The Standard Oratorios Part 2

The Magnificat in D.

The Magnificat in D--known as the "Great Magnificat," to distinguish it from the smaller--is considered one of the grandest ill.u.s.trations of Bach's genius. It was composed for Christmas Day, 1723. Spitta says:--

"The performance of the cantata 'Christen, atzet diesen Tag,' with its attendant 'Sanctus,' took place during the morning service, and was sung by the first choir in the Nikolaikirche. In the evening the cantata was repeated by the same choir in the Thomaskirche; and after the sermon the Hymn of the Virgin was sung, set in its Latin form, and in an elaborate style. For this purpose Bach wrote his great 'Magnificat.'"

For the occasion of this festival he expanded the Biblical text into four vocal numbers; but in describing the work it is only necessary to give it as it is now generally sung.

The work is written for a five-part chorus, with organ and orchestral accompaniment. After a concerted introduction, foreshadowing the general character of the music, it opens with the chorus, "Magnificat anima mea,"

in fugal form, worked up with that wonderful power of construction for which Bach is so renowned among all composers. It is followed by an aria for second soprano ("Et exultavit spiritus meus: in Deo salutari meo"), which is in the same key and has the same general feeling as the opening chorus, that of Christmas rejoicing. It in turn is followed by an aria for first soprano ("Quia respexit humilitatem ancillae suae"), of which Spitta says: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this German picture of the Madonna, translated as it were into musical language." It leads directly to the chorus which takes up the unfinished words of the soprano ("Omnes generationes"), each part overlaying the other as it enters, and closing in canon form in grave and colossal harmony. Its next number is an aria for ba.s.s ("Quia fecit mihi magna"), of a simple and joyous character. It is followed by a melodious duet for alto and tenor ("Et misericordia"), with violin and flute accompaniment, setting forth the mercy of G.o.d, in contrast with which the powerful and energetic chorus ("Fecit potentiam") which succeeds it, is very striking in its effect. Two beautiful arias for tenor ("Deposuit potentes de sede") and alto ("Esurientes implevit bonis") follow, the latter being exquisitely tender in its expression, and lead to the terzetto ("Suscepit Israel puerum suum: recordatus misericordiae suae"), arranged in chorale form, and very plaintive and even melancholy in style. Its mourning is soon lost, however, in the stupendous five-part fugue ("Sicut locutus est") which follows it and which leads to the triumphant "Gloria," closing the work,--a chorus of extraordinary majesty and power. Spitta, in his exhaustive a.n.a.lysis of Bach's music, says of this "Magnificat":--

"It is emphatically distinct from the rest of Bach's grand church compositions by the compactness and concentrated power of the separate numbers,--particularly of the choruses,--by the lavish use of the means at command, and by its vividly emotional and yet not too agitating variety. It stands at the entrance of a new path and a fresh period of his productivity, at once full of significance in itself and of promise for the future development of the perennial genius which could always re-create itself from its own elements."

BEETHOVEN.

A general sketch of the life and musical accomplishments of Beethoven has already appeared in the companion to this work, "The Standard Operas." In this connection, however, it seems eminently fitting that some attention should be paid to the religious sentiments of the great composer and the sacred works which he produced. He was a formal member of the Roman Church, but at the same time an ardent admirer of some of the Protestant doctrines. His religious observances, however, were peculiarly his own.

His creed had little in common with any of the ordinary forms of Christianity. A writer in "Macmillan's Magazine" some years ago very clearly defined his religious position in the statement that his faith rested on a pantheistic abstraction which he called "Love." He interpreted everything by the light of this sentiment, which took the form of an endless longing, sometimes deeply sad, at others rising to the highest exaltation. An ill.u.s.tration of this in its widest sense may be found in the choral part of the Ninth Symphony. He at times attempted to give verbal expression to this ecstatic faith which filled him, and at such times he reminds us of the Mystics. The following pa.s.sages, which he took from the inscription on the temple of the Egyptian G.o.ddess Neith at Sais, and called his creed, explain this: "I am that which is. I am all that is, that was, and that shall be. No mortal man hath lifted my veil.

He is alone by Himself, and to Him alone do all things owe their being."

With all this mysticism his theology was practical, as is shown by his criticism of the words which Moscheles appended to his arrangement of "Fidelio." The latter wrote at the close of his work: "_Fine_, with G.o.d's help." Beethoven added: "O man! help thyself." That he was deeply religious by nature, however, is constantly shown in his letters.

Wandering alone at evening among the mountains, he sketched a hymn to the words, "G.o.d alone is our Lord." In the extraordinary letter which he wrote to his brothers, Carl and Johann, he says: "G.o.d looks into my heart. He searches it, and knows that love for man and feelings of benevolence have their abode there." In a letter to Bettina von Arnim, he writes: "If I am spared for some years to come, I will thank the Omniscient, the Omnipotent, for the boon, as I do for all other weal and woe." In Spohr's alb.u.m his inscription is a musical setting of the words, "Short is the pain, eternal is the joy." In a letter to the Archduke Rudolph, written in 1817, he gives no uncertain expression to his divine trust. He says: "My confidence is placed in Providence, who will vouchsafe to hear my prayer, and one day set me free from all my troubles; for I have served him faithfully from my childhood, and done good whenever it was in my power. So my trust is in him alone, and I feel that the Almighty will not allow me to be utterly crushed by all my manifold trials." Even in a business letter he says: "I a.s.sure you on my honor--which, next to G.o.d, is what I prize most--that I authorized no one to accept commissions from me." His letters indeed abound in references to his constant reliance upon a higher Power. The oratorio, "Christ on the Mount of Olives," six sacred songs set to poems of Gellert, the Ma.s.s in C written for Prince Esterhazy, and the Grand Ma.s.s in D written for the Archduke Rudolph, one of the grandest and most impressive works in the entire realm of sacred music, attest the depth and fervency of his religious nature.

The Mount of Olives.

Beethoven wrote but one oratorio, "Christus am Oelberg" ("Christ on the Mount of Olives"). That he had others in contemplation, however, at different periods of his life is shown by his letters. In 1809 he wrote to Freiherr von Hammer-Purgstall, a famous Oriental scholar, appointing an interview for the discussion of the latter's poem on the subject of the deluge, with reference to its fitness for treatment as an oratorio.

Again, in 1824, he writes to Vincenz Hauschka, of Vienna, that he has decided to write an oratorio on the text furnished by Bernard, the subject being "The Victory of the Cross." This work, however, owing to his extreme physical sufferings at that period, was never begun, and the world thereby has suffered a great musical loss; for, judging from his great Ma.s.s in D, no one can doubt how majestic and impressive the "Victory of the Cross" would have been, as compared with the "Mount of Olives," written in his earlier period, and before any of his masterpieces had appeared.

The "Mount of Olives" was begun in 1800, and finished during the following year. Beethoven never remained in Vienna during the summer. The discomforts of the city and his intense love for Nature urged him out into the pleasantly wooded suburbs of the city, where he could live and work in seclusion. Upon this occasion he selected the little village of Hetzendorf, adjoining the gardens of the imperial palace of Schonbrunn, where the Elector, his old patron, was living in retirement. Trees were his delight. In a letter to Madame von Drossd.i.c.k, he says: "Woods, trees, and rocks give the response which man requires. Every tree seems to say, 'Holy, Holy!'" In the midst of these delightful surroundings he found his favorite tree, at whose base he composed the larger part of the oratorio, as well as his opera "Fidelio." Schindler says: "A circ.u.mstance connected with both these great works, and of which Beethoven many years afterwards still retained a lively recollection, was, that he composed them in the thickest part of the wood in the park of Schonbrunn, seated between the two stems of an oak, which shot out from the main trunk at the height of about two feet from the ground. This remarkable tree, in that part of the park to the left of the Gloriett, I found with Beethoven in 1823, and the sight of it called forth interesting reminiscences of the former period."

The words of the oratorio were by Huber, the author of Winter's "Unterbrochene Opferfest," and were written, with Beethoven's a.s.sistance, in fourteen days. That more time and attention were not given to the text was probably regretted by both poet and composer many times afterwards.

The first performance of the work in its entirety took place at Vienna, April 5, 1803, at the Theater an der Wien, upon which occasion the programme also included the Symphony in D (second) and the Piano Concerto in C minor, the latter executed by himself. The oratorio was received with enthusiasm, and was repeated three times during that year.

The libretto of the work is unquestionably defective in the most salient qualities which should characterize the text of an oratorio, even to the degree of extravagance and sensationalism. It fails to reflect the sorrowful character of the scene it depicts, and the dramatic requirements which it imposes are often strained, and sometimes border on the grotesque. The theatrical style of the narrative was deplored by Beethoven himself at a subsequent period. Marx, one of the keenest of critics, says of the work:--

"The poet had no other aim but that of making verses for a composer; the latter, no other motive than the ordinary creative impulse prompting him to try his powers in a different and important sphere.

The result on both sides could not therefore be other than phrases, although the better of the two proceeded from the composer, and that composer was Beethoven. To conceal or palliate this would be derogatory to the reverence which we all owe to Beethoven; he stands too high to be in need of extenuation."

This is Marx's judgment; and yet it must be said that the world for the most part has found more in the "Mount of Olives" than he has.

The oratorio is written for three solo voices (Jesus, Peter, and a Seraph), chorus, and orchestra. The narrative opens with the agony in the garden, followed by the chant of a Seraph reciting the divine goodness and foretelling the salvation of the righteous. In the next scene Jesus learns his fate from the Seraph, yields himself to approaching death, and welcomes it. The Soldiers enter in pursuit, and a tumult ensues as the Apostles find themselves surrounded. Peter draws his sword and gives vent to his indignation; but is rebuked both by Jesus and the Seraph, and together they conjure him to be silent and endure whatever may happen.

The Soldiers, discovering Jesus, rush upon him and bind him. The Disciples express their apprehension that they too will suffer; but Jesus uncomplainingly surrenders himself, and a chorus of rejoicing completes the work. From this brief sketch the artificial and distorted manner of treating the solemn subject will be evident.

The score opens with an adagio introduction for instruments which is of a very dramatic character, and, unlike nearly all of the sacred music of that time, is noticeable for the absence of the fugue. Barbedette, the great French critic, p.r.o.nounces it the _chef-d'oeuvre_ of introductions, and a masterpiece in the serious style. The first number is a recitative and aria for tenor, sung by Jesus ("All my Soul within me shudders"), which, notwithstanding the anomaly of such a scene in such surroundings, is simple and touching in expression. The Seraph follows with a scene and aria ("Praise the Redeemer's Goodness"), concluding with a brilliant and jubilant obligato with chorus ("O triumph, all ye Ransomed"). The next number is an elaborate duet between Jesus and the Seraph ("On me then fall Thy heavy Judgment"), which is still more anomalous than the scene and aria with which Jesus opens the work. In a short recitative pa.s.sage, Jesus welcomes death; and then ensues one of the most powerful numbers in the work, the chorus of Soldiers in march time ("We surely here shall find Him"), interspersed with the cries of the People demanding his death, and the lamentations of the Apostles. At the conclusion of the tumult a dialogue ensues between Jesus and Peter ("Not unchastised shall this audacious Band"), which leads up to the crowning anomaly of the work, a trio between Jesus, Peter, and the Seraph, with chorus ("O, Sons of Men, with Gladness"). The closing number, a chorus of angels ("Hallelujah, G.o.d's Almighty Son"), is introduced with a short but ma.s.sive symphony leading to a jubilant burst of Hallelujah, which finally resolves itself into a glorious fugue, accompanied with all that wealth of instrumentation of which Beethoven was the consummate master. In all sacred music it is difficult to find a choral number which can surpa.s.s it in majesty or power.

The English versions of the "Mount of Olives" differ materially from the German in the text. Numerous efforts have been made to avoid the incongruity of the original narrative, but with poor success. It was first produced in England in 1814 by Sir George Smart during the Lenten oratorios at Drury Lane, the English version of which was made by Arnold, at that time manager of the King's Theatre. Still later it was produced again, and the adapter compromised by using the third person, as "'Jehovah, Thou, O Father,' saith the Lord our Saviour." Two other versions were made by Thomas Oliphant and Mr. Bartholomew, but these were not successful. At last the aversion to the personal part of Jesus led to an entirely new text, called "Engedi," the words of which were written by Dr. Henry Hudson, of Dublin, and founded upon the persecution of David by Saul in the wilderness, as described in parts of chapters xxiii., xxiv., and xxvi. of the first book of Samuel. The characters introduced are David, Abishai, and the Prophetess, the latter corresponding to the Seraph in the original. The compiler himself in his preface says:--

"So far as was possible, the author has availed himself of Scripture language, and David's words have been taken (almost wholly) from the Psalms generally attributed to him, though of course not in regular order, as it has invariably throughout been the writer's first object to select words adapting themselves to the original music in its continually varying expression, which could not have been done had he taken any one psalm as his text. How far the author has succeeded, he must leave to others to determine."

The subst.i.tuted story has not proved successful, princ.i.p.ally because the music, which was written for an entirely different one, is not adapted to it. The latest version is that of the Rev. J. Troutbeck, prepared for the Leeds festivals, in which the Saviour is again introduced.

BENNETT.

William Sterndale Bennett, one of the most gifted and individual of English composers, was born at Sheffield, April 13, 1816. His musical genius displayed itself early, and in his tenth year he was placed in the Royal Academy of Music, of which in his later years he became princ.i.p.al.

He received his early instruction in composition from Lucas and Dr.

Crotch, and studied the piano with Cipriani Potter, who had been a pupil of Mozart. The first composition which gained him distinction was the Concerto in D minor, written in 1832, which was followed by the Capriccio in D minor. During the next three years he produced the overture to "Parisina," the F minor Concerto, and the "Naades" overture, the success of which was so great that a prominent musical house in London offered to send him to Leipsic for a year. He went there, and soon won his way to the friendship of Schumann and Mendelssohn. With the latter he was on very intimate terms, which has led to the erroneous statement that he was his pupil. In 1840 he made a second visit to Leipsic, where he composed his Caprice in E, and "The Wood Nymphs" overture. In 1842 he returned to England, and for several years was busily engaged with chamber concerts.

In 1849 he founded the Bach Society, arranged the "Matthew Pa.s.sion" music of that composer, as well as the "Christmas Oratorio," and brought out the former work in 1854. The previous year he was offered the distinguished honor of the conductorship of the Gewandhaus concerts at Leipsic, but did not accept. In 1856 he was appointed conductor of the Philharmonic Society, and filled the position for ten years, resigning it to take the head of the Royal Academy of Music. In the same year he was elected musical professor at Cambridge, where he received the degree of Doctor of Music and other honors. In 1858 his beautiful cantata, "The May Queen," was produced at the Leeds Festival, and in 1862 the "Paradise and the Peri" overture, written for the Philharmonic Society. In 1867 his oratorio, or, as he modestly terms it, "sacred cantata," "The Woman of Samaria," was produced with great success at the Birmingham Festival. In 1870 he was honored with a degree by the University of Oxford, and a year later received the empty distinction of knighthood. His last public appearance was at a festival in Brighton in 1874, where he conducted his "Woman of Samaria." He died Feb. 1, 1875, and was buried in Westminster Abbey with distinguished honors. His musical ability was as widely recognized in Germany as in England,--indeed his profound musical scholarship and mastery of problems in composition were more appreciated there. Mr. Statham, in an admirable sketch, p.r.o.nounces him a born pianist, and says that his wonderful knowledge of the capabilities of the piano, and his love for it, developed into favoritism in some of his concerted music. A friend of the composer, recalling some reminiscences of him in "Fraser," says that his music is full of beauty and expression, displays a remarkable fancy, a keen love of Nature, and at times true religious devotion, but that it does not contain a single note of pa.s.sion. His only sacred music is the short oratorio, "The Woman of Samaria," and four anthems: "Now, my G.o.d, let, I beseech Thee," "Remember now thy Creator," "O that I knew," and "The Fool hath said in his Heart."

It has been well said of him: "In his whole career he never condescended to write a single note for popular effect, nor can a bar of his music be quoted which in style and aim does not belong to what is highest in musical art."

The Woman of Samaria.

"The Woman of Samaria," a short, one-part oratorio, styled by its composer a "sacred cantata," was first produced at the Birmingham Festival, Aug. 27, 1867; though one of his biographers affirms that as early as 1843 he was shown a chorus for six voices, treated antiphonally, which Bennett himself informed him was to be introduced in an oratorio he was then contemplating, and that this chorus, if not identical with "Therefore they shall come," in "The Woman of Samaria," is at least the foundation of it.

The work is written for four solo voices, chorus, and orchestra. The soprano takes the part of the Woman of Samaria, the other parts being impersonal. The music for the contralto is mainly declamatory. Tha tenor has a single aria, while the ba.s.s, with one exception, has the part of Narrator, the words of our Saviour being attributed to him and invariably introduced in the third personal form,--which is a striking proof of the devotional spirit of the composer, as in all other instances, after the announcement by the Narrator, the Woman sings her own words. The chorus, as in the pa.s.sion-music of Bach, has the reflective numbers and moralizes on the various situations as they occur, except in one number, "Now we believe," where it declaims the words as a part of the narrative itself.

The text for chorus is selected from appropriate parts of the Scriptures which are in keeping with the events forming the groundwork of its reflections.

The story is taken from the fourth chapter of the Gospel according to Saint John, and follows literally the narrative of the journey of the Saviour into Samaria,--his rest at Jacob's well, his meeting with the woman who came thither to draw water, and the conversation which followed; the only interruptions being the reflections, not only by the chorus, but also by the contralto and tenor, these episodes being taken mostly from the Prophecies and Psalms.

The oratorio opens with a brief instrumental introduction and chorale ("Ye Christian People, now rejoice") for sopranos alone, the melody of which first appeared in the "Geistliche Lieder," issued at Wittenberg in 1535. The words are a translation of the old hymn, "Nun freut euch, lieben Christen G'mein," to which the tune was formerly sung in Germany.

The treatment of this chorale, by combining it with the instrumental movement in opposing rhythms, shows the powerful influence which the composer's close study of Bach had upon him. Its effect in introducing the scenes which follow reminds one of the grace before the feast. It dies away in slow and gentle numbers, and then follows the opening recitative of the oratorio proper ("Then cometh Jesus to a City of Samaria"), sung by the contralto, and leading up to an arioso chorus ("Blessed be the Lord G.o.d of Israel"), the words taken from the Gospel of Saint Luke. The next number is a very graceful and artistic combination, opening with recitative for contralto, ba.s.s, and soprano, leading to an adagio solo for ba.s.s ("If thou knewest the Gift of G.o.d"), and ending with a closely harmonious chorus in the same rhythm ("For with Thee is the Well of Life"), the words from the Psalms. The dialogue between Jesus and the Woman is then resumed, leading to a solo by the latter ("Art Thou greater than our Father Jacob?"). The question is sung and repeated in declamatory tones constantly increasing in power and expressive of defiance. Bennett was a bitter opponent of Wagner; but in the unvocal and declamatory character of this solo, and in the dramatic force he has given to it, to the sacrifice of melody, he certainly ventured some distance in the Wagnerian direction. The next number, the reply of Jesus ("Whosoever drinketh"), sung, as usual, by the ba.s.s voice, is in striking contrast with the question. Instead of full orchestra, it has the accompaniment of the strings and first and second horns only, reminding one of Bach's method of accompanying the part a.s.signed to Jesus in his St. Matthew Pa.s.sion. This number is followed by a spirited fortissimo chorus ("Therefore with Joy shall ye draw Water"), sung to the full strength of voice and orchestra. After the dialogue in which Jesus acquaints the Woman with the incidents of her past life, the contralto voice has an exquisite solo ("O Lord, Thou hast searched me out"), full of tenderness and expression, in which the opening phrase is repeated in the finale and gains intensity by a change of harmony. The dialogue, in which the divine character of Jesus becomes apparent to the Woman, is resumed, and leads to a beautifully constructed chorus in six parts ("Therefore they shall come and sing"), followed by an impressive and deeply devotional quartet for the princ.i.p.als, unaccompanied ("G.o.d is a Spirit"),--to which an additional interest is lent from the fact that it was sung in Westminster Abbey upon the occasion of the composer's funeral. A few bars of recitative lead to a chorus in close, solid harmony ("Who is the Image of the Invisible G.o.d"), with organ accompaniment only, which in turn, after a few more bars of recitative for contralto and soprano, is followed by the chorus ("Come, O Israel"), sung pianissimo and accompanied by entire orchestra. The next number, as the oratorio is now performed, is one which has been introduced. It is a soprano aria, "I will love Thee, O Lord," which was found among the composer's ma.n.u.scripts after his death. The preface to the revised edition of the oratorio has the following reference to this number:--

"In justification of so bold a step as the introduction of a new number, it is interesting to point out that the composer felt the Woman of Samaria ought to sing a song of conversion in the portion of the cantata in which the new air is placed. It is clear from the original preface[2] that he thought of her as an impulsive woman who would naturally be carried from worldliness into the opposite extreme of religious devotion."

The introduction of the air also gives more importance to the soprano part and relieves the succession of choral movements in the close of the work. The remaining numbers are the beautiful chorale, "Abide with me, fast falls the Eventide;" the chorus, "Now we believe," one of the most finished in the whole work; a short tenor solo ("His Salvation is nigh them that fear Him"),--the only one in the oratorio for that voice; the chorus, "I will call upon the Lord;" and the final imposing fugue, "Blessed be the Lord G.o.d of Israel." The last number is a fitting close to a work which is not only highly descriptive of its subject throughout, but also full of feeling and devotional reverence.

[2] "With regard to the Woman of Samaria herself, it will be plainly seen that the composer has treated her as a secular and worldly character, though not without indications here and there of that strong intuitive religious feeling which has never been denied to her. This feeling is especially shown when she says: 'I know that Messias cometh; when He is come He will tell us all things.' Also, towards the end of the narrative, where she pa.s.sionately exclaims to the Samaritans: 'Come, see a man who told me all the things that ever I did: is not this the Christ?'"--_Original Preface_.

BERLIOZ.

Hector Berlioz, one of the most renowned of modern French composers, and an acute critic and skilful conductor as well, was born, Dec. 11, 1803, at La Cote St. Andre, in France. His father was a physician, and intended him for the same profession. He reluctantly went to Paris and began the study of medicine; but music became his engrossing pa.s.sion, and medicine was abandoned. He entered the Conservatory as a pupil of Lesueur, and soon showed himself superior to all his masters, except Cherubini,--which aroused a strong opposition to him and his compositions. It was only after repeated trials that he took the first prize, with his cantata, "Sardanapale," which ent.i.tled him to go to Italy for three years. On his return to Paris he encountered renewed antipathy. His music was not well received, and he was obliged to support himself by conducting at concerts and writing articles for the press. As a final resort he organized a concert tour through Germany and Russia, the details of which are contained in his extremely interesting Autobiography. At these concerts his own music was the staple of the programmes, and it met with great success, though not always played by the best of orchestras, and not always well by the best, as his own testimony shows; for his compositions are very exacting, and call for every resource known to the modern orchestra. The Germans were quick in appreciating his music, but it was not until after his death that his ability was conceded in France. In 1839 he was appointed librarian of the Conservatory, and in 1856 was made a member of the French Academy. These were the only honors he received, though he long sought to obtain a professorship in the Conservatory. A romantic but sad incident in his life was his violent pa.s.sion for Miss Smithson, an Irish actress, whom he saw upon the Paris stage in the _role_ of Ophelia, at a time when Victor Hugo had revived an admiration for Shakspeare among the French. He married her, but did not live with her long, owing to her bad temper and ungovernable jealousy; though after the separation he honorably contributed to her support out of the pittance he was earning. Among his great works are the opera, "Benvenuto Cellini;" the symphony with chorus, "Romeo and Juliet;" "Beatrice and Benedict;" "Les Troyens," the text from Virgil's "aeneid;" the symphony, "Harold in Italy;" the symphony, "Funebre et Triomphale;" the "d.a.m.nation of Faust;" a double chorused "Te Deum;" the "Symphony Fantastique;" the "Requiem;" and the sacred trilogy, "L'Enfance du Christ." Berlioz stands among all other composers as the foremost representative of "programme music," and has left explicit and very detailed explanations of the meaning of his works, so that the hearer may listen intelligently by seeing the external objects his music is intended to picture. In the knowledge of individual instruments and the grouping of them for effect, in warmth of imagination and brilliancy of color, and in his daring combinations and fantastic moods, which are sometimes carried to the very verge of eccentricity, he is a colossus among modern musicians. He died in Paris, March 8, 1869.