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Updated: June 17, 2025
Her father was vaguely conscious of some change in his daughter, and when one day he heard her singing "Faust," he was perplexed; and when she argued that it was a beautiful and human aspiration, he looked at her as if he had never seen her before. He asked her how she had come to think such a thing, and was perplexed by her embarrassments. She was sorry for her liking for Gounod's melodies.
There have been three services, and at one Sergeant Graves played an exquisite solo on the violin, "There is a green hill far away," from the oratorio of St. Paul. At another, Matijicek played Gounod's "Ave Maria" on the oboe, and last Sunday he gave us, on the clarinet, "Every valley shall be exalted."
"Awake the harp" is certainly very much the best; for "The heavens are telling" is little better than Gounod's "Unfold, ye everlasting portals" until the end, where it is saved by the tremendous climax; and "Achieved is the glorious work" is mostly mechanical, with occasional moments of life. As for the finale, it is of course light opera.
The gossip is trying to seduce the devil into an avowal of love; Margherita and Faust are discussing their first meeting and the passion which they already feel for each other. Boito's Margherita has more of Goethe's Gretchen than Gounod's Marguerite.
The contrast between two opposing principles is marked in all of Gounod's dramatic works, and in "Faust" this struggle of "a soul which invades mysticism and which still seeks to express voluptuousness" not only colors the music with a novel fascination, but amounts to an interesting psychological problem.
Among the selections given at the Sunday services are Gounod's "Sanctus," the magnificent "Pilgrim's Chorus," the "Gloria," from Mozart's "Twelfth Mass," Handel's beautiful "Largo," the "St. Cecilia Mass," and others of the same character.
A foolish, ignorant young woman may be pleasant enough to look at, but she is like a white, pink-eyed rabbit ornamental, but a poor companion. You know what happens in Gounod's great opera, "Faust," which is based on Goethe's work. An old man his name is Faust yearns for youth. He gets the youth, makes the devil's acquaintance, sells his soul to the devil for the devil's help.
A statement of the number of times that Nicolai's overture to The Merry Wives of Windsor has been played in the theatres would stagger people; Gounod's Faust music and Edward German's charming dances from Henry VIII., and one or two overtures by Suppé and the Stradella music, have become intolerable.
Racing-liners with twin-screws sing "The Turkish Patrol" and the overture to the "Bronze Horse," and "Madame Angot," till something goes wrong, and then they render Gounod's "Funeral March of a Marionette," with variations. "You'll learn a song of your own some fine day," said the Steam, as he flew up the fog-horn for one last bellow.
Without desiring to discredit the beauties of 'Mireille' or 'Roméo et Juliette, one cannot help thinking that it would have been better for Gounod's reputation if he had written nothing for the stage after 'Faust. Very soon after its production Gounod's masterpiece began to exert a potent influence upon his contemporaries.
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