A Short History Of English Music Part 16

The oratorio became, as it were, a city of refuge to them. Within its walls they sought shelter from the grim and forbidding austerity to which Puritanism had doomed them.

To what an extent music had been banned by the intolerant and fanatic spirit of the times, is shown by one fact which is almost picturesque in its weirdness. When, on the Restoration, boys who could sing were wanted for the choirs of the Chapels Royal, none could be found! The treble parts of the music had to be played on cornets or similar instruments.

Music had been banished from the home as well as the Church, and this astonishing fact proves with what profound results.

What years of silence those, during the Commonwealth, must have been. It makes one shudder to think of it. What an infancy for those born during those dark days. So completely had all ear for music been, apparently, lost, that it took some years of training before any children could be fitted to take their places in these choirs. The effect of those terrible years was destined to remain, as may be seen by the number of people who may be found in England to-day, possessed of no ear for music whatever.

Oratorio was to prove, in after years, the means of reconciliation between the art of music and the English people. Divested of the taint of frivolity with which, with good reason, they had for so long a.s.sociated it, music was once more presented to them as the ally of religion. How eagerly they grasped the olive branch held out to them, will be seen later on.

Oratorio doubtless sprang from the mystery plays of the Middle Ages, and its inception arose in Italy at the beginning of the seventeenth century. The earliest specimens would, naturally, have little resemblance to the great creations of two centuries later, but to the genius of the early Italians we owe its birth. It is seen in embryo as early as the fifteenth century or even before, but perhaps the first work known to us, that definitely shows affinity to oratorio is Emilio's "Rappresentazione," which was first performed in the church of the Oratorians, S. Maria, in Vallicella, in the year 1600. A great advance on it is shown in the works of Carissimi, and still more in those of his ill.u.s.trious pupil, Scarlatti. The development was carried on by Pergolesi, Jomelli, and Stradella, whose "S. John the Baptist" was for long probably the most celebrated of the oratorios in primitive form.

The origin of the word "oratorio" is derived from S. Filippo Neri, who founded the Order of the Oratory in 1577. As its name implies, the first duty of the members was prayer, but what probably brought about the inst.i.tution, was the humane desire to give shelter to the many thousands of pilgrims who flocked to Rome in various stages of dest.i.tution. Each shelter he established, became a religious home--called oratorium--in which services were held, with the sanction of the Pope, the one condition being that the celebration of the Eucharist was forbidden.

In these services music had a prominent place, and there is abundant evidence to prove that scenes from the sacred writings were ill.u.s.trated both by singing and acting.

For instance, at the production of Emilio's "Rappresentazione," in the oratory of Santa Maria, not only were the arts of music and acting requisitioned, but the additional aid of costumes, scenery and dancing.

Such a work, with chorus, solo and recitative alternating, became known as oratorio. There is little doubt that this is the true origin of the word.

As oratorio developed, however, all extraneous aid was dispensed with, and music allied to sacred words were the sole const.i.tuents. As we have seen, oratorio in its early stages was essentially the same as opera, except that it was confined to religious subjects. It is interesting to compare their respective developments. The one was religious, the other not; one gradually restricting, the other appropriating the aid of other arts; the one steadfast in its appeal to religious fervour, the other restless in effort, by all means within reach, to augment its power of sensuous attraction.

In the case of oratorio, the process has culminated in the production of Elgar's "Dream of Gerontius," in that of opera, Wagner's "Tristan and Isolde."

It is to the genius of Handel that England is ever indebted for the immense service of once more bringing music into the lives of her people.

On his first visit he had used this tremendous power to amuse a dissolute aristocracy and the cosmopolitan hordes that the Restoration attracted to London, by producing "Italian" opera of his own composing, and introducing the most celebrated Italian singers of the day.

For a time this policy was a complete success, and he ama.s.sed a considerable fortune, but eventually he lost the greater part of it and, broken in health and spirit, he retired to a Continental health resort, to re-invigorate his tired const.i.tution.

It was on his last, and what proved to be practically permanent, visit to England that he commenced the memorable series of works that proved of such vital consequence to this country. There can be little doubt that it is the sense of the immense indebtedness of England to this wonderful man, that has led many people to claim him as an Englishman.

With every respect for the feeling that prompts it, nothing could be further removed from fact. A long residence in the country no more makes him an Englishman, proud as we should be if he were, than it does the criminal alien who has been so much in evidence of late years.

Indeed, if any country other than his own, had any basis for claiming him, it seems to me it would be Italy.

He lived there in his early years; thoroughly mastered her schools of both sacred and operatic music, the knowledge of which, in after years, was of such incalculable value to him, and acquired such a command of the language, that he was able to speak and compose music to it as if he were, veritably, a native of the country.

Now, when he came to England he was a musician perfectly equipped. There was, certainly, no one who could teach him anything, and all that one can say is, that having a mind extraordinarily receptive, he would be quick to grasp and turn to advantage any new influence with which he might be brought into contact.

[Ill.u.s.tration: _By Hudson._

G. F. HANDEL.

_Face 154._]

Thus, he was certainly affected by Purcell's music, which he probably became acquainted with for the first time. The evidence of this is perfectly clear and convincing.

On the other hand, he never mastered the English language, notwithstanding the many years he lived here. His p.r.o.nunciation was terrible, and that he often failed to comprehend the relative force of the words of a sentence when setting them to music, the early editions of his oratorios prove conclusively. Yet so impatient of criticism was he, that, did his librettist suggest an alteration, the unhappy man usually provoked a storm from which he was only too happy to escape.

This little weakness, however, counts for nothing in comparison with his splendid integrity and n.o.ble independence of character. The latter is especially notable, seeing how eager most musicians were at that period, to secure the patronage of great personages.

He was imperious in temper and, perhaps, aggressively conscious of his powers; but he was generous to a degree, when his means allowed it, and many are the existing inst.i.tutions which have good reason to call him blessed.

Handel has often been accused, and with some justice, of laying violent hands on anything he came across in the way of musical ideas that he could convert to his own use. Whether large conceptions leading to unknown possibilities, or a simple tune to be converted to immediate use, he seemed to avail himself of them with the freedom of an autocrat.

The minds of the just may be saddened by the reflection, but there is little doubt that the world at large has every reason to be thankful.

When he made the momentous resolution to devote himself to the composition of oratorio, his early experience in Italy and the knowledge he gained there, can but have been of enormous service to him. How thoroughly he had absorbed the Italian spirit and technique is, in his earlier works more particularly, evident, and that he appreciated Italian melody is equally shown by the frequency with which he annexed it.

It has often been pointed out how dissimilar his earliest sacred music is from his so-called English oratorios. Naturally. The former was written when a boy and before he had gained his Italian experience. His oratorios were not begun until he was, at least, fifty years of age. He had then been in the position to become acquainted with the great English school of ecclesiastical music, and the combination of his early German training, his absorption of the Italian school and his connection with this, seems to be quite sufficient to explain the fact. Indeed, it does not require much critical ac.u.men to detect each influence at work in his oratorios.

That he distanced everything that preceded him is, of course, needless to say, but that his work often shows signs of this spirit of opportunism, the most enthusiastic of his admirers, and these are countless, will admit.

What led Handel to devote himself to the composition of sacred music?

Had he, at last, gauged the true inwardness of the spirit of the people among whom he had elected to live the rest of his days?

Had he come to realise that, so far as they were concerned, he might go on writing operas until the crack of doom, without affecting them in the least? His genius was eclectic. He could write Italian music to delight the Italians, German music to satisfy the Germans, and now, was he determined to reach the soul of the _people_, rather than continue to cater for the amus.e.m.e.nt of a comparatively few wealthy dwellers in the metropolis? Who can tell?

That he was a man of any deep religious feeling, there had been up to this time, little to indicate. In character he was pugnacious, a.s.sertive, and intolerant of the least opposition. For years his life had been spent in continual strife, and the result had been far from commensurate with the wealth of genius and energy he had expended.

Now he was embarking on an enterprise in which he would have no rivals, and which offered as great a scope for his powers as that which he had relinquished. Well, whatever it was that decided him, the world has reason to be thankful for the momentous decision.

In any case, to attempt to explain the ways of genius is, generally, time hopelessly lost.

His first oratorios were devoted to subjects from the Old Testament. In manner and expression, they are quite like his operas. The arias might, indeed, be exchanged without any perceptible difference; the choruses, however, are on a grander scale.

So far as the English people were concerned, their attraction lay in the fact of being a.s.sociated with Biblical incidents, and thus making it possible to go and hear them, without any suspicion of irreligious motive. This first and great result was of immense import, for it laid the seeds that were, later, to bring forth such good fruit.

As regards their religious message, they might just as well have been written, great as they are, and stupendous in the case of "Israel in Egypt," for a pagan festival. Nevertheless, the great work was in progress, the great mission in course of fulfilment. It may be said that they were like S. John the Baptist, in that they were the forerunners of that which was to be, for the English people at least, the greatest glory in Christendom, in the sense of religious music.

THE "MESSIAH."

It was on April 13th, 1742, that the immortal and epoch-making work, the "Messiah," was produced in Dublin. Its success was immediate, and the effect produced by it extraordinary. Repet.i.tions of the performance were demanded, and its fame spread with such rapidity that the excitement was intense on the occasion of its first representation in London on March 23, 1743.

The audience embraced the highest personages in the realm, from the King downwards, and as the performance progressed, so did the excitement, which culminated during the singing of the "Hallelujah" chorus, by the people, headed by the King, springing to their feet and remaining standing until the end.

The "Messiah" may be said to have crowned the work that the earlier oratorios had begun. Henceforth the English people were to see, as their ancestors had before them, that music was not only great as an art, but that it could be both an aid and inspiration to religion.

It is little to be wondered at, that a people who must have been thirsting for music so long, should give vent to outbursts of emotion and enthusiasm, when it was restored to them in the form of so sublime a conception.

What an experience! to have been among those on whose ears fell for the first time those wonderfully touching and simple recitatives, in which the vision of the shepherds is described and the announcement of the birth of the Saviour made, or the more poignant one in which, to music of intense emotional power, the terrible story of the Last Agonies is related.

No other work has ever approached the "Messiah" in the strength of its hold on the mind and imagination of the English people, and this is as true to-day as it was a hundred and fifty years ago. They know it incomparably better than any other music ever written, and the many beautiful numbers it contains, may be said to be as familiar in their mouths as household words. The "Hallelujah" chorus, although not by any means Handel's best, still retains its old popularity, and, indeed, nearly the whole work would seem to be endowed with endless life.

There are certain numbers, it is true, of which this cannot be said, and which are usually omitted, but, seeing the extraordinary rapidity with which it was written, the amazing thing is that they are so few. It seems absolutely incredible that this, his greatest oratorio, should have been written within the short s.p.a.ce of three weeks, yet it was so.

I have written at some length on Handel and the "Messiah," as it is his unique distinction, through the medium of this immortal work, to have revolutionised the spirit of the English people, and helped to rid it of the Calvinistic thraldom that had enveloped it.

I must now content myself with a brief commentary on the successive oratorios, since Handel's day, that have had any distinct and abiding influence on music in England.