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Updated: May 12, 2025
"And my Graun is so renowned a composer, that any man must count it an honor to be beloved by him," said Frederick, tenderly. "For myself," said Quantz, gravely, handing the king a small roll carefully wrapped up, "I have brought something more than my naked heart in honor of my king's birthday. The king opened it hastily.
You will send M. de Graun at once, officially, to the countess; he will declare to her that I am advised of the part she has taken in the abduction of Fleur-de-Marie, and that if she does not give me the necessary information, so that I can recover this unhappy child, I shall act without pity, and then it is to justice M. de Graun must address himself."
"And now, messieurs," said Frederick, as he returned to the musicians, "we will take our parts, and you, Quantz, take your place at the piano." The concert began. Frederick stood behind the piano, at which Quantz sat; Graun and Fasch had withdrawn to the window, in order to enjoy the music, as Frederick was first to play a solo on his flute, with a simple piano accompaniment.
"We had nothing better to send your majesty on your birthday than our unworthy selves," said Graun; "we come, therefore, to lay ourselves at our king's feet, and say to him: 'Accept our hearts, and do not spurn the gift. A warm, human heart is the richest gift one man can offer another. Your majesty is a great king, and a good and great man, and we dare approach you, therefore, as man to man."
The king played artistically, and with a rare enthusiasm. The marquis was in ecstasy, and Graun uttered a few low bravos. Suddenly, all the musicians shuddered, and Quantz was heard to mutter angrily. The king had committed a great fault in his composition a fault against the severest rules of art. He played on, however, quietly, and said, when he had completed the page "Da capo!" and recommenced.
"It's a graun chance ye're gettin', to be called to sic a kirk as that," said Wattie Gardner one day. "I'm fearin' ye'll rue it if ye bide wi' us here." This was far from the language of ardent wooing; yet I noticed that this same Wattie sought to reform his ways, that they might tend to the increase of my comfort.
But they focht a' the better for that the graun' human principle was there; they kent that fine, an' that was a' they needit for to ken. Forbye, they foucht when the chief bade them fecht. When he gied the word, hieland foot was never slow and hieland bluid was never laggin'. Man, what a graun' chief Bonyparte wad hae made, gin the M'Phatters had ta'en him up!"
"Hark ye!" the dying man suddenly cried. "Div ye no' hear the sang? It's graun ayont the thocht o' man. They're a' in white, an' it's 'Martyrdom' is the tune. Wha's leadin' them? I see Him fine; it's Him wha made the sang itsel'. It's Him wha's leadin' them. Div ye no' ken what they're singin'? It's the new sang, the sang o' Moses an' the Lamb.
Weel, the first Sabbath day, we gaed to the auld Scotch kirk, and we were starvin' for the bread o' life. "Naethin' had we had but the bit sweeties o' the English kirk near by, wi' their confections an' ance we gaed to the Catholic, but it was a holiday. Weel, as I was sayin', we gaed to the Ettrick kirk an' the minister came into the pulpit wi' his goon an' bands fair graun it was.
Handel, whose glorious melodies entranced the senses, produced the grand oratorio of the "Messiah," which is still performed in both Protestant and Catholic cathedrals; and Graun, with whom Frederick the Great played the flute, brought private singing into vogue by his musical compositions. Gluck was the first composer who introduced the depth and pathos of more solemn music into the opera.
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