spirits of the day,
Sng TOT The light to 5tream m forth pin from ON
whole universe joins; the voices of the chill
dZen, telling OF flowers, harvest and the
paean Of praise and employing the fun
the whole.
"OLAF TRYGvAssoN."
The work known as "Olaf Trygvasson,"
which is also to be given at the festival,
may be described as a music drama 1t
consists of scenes from the unfinished
drama OF that name by Bjornstjerne Bjorn-
son. 1t is COR soil. chorus and orchestra.
Olaf Trygvasson, a descendant Of Harold
Eaarfager, the first King OF Norway, was
brought up at the court of Gardarike, Rus
sia, and was baptized in England while on
a viking raid. When re learned that Nor-
way was dissatisfied with her King "a scion
of an older branch of the SINE race) he re-
solved upon conquering tne kingdom and
converting the people to Christianity. Rich
~ endowed by nature, the superior of all
his contemporaries in bodily and spiritual
gifts and so comely to behold that none had
seen his like, he was revered in the middle
ages as the noblest example of the Norman
race He conquered more by his personality
than by his sword. He began his struggle
IN the Drontheim district.
The persons represented are: A high
priest, bass-baritone; a woman, mezzo So
prano; the volva, contralto; men and
women, son and chorus.
The action takes place IN an ancient Nor
man temple in the Drontheim district at the
time OF Olaf Trygvasson'ss appearance.
Period end OF the tenth century The peo-
pie have assembled to implore their gods
10 aid them in vanquishing Olaf and his
followers. A high priest begins the invoca-
and lastly by the volva, or high priestess.
between each invocation the people add
their supplication, Hear us" The con-
Sra-st between the solo voices and the chorus
IS marked, the former accenting the mass
tVeness OF the latter After the prayer OF
the Volva the people themselves take a di
rect part IN the service, and in remarkable
choruses irnpiore the aid of the gods. Apsai
or thunder IS heard and, taking this as a
me people join in an ''outburst of joy In
''Olaf TrygvaSSon" one must not look for
graceful melody and abandon. Beauty of n
sterner sort 1t has in abundance together
with strength and originality
THIRD ACT OF ''TANNHAUSER."
With the possible exception of ''Loben-
grin, ''Tannhauser'" is the most generally
known and admired of the Wagner music
dramas. THIS is naturally explained by the
Kact that 1t belongs TO what may be termed
the middle stage OF his artistic develop
ment. 1t will be a good while yet before
the public at large cares to follow Wagner's
later works, but '"Tannhauser'' and ''Lohen
grin have been accepted and their beauties
made familiar, as only they can be, through
repetition. Wagner's life in its main out
lines and the story Of ''Tannhamser'' are
both too well known to require telling. In
deed, few composers. everything considered
enemies have done him excellent service
their violent opposition having served 10
make him the better known
Ihe third act of ''Tannhauser'' has heen
selected for this years festival. Tam
hauser, the repentant knight having failed
70 obtain pardon with the other pilgrims af
Rome, has returned to Thuringia intendinc
once more 10 become the slave of Venus
Inc peautlful romance to the evening star
sung py Wolfram, Elizabeth's PRAYER the
venus music and the majestic pilgrims
chorus, are all contained in this act
THE SMALLER WORKS