THE CENTENNIAL MEDITATION OF COLUMBIA. 1776-1876. A CANTATA. FROM this hundred-terraced height, Shine and fall, shine and fall, Yonder where the to-and-fro Weltering of my Long-Ago Moves about the moveless base Far below my resting-place. Mayflower, Mayflower, slowly hither flying, Jamestown, out of thee Plymouth, thee—thee, Albany— Winter cries, Ye freeze: away! MUSICALAN- Full chorus: Chorus: the sea and the winds mingling their voices with human sighs. Fever cries, Ye burn: away! Hunger cries, Ye starve: away! Vengeance cries, Your graves shall stay! Quartette: a meagre and despair. ing minor. Then old Shapes and Masks of Things, Fullchorus: Framed like Faiths or clothed like Kings return of the motive of Ghosts of Goods once fleshed and fair, the second movement, but worked up with greater fury, to the climax of the shout at the last line. Grown foul Bads in alien air War, and his most noisy lords, Tongued with lithe and poisoned swords— All in a windy night of time Cried to me from land and sea, No! Thou shalt not be! A rapid and intense whisperchorus. Chorus of jubilation, until the appeal of the last two lines introduces a tone of doubt: it then sinks to pianissimo. Basso solo: the good Angel replies: Hark! Huguenots whispering yea in the dark, Soiled, but not sinning, Toil through the stertorous death of the Night, Now Praise to God's oft-granted grace, I was: I am and I shall be How long, Good Angel, O how long? Sing me from Heaven a man's own song! 66 Long as thine Art shall love true love, Long as thine Eagle harms no Dove, Long as thy Law by law shall grow, Long as thy God is God above, Thy brother every man below, So long, dear Land of all my love, Thy name shall shine, thy fame shall glow!" O Music, from this height of time my Word unfold: In thy large signals all men's hearts Man's heart behold: Mid-heaven unroll thy chords as friendly flags unfurled, And wave the world's best lover's welcome to the world. Full chorus: jubilation and welcome. NOTE TO THE CANTATA. The annotated musical directions which here accompany The Cantata, arranged for the composer's use, were first sent with the newlycompleted text in a private letter to Mr. Gibson Peacock, of Philadelphia. I am enabled to give these annotations and the author's own introduction to his work through the kindness of Mr. Peacock: the friend who, while yet an entire stranger, awakened and led the public recognition of Mr. Lanier's place in the world of art. M. D. L. doing. "BALTIMORE, January 18, 1876. The enclosed will show you partly what I have been The Centennial Commission has invited me to write a poem which shall serve as the text for a Cantata (the music to be by Dudley Buck, of New York), to be sung at the opening of the Exhibition, under Thomas' direction. I've written the enclosed. Necessarily I had to think out the musical conceptions as well as the poem, and I have briefly indicated these along the margin of each movement. I have tried to make the whole as simple and as candid as a melody of Beethoven's: at the same time expressing the largest ideas possible, and expressing them in such a way as could not be offensive to any modern soul. I particularly hope you'll like the Angel's song, where I have endeavored to convey, in one line each, the philosophies of Art, of Science, of Power, of Government, of Faith, and of Social Life. Of course I shall not expect that this will instantly appeal to tastes peppered and salted by [certain of our contemporary writers]; but one cannot forget Beethoven, and somehow all my inspiration came in these large and artless forms, in simple Saxon words, in unpretentious and purely intellectual conceptions, while nevertheless I felt, all through, the necessity of making a genuine song-and not a rhymed set of good adages-out of it. I adopted the trochees of the first movement because they compel a measured, sober, and meditative movement of the mind; and because, too, they are not the genius of our language. When the troubles cease, and the land emerges as a distinct unity, then I fall into our native iambics. "MY DEAR FRIEND :-Your praise, and your wife's, give me a world of comfort. I really do not believe anything was ever written under an equal number of limitations; and when I first came to know all the conditions of the poem I was for a moment inclined to think that no genuine work could be produced under them. "As for the friend who was the cause of the compliment, it was, directly, Mr. Taylor. Indirectly, you are largely concerned in it. .. I fancy [all] this must have been owing much to the reputation which you set a-rolling so recently. |