Chapter XI: Part III: Feast of the dedication at Jerusalem, after Judas and his (4)

The tumultuous scene is followed by Nimrod's lament ("The Tower whose lofty Height was like my State"), a bass aria of great power, and reaching a splendid climax. Abraham, in an exultant strain ("The Lord is strong in Might"), proclaims God's purpose to scatter the people. The most picturesque scene in the work now occurs,--the dispersal of the Shemites, Hamites, and Japthides, typified by orchestral marches and choruses of a barbaric cast. The stage directions at this point indicate that the three choruses "must be sung behind the scenes, while dissolving views present to the audience the emigration of the three great human races,"--an effect which is also made in the last act of Goldmark's "Queen of Sheba." The first chorus, that of the Shemites, which is sung in unison, is taken from some of the ancient music in the ritual of the Jewish Synagogue, that used on the eve of the Day of Atonement. The other two choruses are also Oriental in color and rhythm, and give a very striking effect to this part of the work. The chorus of Angels ("Thus by Almighty Power of God") proclaims the completion of the work, and two long solos by Abraham and Nimrod lead up to the final choruses of the Angels, People, and Demons, worked up in very powerful style, and in the finale uniting the themes which originally introduced the chorus of the People and the Angels, and the subject of the darkness in the overture. The tableau is thus described in the stage directions: "The stage is divided into three horizontal compartments. In the middle is the earth; in the upper is the throne of the Almighty, surrounded by all the heavenly powers; in the lower, hell, Satan seated on his throne, surrounded by all the infernal deities."

Paradise Lost.

The oratorio "Paradise Lost" was first produced in Vienna in 1859 by the Gesellschaft der Musikfreunde, a choral organization conducted by Rubinstein during his stay in that city. Like "The Tower of Babel," it is entitled by the composer "a sacred opera," though it is in genuine oratorio form, and usually classed as such. The text is a very free transcription from Milton. The work is divided into three parts; but as the second is usually the only part given by oratorio societies, our sketch will be principally confined to that. The first part mainly concerns the defeat of Satan's forces by the legions of Heaven, and is remarkable for its vigorous instrumental treatment.

The second part is devoted to the creation, and is composed principally of choruses introduced by a few bars of recitative, invariably for the tenor, who acts the part of narrator. The first seven of these describe the creation of the earth. After a characteristic introduction, the tenor declares "Chaos, be ended!" whereupon the Angels sing a glowing tribute to light ("Upspringing, the darkened Air broke forth into radiant Brightness"). Again the tenor and chorus in a brief number describe the firmament. The third chorus ("Fierce raged the Billows") pictures the division of land and water with great vigor, accompanied by imitative instrumentation which indicates Rubinstein's skill as a water-painter quite as clearly as his great Ocean Symphony. In the fourth and fifth choruses the music vividly tells the story of the creation of the trees and plants and the appearance of the stars in the firmament. The sixth ("Gently beaming, softly streaming"), in which the Angels rejoice in the soft radiance of the moon, is short, but exceedingly tender and beautiful. In the seventh ("All around rose the Sound of the Strife of Life"), we have a description of the awakening of life characterized by extraordinary descriptive power. This group of choruses, each one thoroughly fresh, original, and picturesque in its description, brings us up to the creation of man, which is the finest portion of the whole work. It begins with a long tenor recitative, "In all her Majesty shines on high the Heaven," reaching a fine crescendo at the close ("And lo! it was Man"). The Angels reply with their heavenly greeting, "Hail to Thee, O Man." A short dialogue follows between Adam and the Narrator, and the Angels renew their greeting, this time to Eve. This leads up to a lovely duet between Adam and Eve ("Teach us then to come before Thee"), which is very gracefully constructed, and tenderly melodious in character. The final number is a chorus of the Angels ("Clear resounded the Trumpets of Heaven"), beginning in broad, flowing, jubilant harmony, then developing into a fugue on the words "Praise the Almighty One," built up on a subject full of exultation and grandeur, and closing with a Hallelujah delivered with mighty outbursts of power.

The third part is devoted to the fall of Adam and Eve and their banishment from Eden, closing with the announcement of the ultimate salvation of mankind. Both the Almighty and Satan appear in this part, the former's music being sung by the tenor voice; though, curiously enough, the latter's music is much the more attractive.

SAINT-SAENS.

Charles Camille Saint-Saens, famous as composer, pianist, and critic, was born in Paris, Oct. 9, 1835. He began his musical studies at a very early age. In his seventh year he took piano lessons of Stamaty and studied harmony, and in his twelfth was a student at the Conservatory, where he took two organ prizes; though he failed on two occasions in his competition for the Prix de Rome. His first symphony appeared in 1851, and was performed with success. In 1853 he was appointed organist of the Church of St. Merri, and five years later secured a like position at the Madeleine, which he filled with high honor for nineteen years, finally resigning in favor of Theodore Dubois. In 1867 he was awarded a prize for his cantata "Les Noces de Promethee" by the Paris International Exhibition, and the next year he was received with distinguished honor at the Artists' Meeting in Weimar, both as pianist and composer. His operatic career began about this time. "La Princesse jeune" appeared in 1872, and "Le Timbre d'Argent" in 1877; but neither was successful. His next work was the sacred drama "Samson et Dalila," produced at Weimar in the latter part of 1877; followed by "Etienne Marcel" at Lyons in 1879. In addition to his operas he has written several cantatas, among them "The Deluge" and "La Lyre et la Harpe," composed for the Birmingham Festival of 1879; three symphonies; four symphonic poems, "La Rouet d'Omphale," "Phaethon," "Danse Macabre," and "La Jeunesse d'Hercule;" a large number of concerted pieces with orchestra, songs and romances, as well as chamber-music and compositions for piano and organ. His sacred music includes the following works: mass for four voices, Requiem Mass, "Oratorio de Noel," "Tantum Ergo," the Nineteenth Psalm for solos, chorus, and orchestra, and many minor pieces for choir use. He has been a prolific writer, but his fame thus far rests upon his instrumental music. He has travelled much as a virtuoso in Russia, Spain, Germany, and England, conducting his own compositions, and also giving piano and organ recitals, in which he has met with great success. He also ranks high as a musical critic, and many of his contributions to the Parisian press have been collected, with a view to publication in a separate volume. Of late he has obtained considerable notoriety by his controversial articles on the Wagner question,--in which, however, national prejudice sometimes has been more apparent than cosmopolitan judgment. As a composer, he is unquestionably more learned than are any of his native contemporaries, and he has made a closer study of Bach than even Gounod has. His descriptive powers are very strong, as is evidenced by the symphonic poems which Mr. Thomas has introduced into this country. They even go to the verge of the sensational; but, on the other hand, the study of his "Oratorio de Noel" and of his transcriptions from Bach will show that he is a master of counterpoint and thematic treatment.

Christmas Oratorio.

"Noel," Saint-Saens' Christmas oratorio, in dimensions hardly exceeds the limits of a cantata, but musically is constructed in oratorio style. Its subject is the nativity, combined with ascriptions of praise and a final exultant hallelujah. The work is short, but very effective, and is written for five solo voices and chorus, with accompaniment of strings and organ, and the harp in one number. It opens with a pastoral symphony of a very melodious character. The first number is the recitative, "And there were Shepherds," including the angelic message and the appearance of the heavenly hosts, the subject being divided among the tenor, alto, soprano, and baritone, and leading up to the first chorus ("Glory now unto God in the highest"), which is quite short, but beautifully written. The next number is an aria for mezzo-soprano ("Firm in Faith"), which is very simple, but graceful in its melody. The fourth number is a tenor solo and chorus ("God of all"), written in the church style, followed by a soprano and baritone duet ("Blessed, ever blessed"), which is very elaborate in its construction, and highly colored. The next number is the chorus, "Wherefore are the Nations raging," which is intensely dramatic in its effect, especially for the manner in which the voice-parts are set off against the agitated accompaniment. The contrasts also are very striking, particularly that between the tumultuous opening of the chorus and its tranquil close in full harmony on the words, "As it was in the Beginning." The next number is a lovely trio for tenor, soprano, and baritone ("Thou art from first to last"), with harp accompaniment throughout, which gives to it an extremely graceful and elegant effect. It is followed by a quartet ("Alleluia"), in which the theme is introduced by the alto. The Alleluia is then taken up by all four parts (soprano, mezzo-soprano, alto, and baritone), in full, rich harmony, the alto closing the number alone in a very effective adagio passage. The next number is a quintet and chorus, the prelude to which is a repetition of parts of the opening pastoral. It is also utilized in the voice parts. The number is very elaborate in its construction and development, and is followed by a short final chorus ("Raise now your Song on high") in simple church style. Short as the work is, it is very beautiful, and full not only of genuine service music, but also of graceful conceits and delicate fancies, both in the voice parts and the accompaniments.

SCHUMANN.

Robert Schumann, one of the greatest of musicians, and one who, had his life been spared, would probably have stood at the head of all composers since Beethoven and Schubert, was the son of a bookseller, and was born at Zwickau, in Saxony, June 8, 1810. In his earliest youth he was recognized as a child of genius. His first teacher in music was Baccalaureus Kuntzsch, who gave him piano instructions. It was while taking these lessons that he attended a concert given by Moscheles. The playing of the great teacher aroused his musical ambition, and first inspired him to become a musician. His father recognized his talent very early, but his mother was opposed to his ambition. In deference to her wishes, he began the study of law,--with the full determination, however, to make music his vocation; and in this he ultimately succeeded, through the influence of Wieck, whose daughter, Clara, he subsequently married, and who is still a skilful pianist and famous teacher. He studied the piano with Wieck until his right hand was injured. In 1830, in which year his artistic career really opened, he began the theoretical study of music in its groundwork, first with Director Kupsch in Leipsic, and later with Heinrich Dorn, and at the same time entered upon the work of composition. His opus No. 1 was the so-called "Abegg Variations," dedicated to a young lady, Meta Abegg, whom he had met at a ball in Mannheim. In the same year, 1830, he composed a toccata. In 1831 his famous "Papillons" and other piano works appeared. Schumann was not only a musician, but an able critic and graceful writer; and in 1834, with Schunke, Knorr, and Wieck, he founded the "Neue Zeitschrift fuer Musik," which had an important influence upon musical progress in Germany, and in which the great promise of such musicians as Chopin and Brahms was first recognized. He married Clara Wieck in 1840, after much opposition from her father; and in this year appeared some of his best songs, including the three famous cycluses, "Liederkreis," "Woman's Life and Love," and "Poet's Love," which now have a world-wide fame. In the following year larger works came from his pen, among them his B major symphony, overture, scherzo, and finale in E major, and the symphony in D minor. During this period in his career he also made many artistic journeys with his wife, which largely increased the reputation of each. In 1843 he completed his great "romantic oratorio," "Paradise and the Peri," set to Moore's text, and many favorite songs and piano compositions, among them the "Phantasiestuecke" and "Kinderscenen," and his elegant piano quintet in E flat. In 1844, in company with his wife, he visited St. Petersburg and Moscow, and their reception was a royal one. The same year he abandoned his "Zeitschrift," in which "Florestan," "Master Raro," "Eusebius," and the other pseudonyms had become familiar all over Germany, and took the post of director in Duesseldorf, in the place of Ferdinand Hiller. During the last few years of his life he was the victim of profound melancholy, owing to an affection of the brain, and he even attempted suicide by throwing himself into the Rhine. He was then removed to an asylum at Endenich, where he died July 20, 1856. The two men who exercised most influence upon Schumann were Jean Paul and Franz Schubert. He was deeply pervaded with the romance of the one and the emotional feeling of the other. His work is characterized by genial humor, a rich and warm imagination, wonderfully beautiful instrumentation, especially in his accompaniments, the loftiest form of expression, and a rigid adherence to the canons of art.

Paradise and the Peri.

Schumann's secular oratorio, "Paradise and the Peri," was written in 1843, and first performed at the Gewandhaus, Leipsic, December 4th of that year, under the composer's own direction. Its first performance in England was given June 23, 1856, with Madame Jenny Lind-Goldschmidt in the part of the Peri, Sterndale Bennett conducting. The text is taken from the second poem in Moore's "Lalla Rookh," and was suggested to Schumann by his friend Emil Flechsig, who had translated the poem. This was in 1841; but he did not set it to music until two years later. The text required many changes, and these he made himself. The principal additions are a chorus for "The Spirits of the Nile," the chorus of Houris, the Peri's solo, "Banished," the quartet, "Peri, 'tis true," the solo, "Sunken was the Golden Orb," and the final chorus. It has also been suggested that he availed himself of still another translation, that of Ollker's, as many of the changes agree with his text.

It is difficult to define the exact form of the work, though it is nearly always classed as a secular oratorio, principally because of the introduction of the narrator, after the style of the passion-music. In other respects it resembles the cantata. Reissmann, in his Life of Schumann, says on this point,--

"It seems right that he should have retained the most primitive form of
the oratorio, that of the passion-music. The poem has no genuinely
dramatic course; there was not the smallest intrinsic or extrinsic
reason to dramatize it more fully. Even with treatment such as that of
the 'Walpurgisnacht,' it must have lost much of its picturesque
development The only proper way to treat the subject, therefore, was to
retain the original epic form, and to introduce a narrator in the style
of antique oratorio, who should relate the facts in a few simple words
up to the point where they seem to demand a more dramatic setting."

Von Wasielewski also discusses the same point:

"The narrator is evidently copied from the evangelist in Bach's
passion-music; but by no means with a like necessity. Unquestionably
the latter shared the conviction of his day, that not only the
substance, but the words, of the biblical dogma were sacred. Schumann's
case was not at all similar. He had before him, in the poem to be set
to music, a work of art which, although once remodelled, would still
permit every formal change required by aesthetic considerations. How
easy, for example, it would have been to abolish the narrator, as
destructive of unity!"

Had the narrative passages been omitted, it would unquestionably have enhanced the interest and perhaps relieved the monotony and wearisomeness of some parts of the work. Unlike the usual manner in which the narrator's part is treated,--as a mere recitative link between numbers,--Schumann invests it with the same importance as the acts and events themselves, and treats it melodically, so that the relief which comes from contrast is lacking.

The oratorio is written in three parts, for solo voices, chorus, and orchestra, the principals being the Peri (soprano); the Angel (alto); the King of Gazna (bass); a Youth (tenor); the Horseman (baritone); and the Maiden (soprano). The choruses are sung by Indians, Angels, Houris, and Genii of the Nile, and the part of Narrator is divided among the various voices. The story follows that of the original poem. The Peri, expelled from Paradise, stands at its gate weeping to think

"her recreant race
Should e'er have lost that sacred place."

The angel who keeps the gate of light promises she shall be re-admitted if she brings "the gift that is most dear to Heaven." The Peri goes in quest of the gift, first to India, where she procures the last drop of blood shed by the hero who resisted the tyrant Mahmoud, and takes it with her to the gate; but the crystal bar moves not. She continues her quest, and from the pestilential plains of Egypt she takes back the last sigh of the maiden who sacrificed herself to her love for the youth who stole out to die alone. But still the crystal bar moves not. At last, in the vale of Baalbec, she finds the gift,--the tear of a repentant sinner,--which secures her admission.

After a brief orchestral introduction, the Narrator (alto) tells the story of the disconsolate Peri at the gate, and introduces her in the first solo ("How blest seem to me, vanished Child of Air"), a tender, beautiful melody, characterized by romantic sentiment. The Narrator (tenor) introduces the Angel, who delivers her message to the Peri ("One Hope is thine"), to which the latter replies in a sensuous melody, full of Oriental color ("I know the Wealth hidden in every Urn"). The tenor Narrator introduces at this point a quartet ("O beauteous Land"), in which the two trebles, tenor, and bass alternate, followed by the full, powerful chorus, "But crimson now her Rivers ran." A weird march, fairly barbaric in its effect, indicates the approach of the tyrant of Gazna, and introduces the stirring chorus of the Indians and Conquerors ("Hail to Mahmoud"). The tenor Narrator describes the youthful warrior standing alone beside his native river and defying the tyrant. Once more the chorus shouts its greeting to Mahmoud, and then ensues a dialogue in recitative between the two, leading up to the youth's death and a double chorus of lamentation ("Woe, for false flew the Shaft"). The tenor Narrator describes the flight of the Peri to catch the last drop of blood shed for liberty; and then all the voices join with the soprano solo in a broad, strong, exultant finale ("For Blood must holy be"), which is one of the most effective numbers in the work.

The second part opens in the most charming manner. The tenor Narrator pictures the return of the Peri with her gift, leading up to the Angel's solo ("Sweet is our welcome"), which preludes a brief choral passage for sixteen female voices. After the Narrator's declaration of her disappointment, the scene changes to Egypt, and in a dainty, delicate three-part chorus the Spirits of the Nile are invoked not to disturb the Peri. Her lament is heard ("O Eden, how longeth for thee my Heart!"), and the Spirits now weave a gentle, sympathetic strain with her song. A long tenor narration follows ("Now wanders forth the Peri sighing"), describing the pestilence brooding over the Egyptian plains, the music to which is very characteristic. The scene of the maiden dying with her lover is full of pathos, and contains two exquisite numbers,--the narrative solo for mezzo-soprano ("Poor Youth, thus deserted"), and the dying love-song of the Maiden ("O let me only breathe the Air, Love"). The scene closes with a sweet and gentle lament for the pair ("Sleep on"), sung by the Peri, followed by the chorus, which joins in the pathetic farewell.

The third part opens with a lovely chorus of Houris ("Wreathe ye the Steps to Great Allah's Throne"), interspersed with solos and Oriental in its coloring. The tenor narration ("Now Morn is blushing in the Sky"), which is very melodious in character, introduces the Angel, who in an alto solo ("Not yet") once more dooms the Peri to wander. Her reply ("Rejected and sent from Eden's Door") is full of despair. The narration is now taken by the baritone in a flowing, breezy strain ("And now o'er Syria's rosy Plain"), which is followed by a charming quartet of Peris ("Say, is it so?"). Once more the baritone intervenes, followed by the Peri; and then the tenor Narrator takes up the theme in a stirring description of the boy nestling amid the roses, and the "passion-stained" horseman at the fountain. The alto proclaims the vesper call to prayer, and the tenor reflects upon the memories of the wretched man as he sees the child kneeling. The solo baritone announces his repentance, followed by a quartet and chorus in very broad, full harmony ("O blessed Tears of true Repentance!"). The next number is a double one, composed of soprano and tenor solos with chorus ("There falls a Drop on the Land of Egypt"). In an exultant, triumphant strain ("Joy, joy forever, my Work is done!"), the Peri sings her happiness, and the chorus brings the work to a close with the heavenly greeting, "Oh, welcome 'mid the Blessed!" The third part is unquestionably long and wearisome, and taxes not only the voices of the singers, but also the patience of the hearers. The first and second, however, contain some beautiful gems, and the orchestral work is very rich in its coloring. Taken all in all, however, it is a severe treatment of a fanciful subject.

SPOHR.

Louis Spohr, one of the world's greatest violinists, and a composer of world-wide fame, was born at Brunswick, April 25, 1784. Like all great musical geniuses, his ability was displayed very early. He began to play the violin in his fifth year, and to compose for that instrument before he was in his teens. After studying the rudiments with several teachers, the Duke of Brunswick induced Franz Eck, a recognized master of the violin, to give him instruction. Spohr remained with him two years, and accompanied him on his travels to Russia, studying, composing, and learning much by his observation of Eck's playing. In 1805 he was appointed leader of the band of the Duke of Gotha, and began writing orchestral works, his compositions before that time having been mainly for the violin. His first opera, "Die Pruefung," also appeared about this time. In 1807 he made a very successful tour through Germany, and another in 1809, arousing great enthusiasm by his admirable playing. In that year also occurred the first musical festival in Germany, which was conducted by Spohr at Frankenhausen, in Thuringia. In 1811 another was held, for which he wrote his first symphony. In 1812 his first oratorio, "Das juengste Gericht," appeared; but after two performances of it he was greatly dissatisfied, and laid it aside. In the fall of that year he made his first public appearance in Vienna, and achieved such success that he was offered and accepted the leadership of the band at the Theater-an-der-Wien. He remained there only three years, however, and then resumed his professional tours in Switzerland and Italy. In 1818 he was appointed conductor of the opera at Frankfort, where he remained for two years, during which time he brought out his operas "Faust" and "Zemire and Azor." In 1820 he went to England for the first time, and played many of his compositions in the Philharmonic concerts. His English visit was a very successful one, and on his journey back to Germany he stopped in Paris, where also he met with an enthusiastic welcome. He finally settled down at Dresden, where Weber was then busy with the preparations for the performance of his "Freischuetz." During his stay there, Weber had been offered the post of Hofkapellmeister to the Elector of Cassel; but not being in a position to accept it, he recommended Spohr, and the latter obtained the appointment Jan. 1, 1822, where he remained the rest of his days, as it was a life-office. During this year he finished his opera "Jessonda," one of the most successful of all his vocal works. Four years later he conducted the Rhenish Festival at Duesseldorf and brought out his second oratorio, "Die letzten Dinge" ("The Last Things"). In 1831 he completed his "Violin School," which has ever since been a standard work. His most important symphony, "Die Weihe der Toene" ("The Consecration of Sound"), was produced at Cassel in 1832, and his third oratorio, "Des Heiland's letzte Stunden" ("Calvary"), at the same place in 1835. Four years later he went to England again, and produced his "Calvary" at the Norwich Festival with immense success, which led to his reception of a commission to produce "The Fall of Babylon" for the Festival of 1842. His last opera, "The Crusaders," was written in 1844, but did not meet with a permanent success. From this time until 1857 he was engaged in making tours and producing the works of other composers, among them those of Wagner, whose "Tannhaeuser" he brought out in 1853, in spite of the Elector's opposition. In 1857 he was pensioned, and two years later died. He was born a musician and died one, and in his long and honorable life he was always true to his art and did much to ennoble and dignify it, notwithstanding the curious combinations in his musical texture. He never could understand or appreciate Beethoven. He proclaimed himself a disciple of Mozart, though he had little in common with him, and he declared Wagner the greatest of all living composers, on the strength of his "Flying Dutchman" alone. As a performer, he was one of the best of any period.

The Last Judgment.

Spohr wrote two oratorios upon the same subject,--"Das juengste Gericht" ("The Last Judgment") and "Die letzten Dinge" ("The Last Things"); but the latter is now universally entitled "The Last Judgment," and the former was shelved by the composer himself shortly after its performance. His autobiography gives us some interesting details of each. After a concert-tour to Hamburg, Spohr returned to Gotha, and found there a letter from Bischoff, the Precentor of Frankenhausen, informing him that he had been commanded by the Governor of Erfurt to arrange a musical festival there in celebration of the birthday of Napoleon, August 15. He invited Spohr to assume its direction and to write an oratorio for the occasion. Previous to this a poet in Erfurt had offered him the text called "The Last Judgment," and Spohr determined to avail himself of it. He writes,--

"I sent for the libretto and set to work at once. But I soon felt that
for the oratorio style I was yet too deficient in counterpoint and in
fugueing. I therefore suspended my work in order to make the
preliminary studies requisite for the subject. From one of my pupils I
borrowed Marpurg's 'Art of Fugue-writing,' and was soon deeply and
continuously engaged in the study of that work. After I had written
half a dozen fugues according to its instruction, the last of which
seemed to me very successful, I resumed the composition of my oratorio,
and completed it without allowing anything else to intervene. According
to a memorandum I made, it was begun in January, 1812, and finished in
June."

In this connection Spohr tells the following humorous story:--

"One of the solo-singers alone, who sang the part of Satan, did not
give me satisfaction. The part, which was written with a powerful
instrumentation, I gave, by the advice of Bischoff, to a village
schoolmaster in the neighborhood of Gotha who was celebrated throughout
the whole district for his colossal bass voice. In power of voice he
had indeed quite sufficient to outroar a whole orchestra; but in
science and in music he could by no means execute the part in a
satisfactory manner. I taught and practised him in the part myself, and
took great pains to assist him a little. But without much success; for
when the day of public trial came, he had totally forgotten every
instruction and admonition, and gave such loose to his barbarian voice
that he first of all frightened the auditory, and then set it in roars
of laughter."

It is clear from Spohr's remarks that he was satisfied with the choruses and fugues, but not with the solo parts of Jesus and Mary, which were in the florid cantata style of that day. He subsequently determined to re-write them; but "when about to begin," he says, "it seemed to me as though I could no longer enter into the spirit of the subject, and so it remained undone. To publish the work as it was, I could not make up my mind. Thus in later years it has lain by without any use being made of it."

Thirteen years afterwards he wrote "Die letzten Dinge," now so well known as "The Last Judgment." He says in one of his letters,--

"In the same year [1825] Councillor Rochlitz, the editor of the
'Leipsic Musical Journal,' offered me the text of an oratorio, 'Die
letzten Dinge,' to compose for, which I received with great pleasure,
as my previous attempt in that style of art, 'Das juengste Gericht,' by
no means pleased me any longer, and therefore I had not once been
disposed to perform a single number of it at the meeting of our
Society.... The whole work was finished by Good Friday [1826], and then
first performed complete in the Lutheran Church. It was in the evening,
and the church was lighted up. My son-in-law, Wolff, who had been long
in Rome, proposed to illuminate the church as at Rome on Good Friday,
with lights disposed overhead in the form of a cross, and carried out
his idea. A cross fourteen feet long, covered with silver-foil and hung
with six hundred glass lamps, was suspended overhead in the middle of
the church, and diffused so bright a light that one could everywhere
clearly read the text-books. The musicians and singers, nearly two
hundred in number, were placed in the gallery of the church, arranged
in rows one above the other, and for the most part unseen by the
auditory, which, amounting to nearly two thousand persons, observed a
solemn stillness. My two daughters, Messrs. Wild, Albert, and Foeppel,
together with an amateur, sang the soli, and the performance was
faultless. The effect was, I must myself say, extraordinary."

The title of the work is clearly a misnomer, as well as a mistranslation, for it contains nothing of the terrors of the Last Judgment, but, on the other hand, is graceful and elegant in style. The affixing of this title to it is said to have been the work of Professor Taylor, who arranged it for the Norwich festival of 1830, and supposed he was preparing the earlier oratorio, "Das juengste Gericht." The title has now become so indissolubly connected with it that no effort has been made to change it. In the first part the text is confined to ascriptions of praise. The solo, "Blessing, honor, glory, and power be unto him that sitteth upon the throne, and unto the Lamb forever," conveys the meaning of the whole first part; while the second part is confined to those portions of the Apocalypse which describe the terrible signs of the last day, concluding with visions of the new heaven and a hallelujah. And yet Malibran, in her biography of Spohr, calls the oratorio a musical copy of Michael Angelo's "Last Judgment,"--showing that more than one person has confounded the two oratorios.

The work opens with a very long overture of a grave and majestic character, in limits far beyond those usually found in oratorio. It is followed by the striking chorus, "Praise His awful Name," which is beautifully written, and contains impressive soprano and bass solos. Some brief tenor and bass recitatives lead to the second number, a short chorus ("Holy, holy, Lord God of Hosts"), in which the voices have no accompaniment except the horns. Three phrases of recitative for soprano and tenor lead to the next chorus ("All Glory to the Lamb that died"), a grand number, which is familiar to nearly every lover of oratorio music. The next number is one of the most striking in the work. A short tenor recitative introduces the tenor solo and chorus, "Blessing, honor, glory, and power," beginning with a tranquil and smoothly flowing solo, the chorus opening in the same manner, then developing into an admirably written fugue, and closing in the same serene style as it opened. A very dramatic and picturesque scene follows, comprising the tenor recitative ("And lo! a mighty Host"), with a very striking accompaniment descriptive of "the mighty host of all nations and people that stood before the throne and the Lamb," and the exquisite quartet and chorus ("Lord God of Heaven and Earth") which close the first part.

The second part opens with an orchestral symphony which heralds the signs and portents of the Day of Judgment in graphic style. It is followed by a long bass recitative with intensely dramatic accompaniment:--

"The day of wrath is near.
The Almighty shall reveal His power.
The reaper's song is silent in the field,
And the shepherd's voice on the mountain.
The valleys then shall shake with fear,
With dread the hills shall tremble.
It comes, the day of terror comes!
The awful morning dawns!
Thy mighty arm, O God, is uplifted.
Thou shalt shake the earth and heavens.
They shall shrivel as a scroll
When Thou in wrath appearest."

The text indicates the dramatic nature of the subject, and it is treated with a force and vigor that are in striking contrast with the tenderness and serenity, at times rising to exultation, that characterize the remainder of the work. This recitative leads to the very pathetic duet for soprano and tenor, "Forsake me not in this dread hour," which is a gem of beautiful melody, followed by the response of the chorus in unison, "If with your whole Hearts." After a short tenor recitative, another strong chorus ensues ("Destroyed is Babylon"), with an agitated and powerful accompaniment, which continues for some time after the voices cease, once interrupted by the tenor proclaiming "It is ended," and then coming to a close in a gentle pianissimo effect. A tender, melodious quartet and chorus ("Blest are the Departed") follows. The soprano voice announces the new heaven and earth. A short tenor recitative ("Behold! He soon shall come") and the quartet response ("Then come, Lord Jesus") prepare the way for the final massive chorus ("Great and wonderful are all Thy Works"), which begins with a few bars of full harmony, then develops into a vigorous fugue, which, after choral announcements of hallelujah, is followed by another fugue ("Thine is the Kingdom"), closing with a tumultuous ascription of praise, and Amen. The solo parts in the oratorio are always short and of a reflective character. It is peculiarly a choral work, of which, with one or two exceptions, the predominant traits are sweetness, tenderness, and grace. In these exceptions, like the great chorus, "Destroyed is Babylon," with its wonderful accompaniments, it reaches a high strain of sublimity.

SULLIVAN.

The great popularity which Arthur Seymour Sullivan has enjoyed for a few years past, growing out of his extraordinarily successful series of comic operettas, beginning with "The Sorcerer" (1877), which first caught the public fancy, and ending with "The Mikado" (1885), has almost overshadowed the permanent foundations upon which his reputation must rest; namely, his serious and sacred music. He was born in London, May 13, 1842. His father, a band-master and clarinet-player of distinction, intrusted his musical education at first to the Rev. Thomas Hilmore, master of the children of the Chapel Royal. He entered the Chapel in 1854 and remained there three years, and also studied in the Royal Academy of Music under Goss and Sterndale Bennett during this period, leaving the latter institution in 1858, in which year he went to Leipsic. He remained in the Conservatory there until 1861, when he returned to London and introduced himself to its musical public with his music to Shakspeare's "Tempest," which made a great success. The enthusiasm with which this was received and the favors he gained at the hands of Chorley, at that time musical critic of the "Athenaeum," gave him a secure footing. The cantata "Kenilworth," written for the Birmingham Festival, the music to the ballet "L'Ile enchantee," and an opera, "The Sapphire Necklace," were produced in 1864. In 1866 appeared his first symphony, which has been played not only in England, but also in Germany, and an overture, "In Memoriam,"--a tribute to his father, who died that year. The next year his overture "Marmion" was first performed. In 1869 he wrote his first oratorio, "The Prodigal Son," in 1873 "The Light of the World," and in 1880 "The Martyr of Antioch;" the first for the Worcester, the second for the Birmingham, and the third for the Leeds festivals. The beautiful "Overture di Ballo," so frequently played in this country by the Thomas orchestra, was written for Birmingham in 1870, and the next year appeared his brilliant cantata "On Shore and Sea." On the 11th of May, 1867, was first heard in public his little comic operetta "Cox and Box." It was the first in that series of extraordinary successes, really dating from "The Sorcerer," which are almost without parallel in the operatic world, and which have made his name and that of his collaborator, Gilbert, household words. He has done much for sacred as well as for secular music. In addition to his oratorios he has written numerous anthems, forty-seven hymn-tunes, two Te Deums, several carols, part-songs, and choruses, and in 1872 edited the collection of "Church Hymns with Tunes" for the Christian Knowledge Society.

He received the honorary degree of Doctor of Music from Cambridge in 1876, and from Oxford in 1879, and in 1883 was knighted by the Queen.

The Prodigal Son.

"The Prodigal Son," the first of Sullivan's oratorios, was written for the Worcester Festival in England, and performed for the first time Sept. 8, 1869. It is a short work, comprising but eighteen numbers, and very melodious in character. In his preface to the work the composer says,--

"It is a remarkable fact that the parable of the Prodigal Son should
never before have been chosen as the text of a sacred musical
composition. The story is so natural and pathetic, and forms so
complete a whole; its lesson is so thoroughly Christian; the
characters, though few, are so perfectly contrasted; and the
opportunity for the employment of local color is so obvious,--that it
is indeed astonishing to find the subject so long overlooked.

"The only drawback is the shortness of the narrative, and the
consequent necessity for filling it out with material drawn from
elsewhere. In the present case this has been done as sparingly as
possible, and entirely from the Scriptures. In so doing, the Prodigal
himself has been conceived, not as of a naturally brutish and depraved
disposition,--a view taken by many commentators, with apparently little
knowledge of human nature, and no recollection of their own youthful
impulses,--but rather as a buoyant, restless youth, tired of the
monotony of home, and anxious to see what lay beyond the narrow
confines of his father's farm, going forth in the confidence of his own
simplicity and ardor, and led gradually away into follies and sins
which at the outset would have been as distasteful as they were strange
to him. The episode with which the parable concludes has no dramatic
connection with the former and principal portion, and has therefore not
been treated."

In reality there are but six of the eighteen numbers concerned with the narration of the parable. The remainder moralize upon the story and illustrate its teaching. After a short, simple orchestral prelude, an opening chorus, beginning with soprano solo ("There is Joy in the Presence of the Angels of God"), and containing also alto and bass solos, gives the key to the whole work in reflective style, as it proclaims the rejoicing in heaven over the "one sinner that repenteth." At its conclusion the parable begins with tenor recitative and solo, "A certain man had two sons," in which the Prodigal asks for his portion of goods. In a bass aria preceded by recitative, the father gives him good advice, "Honor the Lord," and presumably his portion also, as the soprano recites in the next number that "he took his journey into a far country, and there wasted his substance in riotous living." Thereupon follows a very melodious and vivacious chorus ("Let us eat and drink; to-morrow we die"), in which the tenor has an important part. The response to the bacchanal comes in the next number, a brief chorus beginning with the alto recitative, "Woe unto them." One of the gems of the work, a pretty alto song, "Love not the World," intervenes at this point. At its conclusion the narrative is resumed.

After an effective prelude by orchestra, the soprano recitative relates the famine and the experiences of the Prodigal among the swine, leading up to a pretty aria ("O that thou hadst hearkened"). The tenor follows with an expressive aria ("How many hired Servants of my Father's"). The narrative again halts to give place to a very taking chorus ("The Sacrifices of God"), after which we have the return and reconciliation ("And he arose and came to his Father"),--a very dramatic duet for tenor and bass, followed by the vigorous and exultant bass aria ("For this my Son was dead") of the father. The parable ends here; but the music goes on moralizing upon and illustrating the theme in four effective numbers,--the chorus, "O that Men would praise the Lord," which is the longest and best constructed in the work; the recitative and aria for tenor, "Come, ye Children;" the unaccompanied quartet, "The Lord is nigh;" and the final chorus, "Thou, O Lord, art our Father," closing with a Hallelujah in full, broad harmony.

The Light of the World.

Sir Arthur Sullivan's second oratorio, "The Light of the World," is laid out upon a much larger scale in every way than "The Prodigal Son." It was written for the Birmingham Festival of 1873, was given for the first time on the 27th of August. The purpose of the work, as the composer explains in his preface, is to set forth the human aspects of the life of our Lord upon earth, by the use of some of the actual incidents in his career which bear witness to his attributes as preacher, healer, and prophet. "To give it dramatic force," he says,--

"The work has been laid out in scenes dealing respectively, in the
first part with the nativity, preaching, healing, and prophesying of
our Lord, ending with the triumphal entry into Jerusalem; and in the
second part, with the utterances which, containing the avowal of
himself as the Son of Man, excited to the utmost the wrath of his
enemies, and led the rulers to conspire for his betrayal and death; the
solemn recital by the chorus of his sufferings, and the belief in his
final reward; the grief of Mary Magdalene at the sepulchre; and the
consolation and triumph of the Disciples at the resurrection of their
Lord and Master."

The first part has four scenes, "Bethlehem," "Nazareth," "Lazarus" (which might more appropriately have been entitled "Bethany"), and "The Way to Jerusalem." The scenes of the second part are laid entirely in Jerusalem. "Bethlehem" includes the message of the angels to the shepherds, their visit to Mary, the nativity, the warning by the angel to Mary and Joseph of Herod's design, the lament and consolation of Rachel in Rama, and the promise of God's blessing upon the child. In "Nazareth" we have a scene representing Christ in the synagogue reading from Isaiah and declaring himself the object of the prophecy, his expulsion by the incredulous crowd of listeners, and his exhortations to his disciples, when left alone with them, to bear their persecutions with meekness. "Lazarus" describes the journey to Bethany and our Lord's assurances to the bereaved sisters that their brother shall rise again. "The Way to Jerusalem" scene is indicated by its title,--the entry of the Lord into the city amid the hosannas and exultant acclamations of the people. In the second part, we have the discourse concerning the sheep and the goats, the interview between the ruler and the people, and the former's anger with Nicodemus, the sufferings and death of Christ, and the resurrection and joy of the disciples as they glorify God and sing the praises of their risen Master.

The work opens with a prologue chorus ("There shall come forth a Rod out of the Stem of Jesse"), at the close of which the "Bethlehem" scene begins. It is preluded with a quiet but effective pastoral movement for the orchestra, a tenor recitative ("There were Shepherds abiding in the Field"), and a contralto solo announcing the heavenly message to the Shepherds, which lead up to a spirited "Gloria" by the sopranos and altos, followed by a chorus of the Shepherds ("Let us now go even unto Bethlehem") for male voices. A Shepherd, in brief recitative passages, declares to Mary, "Blessed art thou among Women," followed by the soprano solo, "My Soul doth magnify the Lord." After the Virgin's expression of thanks, the Shepherds join in the chorus, "The whole Earth is at rest," which is peculiarly striking in its contrasts. A short recitative by the Angel, warning Mary to flee into Egypt, is followed by a very sombre chorus ("In Rama was there a Voice"). At its close, the tenor is heard in a tender aria ("Refrain thy Voice from weeping"), leading to a chorus full of spirited harmony, and rising to a very effective climax ("I will pour My Spirit"), which closes the scene.

The "Nazareth" scene opens with a baritone solo ("The Spirit of the Lord is upon me"), in which Jesus declares himself in the synagogue as the object of the prophecy from Isaiah which he has been reading. The Jews answer in a very dramatic chorus ("Whence hath this Man his Wisdom?"). Again Jesus interposes with the declaration, "A prophet is not without honor save in his own country;" whereupon the people break out in a still more dramatic chorus ("Is not this Jesus?"), set to a very effective accompaniment. For the third time Jesus declares himself, followed by the stirring, furious chorus, "Why hear ye him?" A tender and at times fervid solo ("Lord, who hath believed our Report?") leads to a very effective quintet ("Doubtless Thou art our Father"). After another brief baritone solo ("Blessed are they"), we come to the chorus, "He maketh the Sun to rise," which is one of the most beautifully written in the work, and closes the scene.

The third scene, "Lazarus," begins with the description of the mournful journey to Bethany, the arrival among the kindred and friends, who are trying to comfort the bereaved sisters, and closes at the still unopened grave. It includes a duet between tenor and baritone, the former a Disciple, the latter Jesus, whose music is invariably sung by the baritone voice; a solo for alto ("Weep ye not for the Dead"), with a sombre orchestral prelude, and accompanied by a chorus in its close; a dialogue between Martha and Jesus ("Lord, if thou hadst been here"); a short but very beautiful chorus ("Behold how he loved him!"); the baritone solo, "Said I not unto thee;" and a final chorus of great power ("The Grave cannot praise thee").

The last scene of the first part, "The Way to Jerusalem," is very brilliant throughout, and is in cheerful contrast with the general sombreness of the preceding numbers. It opens with a brief dialogue between Jesus and a Disciple ("Master, get thee out, and depart hence"), which leads to a charming three-part chorus for children's voices ("Hosanna to the Son of David"), with a prominent harp part in the accompaniment, and worked up to a fine climax. A brilliant soprano solo ("Tell ye the Daughter of Zion") intervenes, followed by a short dialogue between Jesus and a Pharisee, which leads to the vigorous chorus of the Disciples, "Blessed be the Kingdom." After another baritone solo ("If thou hadst known, O Jerusalem") the children's hosanna is repeated,--this time with the power of the full chorus; and the first part comes to a close.

The first part opens with a prelude of a few bars; but the second begins with a long overture, very effectively written, and intended, as the composer himself says, to indicate the angry feelings and dissensions caused by the Lord's presence in Jerusalem. At its close the baritone, in one of the most forcible solos assigned to this part ("When the Son of Man shall come in his Glory"), discourses the parable of the sheep and goats. The wondering chorus of the People, "Is not this he whom they seek to kill?" follows, and then ensues a somewhat tedious scene. A Ruler argues with the People, contemptuously asking if Christ shall come out of Galilee. The People remain unconvinced, however. Nicodemus then strives to reason with the Ruler, with the natural effect of making him very angry. All this leads up to an effective female chorus ("The Hour is come"). In a very tender and pathetic solo ("Daughters of Jerusalem") Jesus sings his farewell. The incidents of the crucifixion are avoided, as the work is intended only to illustrate the human career of Jesus. The rest of the story is told in narrative form; an unaccompanied quartet ("Yea, though I walk") and a powerful, but gloomy chorus, describing Christ's sufferings ("Men and Brethren"), bring us to the sepulchre. The scene opens with the plaint of Mary Magdalene, "Where have they laid him?" and the response of the Angel, who tells her Christ has risen, which is followed by a six-part unaccompanied chorus ("The Lord is risen"). A short tenor solo ("If ye be risen with Christ") leads directly to the final chorus ("Him hath God exalted"), which is worked up in fugal form with much spirit.

VERDI.