The Damnation Of Faust

Thefollowing description of the "Damnation of Faust," one of the celebrated masterpieces to be given at the May Musical Festival in this city, is from the May Festival Journal: The story of Faust, as told by Berlioz in the "Dramatic Legend" varíes somewhat from the narrative of the of the great Germán poet. For these seeming liberties with Goethe's poem, the composer expérienced much adverse criticism at the hands of his enemies. In defense, be replied, thai t was imile i" Bel .all of Goethe's poem to music: thal thère were tales of Faust by other poets, and as for placing his nero on the plains of Hungary, "I should not have hesitated to bring him in any otbei diiection, liad it suited my purpose." Apropos of the master's crines, in the "Life of Letters," of Geoige Eliot, there Is a remark of Bpontini, which shows how little Berlioz was appreciated in his own time. Lis.t, whqm George Eliot mei in Weimar, told her the story: "Spontini visited Paris while Lizst was living there and haunted the opera, a stitf, self-important personage with high shirt col] ars, the Ieasl attraotive individual imaginable Every one would have been glad to get out of Spoiitini's wa.v but at Paris, as he was a member of the Institute, it was necessary to recognize his e.xistence. Liszt met him at Erard's more ihan once. On one of these occasions, Lis.t Observed to him that Berlioz was ; admirer of his (Sponiini's). Whereupon Spontini burst into a terrible invective aL'ainst Berlioz as a man who was rniniiiLi art, etc, etc. Shortly after The ile' waá performed, and forthwith tred an enthusiastio article in Berlioz cm Spontini's music. The next time Lizst met him of the hieh collai-s. hsaid, 'You see, 1 was ooi wrong in w'nat I said of Berlioz's admiration of yoif.' Spontini Bwelled in his collars and replied, 'MaiSi monsieur, Berlioz a du talent comme critique." At the suggestion of Franz Liszt. Berlioz read Uoethe's Faust, and the siudy of the poem made a deep impression on the ardent, susceptible mind of the then young composer. In his enthusiasm he composed Huü Scènes de Faust, but these sketches, soon dissatisfying him, were thrown aside to remain forgotten for nearly twenty years. In 1846, while on a "voystge musioale" through Germany, hisyouthful passion for Faust returned - the "Huü Scènes" were brought to light, enlarged, and developed into the "Dramatic Legend." The composer's Memoires, (like Whüner, Berlipz devoted his pen to literature as well as music) contain gossipy details about the composition of Faust. and, in general, the master's methodsof wriling. The work was written mainly in the iutervals of travel and concert-givmg, and at odd times and places. Thus, "I posed both verses and music when I could and where 1 oould - in my old Germán post-chase, al Inns, on steamboats, and even at railway stations. One night, when I had lost my way at Pesth, I wrote the choral refrain of the Boude dea Paysans by the gas-light in a shop. I did not searoh for ideas, I let them come, and they presented themselves in a most unforseen manner." The nineteen scones in the Legend are mostly free Interpretation by Berlioz of the spirit oí Goethe's poem, using the great eventsin the story of Faust, though in detail the two versions are somewhat different. Thus, to note a few poluta: (1) the Legend begin'a with Fausi. a yonng man, in the flelds, singing of the awakening of Sprtng, and il is not until 8oene IV thai Mephisto flnds him in his study. The poem opens with Faust in hisstudy- anold man, restloss. unhap] Satan appears, and the remarkable oorapact is signed. (2) Sec. III. pla Faust on the plaina of Hungary for express of introducing the composer's Hungarian Maroh. (3) The Drinking Song in Scène VI., and tha Student's Song ia Scène VUL, words and music, are onaraoteristic of the composer. The fugue (4) on Brander's S i is brought in to burlesque "thesenseless, traditional Amen fugues," to qi our composer's own language. (5) The ride to heil, in Scène XVIII.. with all is horrid -the sneers of the devil and the shouts of the demons when Faust is delivered to eternal llames - is principally the resuli of the composer's own imagination, the whole scène being a gross exaggeration of the sceoe in ihe poem. Berlioz' Legend is so well known tliat any analysis in detail is soaroely called for. Indeed, what language can describe the beauties of the work ! The sensuous melodies, gorgeousinstrumentation.blaze of color, those long, broad phrasi s, worked by the peculiar rhythm which Berlioz alone could successfully eni i and steadily progressing to some dlstant climax- all combine to make the nation of Faust" one of the greatesi works of this century. The two movements which close the Legend: _ monium,: Heil, with itsseething, roariug" l lakea of fire and brimstone, the dlsmal howling of its victims: Heaven: Pure, inefable bliss, calling to the of the blessed, the repentant, purified Marguerite, are compositions of rare energy, sharply contrasted and Ehoroughiy characteristic of the composer, one show ing his weakness and the other his streiui h. So complete was the master's command of orchestral resources, thaf he could depiet the scènes in heil with the most frightful reality. 8uch delirlous, bloodthirstj passioD as is here portrayed, uiay have accompuniril the ancients In Iheir ceLebration of heathen rites, but il does not bekmg witbin i li - realmsof modern music. Theauthor's greatest admire ra must recoil with aversión l'rom this part ui' his work. The gibberish sung bj ns is the pure invention of the composer. "One must draw the line somewhere," Dannreuther, "and the writer would draw ii mi the hither side of such movements as the chorus of devils in Faust." On the other hand, how simple and majestic the "Easter Hymn" of the peasanís. Lnterrupted by the lamentatious of the unhappy Paust I When has French aii given the world anything more iriider and gracefu) than Uarguerite's Kung, or "The Dance of theSylphs," or "The Chorus of Angels," which closea the Legend ? The "Damnation of Faust" was broughioui December 0, 1846, in Paris As usual, the public did nol take kJndly in tfie new work. performance was so öearly a fiasco that ii roused the composer to a perfecl tempest of rag'' and disgust with tlu; fickle Parisians. Héctor Berlioz, i musical colossus, perhape the greatest master of instrumentation art has ever known; a n few friends, au extraordinary con oinaI -'Jiius. prejudice and pa was oni ai Grenoble, France, in ie03, ter ii life-long bal tle i; bitter dis;ii,(ni meo. ts and tronóles without number, died at Paris in i Since his death he lias steadilv risen In the estlmation of the musical world, and the " Damnation of Kaust " Q0W considered one of the giv r.est dramatic works ever conceived bv g us. That times are impru ; g is evdenced by the fact that ti. farmers are purchasing farm iii pletnents, such as wagons, harness and the like, more freely this spring than iri several years. Dealers in these lines of goods report an exceptionally lively trade at the present time. - Dexter Leader. This seems to be true in other sections of the state as well. A representative of the Argus met an agent of the Champion mower and reaper manufacturing company in Battle Creek a few days ago and was informe d that that company had made more sales up to date this year than duiing the same time, in all its previ', us history.