The Musical Myths and Facts (Vol. 1&2). Engel Carl
highly indecent—have, since their introduction on our stage, scared away those families which formerly visited the theatre regularly. They now come only occasionally, when something better is offered."
As regards the musical institutions and periodical concerts of Strassburg, suffice it to state that the local government has always encouraged the cultivation of music; it is, therefore, not surprising, considering the love for music evinced by the Alsatians, that Strassburg has been during the last three centuries one of the chief nurseries of this art on the Continent. Until the year 1681, when Strassburg was ceded to France, it possessed an institution called Collegium Musicum, which enjoyed the special patronage of the local government. An Académie de Musique, instituted in the year 1731 by the French Governor of the town, was dissolved, after twenty years' existence, in 1751. At the present day the musical societies are not less numerous in Strassburg than in most large towns of Germany. An enumeration of the various kinds of concerts would perhaps only interest some musicians.
But Pleyel's Republican Hymn of the year 1792 is too characteristic of French taste at the time of the great events which it was intended to celebrate to be left unnoticed. Ignaz Pleyel, the well-known musician, was born in a village near Vienna, in the year 1757. On visiting Strassburg, after a sojourn in Italy, in the year 1789, he was made Kapellmeister of the cathedral. Unfortunately for him, soon his political opinions were regarded with suspicion by the National Assembly, especially from his being a native of Austria. He found himself in peril of losing his liberty, if not his life. Anxious to save himself, he conceived the happy idea of writing a brilliant musical composition in glorification of the Revolution. He communicated his intention to the National Assembly; it found approval, and he was ordered to write, under the surveillance of a gendarme, a grand vocal and orchestral piece, entitled 'La Révolution du 10 Août (1792) ou le Tocsin allégorique.' The manuscript score of this singular composition was, until recently, preserved in Strassburg, but has now probably perished. A short analysis of its construction will convince the reader that the monster orchestra which Hector Berlioz has planned for the music of the future, and of which he says in prophetic raptures: "Its repose would be majestic as the slumber of the ocean; its agitation would recall the tempest of the tropics; its explosions, the outbursts of volcanoes," was already anticipated by Pleyel nearly a hundred years ago. Pleyel required for his orchestra not only a number of large field-guns, but also several alarm-bells. The financial condition of France at that period, and the abolition of divine worship, induced the National Assembly to decree the delivering up of all the church-bells in Alsace. About 900 bells were consequently sent to Strassburg. Pleyel selected from them seven for the performance of his work; and all the others were either converted into cannon, or coined into money—mostly one-sol and two-sol pieces.
The Introduzione of Pleyel's composition is intended to depict the rising of the people. The stringed instruments begin piano. After a little while a low murmuring noise mingles with the soft strains, sounding at first as if from a great distance, and approaching gradually nearer and nearer. Now the wind-instruments fall in, and soon the blowing is as furious as if it were intended to represent the most terrific storm. It is, however, meant to represent the storming of the Tuileries. Fortunately the awful noise soon passes over, and only some sharp skirmishes are occasionally heard. After about a hundred bars of this descriptive fiddling and blowing, the alarm-bells begin—first one, then another, and now all in rapid succession. Suddenly they are silenced by a loud trumpet signal, responded to by a number of drums and fifes. The fanfare leads to a new confusion, through which the melody of some old French military march is faintly discernible. The excitement gradually subsides, and after awhile the stringed instruments alone are engaged, softly expressing the sighs of the wounded and dying. Presently the Royalists make themselves heard with the song, "O Richard, ô mon roi" (from 'Richard Cœur de Lion') which, after some more confusion, is followed by the air, "Où peut-on être mieux?" at the end of which discharges of cannon commence. Another general confusion, depicted by the whole orchestra with the addition of cannon and alarm-bells. Suddenly a flourish of trumpets, with kettle-drums, announces victory, and forms the introduction to a jubilant chorus with full orchestral accompaniment: "La victoire est à nous, le peuple est sauvé!" This again, after some more instrumental interluding, is followed by a chorus with orchestral accompaniment founded on the tune "Ça ira, ça ira," a patriotic song which was, during the time of the Revolution, very popular with the French soldiers. The remaining portion of the composition consists of a few songs for single voices alternating with choruses. As the words are not only musically but also historically interesting, they may find a place here.
| "Chorus. | ||
| "Nous t'offrons les débris d'un trône, Sur ces autels, ô Sainte Liberté! De l'éternelle vérité. Ce jour enfin, qui nous environne, Rend tout ce peuple à la félicité; Par sa vertu, par sa fierté, Il conquiert l'égalité. Parmis nos héros la foudre qui tonne L'annonce au loin à l'humanité. | ||
| "A Woman. (Solo.) | ||
| "Mon fils vient d'expirer, Mais je n'ai plus de rois! | ||
| "Romance. | ||
| "Il fut à son pays avant que d'être à moi, Et j'étais citoyenne avant que d'être mère. Mon fils! par tes vertus j'honore ta poussière. | ||
| "Chorus. | ||
| "Nous t'offrons les débris d'un trône, etc., etc. | ||
| "Solo. (Soprano.) | ||
| "Ah! périsse l'idolatrie Qu'on voue à la royauté. Terre ne sois qu'une patrie, Qu'un seul temple à l'humanité, Que l'homme venge son injure Brise, en bravant, le faux devoir, Et le piédestal du pouvoir Et les autels de l'imposture, | { | Repeated by the Chorus. |
| Rois, pontifs! ô ligue impure Dans ton impuissant désespoir Contemple aux pieds de la nature Le diadème et l'encensoir! Versailles et la fourbe Rome Ont perdu leurs adulateurs. Les vertus seront les grandeurs, Les palais sont les toits de chaume. | { | Repeated by the Chorus. |
| "Solo. (Tenore.) | ||
| "Les Français qu'on forme à la guerre Appellent contre les tyrans Les représailles de la terre, Du haut des palais fumans. Des bords du Gange à ceux du Tibre Dieu! rends bientôt selon nos vœux Tout homme un citoyen heureux, Le genre humain un peuple libre. | { | Repeated by the Chorus. |
| "Solo Recit. (Basso.) | ||
| "Nous finirons son esclavage Ce grand jour en est le présage! | ||