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| Connla This piece is divided into a choral prologue and two parts, each consisting of three scenes. The solo voices are Connla (Tenor), Nea (a fairy maiden, Soprano) and The Druid Coran and The King (both Baritone). The first half of Dundee Orchestral Society's concert of 2nd April 1897 consisted of works by local composers, among which was a Drinking Song from the 'New Cantata Connla'. The first full performance was given on 7th February 1897 by Madame Ella Russell, Gwilym Richards, Andrew Black, The Dundee Amateur Choral Union and The Scottish Orchestra. S. Fraser Harris wrote analytical notes expressly for the concert. "A new work from the pen of Mr John More Smieton is an event in the musical world. The composer of King Arthur - for as such Mr Smieton will, I fancy, be known best to the musical public - commands our respect. In the past he has always proved melodious, interesting, and instructive, and in this, his latest work, all three qualities appear once again. That Connla will ever become as great a favourite as King Arthur, is, I think, unlikely, not so much because of the music, but, because the story awakens fewer sympathies; the legend upon which it is founded being little known and slight in texture. Happily, the libretto is poetically written, and teems with exquisite ideas. One is, alas! accustomed to find the words of modern works of no great literary value. Mr James Smieton's "book" is beautifully written, and is in construction and treatment all that a composer should wish for, the interest being well sustained from Prologue to Finale." James Smieton's own synopsis of the tale runs as follows: "Connla, son of Conn, the hundred-fighter, from his yout up has been subject to visions. Whilst one day wandering in the woods that surround the royal domain of Uisnech, he has, overcome by fatigue, lain down to rest and fallen asleep. In a dream he hears strange voices bidding him leave his country for the halls of the beauteous Nea, and, on awaking, beholds a vision of the maiden herself, who entreats him to flee with her to her distant home. "The scene now changes to the court of the king, where retainers are celebrating his achievements. A royal hunt is proclaimed, towards the end of which, the king, Connla, and a few attendants withdraw to seek rest in a sheltered glade. Suddenly the sound of strange voices is heard, and Connla is seen to hold converse with an invisible maiden. The king, in fear, bids his attendants summon the Druid Coran, who forthwith chants his spells towards the place whence the strains proceeded. Soon the voices cease, nor is Connla longer haunted by the fairy vision. Ere, however, the maid departs, she casts a golden apple to the youth and bids him take no other food until she come again. "For four whole weeks the golden fruit is Connla's only sustenance, and this, though partaken of daily, remains still unconsumed. Yet in his breast abides a yearning for the maiden, which grows ever stronger as days and weeks roll by. At last, during a feast given by the king, Connla escapes from amid the guests and withdraws once more into the woods, where his heart is gladdened by the re-appearance of the wondrous maid. "Meanwhile, the king and his guests, alarmed at the absence of the young prince, break up the feast and come in search of him. Again strange voices are heard, and again the Druid Coran attempts to intervene. This time, however, the charms are of no avail, Connla has yielded his soul to the spell of the fairy maiden. To the consternation of the beholders, Nea, now for the first time visible, hastens to the neighbouring sea-shore, enters a crystal bark, and beckons Connla to follow her. He rushing from his friends, regardless of their entreaties, springs in the crystal boat, which, slowly gliding, bears them o'er the waters towards the sunset." Despite his reservations of the strength of the piece as a whole, S. Fraser Harris praises various sections, and is particularly taken by Connla's solo, "Fair is thy form": "Nothing more "intense," modern, and romantic, has left Mr Smieton's pen. Passionate ardour wedded to an undercurrent of emotional intensity, culminates in a highly effective dramatic outburst, which is so carefully handled that the general effect is little short of entrancing... Why is this solo not known in the concert-room? Would it not be wise to publish the song by itself?" he asks. Sources: I have not yet been able to investigate the situation regarding different editions and the publication of extracts from Connla. I will only list here what I know has been published. 1st Edition [1896] Op. 25 Gently as falleth the dew [1897] Fair is thy form! [1901] <-- Back Page last updated 14-03-2002 |
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