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Updated: May 27, 2025
In 1860 he wrote two cantatas and commenced a musical drama called "Goethe's Jugendzeit," which was never finished. In 1862 and 1863 he worked upon "L'Africaine," and at last brought it forward as far as a rehearsal; but he died April 23, 1863, and it was not performed until two years after his death.
When Gluck and Mozart transported tragedy from the church to the stage and concert hall, concert-pitch naturally had to assume the rôle of church-pitch, and thus the former has in fact gradually become higher than the latter. There is still another fact connected with this. Händel's operas seem to us concert-like; the arias of Bach's church cantatas often appear operatic.
In King Arthur there are instrumental numbers to accompany action on the stage: without that action these numbers are meaningless. King Arthur was given at Birmingham some years ago, but it proved to be even more incoherent than the festival cantatas which our composers write to order: if the masque from Timon or Dioclesian had been inserted, few would have noticed the interpolation.
His mind was noble and above all mean passions; he neither knew envy nor the feeling of rivalry.... He composed," says the same writer, "seventy-eight operas, of which twenty-seven were serious, and fifty-one comic, eight intermezzi, and an immense number of cantatas, oratorios, masses, etc.; seven symphonies for King Joseph of Spain, and many miscellaneous pieces for the court of Russia."
These innocent diversions became a source of calumny against her; yet they formed almost the only part of her German education, about which Maria Theresa had been particular: the Empress-mother deemed them so valuable to her children that she ordered the celebrated Metastasio to write some of his most sublime cantatas for the evening recreations of her sisters and herself.
Possibly Gleason's happiest work is his exquisite music for that most exquisite of American poems, "The Culprit Fay." It is described in detail in Upton's "Standard Cantatas," and liberally quoted from in Goodrich' "Musical Analysis." Gleason has had an unusual schooling. He was born in Middletown, Conn., in 1848.
Bach is much more shrilly and characteristically dramatic in his church cantatas than contemporary masters of Italian opera. Chamber and theatrical music, for which the lower, milder, more agreeable orchestral tone was chosen, was played, for the most part, only with the semblance of emotion.
Marie Sophie Gay, born at Paris in 1776, is credited with several cantatas, besides a good deal of piano music. Marie Anne Quinault was another eighteenth century composer who devoted her talents to the writing of motets and other church music. The Comtesse de Saint-Didier, born in 1790, was an amateur whose cantata, "Il Est Rendu," met with some success at Paris. In later times, Mme.
The beauties of this famous work needed exposition for, in the absence of definite instructions, opinions differed. In the cantatas the meaning of the words serves as an indication and through the analogy between the forms of expression, it is easy to see pretty clearly what the author intended in his Klavier pieces.
I would then accompany him to his rooms in the Quartier Montmartre rooms high up on the fifth floor where, between two pictures, supposed to be by Angelica Kauffmann, M. Duval had written unactable plays for the last twenty years, and where he would continue to write unactable plays until God called him to a world, perhaps, of eternal cantatas, but where, by all accounts, l'exposition de la pièce selon la formule de M. Scribe is still unknown.
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