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The Bridal of Triermain was published in 1813, not long after Rokeby, and, like that poem, drew its scenery from the North of England; but in circumstances, scale, and other ways it forms a pair with Harold the Dauntless, and they had best be noticed together. The Lord of the Isles, the last of the great quintet, appeared in December 1814.
Next there came a rolling of drums, which was interrupted by the strains of a brass quintet which played, on another steamer, the Hunter's Chorus from the Freischutz. But the cursed rolling of drums approached. They were marching at the head of the Riflemen on their way to camp.
In the quintet which accompanies these sayings and doings, there is exquisite music, which, it is said, Mozart conceived while playing at billiards. Finally the ladies announce that three boys, "young, beautiful, pure, and wise," shall guide the pair to the castle of Sarastro. We are next in a room of the castle before the would-be rescuers arrive.
Between seven and eight o'clock, when it was dark, all the five members of the quintet met together at Ensign Erkel's lodgings in a little crooked house at the end of the town. The meeting had been fixed by Pyotr Stepanovitch himself, but he was unpardonably late, and the members waited over an hour for him.
As the herd went past him, with the military quintet five hundred yards in the rear, he gave Brigham's blind bridle a twitch, and in a few jumps the trained hunter was at the side of the rear buffalo; Lucretia Borgia spoke, and the buffalo fell dead. Without even a bridle signal, Brigham was promptly at the side of the next buffalo, not ten feet away, and this, too, fell at the first shot.
It begins with a duet between the Count and Countess, then with the entrance of Susanna changes to a trio, and as Figaro and Antonio enter, develops into a quintet. In the close, an independent figure is added by the entrance of Marcellina, Barbarina, and Basilio, and as Antonio exits, this trio is set against the quartet with independent themes and tempi.
Though they had ever since the spring been expecting Pyotr Verhovensky, whose coming had been heralded first by Tolkatchenko and then by the arrival of Shigalov, though they had expected extraordinary miracles from him, and though they had responded to his first summons without the slightest criticism, yet they had no sooner formed the quintet than they all somehow seemed to feel insulted; and I really believe it was owing to the promptitude with which they consented to join.
She had expected to be perhaps ushered into a darkened bedroom; to administer comfort and sympathy to a shattered creature before administering reproof and counsel. But Karen not only was up; she was not alone. The strains were those of chamber-music, and a half-perplexed delight mingled with Mrs. Forrester's displeasure as she recognized the heavenly melodies of Schumann's Pianoforte Quintet.
Spohr's next production was the fine symphony known as "The Seasons," one of the most picturesque and expressive of his orchestral works, in which he depicts with rich musical color the vicissitudes of the year and the associations clustering around them. This symphony was followed by his seventh quintet, in G minor, another string quartet, the thirty-second, and a series of pieces for the violin and piano, and in 1852 we find the indefatigable composer busy in remodeling his opera of "Faust" for production by Mr. Gye, in London. It was produced with great splendor in the English capital, and conducted by Spohr himself; but it did not prove a great success, a deep disappointment to Spohr, who fondly believed this work to be his masterpiece. "On this occasion," writes a very competent critic,
Some years ago I witnessed a curious scene in the Berlin Opera House. According to Wagner's directions, the curtain goes down after this quintet, but the music continues until the scene is changed. Now, on the occasion in question, the quintet evoked so much enthusiasm that a storm of applause arose.
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