: Among the Great Masters of Music Scenes in the Lives of Famous Musicians by Rowlands Walter - Musicians Biography; Musicians Portraits; Music in art

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ST. CECILIA PALESTRINA LULLI STRADIVARIUS TARTINI BACH HANDEL GLUCK MOZART LINLEY HAYDN WEBER BEETHOVEN SCHUBERT ROUGET DE LISLE PAGANINI MENDELSSOHN CHOPIN MEYERBEER WAGNER LISZT

PREFACE

The compiler's thanks are due to Messrs. Houghton, Mifflin & Co., and to Mrs. Elizabeth Stuart Phelps Ward, for permission to use a selection from "The Silent Partner."

AMONG THE GREAT MASTERS OF MUSIC.

ST. CECILIA.

One of the most ancient legends handed down to us by the early Church is that of St. Cecilia, the patroness of music and musicians. She is known to have been honoured by Christians as far back as the third century, in which she is supposed to have lived.

Doubtless much of fancy has been added, in all the ensuing years, to the facts of Cecilia's life and death. Let us, however, take the legend as it stands. It says that St. Cecilia was a noble Roman lady, who lived in the reign of the Emperor Alexander Severus. Her parents, who secretly professed Christianity, brought her up in their own faith, and from her earliest childhood she was remarkable for her enthusiastic piety: she carried night and day a copy of the Gospel concealed within the folds of her robe; and she made a secret but solemn vow to preserve her chastity, devoting herself to heavenly things, and shunning the pleasures and vanities of the world. As she excelled in music, she turned her good gift to the glory of God, and composed hymns, which she sang herself with such ravishing sweetness, that even the angels descended from heaven to listen to her, or to join their voices with hers. She played on all instruments, but none sufficed to breathe forth that flood of harmony with which her whole soul was filled; therefore she invented the organ, consecrating it to the service of God. When she was about sixteen, her parents married her to a young Roman, virtuous, rich, and of noble birth, named Valerian. He was, however, still in the darkness of the old religion. Cecilia, in obedience to her parents, accepted the husband they had ordained for her; but beneath her bridal robes she put on a coarse garment of penance, and, as she walked to the temple, renewed her vow of chastity, praying to God that she might have strength to keep it. And it so fell out; for, by her fervent eloquence, she not only persuaded her husband, Valerian, to respect her vow, but converted him to the true faith. She told him that she had a guardian angel who watched over her night and day, and would suffer no earthly lover to approach her. And when Valerian desired to see this angel, she sent him to seek the aged St. Urban, who, being persecuted by the heathen, had sought refuge in catacombs. After listening to the instructions of that holy man, the conversion of Valerian was perfected, and he was baptised. Returning then to his wife, he heard, as he entered, the most entrancing music; and, on reaching her chamber, beheld an angel, who was standing near her, and who held in his hand two crowns of roses gathered in Paradise, immortal in their freshness and perfume, but invisible to the eyes of unbelievers. With these he encircled the brows of Cecilia and Valerian, as they knelt before him; and he said to Valerian, "Because thou hast followed the chaste counsel of thy wife, and hast believed her words, ask what thou wilt, it shall be granted to thee." And Valerian replied, "I have a brother named Tiburtius, whom I love as my own soul; grant that his eyes, also, may be opened to the truth." And the angel replied, with a celestial smile, "Thy request, O Valerian, is pleasing to God, and ye shall both ascend to his presence, bearing the palm of martyrdom." And the angel, having spoken these words, vanished. Soon afterward Tiburtius entered the chamber, and perceiving the fragrance of the celestial roses, but not seeing them, and knowing that it was not the season for flowers, he was astonished. Then Cecilia, turning to him, explained to him the doctrines of the Gospel, and set before him all that Christ had done for us,--contrasting his divine mission, and all he had done and suffered for men, with the gross worship of idols made of wood and stone; and she spoke with such a convincing fervour, such heaven-inspired eloquence, that Tiburtius yielded at once, and hastened to Urban to be baptised and strengthened in the faith. And all three went about doing good, giving alms, and encouraging those who were put to death for Christ's sake, whose bodies were buried honourably.

Now there was in those days a wicked prefect of Rome, named Almachius, who governed in the emperor's absence; and he sent for Cecilia and her husband and brother, and commanded them to desist from the practice of Christian charity. And they said, "How can we desist from that which is our duty, for fear of anything that man can do unto us?" The two brothers were then thrown into a dungeon, and committed to the charge of a centurion named Maximus, whom they converted, and all three, refusing to join in the sacrifice to Jupiter, were put to death. And Cecilia, having washed their bodies with her tears, and wrapped them in her robes, buried them together in the cemetery of Calixtus. Then the wicked Almachius, covetous of the wealth which Cecilia had inherited, sent for her, and commanded her to sacrifice to the gods, threatening her with horrible tortures in case of refusal. She only smiled in scorn, and those who stood by wept to see one so young and so beautiful persisting in what they termed obstinacy and rashness, and entreated her to yield; but she refused, and by her eloquent appeal so touched their hearts that forty persons declared themselves Christians, and ready to die with her. Then Almachius, struck with terror and rage, exclaimed, "What art thou, woman?" and she answered, "I am a Roman of noble race." He said, "I ask of thy religion;" and she said, "Thou blind one, thou art already answered!" Almachius, more and more enraged, commanded that they should carry her back to her own house, and fill her bath with boiling water, and cast her into it; but it had no more effect on her body than if she had bathed in a fresh spring. Then Almachius sent an executioner to put her to death with the sword; but his hand trembled, so that, after having given her three wounds in the neck and breast, he went his way, leaving her bleeding and half dead. She lived, however, for the space of three days, which she spent in prayers and exhortation to the converts, distributing to the poor all she possessed; and she called to her St. Urban, and desired that her house, in which she then lay dying, should be converted into a place of worship for the Christians. Thus, full of faith and charity, and singing with her sweet voice praises and hymns to the last moment, she died at the end of three days. The Christians embalmed her body, and she was buried by Urban in the same cemetery with her husband.

It seems hardly possible now to say when St. Cecilia came to be considered as music's patron saint,--probably it was not until centuries after her death. We know that in 1502 a musical society was instituted in Belgium, at Louvain, which was placed under the patronage of St. Cecilia. We know, also, that the custom of praising music by giving special musical performances on St. Cecilia's Day is an old one. The earliest known celebration of this nature took place at Evreux, in Normandy, in 1571, when some of the best composers of the day, including Orlando Lasso, competed for the prizes which were offered. It is recorded that the first of these festivals to be held in England was in 1683. For these occasions odes were written by Dryden, Shadwell, Congreve, and other poets, and the music was supplied by such composers as Purcell and Blow. At the Church of St. Eustache, in Paris, on St. Cecilia's Day, masses by Adolphe Adam, Gounod, and Ambroise Thomas have been given their first performance. In Germany, Spohr and Moritz Hauptmann have composed works in honour of the day, and Haydn's great "Cecilia" mass must not be forgotten.

Mrs. Jameson says that, before the beginning of the fifteenth century, St. Cecilia was seldom represented in art with musical attributes, but carried the martyr's palm. Later, she appears in painting, either accompanied by various instruments of music, or playing on them. Domenichino, who was in Rome when the sarcophagus of St. Cecilia was opened, and painted numerous pictures of the saint, shows her in one of them as performing on the bass viol. This picture is in the Louvre, where also is Mignard's canvas, representing her accompanying her voice with a harp.

Many painters have depicted St. Cecilia playing upon the organ, often a small, portable instrument, such as she bears in the celebrated picture by Raphael, which we reproduce. For over six hundred years, from the time of Cimabue to our own day, artists of all countries have vied with each other in representations of St. Cecilia, but none have risen to the height of Raphael's treatment of the theme.

He shows us Cecilia, standing with enraptured face lifted to heaven, where the parted clouds display six angels prolonging the melody which the saint has ceased to draw forth from the organ she holds. On her right, the majestic figure of St. Paul appears as if in deep thought, leaning on his sword, and between him and St. Cecilia we see the beautiful young face of the beloved disciple, John the Evangelist. Upon the other side, the foremost figure is that of Mary Magdalen, carrying the jar of ointment in her hand, and behind her stands St. Augustine with a bishop's staff, looking toward John. At the feet of St. Cecilia are scattered various instruments of music, a viol, cymbals, the triangle, flute, and others. They are broken, and some of the pipes of the regal held by St. Cecilia are falling from their place,--all seeming to indicate the inferiority of earthly music to the celestial harmonies. Of the five saints depicted, only Cecilia looks upward, and it has been suggested that Raphael meant that she, alone, hears and understands the heavenly strains.

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