Lectures on Dramatic Music, and Musical Education (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1872 Excerpt: ...Often as I have perused the touching narrative of Joseph and his brethren, its performance at the Opera Comique, 1829, in Paris, produced a more deep and lasting impression on my feelings. The scenery and costumes historically correct, the singing, acting, and orchestra perfection. I do not envy the man who could witness the affecting interview of Joseph and his father, sung and acted as I witnessed it, without being moved to tears. Not wishing to trespass beyond the time specified in the programme of this lecture, I have selected for my illustration the most popular and salient melodies. The rdle of Joseph is written for an alto or contralto voice, and that of Benjamin for a soprano. It is probably owing to the absence of a heroine, prima donna, that this opera, in vocal combinations and contrast, has little attraction for the public in general and for the irreligious in particular. You shall now hear the overture, & 4 mains, with septet and organ accompaniment. JOSEPH (composed 1807)--Meoul. Programme. Overture, in C, Adagio, 3-4, Allegro, 4-4. Similar to the opening scene of Spohr's opera Jessonda, which I gave you last year, the introduction of the overture to Joseph contains a short canon in octave, a species of contrapuntal contrivance familiar to all musical students. This example of Mehul, I am inclined to think, was not lost upon Spohr. The introductory canon is followed by a healthy, vigorous movement, based on the theme of the cantique heard by Joseph on his approaching the tent of his father, at the opening of the second act. There is no remplissage in the score, for mere sound without sense; nor are there trombones, cymbals, big drums, third and fourth horns, to divert attention from the legitimate effects of pure writing. Hence, with the s...