The Santa Claus Files: Programs
The Santa Claus Files: Programs
Content Warning: The final document in this series, “Another Grand Symphony!” contains an offensive anti-Black racial slur near the beginning that should be approached with care and caution, especially in a classroom context. I have redacted the word, which appears in full in the 1855 original.
Synopsis, Santa Claus: Christmas Symphony (1853)
The following explanations of the design, spirit, and instrumental treatment of FRY’S CHRISTMAS SYMPHONY called SANTA CLAUS, have been supplied by the composer, at the request of M. JULLIEN.
The first movement, which is slow, opens with a single musical measure of Trumpet solo, being the celestial precursor to the announcement of the glad tidings of the Saviour's coming birth. This is followed by some tender notes on the horns, suggestive that the Messiah's advent is to be one of love [0:08]. The phrase is repeated in a fresh key [0:15]. It is then taken up by the whole orchestra as though the assembled hosts of heaven joined in the declaration [0:28]. This is followed by some soft music, the first violins having a volant trill, accompanied variously by the other stringed instruments in a singing strain, while the Flute, Clarionet, Hautboy and Bassoon fly seraph-like through different regions of musical space [0:50]. After a momentary pause, M Koenig on his Cornet, discourses in an Adagio-Cantabile, on the impending advent of the Saviour-which if sung could be recited in words taken from the Bible [1:33]. This is followed by some soft strains on the stringed instruments, and some aerial windings on the wood wind instruments [2:20]. Then follows the Adagio-Cantabile air just played by M. Koenig, given in the most resonant style by all the brass instruments, as though the whole heavens repeated the strain with declamatory force and exultant emotion [2:56]. While the brass instruments so discourse, the other instruments bound through successive octaves as indicative of the wide dispensation of religious harmony. A few loud chords of a fierce character portray the rage of fallen angels, and the first movement of the piece concludes with triumphant major harmonies [3:45].
This artistico-historical introduction being concluded, the scene becomes terrestrial and the characters human and of our time [4:17]. It is the Festivities of a Christmas Eve party, children participating: the clarionet of M. Wuille leading to the Dance, which is intended to be one of rollicking gaiety [5:20]. This movement suddenly changes to another in which the hautboy of M. Lavigne and the flute of M. Reichert take the leading parts: it is both plaintive and joyous, describing severally and simultaneously the tender affection of kindred meeting after absence, and the exuberant joy of children [6:30]. The hautboy takes the plaintive part as most consistent with its character, and the flute the joyous expression, as equally belonging to its peculiarities [8:16]. It may be remarked, parenthetically, that it is the superiority of music over poetry that it can depict opposite passions or emotions at the same moment; and where the multiplication of singers or players but perfects harmony in music, a like multiplication of speakers or readers would only produce dismal cacophony.
After the just-named movement, sudden, harsh notes on the Brass instruments, followed by muttering echoes on the stringed instruments and by a tumultuous run through several octaves, depict the stern characteristics of a winter's night and the rush of a coming snow storm. The Dance then is retaken [10:00]; and then instrumentation becomes lighter and lighter, portions only of the orchestra being heard, to represent the breaking up of the party and the dispersion of the guests [11:18]. Gentle adieus follow, represented sexually by the masculine Violoncellos and the feminine flutes, hautboys, clarionets, and violins [11:41].
Slumber is now sought, and THE LORD'S PRAYER is recited on the treble stringed instruments-the violins and violas-according to the pitch of childish voices and the accents of the English Language [12:34]. This is followed by the simple LULLABY-Rock-a-by baby on the tree top-composed of only four distinct notes, and played by M. Wuille on the marvellously [sic] human-like saxophone (as just perfected by M. Sax of Paris) [13:46]: the accompaniment to this is a rocking-cradle-like movement on violins as they see-saw between contiguous octaves, and the violas give the respiration of the infant sinking into slumber [14:02]. Here these stringed instruments have attached to them mutes, a little addition which softens the sound and renders it dreamy and mystic. While the lullaby proceeds a slight precursor of the snow storm just coming is heard in the violins playing a gliding scale of half-tones [14:20]. As the voice of the mother ceases by degrees, with the cradle no longer rocking the scene is changed, and the tragedy of a winter's night is introduced to vary the general character of the joyous occasion.
The composer, after an earnest study of the music of nature, has here essayed to intimate the mournful and sublime tones of the Deity—the howling and whistling of the winds and other winter signs [15:17]. This is effected, as he believes, by new and true combinations. Connected with this musical painting of external nature is one of Man, representing a Perishing Traveler. Of all the instruments it was lately conceded that the most melancholy is the Violoncello, but the genius of M. Bottesini having elevated Double Violoncello or Double Bass to the rank of a solo instrument, sombre pathos yet unachieved in the history of instrumental art can be depicted by this great master of expression. The woe and wail of the Perishing Traveler are therefore entrusted to this Double-Bass player, who gives, amid the whirling notes of the Violins and the supernatural groans of the Trombones, the despairing and dying plaints [16:10]. Each phrase of these is echoed by the player in armonics or the ethereal octaves of M. Bottesini’s Double-Bass representing the vanishing echoes of the lament, as they would occur according to the mathematical laws of sound. As the voice of the traveler ceases in cold death, the church bell tolls midnight, while a trembling discord is played on the Violins, harmonically unresolved up to the last note of the bell [18:15]. The hour being tolled, the Violins, at the final stroke of twelve, instantly mount up into their highest regions, which are among the novelties of the instrumentation of this day, being an addition to the upper portion of the orchestral Violin unused by composers a few years since [18:49].
While they so discourse the recollections of a new birth in the thin treble of infancy, suddenly is heard in the lower region of the scale, a fresh intonation [19:09]. This is the Bassoon of Mr. Hardy, which instrument besides its other qualities is at the pitch where it is here taken, the most quaint of all in the orchestra, and hence is chosen to describe Santa Claus. It gives an air in double-time like the trot of horse, accompanied by sleigh bells, and the cracking of a whip. The trotting and bells grow louder, and suddenly Santa Claus reins up his steed with a jerk, imitated by a rasping sound on the stringed instruments. Santa Claus then flies down the chimney to the soft notes of the flutes; the Lullaby is again heard hinting at the children, while harp-like notes on the Violins show the click of the toys as they are thrown in the stockings of the happy little sleepers. Santa Claus then retakes his sleigh as the flutes mount up, and the retreating music of pattering hoofs and tinkling bells dies away. A few whirring notes on the kettle drums speak of the wind-tossed snow, and then is heard in the highest regions of the Violins with the fluttering ecstasy of hovering angels, the Christmas Hymn, Adeste Fideles, of which the following is the ancient Latin version [21:45]:
Adeste fideles, læti triumphantes,
Venite, venite in Bethlehem:
Natum videte regem angelorum:
Venite adoremus dominum!
The hymn runs then into a swelling note of the whole orchestra, the perfect major chord, which is in sound precisely what a blaze of sunlight is to sight. This betokens the break of day. We are now introduced to the happy household. Knockings awaken the little sleepers with the cries of “Get up! Get up! Get up!” imitated on the Horn; and so roused the children rush with joy and seize their toys, and the orchestra now plays Little Bo-peep on toy-trumpets, drums, and so forth. A trait from the Introduction of the Symphony, leads to the Adeste Fideles (Hither, ye Faithful) Hymn which, with grand chorus and orchestra, concludes the piece.
A New “Jupiter” among Symphonies
To the Editor of the Journal of Music.
My Dear Sir:—As many of your readers have never seen a full and impartial description of Herr Löstiswitz’s pictorial Symphony, I take the liberty of sending you an account of the performance by an ear witness.
Musical expression has certainly made great progress during the present century, but a triumph so wonderfully complete as the last one here described, it is almost impossible to conceive.
Your readers will certainly arrive at the conclusion that there is no limit to the power of descriptive music.
———
Berlin, April 1st.
Dear Friend:—I cannot forbear writing to you to express my deep regret at your departure from Berlin before the production of Herr Löstiswitz’s pictorial Symphony. The rumors which had prevailed for some time amongst the dilettanti respecting this stupendous work of modern art-genius had already raised the minds of every class of the community in Berlin to the highest point of expectation, and led to the belief that a musical crisis was at hand, pregnant with results of the deepest consequence to aesthetical philosophy. But great as was the expectation formed by the public, it was surpassed by the reality, and a perfect fever of enthusiasm pervades the town at the moment of my sitting down to record this recent but ever memorable event in the history of sound-craft.
You may remember that the subject chosen by the gifted artist, is by no means one affording the ordinary broad points of imitation more especially demanded by the drama of sound. It is based upon the incidents of every day life, borrowing nothing from the rich sources of passion, the inspiration of romance, or the suggestive charms of poetical existence. The present effort has been made (how successfully all Berlin can witness) to paint through the medium of sounds, unaided by words, the progress of a merchant’s life. The name given to this truly wonderful production of self-poised genius is “Das Tongemalt Kaufmanns Leben Gedicht,” literally “the sound-pictured poem of a merchant’s life,”—a name in itself replete with interest to the student of German metaphysics, who here finds the whole circle of the fine arts embraced in a single phrase, agreeably to an exquisite sense of their intimate relations; a piece of descriptive music being first called a poem, and then being said to be painted, and this painting, lastly, being declared to be executed in sound. The details of this unparalleled symphony would occupy more space than any letter could afford: they absorb sixteen closely-printed pages in a synopsis just written by the learned and eloquent Stuffenonsenz, in the Musikalische Zeitung, which I will forward you by the first post. In the meantime accept the following brief and meagre analysis.
I ought to tell you, in the first place, that the orchestra on this occasion was erected on the pit of the opera house, the audience being arranged on the stage. In addition to an unusually large stringed instrument department, there were four and twenty trombones, eighteen trumpets, nine pairs of horns, six ophicleides, ten serpents, thirteen pairs of cymbals, two gongs and eight drums, tuned to each interval of the octave.
The band was swelled by amateurs of distinction, and the whole was led by the father of the composer; the last circumstance, as may readily be supposed, augmenting the deep interest of the scene to a degree of intensity bordering on the painful. Three quarters of an hour were required for tuning this immense mass of instruments.
This being over, see now ascending, amid the overwhelming plaudits of the audience and the orchestra, a young man of a pale and interesting countenance, with an immense profusion of uncombed black hair, lending romantic disorder to an appearance in every way peculiar. This is young Löstiswitz, and he turns towards the immense assemblage which greets him, while he gracefully endeavors to move the hair out of his eyes in order to survey them. Still he ascends, and still they applaud, and still he labors to behold them through the struggling curtain of a dark hair-maze. But at length he has reached the rostrum of the conductor. All is at once as still as death. On him, the hero of that evening, every eye is bent. Many already have poured forth the soul-tribute of tears. His modest demeanor wins all hearts. And how he waves his baton, and the breathless silence is broken by the first stroke of the orchestra (the chord of the 1-2-3-4-5-6-7-8-9-0) struck by the whole band staccatissimoFfff with the unity of a single gun.
A pause ensues. Then there begins a plaintive warbling strain on the oboe, accompanied by the ophicleides and one gong. This marks the first entrance of the boy-man into mercantile life. The lingering remembrances of his boyish sports and pleasures (graphically depicted by the touching accents of the oboe in E major) are brought effectively into contrast with the rough rebukes and reproaches of the senior clerk, conveyed by the bassi in C minor. Want of punctuality, and inaccuracy in the details of business, are now sharply urged against him by the violins, in staccato passages contretemps. He submits with becoming modesty to this censure in a holding note on the second bassoon. But his mind presently rallies; he girds himself up for his daily task; he is sensible of a divine energy; and now a strict fugue is led off by the tenors, and grows upon the ear through all the forms of harmonic proportion, self-evolving, infinite, yet regular. This proclaims new habits of business, exactness in accounts, well-kept books, and general exemplary conduct. Years roll on, accompanied by the violoncello; the youth wins the approbation of his superiors—the man is a partner in the firm! Vainly, my dear friend, should I endeavor to convey to you the least adequate conception of the exquisite and finely-preserved gradations by which this picture-poem-sculpture-music expresses to the sense of the spectator-auditor, crescendo poco à poco, the commercial progress of its youthful hero. With this noble climax, the first movement concludes.
After a short pause, needed alike by the audience and the performers to recruit their spirits, exhausted by the excitement, a graceful Pastorale movement commenced, indicating that degree of comfortable independence and rural retirement which are the fruits of well-regulated industry, when the time-earned blessings of competence have placed within reach of the successful partner a small house and grounds in the suburbs, unfurnished, with other conveniences. Every morning at nine o’clock, after a moderate but excellent breakfast, we seem him driving into town, in G major, Allegro two-fours; every evening at five we see him returning to dinner, on the dominant.
I observed more than one commercial man in the room, who had passed through all the usual stages of mercantile life, yielding himself up to the delusion of the moment, and reveling in associations rekindled among the embers of existence by the spell of the spirit-ruler. Every mind was conscious of a secret regret when the last note of this movement expired. It was to them as the going down of an autumnal sun, bright, but prophetic of no genial return.
Now followed an Adagaio un poco prestissimo, piano quasi forte, senza tempo—by far the most sui-general and future-age-anticipating portion of this divine work. Löstiswitz has here displayed that deep insight into the principles of instrumentation, which gives him the extraordinary superiority he at present enjoys over contemporary composers as a combinationist.
This movement commences with a trio for two serpents and an octave flute, indicative of extensive commercial embarrassment, and so skillfully has the composer applied the resources of his genius to the subject before him that, with this simple machinery, the whole process of what appears a complicated bankruptcy is brought before the mind with startling reality; in so much that it may be doubted if in a country like England, this portion of the symphony would not require considerable modification, in the event of its performance there. The failure of correspondents, the blockade of the Mexican ports (this would never be permitted by your government I conceive), rumors of the plague at Alexandria, the consternation of clerks and accountants, the presentation of bills for payment, the impetration of renewal, the galling insolence of minacious creditors—all these things told, and were told with such effect, that a powerful sensation of alarm pervaded the whole house, in the midst of which, Herr ——, of the firm —— & Co., was carried out in a state of suspended animation. At length a calm ensues; the assets are found sufficient to prevent injury to credit, confidence revives, orders pour in, and all again is harmony and prosperity. Then comes the grand finale.
A brisk Allegro in triple time denotes the accumulation of money in the three per cents; but this movement gradually assumes a statelier style and loftier measure as honors succeed to riches; and, at length, the freedom of the city having been presented in a complimentary Andante for four horns, not without a neat and appropriate reply from the double bass, and a prince of the blood royal having proposed for the sixth daughter in a subsequent bar, the whole of this prodigious work is brought to an end on a sustained dominant, equally remarkable for the novelty of its sequences, and the perfect propriety of its matrimonial arrangements.
Oh! my dear friend, much as I have said, I feel how inadequate my words are to convey a correct impression of this unique Art-fruit. But you must wait till you see what Stuffenonsenz has said about it in the synopsis which I have to forward you. The power of sound in embodying the visible forms of things—its direct appeal to the eye—can longer be a point in question.
To Germany belongs the credit due to the discovery; she first explored what may be called (literally) the phenomena of music; and she it is that is bringing the discovery to perfection. It was reserved for Löstiswitz to crown the vindication of music from the prejudice which has hitherto set it down, after Plato, as ἀόρατον τι. (something not to be seen) as it is described in the foolish motto prefixed to that English tone-art paper, the Musical World.[2] It was reserved for him to reverse Ovid’s Metamorphoses and restore to Echo her visible form. You know the school of music in which he has been educated, and the transcendent capabilities which it has newly opened up to the view of awakening Europe. But great as are the masters which adorn that school, it may safely be said that no one of them has ever done more than Löstiswitz.
Yours, ever, ——
(Dwight’s Journal of Music, 21 Jan. 1854; orig: Musical World (London), 11 Apr. 1839)
ANOTHER GRAND SYMPHONY!
CHEERING FROM THE SOUTH!
Under this heading, a correspondent sends us an account of a new and highly original musical work, recently produced in Richmond, Va., by a German gentleman of that State, one Dr. Treiberneger (“N———driver”), who, it is suggested, was inspired to compose his “Plantation Symphony” by the success which has attended the efforts of Herr Lostiswitz and other writers of descriptive music in Germany. Dr. Treiberneger, it would seem, had gone to Virginia laden with prejudices against the peculiar institution of that State, which were only finally conquered when he became, by marriage, the possessor of a wife and a plantation stocked with one hundred negroes. This auspicious event is hinted at in various tender love passages scattered through his symphony. However, from this moment, very little investigation served to convince the Doctor of the weaknes [sic] and injustice of his former prejudices against the institution he now so justly celebrates, and his symphony may be regarded as the voice of one coming to the light. Our correspondent, who seems to have been so fortunate as to be present at the production of this great work, proceeds as follows.
“Amongst those present to listen I observed Senator Mason, (author of the fugitive slave bill,) Judge Douglas, (of the Nebraska bill,) Rev. Mr. Stringfellow, (author of a Bible-Slavery pamphlet,) Mr. Suttle, (owner of Tony Burns,) Rev. Nehemiah Adams, and E.G. Loring, who were the only persons from the North. The presence of these distinguished gentlemen excited much attention. It was a proud moment for Treiberneger. He came forth to lead the orchestra, and was received by an applause in advance—justified by his wealth and the character of his subject. He seemed to be a man of about fifty, short, thick-set—a face which reminds me much of the likeness of the poet Herrick. He bowed gracefully, waved his baton, and the symphony burst upon us.
“How shall I describe this great work of art! How shall I utter the ineffable! I rejoice that men have imaginations everywhere, or I should despair of conveying any impression. Dr. Treiberneger, with singular originality, has commenced the symphony (which is in B flat) with the movement Andante graziazo [sic]. The buzz-buzz and hum-hum of conversation has ceased, the perfect quiet of the audience is uninterrupted, save by an occasional spitting of tobacco—when the grateful strains steal forth with enchanting power. The plantation stretches out before you, with graceful, undulating beauty. I had, as this beautiful scene arose, memories of the beautiful themes of Haydn’s Creation. For instance, where the tobacco field arises, making ‘eye-music,’ one is reminded of the passage, With verdure clad, &c.; and when the cotton field came into view I could hear the words, Here shoots the healing plant. With this for a background, the Virginia gentleman is seen going forth with his wife in a coach, to take a ride around the estate, and to see the hands at work. The music here was similar in movement, though superior in effect, to Haydn’s ‘In native worth and honor clad.’ With one accord, the audience felt that this was a fitting description of Dr. T. and his plantation with negroes; and for a little while the Andante passed—(where the driver was mounting to the box, on a figure skillfully carried from the cellos back to the second violin, ending with the crack of a whip in C sharp)—because the great applause which this great man received with modesty and yet dignity. The rest of the Andante brings the carriage to the place where negroes are collected at work. It closes with the old and favorite air of Old Virginnynever tire, to which some one, whom I suspected as an incendiary, sitting behind me, added the words, never tires because it goes to tarnation slow. The Andante closed, time was allowed for gentlemen to take refreshment, which I observed Douglas, Mason, and others did.
“The next movement is Allegro molto e con brio. The carriage arrives where other negroes have been put to work, but in the absence of the overseer have betaken themselves to lolling, singing, dancing. This was a happy thought in the composer, inasmuch as it allowed the introduction of much of the life and incident peculiar to the South. The melody of ‘Old Uncle Ned’ is heard—faintly at first, then in full chorus. Then is heard a shuffle, as of a jog, (this on the oboe and second violin, in a few quick notes, in A flat,) whilst a slight adagio shows several idling under a tree. The carriage is not yet seen! Bet we are then taken there, and in a few passages of great brilliance, in what Mrs. Browning calls the ‘sad perplexed minor,’ have a lamentation over the idleness of negroes, their deceit and indisposition to work. The conversation on this subject is carried on in the carriage—the violoncello representing the master; and the flute, varied by clarionet, representing the lady—(every one thinking of the accomplished Mrs. T.!) The characteristic laziness of these blacks, and dishonesty in stealing time from their master, is eloquently brought out; and it is seen from a few notes in the opheiclide [sic], that the present instance demands decided and severe measures. The master’s resolution is given in a few base [sic] notes.
“But the carriage has drawn near. A little scherzo describes their hurrying to their work; but it is too late! They have sinned; they must suffer! A few flashes of the eye in A major announce that a storm is coming on in plantation affairs. They gather together at a barn, where punishment is to be given. The overseers are all put into requisition, with their cowhides. A movement very strong, and resembling the storm in the Pastorale of Beethoven, represents the wailings of the whipped and the warning voice of the master, (violoncello,) and the firm though moderate tones of the lady, saying ‘you know I’ve taught you better,’ (flute, C sharp.) One fellow, who was found reading when he ought to have been working, is whipped more than the rest, (in scores.) Strong emotion for a few bars. The evil effects of teaching negroes to read are descanted upon with a movement like that of the Sonata appassionata. (Mr. Suttle here had tears in his eyes, and his hand was seized by Judge Douglas convulsively.) And with these various and conflicting emotions the Allegro ceased; and, as before, the audience retired a few moments to the bar.
“The Scherzo. By a few sudden strokes, we are warned that something wrong has occurred. A few clear notes on the trumpet inform us that Tony, the one flogged for reading, has run away. We have here mingled the confusion consequent on such an event, and a lamentation over the ingratitude of negroes and the depravity of the human heart. (Rev. N. Adams’s eyes were seen upturned. Senator Mason mutters, with emotion, ‘Dam shame.’ Com. Loring says he’ll ‘see justice done the master.’ Douglas is heard to say, patriotically, ‘Bri the’ da’ nigger to m’—I’ll wallupim!’)
“Nothing now heard but the excited cries of the hunters, the barking of the hunting dogs, the cries of the silly parents and relatives of Tony. The Scherzo ceases—Tony not being found.
“The Finale. I do not hesitate to pronounce this the greatest stroke of artistic genius in modern times. In this the true power of Treiberneger stands forth confessed. In a few rapid and joyful notes in the major key we are informed that Tony is discovered. And we are soon introduced, (with some difficulty arising from bayonets,) into the United States Courtroom at Boston. The Commissioner comes forth under a grand flourish of trumpets, playing ‘Star-Spangled Banner.’ The prisoner is bought in to ‘Old Folks at Home,’ to touch his story heart, if possible. The examination of witnesses, addresses of counsel, excitement in the court-room, are finely given. (I thought the tempos a little too quickly taken here.) Then follows crash after crash of tremendous power, wherein Justice triumphs over the mob; wherein Tony’s sin is punished; you can feel the presence of an advancing army, (such as Jullien says in the 5th symphony;) Tony is borne down, to the tune of Yankee Doodle, to a revenue cutter, and on amid the winds and waves to old Virginia, (air, ‘Carry me back,’) skillfully brought in. Here he is received on the plantation. The negroes all assemble, and those of the neighbors who have requested that their slaves may have an admonition. Tony is stripped and tied in a few c(h)ords of great strength. He is cowhided for an hour. It is repeated in a week. He is then sold at auction. The whole closes with a splendid arrangement of ‘Hail Columbia, happy land,’ which makes this the only symphony, besides Beethoven’s 9th, which ends in a vocal chorus, since the whole crowd united in the strain. Nine cheers were then given for Dr. Treiberneger, and three for each of the distinguished gentlemen present, until it came to Mr. Loring, who had nine.
“I understand that this great work of art is to be produced next fall in the city of Washington, when Congress assembles; and I believe Commissioner Loring declared that it would have a fine effect to introduce it into Boston and other large cities in the Union.”