WeRead Powered by ReaderPub
Deems Taylor cover

Deems Taylor

Chapter 11: X
By John Tasker Howard
Open in WeRead

Explore more books like this:

American LiteratureBiographiesMusic

About This Book

A biographical study chronicles the life and career of Deems Taylor, tracing his New York origins, education at Ethical Culture School and New York University, and his development from journalist and critic into a self-taught composer. It highlights his versatility—work as critic, editor, translator, speaker, artist, and composer—documents major appointments and lectures, describes his practical demeanor and public success, and considers how his example challenged stereotypes about composers and widened opportunities for American musical creators. The text blends narrative biography, professional appraisal, and selected anecdotes to map artistic achievement and influence.

X

The second act is chiefly an extended love scene, and the impassioned prelude, commencing with the Aethelwold motive, establishes the mood and atmosphere. As the curtain rises, a forest in Devon is discovered, on the Eve of All Hallow Mass. A thick fog causes Aethelwold and Maccus, who accompanies him, to lose their way and become separated. The orchestra, with muted strings, weaves a background of forest murmurings as Aethelwold stretches himself beneath an oak. As he falls asleep a light appears, and we hear a theme which is later associated with the love scene:

As Aelfrida enters with a lantern we again hear her motive. She had come to practice a magic spell, hoping that her incantation would bring her a lover. As she hums the tune, “white-thorn, black-thorn, holy-bough, speed-well,” a ghostly chorus behind the scenes answers her. As the mist clears, the moonlight falls upon Aethelwold, and she kisses him. As he arises they fall in each other’s arms; and then begins one of the most beautiful love duets in the literature of music. It is based on the principal love-theme of the opera:

Ah, could we hide us here in a cleft of the night,
And never be found!
Ah, could we hide us in the night,
And never be found!

They tell each other their names, and Aethelwold horror-stricken learns who she is. As Aelfrida leaves him, to return in a moment, the henchman is left alone to make his decision. The orchestra tells us of his inner strife, we hear reminders of the King’s motive, and the pledge; he tries to flee, but her voice detains him, and as Maccus appears seeking him, he gives way to his temptation and dispatches his harper to the King, with this message:

“Maccus, go back unto the King,
And say to him:
That I have seen the maiden,
And found her nothing fair.
A comely maid enough, and friendly spoken,
But nothing for the King.
Further say:
That whereas the Thane of Devon, the lady’s father,
Is rich in lands and kine;
And whereas the Lord Aethelwold
Spare the King’s love, hath little else beside,—
The blessing of King Eadgar is besought
Upon the wedding of Lord Aethelwold
Unto the maid Aelfrida.”

As Maccus departs, Aethelwold turns to Aelfrida, saying:

“Now shall I look no more beyond thine eyes.”

Both words and music, throughout the act, portray Aethelwold’s intense desire to be loyal to his King, but show the complete inability of almost any man to resist the spell woven by the forest. The music achieves a compelling mood of rapturous lyricism, and its broadly drawn phrases of sensuous melody build up magnificently to the climax of the act.