The Standard Oratorios Part 14

In reality there are but six of the eighteen numbers concerned with the narration of the parable. The remainder moralize upon the story and ill.u.s.trate 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 G.o.d"), and containing also alto and ba.s.s 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 ba.s.s 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 baccha.n.a.l 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 G.o.d"), after which we have the return and reconciliation ("And he arose and came to his Father"),--a very dramatic duet for tenor and ba.s.s, followed by the vigorous and exultant ba.s.s aria ("For this my Son was dead") of the father. The parable ends here; but the music goes on moralizing upon and ill.u.s.trating 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 ent.i.tled "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 G.o.d'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 a.s.surances to the bereaved sisters that their brother shall rise again. "The Way to Jerusalem" scene is indicated by its t.i.tle,--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 G.o.d 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 pa.s.sages, 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 a.s.signed 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 ill.u.s.trate 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 G.o.d exalted"), which is worked up in fugal form with much spirit.

VERDI.

Giuseppe Verdi, the greatest of living Italian opera composers, was born at Roncale, Oct. 9, 1813. Like many another musician, he sprang from humble and rude beginnings, his parents having kept a small inn and notion store in the little Italian village. His musical talent displayed itself very early. In his tenth year he was appointed organist in the place of Baistrocchi, the master with whom he had been studying at Busseto. Through the generosity of his patron, M. Barezzi, he was sent to Milan, where he was refused admission to the Conservatory, on the ground that he showed "no special apt.i.tude for music!" Nothing daunted, the young composer, acting on the suggestions of the conductor of La Scala, studied composition and orchestration with M. Lavigne, himself a composer of no mean ability. In 1833 Verdi returned to Busseto, and five years later went back to Milan, where he began his wonderfully successful career as an operatic composer. His first opera, "Oberto Conte di S.

Bonifacio," appeared in 1839, and was followed by a series of operatic works that have achieved world-wide success and placed their composer at the head of all contemporary Italian writers. The most important of them are: "Nabucco" (1842); "I Lombardi" (1843); "Ernani" (1844); "Attila"

(1846); "Macbeth" (1847); "I Masnadieri" (1847); "Luisa Miller" (1849); "Rigoletto" (1851); "Il Trovatore" (1853); "La Traviata" (1853); "The Sicilian Vespers" (1855); "The Masked Ball" (1857); "The Force of Destiny" (1862); "Don Carlos" (1867); "Ada" (1871). In the last-named opera, Verdi departs from the purely Italian school of operatic writing and shows the unmistakable signs of Wagner's influence upon him. Now, in his seventy-third year, comes the intelligence that he has completed still another opera, on the subject of "Oth.e.l.lo," which will soon be placed in rehearsal in Paris. In the interval between "Ada" and "Oth.e.l.lo" he wrote the "Manzoni Requiem," a "Pater Noster" for five voices, and an "Ave Maria" for soprano solo. He has also written several marches, short symphonies, concertos for piano, minor church compositions, a stringed quartet, a "Stabat Mater," the choruses to Manzoni's tragedies, and numerous songs and romances for the drawing-room. With his wife, Madame Strepponi, he has spent a very quiet life in his villa at S. Agato, looking after his farming operations, to which of late years he has given more attention than to music. In a letter addressed to the Italian critic, Filippi, he writes: "I know very well that you are also a most distinguished musician and devoted to your art: ... but Piave and Mariani must have told you that at S. Agato we neither make nor talk about music, and you will run the risk of finding a piano not only out of tune, but very likely without strings." He has been overwhelmed with decorations and honors, but has studiously avoided public life and the turmoil of the world. In 1866 he was elected a member of the Italian Parliament from Busseto, but sent in his resignation shortly afterwards; and in 1875 was appointed senator by the King, but never took his seat. His fame is indissolubly connected with his music, and in the pursuit of that art he has become one of the most admired composers of his time.

The Manzoni Requiem.

The history of "The Manzoni Requiem" is of more than ordinary interest.

Shortly after Rossini's death, in 1868, Verdi conceived the idea of a requiem in his memory, to be written by many hands, which should be performed in the cathedral of Bologna on each centenary of the composer's death, but upon no other occasion and at no other place. The project met with favor. The work was laid out in thirteen numbers and a.s.signed to thirteen Italian composers, Verdi taking the "Libera me," which was to be the last number in the work. Each of the composers finished his task; but when the parts were joined in a complete requiem they were found to be so dissimilar in treatment, and the whole work so incoherent and lacking in symmetry and unity, that the scheme went no further. M. Mazzucato, of Milan, who had examined the work, was so impressed with the "Libera me"

that he wrote to Verdi urging him to compose the entire requiem.

About this time (1873) Alessandro Manzoni, the founder of the romantic school in Italian literature, died, and was universally mourned by his countrymen. The requiem which had been intended for Rossini was now written by Verdi for his friend, the great Italian patriot and poet, the immortal author of "I promessi Sposi," and the "Libera me" was transferred to it. It was performed for the first time at Milan, May 22, 1874, the anniversary of Manzoni's death, with Teresa Stolz soprano, Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini ba.s.s, a chorus of a hundred and twenty voices, and an orchestra of a hundred and ten. It was next given in Paris, in the following month, under the composer's direction and since that time has been frequently given in Europe and in the United States.

The ma.s.s is divided into seven parts, with solos, choruses, and full orchestra, as follows: No. 1. "Requiem" and "Kyrie" (quartet and chorus).

2. "Dies Irae;" thus divided: "Dies Irae" (chorus); "Tuba Mirum" (chorus); "Liber scriptus" (chorus and fugue); "Quid sum miser" (trio for soprano, alto, and tenor); "Rex tremendae" (quartet and chorus); "Recordare" (duo for soprano and alto, and chorus); "Ingemisco" (solo for tenor); "Confutatis" (solo for ba.s.s); "Lacrymosa" (quartet and chorus). 3.

"Domine Jesu," offertory, by quartet. 4. "Sanctus" (fugue with double chorus). 5. "Agnus Dei" (duet for soprano and alto, and chorus). 6. "Lux aeterna" (trio for alto, tenor, and ba.s.s). 7. "Libera me" (solo for soprano, chorus, and final fugue).

The "Requiem" opens, after a few measures of prelude, with the chorus chanting the appeal for rest sotto voce, the effect being carried as pianissimo as possible until the ba.s.ses, by an abrupt change of key, give out the theme of a fugue ("Te decet hymnus"), written in pure religious style. The introductory "Requiem" is repeated, and leads to the "Kyrie,"

the theme of which is stated by the tenor, and in turn taken up by the other soloists, the chorus shortly joining, a double s.e.xtet interwoven with it, and the whole closing pianissimo, as the "Requiem" opened.

The second part, the "Dies Irae," is in strong contrast with the first, and is more broadly and dramatically worked up, and with freer accompaniment. The opening chorus is one of startling power. The tenors and ba.s.ses open the number, immediately followed by the four parts announcing the Day of Wrath in high, sustained notes, while the second sopranos, altos, and tenors accompany them with immense sweeps of sound that rise and fall like the waves. There are nine numbers in this part which have been already specified, the most effective of them being the adagio trio ("Quid sum miser") for soprano, alto, and tenor, upon which Verdi has lavished his melodious inspiration. The trio is continually interwoven with the chorus shouting fortissimo the "Rex tremendae majestatis," until it takes another form in the prayer, "Recordare," a duet for soprano and alto in Verdi's best operatic vein. A very effective tenor solo, "Ingemisco," followed by a very solemn and majestic ba.s.s solo, "Confutatis," lead to the stirring measures of the Day of Wrath again, and close this part in an ensemble of immense power, both vocal and dramatic.

The offertory ("Domine Jesu") is a quartet with three motives,--the first andante, the second allegro, and the third adagio in Gregorian form, the three themes being admirably worked up and accompanied. The "Sanctus"

(the fourth part of the ma.s.s) is a very impressive allegro double chorus, followed by the "Agnus Dei," a duet for soprano and alto which is full of melodious inspiration, ill.u.s.trated with charming instrumental color; it is the gem of the ma.s.s, and one of the happiest numbers Verdi has ever scored. The sixth part is the "Lux aeterna," a trio for alto, tenor, and ba.s.s which is very dramatic in setting; and this leads to the "Libera,"

the final division and the climax of the work. It is in its general effect a soprano obligato with chorus. After a monotone recitative and solo, the "Dies Irae" is repeated, likewise the "Requiem aeternam" (which forms the introduction of the ma.s.s), and closes with a fugue of majestic proportions that finally ends in the same pianissimo effect as characterizes the opening of the work.

Thus much of the work in detail. It remains to look at this ma.s.s as a whole. The first thought that will strike the listener is its utter dissimilarity to any other of Verdi's works, except "Ada." Like that opera, it is in his latest style,--an attempt to show the world that he can write something besides melodies. Hence we find more decided contrapuntal effects, the canon and fugue forms, and even the plain, serious style of the early devotional music of the Church in the days of Gregory and Palestrina. The second thought is that this ma.s.s, although it has had Papal approval, is not so much a ma.s.s as it is a dramatic threnody in memory of a loved friend. As compared with the ma.s.ses of Beethoven, Mozart, Haydn, and the other early ma.s.s-writers, it has not their conventional form, their regular sequence of setting, their coherence of spirit and sentiment. There are wide divergences in it from the old beaten track. But it may be said, on the other hand, that while the traditions are violated, Verdi does not so far lose sight of the devotional character of his work as to descend to the light, tripping, and sometimes fantastic measures of Rossini in the "Stabat Mater." Von Bulow very nearly hit the truth in saying that "The Manzoni Requiem" is an opera in ecclesiastical costume. The dramatic element is its strong feature, and the inexhaustible resources of the composer's invention strike the hearer as one of the chief characteristics. The first six parts seem to have included nearly all that can be done, and you wonder if the last part, the "Libera me," will not fall tamely; when to your surprise it proves to be the grand culmination of the work, and presents, with its solo and chorus and imposing fugue, an ensemble of effect, a richness of instrumentation, a severe and almost cla.s.sical form of composition, and a dramatic intensity and pa.s.sion that sweep the whole range of power, from a fortissimo tutte forza, down to the faintest whisper of a pianissimo. It bursts upon you like the thunder, and dies away in the still small voice that whispers the requiem of everlasting rest.

SACRED MUSIC IN AMERICA.

The following sketch of the rise and progress of sacred music in America may prove of interest to the reader as a supplement to the history of the Oratorio and of the numerous ill.u.s.trations of that cla.s.s of compositions contained in the body of the book. Ritter, Gould, Hood, and other church-music historians have been freely consulted to make the sketch as complete as possible.

The psalmody of the Protestant church was first arranged and brought into use in the course of the sixteenth century, through the efforts of the reformers in Germany and particularly of Martin Luther, who was extremely fond of music, and wrote a quaint discourse on the art. In 1524 he published a collection of hymns which also comprised a few versified psalms. These were set to music in four parts, as he says "for no other reason than because of my desire that the young, who ought to be educated in music as well as in other good arts, might have something to take the place of worldly and amorous songs, and so learn something useful and practise something virtuous, as becometh the young. I would be glad to see all arts, and especially music, employed in the service of Him who created them." Zwingle, Cranmer, Calvin, and Knox were also zealous advocates of psalm-singing; and during the same century Tye, Tallis, Bird, and Gibbons did a great work for ecclesiastical music in England.

At the time of the Reformation in England the Puritans proved themselves zealous musical reformers. They reduced singing to the severest simplicity. They had no sympathy with elaborate arrangements. Organs, choir-books, and choir-singers were objects of their special antipathy.

One of these iconoclasts says: "This singing and saying of ma.s.s, matins, or even-song is but roryng, howling, whisteling, mummying, conjuring and jogelyng and the playing of orgayns a foolish vanitie." Latimer in 1537 notified the convent at Worcester: "Whenever there shall be any preaching in your monastery all manner of singing and other ceremonies shall be utterly laid aside." In 1562 it was proposed that the psalms should be sung by the whole congregation, and that organs should be no longer used.

In the Confession of the Puritans (1571) they say: "Concerning the singing of the psalms, we allow of the people's joining with one voice in a plain tune, but not in tossing the psalms from one side to the other, with intermingling of organs." An appeal was made to Parliament against the singing of the n.o.ble cathedral music by "chanting choristers disguised, as are all the rest, in white surplices, some in corner caps and silly copes, imitating the fashion and manner of Antichrist the Pope, that man of sin and child of perdition, with his other rabble of miscreants and shavelings."

Sternhold, who was groom of the robes to Henry VIII. and afterwards groom of the bed-chamber to Edward VI., was one of the most zealous of these reformers. In connection with Hopkins, a clergyman and schoolmaster, he versified a large number of the psalms and published them. They were printed at first without music, but in 1562 they appeared with the notes of the plain melody under the following t.i.tle: "The whole Book of Psalms, collected into English metre by T. Sternhold and J. Hopkins and others, conferred with the Ebrue, with apt notes to sing them withal. Imprinted by John Day." In this work there was but one part, the air, and each note was accompanied by its name; but a few years later the psalms appeared set to music in four parts. They were the work of William Damon, and his book bore the t.i.tle: "The Psalms of David to English Metre, with notes of Four Parts set unto them, by Wm. Damon, to the Use of the G.o.dly Christians, for recreating themselves, instead of fond and unseemly ballads. 1579." In 1599 there appeared a very ambitious work in folio form, so arranged that four persons might sing from it, and bearing the t.i.tle: "The Psalms of David in Metre, the Plain song being the common Tune, to be sung and played upon the Lute, Orpharion, Citterne, or Ba.s.s-viol, severally or together; the singing Part to be either Tenor or Treble to the instrument, according to the Nature of the Voice, or for Four Voices; with Ten Short Tunes in the end, to which, for the most part, all Psalms may be usually sung; for the Use of such as are of mean Skill, and whose Leisure least serveth to practice. By Richard Allison, Gent., Pract.i.tioner in the Art of Music." Notwithstanding its formidable t.i.tle, the work was not highly esteemed at the time. In 1621, Thomas Ravenscroft, Bachelor of Music, published an excellent collection of psalm tunes, many of which are still in use. In his preface he says, by way of advice: "1. That psalms of tribulation be sung with a low voice and long measure; 2. That psalms of thanksgiving be sung with a voice indifferent, neither too loud nor too soft, and neither too swift nor too slow; 3. That psalms of rejoicing be sung with a loud voice and a swift and jocund measure." His preface closes with the pious wish that all his patrons after death may join in the "Quire of Angels in the Heavens."

The date of the Ravenscroft collection brings us to the time of the Pilgrims. When they loaded the "Mayflower" with their homely household furniture, spinning-wheels, and arms of defence, and set out upon their long and uncertain voyage to find a friendly sh.o.r.e where they might worship G.o.d in their own fashion, the psalm-book was not forgotten. They brought with them a version made by Henry Ainsworth of Amsterdam, in which the notes set above the words were of lozenge shape. For twenty years it was in exclusive use, though the Salem Church did not abandon it until 1667, and the Plymouth Church retained the old favorite until 1692.

The Sternhold and Hopkins collection had also found its way over, but it was used only at Ipswich and in its vicinity. In 1640 appeared the Bay Psalm Book, issued from the Cambridge press. It was prepared by an a.s.sociation of New England divines, most prominent among whom were Thomas Welde, Richard Mather of Dorchester, and John Eliot of Roxbury, the famous Indian missionary. Being new, it was at once regarded as an innovation. The churches were soon in a wrangle, not only over the contents of the new collection, but as to the methods of singing. Some were opposed to singing altogether, while others insisted that only Christian voices should be heard. At no time were the colonists very learned in music. In the edition of the Bay Psalm Book printed in 1698, the following concise directions appear:--

"_First_, observe how many note-compa.s.s the tune is next the place of your first note, and how many notes above and below that, so as you may begin the tune of your first note, as the rest may be sung in the compa.s.s of your and the people's voices, without Squeaking above or Grumbling below. For the better understanding of which take note of the following directions:

"Of the eight short Tunes used to four lines only, whose measure is to eight syllables on the first line, and six on the next; and may be sung to any Psalms of that measure.

Oxford Tune. } Litchfield Tune. } To Psalms Consolatory.

Low Dutch Tune. }

York Tune. } Winsor Tune. } To Psalms of Prayer, Confessions, and Funerals.

Cambridge Short Tune to peculiar Psalms, as 21, 24, 33, 70, 86, first metre, 114, 132.

"Those six short tunes, in tuning the first notes, will bear a cheerful high pitch; in regard to their whole compa.s.s from the lowest note, the highest is not above five or six notes.