or Hamburg, where he
married and remained many years. In 1820 he was appointed court
capellmeister at Gotha, and died there in the following year. Among his
compositions are six symphonies; five operas, "Das graue Ungeheuer," "Die
Macht der Musik," "Der Rabe," "Die Grossmuth des Scipio," and "Die Ruinen
zu Paluzzi;" and several cantatas, quartets, quintets, and church
compositions. Of all his works, however, his "Lay of the Bell" is the
best known. A few years ago it was the stock piece of nearly every choral
society in Germany, England, and the United States; and though now
relegated to the repertory of old-fashioned music, it is still very
popular.

Lay of the Bell.

The "Lay of the Bell" was composed in 1808, the music being set to
Schiller's famous poem of the same name, whose stately measures are well
adapted to musical treatment. It opens with a bass solo by the Master,
urging on the workmen:--

"In the earth right firmly planted,
Stands well baked the mould of clay:
Up, my comrades, be ye helpful;
Let the bell be born to-day."

The full chorus responds in a rather didactic strain ("The Labor we
prepare in Earnest"), and as it closes the Master gives his directions
for lighting the fire in the furnace and mixing the metals. In this
manner the work progresses, the Master issuing his orders until the bell
is ready for the casting, the solo singers or chorus replying with
sentiments naturally suggested by the process and the future work of the
bell. The first of these responses is the chorus, "What in the Earth
profoundly hidden," a smoothly flowing number followed by a soprano solo
("For with a Burst of joyous Clangor"), a pleasantly-rippling melody
picturing the joys of childhood, and a spirited tenor solo ("The Youth,
Girl-playmates proudly leaving") indicating the dawn of the tender
passion which broadens out into love, as the two voices join in the
charming duet, "O tender Longing, Hope delightsome." The bass still
further emphasizes their delight in the recitative, "When stern and
gentle Troth have plighted," leading up to a long but interesting tenor
solo ("Though Passion gives way") which describes the homely joys of
domestic life. The male chorus thereupon takes up the story in a joyful
strain ("And the good Man with cheerful Eye"), and tells us of the
prosperity of the happy pair and the good man's boast,--

"Firm as the solid earth,
Safe from misfortune