Part 3

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:

[Music:

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.

XI

The prelude to the third act starts with a tune, in the folk-song manner, sung by the wood-winds:

[Music]

As the curtain rises we find Ase, Aelfrida’s serving maid, singing while she spins in the hall of Ordgar’s house, where Aethelwold is living with his bride. Then comes a tense scene between Aelfrida and Aethelwold, for she is fretted by her preoccupation with the cares of the household, and not wholly content with a husband whose unconfessed treachery must have caused him many sleepless nights. Aethelwold accordingly plans that they shall leave Devon immediately, and go to Ghent in Flanders where Aelfrida would henceforth go “in sighing silk and gossamer and hooded in beaver-fell.” As they sing farewell to Devon the orchestra commences a theme which is heard at different times throughout the act, a melody of great beauty and pathos:

[Music]

But it is too late, for the King is at that moment at the gates, come on a friendly visit. Aethelwold confesses his deception to his wife:

“Yea, my child, ’tis true enough. I lied to Eadgar, Saying thou were little fair. Oh, the good smack of truth on the tongue again, After a winter of lies.”

He then bids Aelfrida help him keep up his deception to the King, and to retire and dim her beauty:

“Go now, and darken thy cheek with the sap of the walnut, And dust thy hair with the meal of the wheat,— Be foul, be bent, be weatherèd, And keep thy bower, that none may see thee, But myself and the King!”

Aelfrida departs to do his bidding—or so Aethelwold thinks.

Eadgar and his men enter singing the folk-song of the first act. As he greets Aethelwold, and asks to be taken to the bride, Aelfrida suddenly appears in the doorway, in all her jewels, proud, beautiful and splendid. Eadgar’s arm slowly drops from Aethelwold’s shoulders, and the orchestra in a discordant crash sounds the pledge motive.

After Eadgar’s sorrowful rebuke, Aethelwold plunges his dagger into his breast, and a brief threnody is spoken by the King. Then follows the choral ending of the opera, with the King intoning his lament against the chorus of retainers and woodsmen, and the orchestra playing a passage, reminiscent of the “farewell to Devon” theme!—

[Music]

As the retainers lift the body of Aethelwold and bear it away, the orchestra again plays the pledge motive, and the curtain falls.

[Music: Facsimile page from the manuscript orchestra score

“The King’s Henchman”—Act III]

LIST OF COMPOSITIONS BY DEEMS TAYLOR

NOTE:—The numbers before each group of titles refer to the publisher.

=LYRIC DRAMA=

[1] =The King’s Henchman= (_Edna St. Vincent Millay_), =Op. 19= In three acts

=CHAMBER MUSIC AND ORCHESTRA=

[1] =The Siren Song, Op. 2= Symphonic Poem for Orchestra

[1] =Through the Looking-Glass, Op. 12= (_Five Pictures from Lewis Carroll_) =1a Dedication= =1b The Garden of Live Flowers= =2. Jabberwocky= =3. Looking Glass Insects= =4. The White Knight=

=Suite for= =Symphony orchestra= =Symphony orchestra—reduced= =Strings, wind and piano=

[1] =The Portrait of a Lady, Op. 14= =Rhapsody for strings, wind and piano=

[1] =Jurgen, Op. 17= =Symphonic poem for orchestra=

[1] =Circus Day, Op. 18= =Suite for jazz orchestra= (_Scored by Ferdie Grofé_) =For symphony orchestra= (_Scored by the composer_)

=CHORAL-CANTATAS=

[2] =The Chambered Nautilus= (_Oliver Wendell Holmes_), =Op. 7= =For mixed voices and orchestra=

[2] =The Highwayman= (_Alfred Noyes_), =Op. 8= =For women’s voices and orchestra= =Also for mixed voices and orchestra=

=PART-SONGS=

[2] =May Eve= (_Thomas S. Jones_), =Op. 11, No. 1=, S.S.A.A.

[1] =Tricolor= (_Paul Scott Mowrer_), =Op. 11, No. 2=, S.S.A.A. T.T.B.B.

[1] =Valse Ariette= (_Humming chorus_), =Op. 11, No. 3=, S.S.A.A.

[1] =Banks o’Doon= (_Robert Burns_), S.S.A. (arranged)

[1] =Plantation Love Song= (“My Rose”) (_Ruth McEnery Stuart_), S.S.A.A. T.T.B.B. (arranged)

[5] =Little Dancing Leaves= (_Lucy Larcom_), Unison

[5] =The Day Is Done= (_H. W. Longfellow_), S.S.A.

[5] =Old Ironsides= (_Oliver Wendell Holmes_), S.S.A.B.

(Written for the Universal School Music Series)

=HARMONIZATIONS AND TRANSCRIPTIONS=

[1] =Armenian Folksongs=: =By the Cradle=, S.S.A. =Heart-Longings=, S.S.A. =My Grief=, S.S.A. =The Well-Beloved=, S.S.A. T.T.B.B. S.A.T.B.

[1] =Belgian Folksongs=: =The Faithless Lover= (L’Abandonnée), S.S.A. =Grizzly, Grumpy Granny= (La Boiteuse), S.S.A. =In the Country= (La Vie Rustique), S.S.A. =The Siesta= (La Sieste), S.S.A.

[1] =Breton Folksongs=: =Before the Shrine= (Disons le Chapelet), S.S.A.A. T.T.B.B. S.A.T.B. =The Sabot-Maker= (Le Sabotier), S.S.A. =The Soul’s Departure= (Le Départ de l’Ame), S.S.A. =The Wedding Dress= (La Petite Robe), S.S.A.

[1] =Czecho-Slovak Folksongs=: =Good Night= (Dobru Noc), S.S.A. =Lightning Now Flashes= (Nad Tatrou sa Blyska), S.S.A. =Song to Bohemia= (Tesme se Blahou Nadeji), S.S.A. =Wake Thee, Now, Dearest= (Pridi ty Suhajko), S.S.A. =Waters Ripple and Flow= (Tece Voda, Tece), S.S.A. T.T.B.B. S.A.T.B.

[1] =English Folksongs=: =The Loyal Lover=, S.S.A.A. S.A.T.B. =Mayday Carol=, S.A. S.S.A. S.S.A.A. S.A.B. T.T.B.B. S.A.T.B. =My Johnny Was a Shoemaker=, S.S.A. T.T.B.B. S.A.T.B. =Twenty, Eighteen=, S.S.A. T.T.B.B. S.A.T.B.

[1] =Scotch Songs=: =Ae Fond Kiss=, S.S.A.A. =Hame, Hame, Hame=, S.S.A.A. T.T.B.B. =Rantin’, Rovin’ Robin=, S.S.A.A. =Whistle, My Lad=, S.S.A.A.

=ARRANGEMENTS=

[2] =—— ——= =Southern Medley=, S.S.A.A. [1] =J. S. Bach= =Air= (Humming Chorus), Unison [1] =G. B. Bassani= =Rest and Slumber= (Posate, Dormite), S.S.A.A. [1] =G. M. Bononcini= =Turn Not From Me= (Non V’Ascondete), S.S.A. [3] =H. T. Burleigh= =De Gospel Train=, S.S.A. =Hard Trials=, S.S.A. =Heav’n, Heav’n=, S.S.A.

[1] =J. Brahms= =Crimson Clouds= (Rothe Abendwolken), S.S.A.A. =Gypsy Minstrel= (He, Zigeuner), S.S.A.A. =The Mountains Are Cold= (Die Berge sind Spitz), S.S.A.A. =Now Sounds the Harp= (Es Tönt ein Harfenklang), S.S.A. =When Sweetly Blossom Roses= (Nun steh’n die Rosen), S.S.A.

[1] =G. Caccini= =Amaryllis My Fair One= (Amarilli, Mia Bella), S.S.A.A.

[1] =M. A. Cesti= =Where Sleeps My Beloved= (Intorno all’Idol Mio), S.S.A.A.

[1] =E. Chausson= =The Humming Bird= (Le Colibri), S.S.A.A.

[1] =C. Debussy= =Afterglow= (Beau Soir), S.S.A.

[1] =J. Des Pres= =What Sorrow Mine= (J’ay Mil Regrets), S.S.A.A.

[3] =S. Donaudy= =Fragrant Groves and Flowery Meadows= (Freschi Luoghi, Prati Aulenti), S.S.A. =Oh, Hasten, Beloved= (Madonna Renzuola), S.S.A.A. =O, Likeness, Dim and Faded= (Vaghissima Sembianza), S.S.A. =O, Vanished Loveliness= (O Del Mio Amato Ben), S.S.A. =Spring Song= (Sorge il Sol!), S.S.A. =The Lover’s Tale= (Ognun Ripicchia e Nicchia), S.S.A. =’Tis Love That Sets Me Singing= (Amor Mi Fa Cantare), S.S.A. =When You Love’s Game Were Learning= (Quand’ il tuo Diavol Nacque), S.S.A.

[1] =H. F. Duparc= =A Sigh= (Soupir), S.S.A.A.

[1] =F. Durante= =Dance, Little Maid= (Danza, Danza), S.S.A. =Virgin, All of Love= (Vergin, Tutto Amor), S.S.A.

[1] =G. B. Fasolo= =Give Me Peace= (Cangia, Cangia), S.S.A.

[1] =G. Fauré= =After a Dream= (Après un Reve), S.S.A.A. =The Cradles= (Les Berceaux), S.S.A.A.

[1] =John of Fornsete= =Sumer Is Icumen In=, S.S.S.S.A.A.

[2] =C. Forsyth= =From the Hills of Dream=, S.S.A.A.

=French=:

[1] =XII. Century= =La Bele Yolans= (Fair Yolanthe), S.S.A. =La Reine d’Avril= (The Queen of April), S.S.A.A.

[1] =XIV. Century= =Je Suis Trop Jeunette= (Nay, My Years Are Tender), S.S.A.A.

[1] =XVII. Century= =Le Berger Discret= (The Timid Shepherd), S.S.A.A.

[1] =XVIII. Century= =Ah, Mon Berger= (Shepherd Mine Own), S.S.A.A. =Chaque Chose à Son Temps= (Everything Has Its Time), S.S.A.A. =La Chanson du Tambourineur= (The Drummer-Boy’s Song), S.S.A.A. =Les Belles Manières= (The Ways of the World), S.S.A.A.

[1] =J. Gallus= =O Salutaris=, S.S.A.A.

[1] =German Folksong= =Spinnerliedchen= (Spinning Song), S.S.A.A.

[2] =R. M. Gliere= =Ah, Twine No Blossoms=, S.S.A.A.

[1] =E. Grieg= =Are They Tears, Beloved?= (Warum schimmert dein Auge?), S.S.A. =Christmas Snow= (Neige de Noel), S.S.A.A. =A Dream= (Ein Traum), S.S.A.A. =Rosebud= (Rosenknospe), S.S.A.

[1] =J. L. Hatton= =To Anthea=, S.S.A.

[1] =Dorothy Herbert= =After Sunset=, S.S.A. =The Song of Desire=, S.S.A.

[1] =Hungarian Folksongs= =For But One= (Nur ein schönes Mädchen), S.S.A. =O Marie= (Marishka), S.S.A. =Whither Going Shepherd?= (Sag’ Mir Csikos), S.S.A. =Play, O Gypsy= (Spiel! Zigeuner), S.S.A.

[1] =Eastwood Lane= =The Little Fisherman=, S.S.A.A.

=Latin=:

[1] =XIV. Century= =Concordi Laetitia= (Hymn to the Virgin), S.S.A.A. T.T.B.B. S.A.T.B.

[1] =J. B. de Lully= =Lonely Wood= (Bois Epais), S.S.A.

[4] =Ethelbert Nevin= =The Land of Heart’s Desire=, Cantata, Baritone Solo, S.S.A.

[1] =G. P. da Palestrina= =Sub Tuum=, S.S.A. =O Bone Jesu=, S.S.A.A.

[2] =Edna R. Park= =The Romaika=, S.S.A.

[3] =G. Puccini= =Love and Music= (Vissi d’Arte), S.S.A. =One Fine Day= (Un Bel Di), S.S.A.

[1] =S. Rachmaninoff= =Cry of Russia= (A Lament), Vocalise, S.S.A.A.

[2] =N. Rimsky-Korsakoff= =Nightingale and the Rose=, S.S.A.

[3] =Geni Sadero= =Beautiful Vine= (Pampina Pampinedda), S.S.A. =Hush-A-By= (Era la Vo), S.S.A. =My Love, My Darling= (Curi, Curuzzu), S.S.A. =Out Seaward= (In Mezo al Mar), S.S.A. =Rock-a-Bye Baby Mine= (Fa la nanna Bambin), S.S.A.

[1] =A. Scarlatti= =If Florindo Be Faithful= (Se Florindo e Fedele), S.S.A.

[1] =R. Schumann= =Bride’s Song= (Lied der Braut), S.S.A.A. =Dedication= (Widmung), S.S.A.A.

[1] =C. Sinding= =Anemone=, S.S.A.A.

[1] =Percy Rector Stephens= =To the Spirit of Music=, S.S.A.A. T.T.B.B. S.A.T.B.

[1] =R. Strauss= =Devotion= (Zueignung), S.S.A.

[1] =T. L. da Vittoria= =Ave Maria=, S.S.A.A.

[1] =Hugo Wolf= =Insatiable Love= (Nimmersatte Liebe), S.S.A. =The Drummer-Boy= (Der Tambour), S.S.A.

=SONGS=

[2] =Witch Woman= (_Celia Harris_), =Op. 3=

[1] =Plantation Love Song= (“My Rose”), (_Ruth McEnery Stuart_) =Op. 6=

[2] =The City of Joy= (_Charles Hanson Towne_), =Op. 9. A Song Cycle= =1. Spring in Town= =2. Poor= ... =3. ... But Happy= =4. The Roof Garden= =5. Home!=

[2] =Time Enough= (_Brian Hooker_), =Op. 10, No. 1=

[1] =The Rivals= (_James Stephens_), =Op. 13, No. 1= =A Song for Lovers= (_James Stephens_), =Op. 13, No. 2= =The Messenger= (_James Stephens_), =Op. 13, No. 3=

[1] =Traditional Airs.= (Harmonized by Deems Taylor) =Op. 15= =1. La Bele Yolans= (Fair Yolanthe) =2. Je Suis Trop Jeunette= (Nay, My Years Are Tender) =3. La Sieste= (The Siesta) =4. L’Abandonnée= (The Faithless Lover) =5. La Vie Rustique= (In the Country) =6. Rantin’, Rovin’ Robin= =7. Ae Fond Kiss= =8. Hame, Hame, Hame= =9. Mayday Carol= =10. Twenty, Eighteen= =11. The Loyal Lover= =12. Le Départ de l’Ame= (The Soul’s Departure) =13. Les Belles Manières= (The Ways of the World) =14. La Petite Robe= (The Wedding Dress)

[1] =Captain Stratton’s Fancy= (_John Masefield_)

[1] =The Banks o’Doon= (_Robert Burns_)

=PIANO=

[1] =A Kiss in Xanadu.= Pantomine Music. =Op. 16=

[1] =Two Studies in Rhythm. Op. 5= =1. Prelude= =2. Poem=

=ORGAN=

[1] =Dedication.= From “Through the Looking Glass.” Transcribed by Charles M. Courboin

=INCIDENTAL MUSIC=

“=Liliom.=” Produced in New York by Theatre Guild

“=Will Shakespeare.=” Produced in New York by Winthrop Ames

“=Humoresque.=” Produced in New York by George Tyler

“=Rita Coventry.=” Produced in New York by Brock Pemberton

“=The Adding Machine.=” Produced in New York by Theatre Guild

“=Casanova.=” Produced in New York by Gilbert Miller

“=Beggar on Horseback.=” Produced in New York by Winthrop Ames (Incidental music includes the pantomime “A Kiss in Xanadu.”)

[1] J. FISCHER & BRO., New York.

[2] OLIVER DITSON CO., Boston, Mass.

[3] G. RICORDI & CO., New York.

[4] THE JOHN CHURCH CO., Cincinnati, Ohio.

[5] HINDS, HAYDEN & ELDREDGE, INC., New York.

_This Series of brochures will include the following American Composers_

ALEXANDER RUSSELL[6] EASTWOOD LANE[6] JAMES P. DUNN[6] A. WALTER KRAMER[6] DEEMS TAYLOR[6]

_In Preparation_:

MORTIMER WILSON WALTER GOLDE CHARLES WAKEFIELD CADMAN HOWARD D. MCKINNEY CARL MCKINLEY SAMUEL RICHARDS GAINES FRANZ C. BORNSCHEIN J. W. CLOKEY FAY FOSTER LILY STRICKLAND HELEN DALLAM _and others_

[6] _Now available_

Transcriber’s Notes

pg 15 Changed: which the resourceful Ferdie Grofè to: which the resourceful Ferdie Grofé pg 44 Changed: Hungarian Folksongs For But One (Nur eine schönes Mädchen) to: Hungarian Folksongs For But One (Nur ein schönes Mädchen) pg 45 Changed: Rock-a-Bye Baby Mine (Fa la Nana Bambin) to: Rock-a-Bye Baby Mine (Fa la nanna Bambin)