Queen
Victoria and the Romantic Movement
Queen
Victoria was the longest reigning British monarch of all time. Her
influence on the life and culture of the 19th century can
hardly be overemphasized. In her long reign (1837-1901) she was friend
and sponsor to many composers and musicians and also provided most of
the royal houses of Europe with brides and bridegrooms from her family
of nine children. She is, in fact, considered the “Grandmother of
Europe”. As is the British custom, she has given her name to a period
of history from which it is possible to draw an enormous and varied
repertoire of grand choral music. The Romantic period in Europe –
Victoria’s reign – was a time of dramatic forms, lush harmonies,
experimentation and revivalism. In fact, some of our pieces for this
concert tonight aren’t British at all, as Victoria’s influence was
so wide-ranging in Europe.
We
open tonight’s concert with our processional piece, a folk song, “I
Wonder as I Wander”, arranged by the American composer John Jacob
Niles. Niles began writing down folk music as a teenager, and became a
student of Appalachian folk music by transcribing traditional songs from
oral sources. He pursued his musical studies in France and at the
Cincinnati Conservatory of Music. He sang in opera and on early radio,
and toured in concert throughout Europe and the United States. Like the
Englishman Ralph Vaughan Williams, who features later in our program, he
collected and preserved a significant portion of the folk song heritage
of his country, which might have otherwise been lost.
You
may be wondering why we would sing a piece by Felix Mendelssohn on a
Victorian, and therefore rather British, concert, and also why we are
singing it in English, when it has always been our practice to sing our
repertoire in its original languages. The piece in question is a
movement from Mendelssohn’s unfinished oratorio, Christus,
“When Jesus our Lord”.
Victoria’s husband, Prince Albert of Saxe-Coburg
and Gotha, was, of course, German himself. It
is to him we owe the introduction into Britain of the happy custom of
the decorated Christmas tree, which has now spread over much of the
world. Mendelssohn was a close personal friend of the royal couple,
especially Albert, and spent quite a lot of time in England. His pieces
were performed there in his lifetime, with English translations (we hope
vetted by himself) which have become over the years almost as
“authentic” (at least in English speaking countries) as the original
German.
Mendelssohn's
reputation has always remained high in England. Queen Victoria
demonstrated her enthusiasm for his music by requesting, when the
Crystal Palace was being re-built in 1854, that it include a statue of
Mendelssohn. His “Wedding
March” from A Midsummer
Night's Dream was played at the wedding of Queen Victoria's daughter
to Crown Prince Frederick of Prussia in 1858 and it is still performed
today at marriage ceremonies. His sacred choral music remains enduringly
popular in the choral tradition of the Church of England.
In
Europe before the 19th century, music was considered solely a
contemporary art and the works of composers of the past were considered
to be just that - in the past, and were not often performed. Mendelssohn
was at the centre of a revival of interest in the music of previous
centuries, specifically of J. S. Bach and his family, in Victorian
England, and so we present tonight two Christmas chorales by Johann
Sebastian Bach, “O Jesulein süß”, and “Ach, mein herzliebes
Jesulein”. In Victorian England there was also a renewed interest in
the culture of the Middle Ages. We supply tonight from the very cusp of
the period, the Elizabethan (Tudor) work, “O Lord, in thee is all my
trust” by Thomas Tallis.
The
late-Romantic composer, and friend of Vaughan Williams, Gustav Holst,
was, like many British composers of the late 19th and early
20th centuries, very interested in the music of the Medieval
period. We perform tonight his interpretation of the spirit of that age,
“Lullay, my liking”, on a 15th century text.
Other
19th-century “foreign” (not British, but Victorian in
character) pieces on tonight’s program are the American, “There’s
a Song in the Air” (the present conductor’s favourite), and “Joy
to the World!”. And we make a quick visit to Italy with the song,
“Dormi, dormi bel bambin”. We also have the stirring “Gloria”
from the Mass in D Major by
Antonin Dvorak which is set in the bright key of D and is lavish with
bold vocal imitations of trumpet calls.
Victoria’s
offspring also married into the Russian royal family (photographs of
Victoria’s son “Bertie”, the Prince of Wales, later King Edward
VII, are almost indistinguishable from those of his nephew, Czar
Nicholas II. Bertie was related to nearly all the crowned heads of
Europe and indeed was called the Uncle of Europe). We celebrate this
relationship with the wonderful piece “Bogoróđitse Devo” from
late-Romantic composer Sergei Rachmaninov’s All
Night Vespers.