Gambara by Honoré de Balzac (read any book txt) 📖

(in C major) from the brass, founded on the harmony, but strongly marked, and asserting themselves as an expression of the first triumphs. Medina has gone over to the Prophet, and the whole army marches on Mecca (an explosion of sound in C major). The whole power of the orchestra is worked up like a conflagration; every instrument is employed; it is a torrent of harmony.

"Suddenly the _tutti_ is interrupted by a flowing air (on the minor third). You hear the last strain of devoted love. The woman who had upheld the great man dies concealing her despair, dies at the moment of triumph for him in whom love has become too overbearing to be content with one woman; and she worships him enough to sacrifice herself to the greatness of the man who is killing her. What a blaze of love!

"Then the Desert rises to overrun the world (back to C major). The whole strength of the orchestra comes in again, collected in a tremendous quintet grounded on the fundamental bass--and he is dying! Mahomet is world-weary; he has exhausted everything. Now he craves to die a god. Arabia, in fact, worships and prays to him, and we return to the first melancholy strain (C minor) to which the curtain rose.

"Now, do you not discern," said Gambara, ceasing to play, and turning to the Count, "in this picturesque and vivid music--abrupt, grotesque, or melancholy, but always grand--the complete expression of the life of an epileptic, mad for enjoyment, unable to read or write, using all his defects as stepping-stones, turning every blunder and disaster into a triumph? Did not you feel a sense of his fascination exerted over a greedy and lustful race, in this overture, which is an epitome of the opera?"

At first calm and stern, the maestro's face, in which Andrea had been trying to read the ideas he was uttering in inspired tones, though the chaotic flood of notes afforded no clue to them, had by degrees glowed with fire and assumed an impassioned force that infected Marianna and the cook. Marianna, too, deeply affected by certain passages in which she recognized a picture of her own position, could not conceal the expression of her eyes from Andrea.

Gambara wiped his brow, and shot a glance at the ceiling of such fierce energy that he seemed to pierce it and soar to the very skies.

"You have seen the vestibule," said he; "we will now enter the palace. The opera begins:--

"Act I. Mahomet, alone on the stage, begins with an air (F natural, common time), interrupted by a chorus of camel-drivers gathered round a well at the back of the stage (they sing in contrary time--twelve-eight). What majestic woe! It will appeal to the most frivolous women, piercing to their inmost nerves if they have no heart. Is not this the very expression of crushed genius?"

To Andrea's great astonishment,--for Marianna was accustomed to it,--Gambara contracted his larynx to such a pitch that the only sound was a stifled cry not unlike the bark of a watch-dog that has lost its voice. A slight foam came to the composer's lips and made Andrea shudder.

"His wife appears (A minor). Such a magnificent duet! In this number I have shown that Mahomet has the will and his wife the brains. Kadijah announces that she is about to devote herself to an enterprise that will rob her of her young husband's love. Mahomet means to conquer the world; this his wife has guessed, and she supports him by persuading the people of Mecca that her husband's attacks of epilepsy are the effect of his intercourse with the angels (chorus of the first followers of Mahomet, who come to promise him their aid, C sharp minor, _sotto voce_). Mahomet goes off to seek the Angel Gabriel (_recitative_ in F major). His wife encourages the disciples (_aria_, interrupted by the chorus, gusts of chanting support Kadijah's broad and majestic air, A major).

"Abdallah, the father of Ayesha,--the only maiden Mahomet has found really innocent, wherefore he changed the name of Abdallah to Abubekir (the father of the virgin),--comes forward with Ayesha and sings against the chorus, in strains which rise above the other voices and supplement the air sung by Kadijah in contrapuntal treatment. Omar, the father of another maiden who is to be Mahomet's concubine, follows Abubekir's example; he and his daughter join in to form a quintette. The girl Ayesha is first soprano, Hafsa second soprano; Abubekir is a bass, Omar a baritone.

"Mahomet returns, inspired. He sings his first _bravura_ air, the beginning of the _finale_ (E major), promising the empire of the world to those who believe in him. The Prophet seeing the two damsels, then, by a gentle transition (from B major to G major), addresses them in amorous tones. Ali, Mahomet's cousin, and Khaled, his greatest general, both tenors, now arrive and announce the persecution; the magistrates, the military, and the authorities have all proscribed the Prophet (_recitative_). Mahomet declares in an invocation (in C) that the Angel Gabriel is on his side, and points to a pigeon that is seen flying away. The chorus of believers responds in accents of devotion (on a modulation to B major). The soldiers, magistrates, and officials then come on (_tempo di marcia_, common time, B major). A chorus in two divisions (_stretto_ in E major). Mahomet yields to the storm (in a descending phrase of diminished sevenths) and makes his escape. The fierce and gloomy tone of this _finale_ is relieved by the phrases given to the three women who foretell Mahomet's triumph, and these motives are further developed in the third act in the scene where Mahomet is enjoying his splendor."

The tears rose to Gambara's eyes, and it was only upon controlling his emotion that he went on.

"Act II. The religion is now established. The Arabs are guarding the Prophet's tent while he speaks with God (chorus in A minor). Mahomet appears (a prayer in F). What a majestic and noble strain is this that forms the bass of the voices, in which I have perhaps enlarged the borders of melody. It was needful to express the wonderful energy of this great human movement which created an architecture, a music, a poetry of its own, a costume and manners. As you listen, you are walking under the arcades of the Generalife, the carved vaults of the Alhambra. The runs and trills depict that delicate mauresque decoration, and the gallant and valorous religion which was destined to wage war against the gallant and valorous chivalry of Christendom. A few brass instruments awake in the orchestra, announcing the Prophet's first triumph (in a broken _cadenza_). The Arabs adore the Prophet (E flat major), and the Khaled, Amru, and Ali arrive (_tempo di marcia_). The armies of the faithful have taken many towns and subjugated the three Arabias. Such a grand recitative!--Mahomet rewards his generals by presenting them with maidens.

"And here," said Gambara, sadly, "there is one of those wretched ballets, which interrupt the thread of the finest musical tragedies! But Mahomet elevates it once more by his great prophetic scene, which poor Monsieur Voltaire begins with these words:


"Arabia's time at last has come!


"He is interrupted by a chorus of triumphant Arabs (twelve-eight time, _accelerando_). The tribes arrive in crowds; the horns and brass reappear in the orchestra. General rejoicings ensue, all the voices joining in by degrees, and Mahomet announces polygamy. In the midst of all this triumph, the woman who has been of such faithful service to Mahomet sings a magnificent air (in B major). 'And I,' says she, 'am I no longer loved?' 'We must part. Thou art but a woman, and I am a Prophet; I may still have slaves but no equal.' Just listen to this duet (G sharp minor). What anguish! The woman understands the greatness her hands have built up; she loves Mahomet well enough to sacrifice herself to his glory; she worships him as a god, without criticising him,--without murmuring. Poor woman! His first dupe and his first victim!

"What a subject for the _finale_ (in B major) is her grief, brought out in such sombre hues against the acclamations of the chorus, and mingling with Mahomet's tones as he throws his wife aside as a tool of no further use, still showing her that he can never forget her! What fireworks of triumph! what a rush of glad and rippling song go up from the two young voices (first and second soprano) of Ayesha and Hafsa, supported by Ali and his wife, by Omar and Abubekir! Weep!--rejoice!--Triumph and tears! Such is life."

Marianna could not control her tears, and Andrea was so deeply moved that his eyes were moist. The Neapolitan cook was startled by the magnetic influence of the ideas expressed by Gambara's convulsive accents.

The composer looked round, saw the group, and smiled.

"At last you understand me!" said he.

No conqueror, led in pomp to the Capitol under the purple beams of glory, as the crown was placed on his head amid the acclamations of a nation, ever wore such an expression. The composer's face was radiant, like that of a holy martyr. No one dispelled the error. A terrible smile parted Marianna's lips. The Count was appalled by the guilelessness of this mania.

"Act III," said the enchanted musician, reseating himself at the piano. "(_Andantino, solo_.) Mahomet in his seraglio, surrounded by women, but not happy. Quartette of Houris (A major). What pompous harmony, what trills as of ecstatic nightingales! Modulation (into F sharp minor). The theme is stated (on the dominant E and repeated in F major). Here every delight is grouped and expressed to give effect to the contrast of the gloomy _finale_ of the first act. After the dancing, Mahomet rises and sings a grand _bravura_ air (in F minor), repelling the perfect and devoted love of his first wife, but confessing himself conquered by polygamy. Never has a musician had so fine a subject! The orchestra and the chorus of female voices express the joys of the Houris, while Mahomet reverts to the melancholy strain of the opening. Where is Beethoven," cried Gambara, "to appreciate this prodigious reaction of my opera on itself? How completely it all rests on the bass.

"It is thus that Beethoven composed his E minor symphony. But his heroic work is purely instrumental, whereas here, my heroic phrase is worked out on a sextette of the finest human voices, and a chorus of the faithful on guard at the door of the sacred dwelling. I have every resource of melody and harmony at my command, an orchestra and voices. Listen to the utterance of all these phases of human life, rich and poor;--battle, triumph, and exhaustion!

"Ali arrives, the Koran prevails in every province (duet in D minor). Mahomet places himself in the hands of his two fathers-in-law; he will abdicate his rule and die in retirement to consolidate his work. A magnificent sextette (B flat major). He takes leave of all (solo in F natural). His two fathers-in-law, constituted his vicars or Khalifs, appeal to the people. A great triumphal march, and a prayer by all the Arabs kneeling before the sacred house, the Kasbah, from which a pigeon is seen to fly away (the same key). This prayer, sung by sixty voices and led by the women (in B flat), crowns the stupendous work expressive of the life of nations and of man. Here you have every emotion, human and divine."

Andrea gazed at Gambara in blank amazement. Though at first he had been struck by the terrible irony of the situation,--this man expressing the feelings of Mahomet's wife without discovering them in Marianna,--the husband's hallucination was