The evening times. [volume] (Grand Forks, N.D.) 1906-1914, 1906-03-01

music OF Faust" and something of
that which Influenced its composer in
its composition, will prove of interest
to the reader.
Although partially written while
Gounod was director for the Orpheon-
istes with the Theatre Lyrique, Paris,
where it was performed for the first
time on the evening of March 10, 1859,
its success placing him in the front
rank OF living composers and making
him eligible for entrance in the Insti-
tut de France. to which he was elected
member in 1885,
An ardent admirer of Gluck, 1t was
Gounod's aim in dramatic composition,
to revive the principles of that great
master. giving paramount Importance
| to defamation as an embodiment of
the action of the scene, above the value
of melodious grace and prettiness, and
he was aided in the carrying out of his
views in construction, by his friends
Barber and Care, who generally wrote
the words of his operas. It may be
said of Gounod, that he accomplished
great effects which distinguish the
music of his chosen model, investing
them with fervid dramatic power,
great depth of sentiment, and decided
originality of thought, which qualities
are far more felicitously represented
in his opera of Faust" than in his
other compositions.
Never was grand opera written so
replete as Faust" with Euterpe's pur-
est gems. Its music is like a string
of beautiful white and black pearls:
the shapely white one representing the
sweet melodies; the lustrous black
ones, the voluable dramatic passages
and ensembles.
Its first act is in the nature of pre-
Jude, or tone picture from Faust's "In-
terrigo 1vano." in which he bewails
the emptiness of life, to where it fin
ishes with the delicate music accom-
panying the vision of Marguerite.
In the first scene of it's second act,
the Kermesse, the choruses of stu
dents, soldiers. old men, girls and ma
irons are quantity contrasted, and are
full of animation and characteristic
color In the second scene, Valentine
sings the tender Medallion" song;
this is followed by "Mephistopheles"
grim and weird "Song of the Golden
Calf" In this scene also occurs one
of the most effective choruses in the
work (the Tu puvi la spadaD, and the
act closes with one of the most ami
mated and delightful of waltz tempos
r'Light as Air.')
The third act is the garden scene
full of fascinating detail, and breathes
1.-THE very spirit of poetry and music
combined in a picture of love which
has never been excelled in. tenderness
and beauty on the operate stage. It's
principal numbers are a short and
simple, but very beautiful ballad for
Siebel (In the Language of Love); a
passionate aria of tenor; (All hail thy
dwelling, pure and lowly), in which
Faust greets Marguerite's dwelling; a
double number between them, which is
superb In its contrasts, the folk-song,
Once there was King in Thule" a
plaintive little spinning song, and the
bravura Jewel Song" which is the
very essence of delicacy and almost
childish glee; the quartet, which is Of
striking interest by the independent
manner in which the two pairs Of
voices are treated and combined in
the close: and the closing duet, known
as the "Sempre Amar," between Faust
and Marguerite. which is replete with
tenderness and passion, and closes in
strains of almost ecstatic rapture, the
fatal end of which is foreshadowod
by the hooking laugh of Mephisto-
pheles breaking in upon its lingering
cadences.
The fourth, or Cathedral Act, as it
is known, established Gounod's repu-
tation as writer of serious music. 1t
opens with scene for Marguerite, in
which she laments her fate The scene
here abruptly changes to the square
in front of the Cathedral where the
soldiers are returning to the jubilant
strains of the Soldiers Chorus" In
this scene Mephistopheles sings a gro
tesque and literally Internal serenade;
this is followed by the quarrel trio
and Valentines melediction upon his
sister. The scene changes to the
church and in wonderful combination
is heard the appeals of Marguerite for
mercy, the haunting voice of the tempt
er, and the monkish chanting of the
dies Irae, mingled with the solemn
strains of the organ.
The last act is presented in a single
scene. the prison, but it contains five
changes. After q weird prelude the