The cantata opens with a chorus of the outlaws, who vigorously a.s.sert their independence of tribute, laws, and monarchs, followed by a bombastic ba.s.s aria by the Bishop, who threatens them for destroying the King's deer. His grandiloquence is speedily interrupted by the outlaws, with Robin at their head, who surround him without further ado and make him the b.u.t.t of their sport. Robin Hood sings a charmingly melodious ballad, "Under the Greenwood Tree," in which the Bishop is invited to become one of their number and share their sylvan enjoyments. A trio and chorus follow, in the course of which the Bishop parts with his personal possessions in favor of the gentlemen around him in Lincoln green with "bent bows." A chorus ("Strike the Harp") also informs us that the ecclesiastic is forced to dance for the genial band much against his will as well as his dignity. Robin's sentimentalizing about the pleasures under the greenwood tree is still further emphasized by a madrigal for female voices, supposed to be sung by the forest maidens, though their ident.i.ty is not very clear, as Marian was the only maid that accompanied the band. After the plundering scene, the cantata grows more pa.s.sionate in character, describing a pretty and tender love-scene between Robin and Marian, which is somewhat incongruous, whether Marian be considered as the outlaw's mistress, or, as some of the old chroniclers have it, his wife Matilda, who changed her name when she followed him into the forest.

From the musical standpoint, however, it affords an opportunity for another graceful ballad of sentiment, in which Marian describes her heart as "a frail bark upon the waters of love;" a duet in which the lovers pa.s.sionately declare their love for each other as well as their delight with the forest; and a final chorus of the band, jubilantly proclaiming their hatred of kings and courtiers, and their loyalty to Robin Hood and Maid Marian. It may be worthy of note in this connection that Bishop, the English composer, wrote a legendary opera called "Maid Marian, or the Huntress of Arlingford," in which the heroine is Matilda.

HAYDN.

Joseph Haydn, the creator of the symphony and the string quartet, was born at Rohrau, a little Austrian village on the river Leitha, March 31, 1732. His father was a wheelwright and his mother a cook, in service with Count Harrach. Both the parents were fond of music, and both sang, the father accompanying himself upon the harp, which he played by ear. The child displayed a voice so beautiful that in his sixth year he was allowed to study music, and was also given a place in the village church-choir. Reutter, the capellmeister of St. Stephen's, Vienna, having heard him, was so impressed with the beauty of his voice that he offered him a position as chorister. Haydn eagerly accepted it, as it gave him an opportunity for study. While in the service of St. Stephen's he had lessons on the violin and piano, as well as in composition. When his voice broke, and his singing was of no further value, he was thrown upon the tender mercies of the world. Fortune favored him, however. He obtained a few pupils, and gave himself to composition. He made the acquaintance of Metastasio, Porpora, and Gluck. His trios began to attract attention, and he soon found himself rising into prominence. In 1759, through the influence of a wealthy friend and amateur, he was appointed to the post of musical director and composer in the service of Count Morzin, and about this time wrote his first symphony. When the Count dismissed his band, Prince Paul Anton Esterhazy received him as his second capellmeister, under Werner. When the latter died, in 1766, Haydn took his place as sole director. His patron meanwhile had died, and was succeeded by his son Nicolaus, between whom and Haydn there was the utmost good feeling. Up to this time Haydn had written thirty symphonies, a large number of trios, quartets, and several vocal pieces. His connection with the Prince lasted until 1790, and was only terminated by the latter's death. During this period of twenty-eight years his musical activity was unceasing; and as he had an orchestra of his own, and his patron was ardently devoted to music, the incentive to composition was never lacking. Anton succeeded Nicolaus, and was generous enough to increase Haydn's pension; but he dismissed the entire chapel, and the composer took up his abode in Vienna. He was hardly established before he received a flattering proposition from Salomon, the manager, to go to England. He had already had many pressing invitations from others, but could not accept them, owing to his engagement to Esterhazy. Now that he was free, he decided to make the journey. On New Year's Day, 1791, he arrived in London. Success greeted him at once. He became universally popular. Musicians and musical societies paid him devoted attention. He gave a series of symphony concerts which aroused the greatest enthusiasm.

He was treated with distinguished courtesy by the royal family. Oxford gave him the honorary degree of Doctor of Music. The n.o.bility entertained him sumptuously. After a year of continuous fetes he returned to Germany, where he remained two years, during a portion of which time Beethoven was his pupil. In 1794 he made his second journey to England, where his former successes were repeated, and fresh honors were showered upon him.

In 1804 he was notified by Prince Esterhazy that he was about to reorganize his chapel, and wished him for its conductor again. Haydn accordingly returned to his old position, where he remained during the rest of his life. He was already an old man, but it was during this period that his most remarkable works were produced, among them the Austrian National Hymn ("Gott erhalte Franz den Kaiser"), the "Seven Words," the "Creation," the "Seasons," and many of his best trios and quartets. He died May 31, 1809, a few days after the occupation of Vienna by the French, and among the mourners at his funeral were many French officers. Funeral services were held in all the princ.i.p.al European cities. Honored and respected all over Europe, he was most deeply loved by his own countrymen, who still affectionately speak of him as "Papa"

Haydn.

The Seven Words.

"The Seven Words of Jesus on the Cross," sometimes called "The Pa.s.sion,"

was written by Haydn in 1785, for the cathedral of Cadiz, upon a commission from the chapter for appropriate music for Good Friday. It was at first composed as an instrumental work, consisting of seven adagio movements, and in this form was produced in London by the composer himself as a "Pa.s.sione instrumentale." He afterwards introduced solos and choruses, and divided it into two parts, separating them by a largo movement for wind instruments. It was then given at Eisenstadt in 1797, and four years later was published in the new form, with the following preface by the composer himself:--

About fifteen years ago I was applied to by a clergyman in Cadiz, and requested to write instrumental music to the seven words of Jesus on the cross. It was then customary every year, during Lent, to perform an Oratorio in the Cathedral at Cadiz, the effect of which the following arrangements contributed to heighten. The walls, windows, and columns of the church were hung with black cloth, and only one large lamp, hanging in the centre, lighted the solemn and religious gloom. At noon all the doors were closed, and the music began. After a prelude, suited to the occasion, the bishop ascended the pulpit, p.r.o.nounced one of the seven words, which was succeeded by reflections upon it. As soon as these were ended he descended from the pulpit and knelt before the altar. The pause was filled by music. The bishop ascended and descended again a second, a third time, and so on; and each time the orchestra filled up the intervals in the discourse.

My composition must be judged on a consideration of these circ.u.mstances. The task of writing seven adagios, each of which was to last about ten minutes, to preserve a connection between them, without wearying the hearers, was none of the lightest, and I soon found that I could not confine myself within the limits of the time prescribed.

The music was originally without text, and was printed in that form. It was only at a later period that I was induced to add the text. The Oratorio ent.i.tled "The Seven Words of our Redeemer on the Cross," as a complete and, as regards the vocal parts, an entirely new work, was first published by Messrs. Breitkopf and Hartel, of Leipsic. The partiality with which this work has been received by scientific musicians leads me to hope that it will not be without effect on the public at large.

Joseph Haydn.

Vienna, March 1, 1880.

As the various movements are all of the same general tone and character, though varied with all that skill and mastery of instrumental effect for which Haydn was so conspicuous, it is needless to describe each separately. By many of the musicians of his day it was considered one of his most sublime productions; and Bombet declares that Haydn on more than one occasion, when he was asked to which of his works he gave the preference, replied, "The Seven Words."

It opens with an adagio for full orchestra, of a very sorrowful but impressive character. Then follow each of the Seven Words, given out in simple chorale form, followed by its chorus, namely:--

I.

PATIENCE.

"Father, forgive them; for they know not what they do."

_Chorus_: "Lamb of G.o.d! Surely Thou hast borne our sorrows."

II.

THE PENITENT FORGIVEN.

"Verily I say unto thee, this day shalt thou be with me in Paradise."

_Chorus_: "Lord, have mercy on me after Thy great goodness."

III.

THE MOURNERS.

"Woman, behold thy Son. Son, behold Thy mother."

_Chorus_: "Daughters of Jerusalem, weep not for Me."

IV.

DESOLATION.

"Eli, Eli, lama sabacthani?"

_Chorus_: "O my G.o.d, look upon Me."

V.

THE BITTER CUP.

"I thirst."

_Chorus_: "He treadeth the winepress of the fierceness and wrath."

VI.

COMPLETE OBEDIENCE.

"It is finished."

_Chorus_: "He came down from Heaven."

VII.

THE GREAT OBLATION.

"Father, into Thy hands I commend my spirit."

_Chorus_: "Into Thy hands, O Lord."

Following immediately after the last number the whole spirit of the music changes with the chorus, "The Veil of the Temple was rent in twain," a presto movement, sung fortissimo, describing the darkness, the quaking of the earth, the rending of the rocks, the opening of the graves, and the arising of the bodies of the saints who slept, with all that vividness in imitation and sublimity of effect which characterize so many of the composer's pa.s.sages in "The Creation" and "The Seasons." Haydn was by nature a deeply religious man, and that he felt the inspiration of the solemn subject is shown by the manner in which he conceived it, and by the exalted devotion of the music which accompanies the last words of the Man of Sorrows. The lines which Bombet quotes from Dante in this connection are hardly exaggerated:--

"He with such piety his thought reveals, And with such heavenly sweetness clothes each tone, That h.e.l.l itself the melting influence feels."

Ariadne.

The cantata "Ariana a Naxos" was written in 1792, and is for a single voice with orchestra. As an ill.u.s.tration of the original cantata form, it is one of the most striking and perfect. Its story is an episode familiar in mythology. When Minos, King of Crete, had vanquished the Athenians, he imposed upon aegeus, their king, the severe penalty that seven youths should be annually sent to Crete to be devoured by the Minotaur. In the fourth year the king's son, Theseus, was among the number. He was more fortunate than his predecessors, for he slew the Minotaur and was rescued from the labyrinth by following the thread of Ariadne, daughter of Minos, who had conceived a violent pa.s.sion for the handsome warrior, conqueror of Centaurs and Amazons. Upon his return to Athens she accompanied him as far as the island Naxos, where the ungrateful wretch perfidiously left her. It is this scene of desertion which Haydn chose for his cantata.

Ariadne is supposed to have just awakened from sleep and reclines upon a mossy bank. The first number is a recitative and largo in which she hopefully calls upon Theseus to return. The melody is n.o.ble and spirited in style, and yet tender and fervent in its expression of love for the absent one. In the next number, a recitative and andante ("No one listens! My sad Words Echo but repeats"), hopefulness turns to anxiety.

The contrast between the blissful longing of the one and the growing solicitude expressed in the other number is very striking. The next melody, an _allegro vivace_,--

"What see I? O heavens! Unhappy me!

Those are the sails of the Argosy! Greeks are those yonder!

Theseus! 'Tis he stands at the prow,"--