Edouard Silas

[Martin Eastick]

A certain antiquarian bookseller in London had a copy of the D minor concerto  for sale 3 or 4 years ago and although I was informed it was available, I was most disappointed to be subsequently told that it had then been sold to another interested party (not the first time this has happened to me from the same seller I hasten to add!). I presume that this was the piano solo part but I wonder who had acquired it...........
I was more fortunate however with a bound volume of Silas piano works (apparently from the same collection and the same seller)  which substantially increased my Silas collection - I have tried these out but my overall impression is that the melodic line tends to be rather weak and unmemorable, and the overall quality of all of his the music that I have seen is somewhat variable. There is a set of 6 piano duets Op23, which are not bad as a set, but as I also possess a copy of the Op19 Symphony score, I felt it would be worthwhile to have a more detailed perusal in view of some of the above comments,and have to say that IMHO this is not at all bad, and would be perhaps worthy of a performance if a set of parts could be procured!

[Mark Thomas]

This talk of Silas reminds me that the late Dr Alan Krueck identified a symphony by Silas as one of the works entered in the 1862 Vienna Symphony Competition eventually won by Raff's An das Vaterland. We still only know for sure the identity of two of the entries: Raff's Symphony and the G minor by Albert Becker, who was the runner up. In attempting to identify the other entrants for his unfinished article on the competition (full text here), Alan relied heavily on a letter written by one of the judges, Robert Volkmann, who described an number of the works entered which were, of course, only identified to him by number. Each did carry a motto, however.

In an addendum to his original text Alan identified the composer of No.28 as Silas, but before doing so he summarised the work thus:

Foremost among the entries Volkmann placed No.28, with the motto, Nur jene Form eines Tonstückes .... (Only that form of a composition), in itself sufficiently cryptic and mystifying. The identity crisis is not limited here only to the composer of this work but extends to the generic title as well, which is Symphonie-Ode in A. major. Despite the fact that the composer of this work has not yet been uncovered, Volkmann has left a number of enticing and illuminating clues. The designation symphonie-ode is in itself rarely encountered up to 1860 and in an exact listing of a composer's catalog, should be easy to spot. We know from the context of Volkmann's remarks that he was dealing with a four movement work. Among the important observations is that the Adagio or slow movement is placed third, indicating it was preceded by a scherzo or dance movement and an opening Allegro. Volkmann's major criticism of the work gives another clue, namely:

"....that after the third movement, a long spun out Adagio, there follows another lengthily developed movement of slow measure, cast in fugal form and of very serious and melancholy coloration, which as worthy as this may seem, detracts from effectiveness and might work to the detriment of the whole."

In this fugal Finale Volkmann also objects to the punctuation of fortissimo chords with cymbals and bass drum, a gesture not characteristic of the composers of the Mendelssohn-Schumann School, such as Volkmann himself. All that Volkmann writes thus far is excellent information aiding in the effort of identifying the composer of this symphonie-ode. But it is in the concluding remark about this work where Volkmann leaves his most valuable observation:

"Unfortunately, the requirement of a rather large organ in the Adagio makes renditions of this work impossible for many a concert organization."

Speculation on this remark alone leads one to suspect that the composer was associated with a major city with symphony performing facilities housing an organ. While that may seem to limit the hunt, the search continues for the composer of this intriguing four movement Symphonie-Ode in A major which concludes with a slow moving fugal finale and cymbals and bass drum punctuations at the end.

Although Alan never got around to integrating his second thoughts into the text of the article, he later wrote:

Of the five unidentified composers in Volkmann's list, there is only one about whom this researcher feels confident in identifying and that is the composer of No.28, the Symphonie-Ode in A major which was Volkmann's first citation. This is almost certainly the Symphony in A major of the Dutch born composer Eduard Silas (1827-1909) which was written in 1852 but not performed until 1862 and again in 1863, both times by the London Philharmonic Orchestra. Silas was a highly regarded organist as well as composer, having beaten Saint-Saëns in an organ performance competition in 1858. Though Christopher Senior's article for the most recent edition of Grove does not mention that this Symphony in A major by Silas carries with it the term "ode', he intriguingly lets the reader know that a second symphony by Silas is called Symphonie-burlesque. Until a score to the Silas can be found or an adequate description of the piece comes to light, definite identification is impossible. Until then the work and its composer remain the prime candidates for No.28, Nur jene Form eines Tonstückes.

It's a shame, but sadly it's pretty clear that Alan misidentified No.28 as Silas' A major Symphony. Whilst that wasn't premièred or published until 1863 (i.e. safely after the Vienna competition), the piece as published isn't a Symphonie-Ode, it lacks a motto and it's slow movement (Adagio quasi Andante rather than Andante) not only comes second in order but also lacks an organ part. I can only assume that Alan hadn't seen the score now available at IMSLP before he made his guess.

So, having eliminated Silas, I wonder who the composer of the intriguing Symphonie-Ode was?

[jerfilm]

I don't suppose there are records of the performances of the London Philharmonic from that era??

Nah, that'd be TOO easy.......

Jerru

[eschiss1]

didn't Felicien David write a symphonie-ode? There's material for a topic there, or two (one on David and one on the symphony, cantata, ode streams etc. - Beethoven 9 being related to... well.. never mind...)

[Mark Thomas]

David's Le Désert is indeed a Symphonie-Ode, as is Nicodé's Das Meer, but obviously neither are the Vienna competition's No.28. Still, mustn't provoke a wagging finger from one of my co-administrators for being off-topic!

Back to Silas: I see that he also wrote a Symphonie-burlesque according to Alan Krueck. Anyone come across it?

[eschiss1]

A Google search reveals that Upton in his "The Standard Symphonies" (1896) mentions three symphonies by Silas, no.1 in A (1850), no.2 in C (1852), no.3 Symphonie-burlesque (1853). (Don't know where or whether it is, at the moment!) (An earlier source seems to be the article on Silas in Fétis, 1881.)

[eschiss1]

Hrm. I thought the Belgian Royal Library might have it, given the information , which I'd forgotten, that he was of Belgian birth; they do have a movement from his mass in an arrangement by Wotquenne, interestingly...

[giles.enders]

Edouard Silas  Born 22.8.1827 Amsterdam (German parents)  Died 8.2.1909  London

His first teacher was Neher in Mannheim.  From 1842 he studied at The Paris Conservatoire under Kalkbrenner, Benoist and Halevy.  In 1850 he settled in London and worked as a church organist, pianist and teacher, subsequently becoming a professor at the Guildhall School of Music.

Orchestral

Symphony in A major  Op.19  1850   pub. by Cramer, Beale & Wood
Symphony in C major  1852
Symphony Burlesque  1853
Overture in E
Overture 'Oliver Brusson'
Overture 'Don Quixote'
Overture and incidental music to 'Franchette'
Piano Concerto in D
Piano Concerto in C minor
Piano Concerto in D minor  1852
Elegie for piano and orchestra  1873
Fantasia for piano and orchestra  1865

Chamber

Piano Trio in A minor  Op.27
Piano Trio in C Op.46
Piano Trio in D
Andante for violin and piano  Op.24
Capriccio for violin and piano   pub. by Weekes & Co
La Bergere - pastorale for violin and piano   pub. by Edwin Ashdown Ltd
Nonet in F minor for flute, oboe, clarinet, bassoon, horn, violin, viola, cello and double bass.
Two quintets
Quartet

Piano

K'Adieu - romance
Bagatelle
Barcarolle in G minor  Op.54
Barcarolle  Op.132
Berceuse Op.74/2
Bourree in G minor
Bourree No.2 Op.79
Bourree No.3
Bourree No.4  pub by Weekes & Co
Bourree No.5  pub by Weekes & Co
Calisthenics   pub. by Edwin Ashdown Ltd
Caprices,  Op.20
Coralie  - romance
Costanza  Op.49
Six piano duets for four hands: Op.23/1,   /2 Allegretto in A minor,  /3 in C major, /4 in A minor, /5 in E flat major, /6 in D flat major  pub. by Ashdown & Parry
Etude  Op.43
Florida - caprice  Op.47
'Francesca' polka
Gavotte in F
Gavotte in D
Gavotte in E minor
Idylle  Op.63
Impromptu, bouree in G minor
Impromptu  Op.34
Impromptu Op45
La Capana  - pastorale  Op.52
'La Gentilezza'  Op.14
'Malvina' romance
Pastorale in F
Rococo
Six equises  Op.67
Sonata in F
Sonatina in G
Suite in A minor  Op.103
Tarantelle  Op.51
'Tokio' Japanese march
Two books of romances, nocturnes and mazurkas
'Vagabonds'

Song

Enid's Song words by Tennyson  1880   pub. by Harper & Brothers
Entsagen
I waited long enough Kathleen  word by A B Edwards
I think of Thee
Polly Vanderdecken
Orange Blossoms
O though pale orb
Stars of the Summer night
The Banks O'Doon  words by R Burns   pub. by B Mocatta & Co.
The Curfew  words by Longfellow
The Dying child  words by E Owlim
The Life chase
The Owl words by Tennyson
The Voice of the Fountain  words by A B Edwards
Treue Liebe


Church Music

Mass for four voices and orchestra  1866
Joash - oratorio  (Norwich Festival)  1863
Kyrie eleison for four voices and orchestra
Ave verum; Tartum ergo; Ave Regina; O Salutaris
Domine Salvam fac requiem  - Prayer for the Queen  for four voices
Four litanies
Christmas Carol for six voices
Softly fall the shades of evening
Song of Spring

Organ

Andantes in C, D, and A flat  pub. by Novello
Allegro moderato in F
Canzonetta   pub. by Novello
Capriccio  Op.121  pub by Novello, Ewer & Co
Fantasia in E minor on St.Anne's tune  Op.93   pub. by Novello
Fantasia in D minor  Op.117  1891   pub. by Novello
Fugues in D and C minor
March in B flat major   pub. by Novello
Melodies in C and E minor  pub. by Novello
Minuet in F   pub. by Novello
Pastorale   pub. by Novello
Sonata in F   pub. by Novello
Six pieces dedicated to J Lemmens

Opera

Nitocris  libretto by E Fitzball

Musical Comedy

Loves Dilemma

[eschiss1]

Re Op.23- thanks, I was wondering what the "Allegretto in A minor, Op.23" arranged for organ was. Apparently one of the 6 duets published in ca.1861 by Richault of Paris, then (not no.5 which is in E-flat according to Worldcat- maybe no.6- I don't have the list offhand. )

[Martin Eastick]

As I have a complete first edition of Silas' Op23, I can confirm that "Allegretto in A minor" certainly applies to No4 (of the set of 6 Duets).

[eschiss1]

Thanks!

As to the list above btw I see from Worldcat also a Magnificat in D Op.98 (and another in B-flat, Op.103) (indeed between Edward and Edouard Silas Worldcat lists a fair amount. The trio Op.46 is given in one publication as No.3, suggesting that the next one might maybe be no.4 and that there might be then a first piano trio missing or misplaced?...  (could the Elegie for piano and orchestra be related to "Elegy on themes from the anthems My beloved spake and I was glad by Henry Purcell" (though this work is for organ solo and was published in 1895), I wonder...)

[401DutchOperas]

I realize I discovered this topic a bit late but I will post my question here anyway. I would be specifically interested in locating the score (or a part thereoff) of Silas's opera Nitocris. Would anyone have an idea if it survived time and where it could be kept? I'm asking because references don't mention any composition date and neither is it clear to me yet if the work was performed, which would of course give some clues. The reason for my interest is simple: I am writing a handbook on Dutch operas and we perform excerpts of these in concert. For any given title to be considered the first criterion is of course that the score or part thereoff survives, otherwise it would become a study of librettos which is not the objective of the book.

[pcc]

Ages and ages ago on this forum there was a short discussion on Silas's A major symphony (op.19, dedicated to Henry Broadwood), and of late because I might try over some things with my own orchestra I started studying it again.  Working closely with it I find it really quite ingratiating and spaciously scored, with really nice harmonic touches throughout, and the finale (which reminds me a little of a French peasant dance at the beginning - a touch like Bizet's L'arlesienne music) would be a whopper with a really brisk performance.  I think we'll try it over if I can generate parts or (miracle of miracles) find a set somewhere.

The question to me was since the title page said "first symphony", where was any other, or was it a "first and only"? As it turns out, after some poking about I found that Silas bequeathed 9 volumes of manuscripts to the British Library upon his death in 1909, and amongst many other things there is another symphony in C from 1872, an "Elegie" for piano and orchestra, and the full score of his unperformed opera Nitocris (1859) composed to a no-doubt-eccentric libretto by Fitzball; the last might well have been written with hopes of being produced by the Pyne-Harrison company.  I remember on the previous discussion there was a Dutch gentleman looking for Nitocris for some sort of Dutch opera project.  Does anyone remember this? - and really, I say with a slightly wry smile, does anyone care - even a tiny bit?  Edouard Silas really is about as "unsung" as anyone cited on this forum, and at least he's a much more - ahem, "interesting" -  composer than, say, Joseph Street (if I want to set the bar really low)!

[matesic]

I find this fascinating! I see in the earlier UC discussion Giles Enders made an extensive list of Silas's compositions. I checked out the BL catalogue and I see their 9-volume manuscript collection isn't as extensive as one might hope, but does include the opera Nitocris (which occupies 3 of the volumes), the sacred drama Joash (2 vols), symphonies in A (presumably the published No. 1 Op 19 whose score is on IMSLP) and C plus a burlesque symphony Mr Punch's Musical Recollections, the Elegie for piano and orchestra and a March of the Vagabonds for piano. Among the other catalogued items is a letter to Silas from Berlioz on the subject of Joash.

[Alan Howe]

I have merged the two threads for ease of reference to the earlier discussion. Trust that helps.