The Standard Oratorios Part 9

because such inner purity alone bestows upon mankind effective power over the savage forces of the world."

"The Entrance into Jerusalem," a graphic instrumental prelude, introduces a "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-soprano with chorus,--a splendidly constructed number, which closes the second part in a style full of beauty and majesty.

The third part opens with the sorrowful scene, "Tristis est anima mea,"

Christ's sad words in the walk to Gethsemane,--an unutterably pathetic solo, with an accompaniment which is a marvel of expressive instrumentation. The next number is the old Middle-Age hymn, "Stabat Mater dolorosa," in which Liszt has combined voices and instruments in a manner, particularly in the "Inflammatus," almost overpowering. Solos, duets, quartets, choruses, orchestra, and organ are all handled with consummate skill. It has been aptly characterized as having the dimensions of the "Last Judgment" in the Sistine Chapel. After the great hymn is ended, another begins. It is the old Easter song, "O Filii et Filiae," written to be sung by boys with harmonium,--a joyous, sunny chorus, dispersing the gloom of the "Stabat Mater." The last scene, "The Resurrection," is a powerful and ma.s.sive chorus, full of mighty accords, typical of the final triumph of Christianity, and closing with a majestic "Amen" built up on the opening motive of the original introduction. "It is," says Nohl, "a cycle of scenes such as only the victorious mastery of the subject by inward perception can give, and such as only the artist can draw who dominates all the conditions apart like a king, and has reconciled his soul with the absolute truth and power of the Eternal."

MACFARREN.

George Alexander Macfarren, one of the most prominent of modern English composers, was born in London, March 2, 1813. He began the study of music in 1827 under the tuition of Charles Lucas. Two year's later he entered the Royal Academy of Music, and in 1834 became one of its professors. The latter year dates the beginning of his career as a composer, his first work having been a symphony in F minor. During the next thirty years his important works were as follows: overture "Chevy Chase" (1836); "Devil's Opera," produced at the Lyceum (1838); "Emblematical Tribute on the Queen's Marriage" and an arrangement of Purcell's "Dido and aeneas"

(1840); editions of "Belshazzar," "Judas Maccabaeus," and "Jephthah," for the Handel Society (1843); opera "Don Quixote" (1846); opera "Charles II." (1849); serenata "The Sleeper Awakened," and the cantata "Lenora"

(1851); the cantata "May Day," for the Bradford Festival (1856); the cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque "Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the last year his sight, which had been impaired for many years, failed. His blindness did not however diminish his activity. He still served as professor in the Royal Academy, and dictated compositions,--indeed some of his best works were composed during this time of affliction. In 1873 appeared his oratorio, "St. John the Baptist," which met with an enthusiastic reception at the Bristol Festival of that year. In 1875 he was elected professor of music at Cambridge, to fill the vacancy occasioned by the death of Sterndale Bennett, and in the same year was also appointed princ.i.p.al of the Royal Academy of Music. In 1876 his oratorio "The Resurrection" was performed at the Birmingham Festival, and in 1877 the oratorio "Joseph" at Leeds, besides the cantata "The Lady of the Lake" at Glasgow. Grove catalogues his other compositions as follows: a cathedral service, anthems, chants, psalm-tunes, and introits for the Holy Days and Seasons of the English Church (1866); "Songs in a Cornfield" (1868); "Shakspeare Songs for Four Voices" (1860-64); songs from Lane's "Arabian Nights," and Kingsley's and Tennyson's poems; overtures to "The Merchant of Venice," "Romeo and Juliet," "Hamlet," and "Don Carlos;" symphonies, string quartets, and a quintet; a concerto for violin and orchestra; and sonatas for pianoforte alone, and in combination with other instruments. As lecturer, writer, and critic, Sir George Macfarren also holds a high place, among his important works being "Rudiments of Harmony" (1860), and six Lectures on Harmony (1867); also a.n.a.lyses of Oratorios for the Sacred Harmonic Society (1853-57), and of orchestral works for the Philharmonic Society (1869-71), besides numerous articles in the musical dictionaries.

St. John the Baptist.

The oratorio "St. John the Baptist" was first produced at the Bristol Musical Festival in 1873. The libretto was written by Dr. E. G. Monk, and is divided into two parts,--the first styled "The Desert," and the second "Machaerus," to correspond with the localities where the action is supposed to take place. The incidents described are John's preaching to the people, the baptism of Christ, and the events which begin with Herod's feast and close with the execution of the Prophet. One of the best of the English critics, speaking of the libretto, says:--

"John is thus shown in his threefold capacity, as the herald of the Kingdom of Heaven, as the uncompromising champion of righteousness, and as the witness of truth even unto death. Nothing could be more simple or more definite than this, and the discreetness it evinces is shown also by the manner in which the characters are treated. John, of course, is the central figure. He stands out clothed with all the n.o.ble attributes accredited to him in the Bible,--'stern and inflexible in his teaching, yet bowing before him whose message he had to promulgate.' A halo of grandeur surrounds the ascetic of the desert as he hurls anathemas upon the corruptors of Israel; or as, in the true spirit of the ancient prophets of his race, he rebukes Herod under the roof of that monarch's palace. No greater hero could a musician wish for as a source of inspiration, or as a means of exciting interest.

Next to John stands the weak and voluptuous King,--a contrast as marked in character as in outward circ.u.mstance. The impulsive temperament of Herod is well brought out. One instant he resents John's boldness, and significantly exclaims, 'If I command to kill, they kill;' the next he trembles before his rebuker, and promises to amend his life. The rashness of the fatal vow to Salome, and the bitter but unavailing repentance to which it led, are also put well forward, while in matters of detail extreme care is taken to make the contrast of Prophet and King as great as circ.u.mstances permit. The part of Salome, who is the only other dramatic person, contains no more amplification of the Bible narrative than was exacted by the necessities of musical treatment. In structure, the libretto is partly dramatic, partly narrational, the dramatic form being employed in all the chief scenes; and as little use is made of 'Greek chorus,' the story marches without the halting rendered necessary by efforts to 'improve' its incidents as they arise."

The overture, which is very dramatic in character, is followed by a powerful fugued chorus ("Behold! I will send My Messenger"), a part of which is set to organ accompaniment. The Narrator (contralto) recites the coming of the Prophet, in the orchestral prelude to which is a phrase borrowed from an old church melody which Mendelssohn also used in his Reformation Symphony, and which serves throughout the work as the motive for the Prophet, in the genuine Wagner style. Saint John is introduced in a rugged and ma.s.sive baritone solo ("Repent ye, the Kingdom of Heaven is at hand"), accompanied by very descriptive instrumentation. A dramatic scene ensues, composed of inquiries as to the Prophet's mission by the People, a short chorus by the latter ("What shall we do then?") which is very melodic in style, and the resumption of the dialogue form, set to a very skilful accompaniment. This scene is followed by a characteristic aria for the Prophet, "I indeed baptize you with Water." The story is once more taken up by the Narrator, who describes the baptism of Christ.

The words, "This is My Beloved Son," are given to a female choir, with exquisite accompaniment by the violins and harps. A song for the Narrator ("In the Beginning was the Word") follows, and leads to the chorus, which closes the first part, the words taken from the first verse of Psalm civ., and the melody borrowed from the familiar old tune "Hanover," which the composer has worked up with great skill and effect.

The second part opens in Herod's palace with the rebuke of the Monarch by the Prophet. In this scene, as well as in others, the composer draws a strong contrast in the music a.s.signed to the two, the one being strong and stern, the other sensuous, in style. In the duet, where Herod confesses the error of his ways, the voices unite in a genuine religious strain. The Narrator is once more introduced, and describes the feast given by the Monarch to the Galilee estates, followed by a jubilant chorus of n.o.bles ("O King, live forever!"), set to a brilliant accompaniment, calling for the most ample orchestral resources. The next number is a chorus for male voices ("Lo! the Daughter of Herodias cometh in, she danceth!"), set to a dance rhythm with tambourines, the themes being bits of Oriental melodies skilfully treated. We then have the banquet-scene, the admiration of the n.o.bles for Salome's beauty, Herod's oath, and Salome's joy expressed in a showy song ("I rejoice in my youth"). Then follows the dramatic scene of Salome's request,--a concerted number of great force in its treatment. Herod sings a mournful aria ("Alas! my Daughter, thou hast brought us very low"). The Narrator explains how the King was compelled to keep his word, and is followed by the n.o.bles in a stirring chorus ("Lo! the Wrath of the King is as a Messenger of Death"). The scene now changes to the dungeon, where the Prophet sings his farewell song ("A Man can receive nothing"), accompanied by orchestra and organ. The final tragedy is told by the Narrator, and the work closes with two reflective numbers,--the beautiful unaccompanied quartet, "Blessed are they which are persecuted," and the chorus, "What went ye out into the Wilderness for to see?" The above-mentioned critic, who was present at its first performance, says of the work:--

"It is a strange thing that John the Baptist has not often attracted the notice of musical composers in search of a subject. No more remarkable personage, with one great exception, figures in Bible history than he whom the Master described as 'more than a prophet.' His striking appearance, stern asceticism, wrathful denunciation of 'wickedness in high places,' and tragic fate,--not to speak of his relation to One whose shoes he professed himself unworthy to loose,--throw his form into bold relief, and mark him as of heroic proportions. Yet, save that he holds a subordinate place in a very limited number of works, among which is Sir Julius Benedict's 'St.

Peter,' the great forerunner has been pa.s.sed over till now. At length, however, in that 'fulness of time' which ever brings forth the best results, the Man and his Life have found a musical ill.u.s.trator. There is now an oratorio of 'John the Baptist,'--a work worthy its theme, and to which the stamp of enthusiastic approval has been affixed by the unanimous verdict of an audience competent to judge."

MACKENZIE.

Alexander C. Mackenzie, one of the very few successful Scotch composers, was born at Edinburgh in 1847. His father was a musician; and recognizing his son's talent, sent him to Germany at the age of ten. He began his studies with Ulrich Eduard Stein at Schwartzburg-Sonderhausen, and four years later entered the ducal orchestra as violinist. He remained there until 1862, when he went to England to study the violin with M. Sainton.

In the same year he was elected king's scholar of the Royal Academy of Music. Three years later he returned to Edinburgh and established himself as a piano-teacher. The main work of his life, however, has been composition, and to this he has devoted himself with a.s.siduity and remarkable success. Grove catalogues among his works: "Cervantes, an overture for orchestra;" a scherzo for ditto; overture to a comedy; a string quintet and many other pieces in MS.; pianoforte quartet in B, op.

11; Trois Morceaux pour Piano, op. 15; two songs, op. 12; besides songs, part-songs, anthems, and pieces for the piano. This catalogue, however, does not include his two most important works,--a Scotch Rhapsody, introduced into this country by the Theodore Thomas orchestra, a composition of great merit, and the oratorio, "The Rose of Sharon," which has been received with extraordinary favor wherever it has been performed.

The Rose of Sharon.

"The Rose of Sharon," a dramatic oratorio founded on the Song of Solomon, the words selected from the Scriptures and arranged by Joseph Bennett, was first brought out at the Norwich Festival, England, Oct. 16, 1884, under the direction of the composer, and was subsequently performed in London by the Sacred Harmonic Society. Its first performance in Scotland took place at Glasgow, Dec. 8, 1885, under the auspices of the Glasgow Choral Union, Madame Albani, Miss Hilda Wilson, Mr. Edward Lloyd, and Mr.

Watkins Mills being the princ.i.p.al vocalists. One notice of this performance says: "The enthusiastic reception of the work on this occasion was beyond all description; the composer was recalled after each part with cheers that must have made his heart leap with delight." At the first performance at Norwich he was showered with flowers by the chorus, while the whole audience rose and greeted him with prolonged cheering. In speaking of the text, its compiler says:--

"In adopting for the purposes of this oratorio a reading of the 'Song of Songs' upon which Ewald and Renan substantially agree, the compiler of the libretto favored no controversial opinion. He simply saw in the ingenious commentaries of the learned Hebraists suggestions for a story of unconquerable love, capable of expression in the language of the Bible.

"For the arrangement of incident the compiler is alone responsible. In some respects it departs widely from the original poem,--which opens, for example, in Jerusalem,--and gives only in narrative the events that occupy part one of the oratorio.

"In taking a story from a canonical book of Holy Scripture, the compiler could not ignore its spiritual significance. He has, therefore, introduced a prologue suggesting the parabolic character of the drama, and an epilogue which points its moral."

The characters are the Rose of Sharon, designated throughout the work as the Sulamite (soprano); a Woman (contralto); the Beloved (tenor); and Solomon (baritone); the chorus representing Officers of the Court, Princes, n.o.bles, Villagers, Elders, and Soldiers. The story, briefly told, is one of the power of love. The Beloved and Solomon are both in love with the Sulamite, and the king tears her from the former to be the favorite among the women of the harem. Amid all the splendors of the palace and the luxuries heaped upon her by her pa.s.sionate admirer she remains true to the Beloved, is ultimately restored to him, and returns to the vineyards of Sulam. The work is divided as follows: Prologue; Part I. Separation; II. Temptation; III. Victory; IV. Reunion; V. Epilogue.

The motto of the oratorio is "Love is strong as death, and unconquerable as the grave." This motto has its musical theme as well as each of the three princ.i.p.al characters, and they are invariably used with great skill and effect. The Woman acts the part of Narrator, and after a brief orchestral prelude she is heard declaring the meaning and spiritual significance of the story in the prologue:

"We will open our mouth in a parable; We will utter dark sayings of old, Which we have heard and known, Which our fathers have told us; We will not hide them from our children, That the generation to come may know them, Who shall declare them to their children.

This is a great mystery; but we speak concerning Christ and his Church."

The oratorio opens in the vineyard of Sulam as the Vine-dressers come forth to their labor. The orchestral part begins with the melody of the Vineyard Song ("We will take the Foxes"), and serves to introduce their chorus, a joyous pastoral ("Come, let us go forth into the Field"). As they disappear, the voice of the Beloved is heard singing a tender and pa.s.sionate appeal beneath the Sulamite's lattice ("Rise up, rise up, my Love") as he urges her to join him, "For lo! the winter is past; the rain is over and gone." Her reply follows from within her chamber, full of love and adoration, and closing with the Vineyard Song ("We will take the Foxes, the little Foxes that ravage the Vines"). She descends from her chamber and joins the Beloved, and their voices unite in a delightful duet ("Come, Beloved, into the Garden of Nuts"). Once more the chorus of the Vine-dressers is heard, and at its close, after an intermezzo descriptive of the joys of a spring morning, the scene changes to Lebanon. A short alto solo announces the coming of Solomon, and the pastoral music is followed by a brilliant and stately processional march, accompanied by chorus ("G.o.d save the King!"). Solomon beholds the Sulamite, and pours forth his admiration in a rapturous song ("Thou art lovely, O my Friend, as Thirza"). The Princes and n.o.bles also testify to their admiration of her beauty. A very dramatic scene ensues, in which the Beloved and the Sulamite seek to escape "out of the caves of the lion and from the haunt of the leopard." She is brought back by an elder, and again Solomon pleads his cause in a pa.s.sionate declamation ("Unto my charger in Pharaoh's stud I would compare thee, O my friend"). She replies, "My Beloved is to me a nosegay of myrrh," and clings to her lover, who once more seeks to escape with her; whereupon she is seized and placed in one of the king's chariots, and the cavalcade moves off to the brilliant strains of the cortege music, accompanied by the chorus.

The second part, "Temptation," introduces us to Solomon's palace, where the Sulamite is alone, pining for her lover. The scene opens with the psalm, "The Lord is my Shepherd," set to a simple, charming melody, full of the spirit of devotion, but entirely disconnected with the general texture of the work. As the touching strain comes to an end, the Women of the court enter, insidiously plead the cause of Solomon, tempt her with his luxuries, and seek to shame her love for the Beloved. "Kings'

daughters shall be among thine honorable women; thy clothing shall be of wrought gold; thou shalt be brought unto the king in raiment of needlework, with gladness and rejoicing shalt thou be brought and enter into the king's palace," sings one of the Women; but the Sulamite remains loyal, and only answers: "My Beloved pastures his flocks among the lilies. My Beloved is mine, and I am his." The temptation is interrupted by the procession of the ark pa.s.sing in the street below to the glad acclaim of the people ("Make a joyful Noise unto the Lord, all ye Lands"), and a brilliant march. Successively the Maidens of Jerusalem with timbrels, the Elders, the Shepherds and Vine-dressers, the Soldiers, the Priests bearing the sacred vessels pa.s.s by, singing tributes of praise to the Lord; and as the Levites appear bearing the ark, and Solomon comes in sight with all his retinue, the entire chorus triumphantly repeat "G.o.d save the King!" The brilliant procession pa.s.ses from view. The Women once more appeal to the Sulamite; but she still loyally declares: "My Beloved pastures his flocks among the lilies; lo!

Solomon in all his glory is not arrayed like one of these."

The third part, "Victory," opens with an orchestral prelude picturing the sleep of the Sulamite, with her women watching about her. The voice of the Beloved is heard without the chamber, "Open to me, my Sister, my Bride." It reaches her in a dream, and in fancy she replies to him, clothes herself, and searches for him in the streets; but when she accosts the watchmen, they are so rude that her fright awakes her. She is still a prisoner in the palace, and the Women about her announce the coming of Solomon. He pleads his cause in a pa.s.sionate song ("Ere the Day cool and the Shadows flee away"); and she replies with another protestation of her constancy in the solo, "Lo! a Vineyard hath Solomon at Baal-hamon." The situation, which is very dramatic in its treatment, is heightened by a duet and by the mocking chorus of Women; but above them all still sings the brave Sulamite, "My Beloved is mine, and I am his."

The fourth part brings us back again to the vineyards of Sulam. It opens with a melancholy chorus of the Vine-dressers ("O Lord, be gracious unto us"), lamenting her absence. It is followed by a ba.s.s solo ("Thus saith the Lord") and a chorale in full broad harmony. At last the victorious Sulamite is seen coming up from the valley leaning on the arm of the Beloved. All join in a powerful and exultant chorus of grat.i.tude and joy ("Sing, O Heavens, and be joyful, O Earth"). A rapturous duet ensues between the Sulamite and the Beloved, and then all join in the spirited finale:--

"For the flame of Love is as fire, Even the fire of G.o.d.

Many waters cannot quench it, Neither can floods drown it.

Yea, Love is strong as death, And unconquerable as the grave."

MENDELSSOHN.

Felix Mendelssohn Bartholdy, the son of a Berlin banker, was born at Hamburg, Feb. 3, 1809, and, unlike almost all other composers, was reared in the lap of luxury. Every advantage which wealth could procure he enjoyed, with the result that he became highly educated in the other arts as well as in music. His teachers in music were Zelter and Ludwig Berger, and he made such progress that in his ninth year he appeared in public as a pianist in Berlin, and afterwards in Paris. The first of his compositions to attract general notice were the overture to Shakspeare's "Midsummer Night's Dream" and the little opera "The Marriage of Camacho,"

which were brought out in Berlin in 1827. After several concert tours, in which he met with great success, he resided for some time in Dusseldorf.

In 1835 he went to Leipsic as director of the famous Gewandhaus concerts,--which are still given in that city. Two years later he married Cecile Jeanrenaud, the beautiful daughter of a minister of the Reformed Church in Frankfort, and shortly afterwards went to Berlin as general director of church music. In 1843 he returned to his former post in Leipsic, and also took a position in the newly established Conservatory, where he spent the remainder of his days in company with his family, to whom he was closely attached. He has left a large and rich collection of musical works, which are favorites the world over. His three great oratorios are the "Hymn of Praise," catalogued as a symphony-cantata, "St. Paul," and "Elijah." The last is specially interesting, as it marked a new departure from the conventional forms of oratorio, and gave the widest scope to the dramatic elements,--to such a degree, in fact, that it might with propriety be styled a sacred opera. Besides these oratorios, his exquisite music to the "Midsummer Night's Dream," which is familiar the world over, and his stately dramatic music to "Antigone," he has left five symphonies, of which the "Scotch," the "Italian," and the "Reformation" are best known; four exquisite overtures, "Ruy Blas," "Calm Sea and Prosperous Voyage," "Hebrides," and "Melusina;" the very dramatic cantata, "The Walpurgis Night;" a long list of beautiful songs for one or more voices; the incidental music to Racine's "Athalia;" a very large collection of sacred music, such as psalms, hymns, anthems, and cantatas; several beautiful trios and other specimens of chamber-music; and the lovely "Songs without Words," which are to be found upon almost every piano, the beauty and freshness of which time has not impaired.

Mendelssohn never wrote a grand opera, owing to his fastidiousness as to a libretto; though he finally obtained one from Geibel, on the subject of the "Loreley," which suited him. He had begun to write it, and had finished the finale to the first act, when death interrupted his work, Nov. 4, 1847. Mendelssohn was a man of remarkable beauty, and his character corresponded to his charm of person. He had a liberal education, was a man of broad culture, a clever artist, and a very skilful writer, as is shown by his volumes of letters from Italy and Switzerland. Possessed of these graces of mind and person, and having all the advantages that wealth could bestow, he lacked those incentives which in other composers have brought out the deepest, highest, and most majestic forms of musical expression. His music is a reflex of his life; grace, elegance, culture, and finish are its characteristics.

St. Paul.

"St. Paul," the first of Mendelssohn's oratorios, was begun in Dusseldorf and finished in Leipsic in the winter of 1835, the composer being then in his twenty-sixth year. He first applied to Marx to write the text; but the invitation was declined, on the ground that the chorales were unsuited to the period of the narrative. Mendelssohn then consulted with his friends Furst and Schubring, and the libretto as it now stands represents their joint compilation. Its three princ.i.p.al themes are the martyrdom of Saint Stephen, the conversion of Saint Paul, and the apostle's subsequent career. One of the clearest statements of the general character of the work is that given by Lampadius; he says:--