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diff --git a/22793-h/22793-h.htm b/22793-h/22793-h.htm new file mode 100644 index 0000000..63c0806 --- /dev/null +++ b/22793-h/22793-h.htm @@ -0,0 +1,11567 @@ +<?xml version="1.0" encoding="utf-8"?> +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<title>The Project Gutenberg eBook of The Standard Oratorios: Their Stories, Their Music, and Their Composers by George P. Upton</title> +<style type="text/css"> + body { margin-left:2em; margin-right:2em; } + .pgnum { text-align:right; font-size:70%; margin-left:1em; margin-top:.7em; margin-bottom:.7em; float:right; margin-right:-2em; } + .bq .pgnum, blockquote .pgnum { margin-right:-3.3em; font-size:77%; } + h1, h2, h3, h4, .center { clear:both; text-align:center; } + h1, h2 { margin-top:5em; } + h3 { margin-top:3em; } + p.argument, p.subhead, p.cnote { text-align:center; } + p.tm1 { margin-left:2em; text-indent:-2em; } + .b { font-weight:bold; } + .i { font-style:italic; } + sc, .sc { font-variant:small-caps; } + .rjust { text-align:right; } + div.toc div { text-align:right; clear:both; } + div.toc div a { text-align:left; float:left; } + div toc div a sc { margin-left:1em; } + .toc .t1 a { margin-left:1em; font-variant:small-caps; } + p.argument { font-style:italic; } + p.ut1 { margin-left: 1em; text-indent:-1em; } + .jindex div { text-align: right; } + .jindex div a { text-align:left; border-right:1em; float:left;} + .r2 { margin-left: -3em; display:block; float:left; } + p, blockquote, td { text-align:justify; } + blockquote, .bq { margin-left:1em; margin-right:1em; font-size:90%; } + .fnblock div { text-align:justify; font-size:80%; margin-left:1em; text-indent:-1em; } + author, .author { display:block; text-align:right; font-style:italic; } + div.verse p, p.t0, l { display:block; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t1, l.t, .t1 { margin-left: 1em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t2, l.t2 { margin-left: 2em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t3, l.t3 { margin-left: 3em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t4, l.t4 { margin-left: 4em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t5, l.t5 { margin-left: 5em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t6, l.t6 { margin-left: 6em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse p.t7, l.t7 { margin-left: 7em; margin-top:0; margin-bottom:0; text-align:left; } + div.verse, verse { display:block; margin-top:1em; border-bottom:1em; } + note, .cnote { color:red; font-size:80%; } + a sup { font-size:60%; } + .endcomm { margin-left: 5em; margin-top:1em;} + .endcomm a.yref { margin-left:-5em; float:left; margin-right:1em; } +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Standard Oratorios, by George P. Upton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Standard Oratorios + Their Stories, Their Music, And Their Composers + +Author: George P. Upton + +Release Date: September 28, 2007 [EBook #22793] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE STANDARD ORATORIOS *** + + + + +Produced by David Newman, Stephen Hutcheson and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + +<div id="titlepg"> +<span class="pgnum" id="pg_1">[1]</span> +<h1><span class="small">THE</span> +<br /><span class="sc">Standard Oratorios</span> +<br /> +<br /><span class="small">THEIR STORIES, THEIR MUSIC, AND THEIR COMPOSERS</span></h1> +<p class="center"><b><i><span class="large">A Handbook</span></i></b></p> +<p class="center">BY GEORGE P. UPTON</p> +<p class="center">CHICAGO +<br />A. C. McCLURG AND COMPANY +<br />1893</p> +<span class="pgnum" id="pg_2">[2]</span> +<p class="center"><span class="sc">Copyright</span> +<br /><span class="sc">By A. C. McClurg and Co.</span> +<br /><span class="small">A.D.</span> 1886.</p> +</div> +<div id="preface"> +<span class="pgnum" id="pg_3">[3]</span> +<h2>PREFACE.</h2> +<p>The "Standard Oratorios" is intended as a +companion to the "Standard Operas;" +and with this purpose in view the compiler +has followed as closely as possible +the same method in the arrangement and presentation +of his scheme. The main object has been +to present to the reader a comprehensive sketch +of the oratorios which may be called "standard," +outlining the sacred stories which they tell, and +briefly indicating and sketching their principal +numbers, accompanied in each case with a short +biography of the composer and such historical +matter connected with the various works as is +of special interest. The compiler has also included +in his scheme a sketch of the origin and +development of the Oratorio as illustrated in its +three principal evolutionary stages, together with +descriptions of several works which are not oratorios +in the strict sense, but at the same time are sacred +<span class="pgnum" id="pg_4">[4]</span> +compositions written upon a large scale and usually +performed by oratorio societies, such as Bach's +"Passion Music" and "Magnificat," Berlioz's, +Mozart's, and Verdi's Requiems, Mendelssohn's +"Hymn of Praise," Handel's "Dettingen Te +Deum," Schumann's "Paradise and the Peri," and +Rubinstein's "Tower of Babel."</p> +<p>As in the case of the "Standard Operas," the +work has been prepared for the general public +rather than for musicians, and as far as practicable, +technical terms have been avoided. Description, +not criticism, has been the purpose of the volume, +and the various works are described as fully as +the necessarily brief space allotted to each would +allow. The utmost pains have been taken to secure +historical and chronological accuracy, inasmuch as +these details are nearly always matters of controversy. +The favor which has been so generously +accorded to the "Standard Operas" leads the compiler +to believe that the "Standard Oratorios" +will also be welcomed by those who enjoy the +sacred music of the great masters, and that it will +prove a valuable addition to other works of musical +reference.</p> +<p class="rjust">G. P. U.</p> +<p><span class="sc">Chicago</span>, September, 1886.</p> +</div> +<div id="contents" class="toc"> +<div class="pgnum" id="pg_5">[5]</div> +<h2>CONTENTS.</h2> +<div class="rjust"><span class="small">PAGE</span></div> +<div><a href="#preface">PREFACE</a> 3</div> +<div><a href="#c01">THE ORATORIO</a> 9</div> +<div><a href="#c02">BACH</a> 31</div> +<div class="t1"><a href="#c03">Christmas Oratorio</a> 33</div> +<div class="t1"><a href="#c04">The Saint Matthew Passion</a> 39</div> +<div class="t1"><a href="#c05">The Magnificat in D</a> 48</div> +<div><a href="#c06">BEETHOVEN</a> 51</div> +<div class="t1"><a href="#c07">The Mount of Olives</a> 53</div> +<div><a href="#c08">BENNETT</a> 60</div> +<div class="t1"><a href="#c09">The Woman of Samaria</a> 62</div> +<div><a href="#c10">BERLIOZ</a> 68</div> +<div class="t1"><a href="#c11">The Requiem</a> 70</div> +<div><a href="#c12">BRAHMS</a> 78</div> +<div class="t1"><a href="#c13">The German Requiem</a> 80</div> +<div><a href="#c14">COSTA</a> 82</div> +<div class="t1"><a href="#c15">Eli</a> 84</div> +<div class="pgnum" id="pg_6">[6]</div> +<div><a href="#c16">DVORÁK</a> 90</div> +<div class="t1"><a href="#c17">The Stabat Mater</a> 92</div> +<div><a href="#c18">GOUNOD</a> 96</div> +<div class="t1"><a href="#c19">The Redemption</a> 98</div> +<div class="t1"><a href="#c20">Mors et Vita</a> 106</div> +<div><a href="#c21">HANDEL</a> 114</div> +<div class="t1"><a href="#c22">Israel in Egypt</a> 117</div> +<div class="t1"><a href="#c23">Saul</a> 125</div> +<div class="t1"><a href="#c24">Samson</a> 132</div> +<div class="t1"><a href="#c25">The Messiah</a> 140</div> +<div class="t1"><a href="#c26">Judas Maccabæus</a> 149</div> +<div class="t1"><a href="#c27">The Dettingen Te Deum</a> 155</div> +<div><a href="#c28">HAYDN</a> 159</div> +<div class="t1"><a href="#c29">The Creation</a> 162</div> +<div class="t1"><a href="#c30">The Seasons</a> 170</div> +<div><a href="#c31">LISZT</a> 177</div> +<div class="t1"><a href="#c32">Legend of the Holy Elizabeth</a> 180</div> +<div class="t1"><a href="#c33">Christus</a> 186</div> +<div><a href="#c34">MACFARREN</a> 191</div> +<div class="t1"><a href="#c35">St. John the Baptist</a> 193</div> +<div><a href="#c36">MACKENZIE</a> 198</div> +<div class="t1"><a href="#c37">The Rose of Sharon</a> 199</div> +<div><a href="#c3a">MENDELSSOHN</a> 206</div> +<div class="t1"><a href="#c38">St. Paul</a> 208</div> +<div class="t1"><a href="#c39">Hymn of Praise</a> 213</div> +<div class="t1"><a href="#c40">Elijah</a> 218</div> +<div class="t1"><a href="#c41">Christus</a> 229</div> +<div><a href="#c42">MOZART</a> 234</div> +<div class="t1"><a href="#c43">Requiem</a> 236</div> +<span class="pgnum" id="pg_7">[7]</span> +<div><a href="#c44">PAINE</a> 245</div> +<div class="t1"><a href="#c45">St. Peter</a> 246</div> +<div><a href="#c46">ROSSINI</a> 251</div> +<div class="t1"><a href="#c47">Stabat Mater</a> 253</div> +<div><a href="#c48">RUBINSTEIN</a> 258</div> +<div class="t1"><a href="#c49">Tower of Babel</a> 260</div> +<div class="t1"><a href="#c50">Paradise Lost</a> 264</div> +<div><a href="#c51">SAINT-SAËNS</a> 267</div> +<div class="t1"><a href="#c52">Christmas Oratorio</a> 269</div> +<div><a href="#c53">SCHUMANN</a> 271</div> +<div class="t1"><a href="#c54">Paradise and the Peri</a> 273</div> +<div><a href="#c55">SPOHR</a> 280</div> +<div class="t1"><a href="#c56">Last Judgment</a> 283</div> +<div><a href="#c57">SULLIVAN</a> 290</div> +<div class="t1"><a href="#c58">The Prodigal Son</a> 292</div> +<div class="t1"><a href="#c59">The Light of the World</a> 294</div> +<div><a href="#c60">VERDI</a> 301</div> +<div class="t1"><a href="#c6a">Manzoni Requiem</a> 303</div> +<div><a href="#c61">SACRED MUSIC IN AMERICA</a> 309</div> +<div><a href="#c62">APPENDIX</a> 329</div> +</div> +<div id="c01"> +<span class="pgnum" id="pg_9">[9]</span> +<h2>THE STANDARD ORATORIOS.</h2> +<h3>THE ORATORIO.</h3> +<p>The oratorio in its modern form is a musical +setting of a sacred story or text in a +style more or less dramatic. Its various +parts are assigned to the four solo voices +and to single or double chorus, with accompaniment +of full orchestra, sometimes amplified by the +organ. Like the opera, it has its recitative, linking +together and leading up to the various numbers. +The origin of the word is to be found in the "oratory," +or place of prayer, where these compositions +were first performed. Crescimbeni, one of the earliest +musical writers, says: "The oratorio had its origin from San Filippo +Neri,<sup><a id="fr_1" href="#fn_1">[1]</a></sup> +who, in his chapel, after sermons and other devotions, in order to allure +young people to pious offices, and to detain +<span class="pgnum" id="pg_10">[10]</span> +them from earthly pleasures, had hymns, psalms, +and such like prayers sung by one or more voices." +In tracing its evolutionary stages, its root will be +found in the moralities, mysteries, and miracle-plays +of the thirteenth and fourteenth centuries, +which were instituted for the purpose of impressing +Biblical events in symbolical form upon the +early converts to the Christian Church. These representations +were entirely dramatic in character, +and their subjects, though always sacred, were often +grotesquely treated, and sometimes verged on buffoonery. +Among the actors, God, Christ, Satan, +Mary, and the angels nearly always appeared; +later, the various virtues and vices were personified. +The representations were usually given in +the streets or in fields, and sometimes on the +water. The highest dignitaries of the Church did +not disdain to act in these plays, nor did their promoters +hesitate at times to reduce the exhibition to +the level of a Punch-and-Judy show by the introduction +of puppets cleverly manipulated. The earliest +of these miracle-plays in England were performed by +the various London Companies. The Tanners, for +instance, produced the Fall of Lucifer. The Drapers +played the Creation, in which Adam and Eve appeared +in their original costume,--apparently without +giving offence. The Water-Drawers naturally +chose the Deluge. In the scene describing the +embarkation of Noah's family, the patriarch has a +great deal of trouble with his wife, who is determined +not to go aboard. She declares that if her +<span class="pgnum" id="pg_11">[11]</span> +worldly friends are left behind, she will stay and +drown with them, and he can</p> +<blockquote> +<div class="verse"> +<p class="t2">"Rowe forth away when thou liste,</p> +<p class="t2">And get thee another wif."</p> +</div> +</blockquote> +<p>Noah expostulates with her in vain, grows furiously +indignant, and bids her</p> +<blockquote> +<div class="verse"> +<p class="t2">"Come in, wif, in twenty devill ways,</p> +<p class="t2">Or alles stand thee without."</p> +</div> +</blockquote> +<p>Her friends the gossips entreat her to remain with +them, and have a carousal over a "pottel full of +malmsey;" but at last Shem makes a virtue of +necessity and forces her into the ark, as the following +scene shows:--</p> +<blockquote> +<div class="verse"> +<p class="t2">"In faith, moder, in ye shall,</p> +<p class="t2">Whither you will or noughte."</p> +</div> +<div class="verse"> +<p class="t5"><span class="small">NOE.</span></p> +</div> +<div class="verse"> +<p class="t2">"Well me wif into this boate."</p> +<p class="t4">[<i>She gives him a box on the ear.</i>]</p> +<p class="t2">"Haue you that for thee note."</p> +</div> +<div class="verse"> +<p class="t5"><span class="small">NOE.</span></p> +</div> +<div class="verse"> +<p class="t2">"A le Mary this whote,</p> +<p class="t2">A childre methinks my boate remeues,</p> +<p class="t2">Our tarrying here heughly me grieues."</p> +<p class="t4">[<i>She is forced into the ark.</i>]</p> +</div> +</blockquote> +<p>The earliest of these representations, so far as has +been discovered, dates back to the twelfth century, +and is known as the Feast of Asses. In these +<span class="pgnum" id="pg_12">[12]</span> +exhibitions, Balaam, superbly habited and wearing an +enormous pair of spurs, rode a wooden ass, in which +the speaker was concealed. The ass and the devil +were favorite characters. The former sometimes +appeared in monkish garb and brayed responses +to the intonations of the priests, while the latter, +arrayed in fantastic costumes, seems to have been +the prototype of clown in the pantomime. As +late as 1783 the buffoonery of this kind of exhibition +continued. An English traveller, describing a +mystery called the "Creation" which he saw at +Bamberg in that year, says:--</p> +<blockquote><p>"Young priests had the wings of geese tied on their +shoulders to personate angels. Adam appeared on the +scene in a big curled wig and brocaded morning-gown. +Among the animals that passed before him to receive +their names were a well-shod horse, pigs with rings in +their noses, and a mastiff with a brass collar. A cow's +rib-bone had been provided for the formation of Eve; +but the mastiff spied it out, grabbed it, and carried it +off. The angels tried to whistle him back; but not +succeeding, they chased him, gave him a kicking, and +recovered the bone, which they placed under a trap-door +by the side of the sleeping Adam, whence there +soon emerged a lanky priest in a loose robe, to personate +Eve."</p></blockquote> +<p>The buffoonery and profanity of the early exhibitions, +however, gradually wore away when the +Church assumed the monopoly of them and forbade +secular performances. Among the earlier +works Burney cites the following:--</p> +<span class="pgnum" id="pg_13">[13]</span> +<blockquote><p>"The 'Conversion of St. Paul,' performed at Rome, +1440, as described by Sulpicius, has been erroneously +called the first opera, or musical drama. 'Abram et +Isaac suo Figliuolo,' a sacred drama (<i>azione sacra</i>), +'showing how Abraham was commanded by God to +sacrifice his son Isaac on the mountain,' was performed +in the Church of St. Mary Magdalen in Florence, +1449. Another on the same subject, called +'Abraham and Sarah,' 'containing the good life of +their son Isaac, and the bad conduct of Ishmael, the +son of his handmaid, and how they were turned out of +the house,' was printed in 1556; 'Abel e Caino,' and +'Samson,' 1554; 'The Prodigal Son,' 1565; and 'La +Commedia Spirituale dell' Anima' ('The Spiritual +Comedy of the Soul'), printed at Siena, without date, +in which there are near thirty personifications, besides +Saint Paul, Saint John Chrysostom, two little boys who +repeat a kind of prelude, and the announcing angel, +who always speaks the prologue in these old mysteries. +He is called <i>l'angelo che nunzia</i>, and his figure +is almost always given in a wooden cut on the title-page +of printed copies. Here, among the interlocutors, +we have God the Father, Michael the archangel, +a chorus of angels, the Human Soul with her guardian +angel, memory, intellect, free-will, faith, hope, charity, +reason, prudence, temperance, fortitude, justice, mercy, +poverty, patience, and humility; with hatred, infidelity, +despair, sensuality, a chorus of demons, and the +devil. None of these mysteries are totally without +music, as there are choruses and <i>laudi</i>, or hymns, +that are sung in them all, and sometimes there was +playing on instruments between the acts. In a play +written by Damiano and printed at Siena, 1519, according +to Crescimbeni, at the beginning of every act +there was an octave stanza, which was sung to the +sound of the lyra viol by a personage called Orpheus, +who was solely retained for that purpose; at other +<span class="pgnum" id="pg_14">[14]</span> +times a madrigal was sung between the acts, after +the manner of a chorus."</p></blockquote> +<p>It was not until the time when San Filippo Neri +began his dramatization and performance of Biblical +stories, such as "The Good Samaritan," "The +Prodigal Son," and "Tobias and the Angels," accompanied +with music written by his friend Giovanni +Animuccia, that the term "Oratorio" came to +be accepted as the distinctive title of these sacred +musical dramas. His productions were very crudely +and hastily arranged, his only purpose having been +to render his service attractive. After his death, +however, in 1595, his work was continued by +Emilio del Cavaliere, a Roman composer, who +produced the first real oratorio which had as yet +appeared. It was entitled "La Rappresentazione +dell' Anima e del Corpo" ("The Soul and the +Body"), and was first performed in February, +1600, in the oratory of the Church of Santa Maria +della Vallicella at Rome. Burney assigns to it the +credit of being "the first sacred drama or oratorio +in which recitative was used." The characters were +Time, Human Life, the World, Pleasure, the Intellect, +the Soul, the Body, and two youths who were +to recite the prologue. The orchestra was composed +of a double lyre, a harpsichord, a large or +double guitar, and two flutes. The composer has left +some curious instructions for the performance of his +work; among them the following:--</p> +<blockquote> +<p>"Pleasure, an imaginary character, with two companions, +are to have instruments in their hands, on +<span class="pgnum" id="pg_15">[15]</span> +which they are to play while they sing and perform the +ritornels.</p> +<p>"Il Corpo, the Body, when these words are uttered, +'Sí che hormai alma mia,' etc., may throw away some +of his ornaments, as his gold collar, feather from his +hat, etc.</p> +<p>"The World, and Human Life in particular, are to +be gayly and richly dressed; and when they are divested +of their trappings, to appear very poor and +wretched, and at length dead carcases."</p> +</blockquote> +<p>The ballet played a prominent part in all the +early oratorios, and the composer has also left detailed +instructions for its guidance. During the +ritornels the four principal dancers accompanied +them in "a ballet enlivened with capers," and at +the close of the performance stanzas were sung, +alternating with dances to be executed "sedately +and reverentially."</p> +<p>Emilio del Cavaliere was followed by a long line +of Italian oratorio composers who contributed +to amplify and enrich this form of composition. +Among the earliest of these writers were Carissimi, +Stradella, Scarlatti, Mazzocchi, Federici, Pistocchi, +Caldara, and Colonna. Carissimi perfected +the recitative and invested the music with more +importance, giving it something like equal rank with +the dramatic character of the composition. It was +during his time that the personage known as "Historicus" +was introduced, who continued the action +with explanatory passages between the numbers,--a +modern illustration of which may be found in the +"Narrator," as used by Gounod in his "Redemption." +<span class="pgnum" id="pg_16">[16]</span> +Carissimi employed this expedient, and +made it very effective. It is also claimed that he +was the first to introduce the cantata as a form of +church music, and the accompaniment of violins in +motet performances. His most famous oratorios +are "Jephte," "Abraham et Isaac," "Le Jugement +Dernier," and "Judicium Salomonis." Of the first +named, Hawkins says: "It consists of recitative, +airs, and chorus; and for sweetness of melody, artful +modulation, and original harmony, is justly esteemed +one of the finest efforts of musical skill and genius +that the world knows of." Stradella, whose romantic +history is familiar to every one, is chiefly remembered +by his attachment for Hortensia, the vengeance +of the Venetian lover which followed them so +long, and the song which saved the composer's life +from the assassins. This song was from his own +oratorio, "St. John the Baptist," first performed in +the Church of St. John Lateran at Rome. Burney, +who examined the score, says: "The recitative is in +general excellent, and there is scarce a movement +among the airs in which genius, skill, and study do +not appear." He also observes that this oratorio is +the first work in which the proper sharps and flats +are generally placed at the clef. Scarlatti, born in +1659, was a composer of great originality, as well as +versatility. He has left, in addition to his numerous +operas and cantatas, several oratorios, the +most famous of which are "I Dolori di Maria +sempre Vergine," "Il Sagrifizio d' Abramo," "Il +Martirio di Santa Teodosia," and "La Concezzione +<span class="pgnum" id="pg_17">[17]</span> +della beata Vergine." He gave to the oratorio more +breadth, boldness, and dignity of style, improved the +form of the aria, made the accompanied recitative +more dramatic, and developed the treatment of +several instruments, among them the trumpet, +whose real beauty and effect he was the first to +bring out. Mazzocchi is chiefly known by his +oratorio, "Querimonia," produced in Rome in +1631, which is said to have drawn tears from all +who heard it. Federici wrote two oratorios, "Santa +Cristina," and "Santa Caterina de Sienna," in both +of which "interstitial" accompaniment is used for +the first time; that is, the violins, instead of accompanying +the voice, repeat portions of the melody in +short symphonies. Pistocchi was one of the most +prominent stage-singers of his time, and established +a school of singing at Bologna. His most famous +oratorio is entitled "Maria Vergine addolerata," and +is without overture or chorus. Burney notes that in +the close of this work degrees of diminution of sound, +such as "piano," "più piano," and "pianissimo," +are used for the first time. Caldara wrote a large +number of oratorios, mostly adapted to the poetry +of Zeno and Metastasio, which are said to have been +delightful productions. Colonna, who was a contemporary +of Stradella, but not so famous, has left +one oratorio, "St. Basil," which is highly praised. +Bononcini also, who afterwards became a rival of +Handel in England, wrote several oratorios before +he went to that country, the best of which is entitled +"San Girolamo della Carità."</p> +<span class="pgnum" id="pg_18">[18]</span> +<p>The conclusion of this period brings us to the +second stage in the evolution of the oratorio; +namely, the passion-music, which may be regarded +as the connecting link between the earlier form as +developed by the Italian composers of the sixteenth +and seventeenth centuries, and the oratorio as it +appeared after it had felt the mighty influence of +Handel. The passion-music was the direct outgrowth +of the passion-play. It portrayed the +passion of Christ. Its earliest forms are found in +the "Passio secundum Matthæum" by Stephani, +a Nuremberg composer who flourished in the sixteenth +century; in a hymn-book published in 1573 +by Keuchental; and in Selenica's hymn-book, which +appeared in 1587. Heinrich Schütz, however, was +the first to establish the passion-music in genuine +oratorio form. He was born in 1585, and died +in 1672. The pupil of an Italian master, the +famous Gabrielli of Venice, he retained the Italian +forms, but added to them his native German force +and solidity. His most prominent work, "Die +Auferstehung Christi," first performed at Dresden +in 1623, where he was chapel-master to the Elector +George I., is regarded as the foundation of the +German oratorio. The passion-music was usually +assigned to three priests, one of whom recited or +intoned the part of Jesus, the second that of the +evangelist, and the third the other parts, while the +chorus served for the "turbæ," or people. In +Schütz's music, however, the narrative is given to a +chorus of evangelists, the accompaniment being performed +<span class="pgnum" id="pg_19">[19]</span> +by four viole di gamba and organ. There +is also a wide departure from all his predecessors in +the entire absence of dramatic action. His first +work was followed by another, entitled "Die sieben +Worte Christi" ("The Seven Words of Christ"),--a +subject which Haydn subsequently treated with +powerful effect,--and four different compositions on +the passion of our Lord. In these works are to be +found the real germs of the modern oratorio; they +were preparing the way for Handel and Bach. +Johann Sebastiani succeeded Schütz, and in 1672 +published a passion-music, in which the narrative +appears in recitative form and solidly harmonized +chorales are used,--with this peculiarity, that only +the treble was sung, the other voices being taken by +the strings. In 1673 still another passion, written +by Theile, was produced at Lübeck. From this +time until 1704 there appears to be a gap in the +sequence of works of this kind.</p> +<p>In the latter year, however, two more were produced, +which made a sensation all over Germany, +"The Bleeding and Dying Jesus," by Reinhard +Keiser, and the "Passion nach Cap. 19 S. Johannis" +by Handel. In the former, cantatas were substituted +for the narrative and chorales, one of the +numbers being in the nature of a love-song,--an +innovation upon the established forms which +brought down upon the composer the indignation +of the critics both in the pulpit and out of it. The +passion-music of Handel was but a weak prelude +to the colossal works which were to follow from +<span class="pgnum" id="pg_20">[20]</span> +his pen. Between 1705 and 1718 several other +passions appeared, written by Keiser, Handel, Telemann, +and Mattheson, preparing the way for the two +composers who above all others were destined to +develop the chorale and make it not only the +foundation, but the all-pervading idea of their passions; +they were Carl Heinrich Graun and Johann +Sebastian Bach. The former's greatest work, "Der +Tod Jesu," was produced in Berlin in 1755, and +was a revelation in the matter of chorale treatment. +Nothing which had preceded it could equal +it in musical skill or artistic handling. But there +was one coming greater than Graun, the father of +modern music, Johann Sebastian Bach. "If all the +music written since Bach's time should be lost," +says Gounod, "it could be reconstructed on the +foundations which he laid." Besides his "Christmas +Oratorio," Bach wrote five passion oratorios, +two of which, the "St. John" and "St. Matthew," +have been published and are still performed. Of +these two, the "St. Matthew" was conceived on +the grander scale. In this sublime masterpiece, +the early oratorio reached its highest form in Germany. +It contains a narration delivered by an +evangelist, solo parts for the principal characters, +arias, choruses, double choruses, and chorales, the +congregation joining in the latter, in which the +composer not only reveals an astonishing dramatic +power in the expression of sentiment and the adaptation +of his music to the feeling and situation of +the characters, but also a depth and accuracy of +<span class="pgnum" id="pg_21">[21]</span> +musical skill and invention which have been the +despair of composers from that time to this.</p> +<p>With Bach, the passion-music accomplished its +purpose, and we now enter upon the third and last +stage of the evolution of oratorio. It is a new form, +and the change leads us to a new country. We +have examined the sacred dramas, with their musical +setting, in Italy, and the passion-music in Germany; +and now comes the oratorio in England,--the oratorio +as we know it and hear it to-day. Handel +was its great originator. He began his English +career as an operatic writer; but he soon tired +of setting music to the trivial subjects so common +in opera, which, as he himself declared, were not +suited to a composer advancing in years. There +were other inducements, however, which led him +to turn to the oratorio, and among them one of +the most powerful unquestionably was his disgust +with the cabals which were organized against him +by Italian rivals. "Esther" was his first English +oratorio, and it made a great success. It was followed +by "Deborah" and "Athalia." His vigorous +dramatic power and close musical scholarship were +never more apparent than in these works. They +aroused such an enthusiasm that from this time +forth (1737) he devoted himself exclusively to this +species of composition. He wrote in all seventeen +English oratorios. In 1739 he produced "Saul," +one of the most dramatic of his sacred works, +and the colossal "Israel in Egypt." In 1741 he +began "The Messiah," the most sublime of all +<span class="pgnum" id="pg_22">[22]</span> +his oratorios and one of the profoundest works of +human genius in music. It still holds its place +upon the stage as one of the grandest expressions +of human aspiration and divine truth, and no +Christmas is complete without its performance. +Other works followed it, among them "Samson," +"Joseph," "Belshazzar," "Judas Maccabæus," +"Joshua," and "Theodora," which Handel considered +his best work; but none of them equalled +"The Messiah," in which his genius reached its +climax. Of those last named, only "Samson" and +"Judas Maccabæus" still hold their place in the +modern repertory, though the other oratorios mentioned +contain many of his most effective numbers.</p> +<p>While Handel was writing in England, the oratorio +languished in Germany. Hasse, Porpora, and +Fux produced several oratorios, but they have not +left an impression upon the world. Handel died in +1759. It was not until 1798 that a successor appeared +worthy to wear his mantle. That successor +was Joseph Haydn, whose greatest work, "The +Creation," rivals "The Messiah" in its popularity. +He was in his seventieth year when he produced it, +as well as his delightful work, "The Seasons;" but +"Papa" Haydn, as his countrymen love to call +him, preserved the freshness of youth to the very +last. The melodies of his old age are as delicious +as those of his youth. Both these oratorios are exquisite +pictures of nature, as well as of human and +divine love. They were inspired by Handel's oratorios +(which he heard for the first time when he +<span class="pgnum" id="pg_23">[23]</span> +visited London in 1791), and when first performed +aroused as great enthusiasm, though they are not cast +in the same heroic mould as are "The Messiah" +and "Israel in Egypt." They are characterized +rather by grace, sweetness, and elegance of form, +and by pure, healthy music. Haydn was a master +of instrumentation, as he had shown years before in +the string quartet, of which he was the creator, and in +his almost innumerable symphonies,--he being the +originator of the modern symphony. He had had +the advantage of a magnificent orchestra while in +service at Prince Esterhazy's, and the results are seen +in the orchestral resources which he employs in his +oratorios. During this period several Italian oratorios +by Salieri, Zingarelli, and Cimarosa appeared, as well +as oratorios in the same style by the German composers +Himmel and Winter. In 1803 Beethoven +wrote his only oratorio, "Christ on the Mount of +Olives." This production has not attained to the +popularity of his instrumental works or of his single +opera, "Fidelio," in part because it is not in pure +oratorio form, and in part because of its wretched +libretto. Schubert, contemporary with Beethoven, +also undertook an oratorio on the subject of "Lazarus;" +but it was never completed, and the fragment +even was not heard until 1863.</p> +<p>The first really successful oratorio of the present +century was "Das jüngste Gericht" ("The Last +Judgment"), by Spohr, which was produced under +his own supervision at Erfurt in 1812. This oratorio, +however, the work of his earlier years, was +<span class="pgnum" id="pg_24">[24]</span> +but the prelude to his masterpiece, "Die letzten +Dinge" ("The Last Things"), which is now commonly +known as "The Last Judgment," and was +first performed at Cassel in 1826. Nine years later +he brought out "Des Heiland's letzte Stunden" +("The Saviour's Last Hours," now known as +"Calvary"), and still later, "The Fall of Babylon," +which he produced for the first time in England in +1843; but neither of these are constructed upon the +grand proportions which characterize "Die letzten +Dinge," or so well illustrate the profound musical +knowledge of the great violinist. Contemporary +with Spohr was Schneider, an unusually prolific +writer, who produced no less than sixteen oratorios +in a period of twenty-eight years, in addition to +a large number of operas. Though his oratorios +were very popular at the time, but one of them +has survived, the "Weltgericht," written in 1819. +Among other contemporaries were Lindpaintner, +whose "Abraham" was very successful,--though +this composer is now remembered only by his orchestral +pieces,--and Klein, who brought out two +oratorios, "Jephthah" (1828) and "David" (1830), +which were greatly admired, though they are now +almost unknown.</p> +<p>Spohr had easily held his place in the first rank +of the oratorio composers of his time, but was +eclipsed when Mendelssohn appeared, as were all +his contemporaries. This gifted composer had +studied Handel and Bach very closely. In 1829 +he brought out the latter's "St. Matthew" passion-music +<span class="pgnum" id="pg_25">[25]</span> +after it had lain concealed for an entire century. +He aroused enthusiasm for the two old masters +both in Germany and England. His "St. Paul," +first produced at Düsseldorf in 1836, was greeted +with acclamations of enthusiasm, and still holds its +place in the popular regard. Ten years later his +greatest work, "Elijah," was performed in England. +Though widely different in form and treatment from +"The Messiah," it shares equally with that work in +the enjoyment of popular favor. Its numbers are +almost as familiar as household words, through constant +repetition not only upon the oratorio stage, but +in the concert-room and choir-loft. In the presentation +of the personalities concerned in the progress +of the work, in descriptive power, in the portrayal +of emotion and passion, and in genuine +lyrical force, "Elijah" has many of the attributes +of opera, and some critics have not hesitated to +call it a sacred opera. Indeed, there can be no +question that with costume, scenery, and the aids of +general stage-setting, its effect would be greatly enhanced. +Mendelssohn began still a third oratorio, +"Christus," but did not live to complete it. His +"Lobgesang" ("Hymn of Praise"), a symphony-cantata, +is usually given as an oratorio, though +it is not in the genuine oratorio form. Contemporary +with him and since his death numerous +oratorios have been written, more or less inspired +by his work; but "Elijah" and "St. Paul" still +remain unsurpassed. Robert Schumann gave the +world a delightful oratorio with a secular subject, +<span class="pgnum" id="pg_26">[26]</span> +"Paradise and the Peri." Numerous English +composers have produced meritorious works, +among them Sterndale Bennett, whose "Woman +of Samaria" is thoroughly devotional. In Germany, +Hiller, Rheinthaler, and others have made +successful essays in this form of musical art. In +France, Massenet and Saint-Saëns have written short +one-part oratorios, and Gounod has constructed +two, "The Redemption" and "Mors et Vita," +upon the old classical form, so far as division is +concerned, and is now at work upon a third, of +which Joan of Arc is the theme. In "The +Tower of Babel" and "Paradise Lost," Rubinstein +has given us works which are certainly larger in +design than the cantata, and are entitled to be called +oratorios. In our own country, Professor Paine, of +Harvard University, has written one oratorio, "St. +Peter," which commands attention for its scholarly +work and musical treatment. Mendelssohn and +Spohr, however, represent the nineteenth century +of oratorio as Haydn, Handel, and Bach did the +eighteenth. Who will take the next step forward in +the twentieth, and give to this noblest form of musical +art still higher expression?</p> +<p>Before closing this sketch, it will not be out of +place to refer briefly to the Requiem, Te Deum, +Stabat Mater, and Magnificat, since illustrations of +these musical forms appear in the body of the work. +"Requiem" is the name given to the "Missa pro +Defunctis" ("Mass for the Dead"), and comes from +the first word of the Introit, "Requiem æternam +<span class="pgnum" id="pg_27">[27]</span> +dona eis, Domine." Its musical divisions are as +follows: (1) Introit; (2) the Kyrie; (3) the Gradual +and Tract,--"Requiem æternam" and "Absolve +Domine;" (4) the Sequence or Prose,--"Dies Iræ;" +(5) Offertorium; (6) Sanctus; (7) Benedictus; (8) +Agnus Dei; (9) Communio,--"Lux æterna." The +most famous requiems are Palestrina's, written for +five voices, but left incomplete (1595); Vittoria's, +for six voices, written for the funeral of the Empress +Marie, widow of Maximilian II. (1605); Colonna's, +for eight voices (1684); Mozart's great masterpiece +(1791); Cherubini's in C minor, written for the +anniversary of the death of Louis XVI., 1793, and +a second for three male voices (1836); Berlioz's +"Messe des Morts;" Verdi's "Manzoni Requiem," +and Brahms' "German Requiem." Though an +integral part of the Roman service, appointed for a +special day in commemoration of the dead, the Requiem +is also employed for the anniversaries of distinguished +persons who have passed away, as well as +for funeral occasions.</p> +<p>The Stabat Mater, or Lamentation of the Blessed +Virgin Mary, the well-known Latin hymn on the +Crucifixion, is one of the most familiar numbers in +the Roman Missal. It is appointed to be sung at +High Mass on the Friday in Passion Week, and also +on the third Sunday in September. On Thursday +in Holy Week it is also sung in the Sistine Chapel +as an Offertorium. The poem was written by the +monk Jacobus de Benedictis in the thirteenth century, +and is regarded as one of the finest of mediæval +<span class="pgnum" id="pg_28">[28]</span> +sacred lyrics. Grove says of it: "Several readings +are extant; the one most frequently set to music +being that which immediately preceded its last revision +in the Roman Office-Books. There are also at +least four distinct versions of its plain-chant melody, +apart from minor differences attributable to local +usage." It has always been a favorite hymn with +the composers. The most famous settings are those +of Josquin des Prés; two by Palestrina,--the first, +which is the most effective, for a double choir of +eight voices, and the second for a triple choir of +twelve voices; that by Pergolesi for soprano and +contralto; Haydn's, which is in his peculiarly melodious +style; Steffani's for six voices; those by Clari, +Astorga, Winter, Racimondi, Vito, Lanza, Inzenga, +and Neukomm; Rossini's, which is the best known +of all; and Dvorák's, written in 1881, which is one +of the Bohemian composer's finest efforts. Few +hymns have been so variously treated, and, it may +be added, few in the Roman service are more +popular.</p> +<p>The "Te Deum Laudamus" is another familiar +hymn. Its origin is doubtful, though it is usually +credited to Saint Ambrose. L'Estrange, in his +"Alliance of Divine Offices," says: "The Te Deum +was made by a bishop of Triers, named Nicetius, or +Nicettus, about the year 500, which was almost a +century after the death both of Saint Ambrose +and Saint Augustine." Bingham, in his "Antiquities +of the Church," says: "The Benedictines, who +published the works of Saint Ambrose, judge him +<span class="pgnum" id="pg_29">[29]</span> +not to have been the author of it; and Dr. Cave, +though at one time he was of a different judgment, +and Bishop Stillingfleet, concur in the opinion that +the Te Deum was not the composition of Saint +Ambrose, or of him and Saint Augustine jointly." +Hawkins also says: "The zeal of Saint Ambrose to +promote psalm-singing is in nothing more conspicuous +than in his endeavors to reduce it into form and +method; as a proof whereof, it is said that he, +jointly with Saint Augustine, upon occasion of the +conversion and baptism of the latter, composed the +hymn Te Deum Laudamus, which even now makes +a part of the liturgy of our Church, and caused it to +be sung in his church at Milan. But this has been +discovered to be a mistake. This, however, is certain,--that +he instituted that method of singing +known by the name of the Cantus Ambrosianus, or +Ambrosian Chant, a name, for aught that now appears, +not applicable to any determined series of +notes, but invented to express in general a method +of singing agreeable to some rule given or taught +by him." In spite of controversy, however, the +Te Deum is still and will always be known as the +"Ambrosian Hymn." The original melody is very +ancient, but not so old as the hymn itself. It is +thoroughly familiar in the Roman Church, though +the number of settings for Church use is almost +endless. The early composers harmonized it in +various forms. It has also borne a conspicuous +part on festival occasions. The most celebrated +Te Deums of this character, arranged for solos, +<span class="pgnum" id="pg_30">[30]</span> +chorus, organ, and orchestra, are those of Sarti, +to commemorate Prince Potemkin's victory at +Otchakous; of Graun, to celebrate the battle of +Prague; of Berlioz, for two choirs; of Purcell, for +St. Cecilia's Day; of Dr. Blow and Dr. Croft, with +accompaniments of two violins, two trumpets, and +bass; and the magnificent Utrecht and Dettingen +Te Deums of Handel. Among those by contemporary +writers are Macfarren's, written in 1884, +and Sullivan's, commemorating the recovery of the +Prince of Wales.</p> +<p>The Magnificat, or Song of the Virgin, is part of +the vesper service of the Church, and has been +treated by all the old Church composers of prominence +both in plain chant and in polyphonic form. +In the English cathedral service it is often richly +harmonized, and Bach, Mozart, Handel, Mendelssohn +and others have set it in oratorio style with +complete orchestral accompaniment.</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_1" href="#fr_1">[1]</a></sup>Born at Florence in the year 1515, and famous as the founder +of the Congregation of the Fathers of the Oratory. +</div> +</div> +</div> +<div id="c02"> +<span class="pgnum" id="pg_31">[31]</span> +<h2>BACH.</h2> +<p>Johann Sebastian Bach, the most +eminent of the world's organ-players +and contrapuntists, was born at Eisenach, +March 21, 1685, and was the most +illustrious member of a long line of musicians, the +Bach family having been famous almost from time +immemorial for its skill in music. He first studied +the piano with his brother, Johann Christoph, and +the organ with Reinecke in Hamburg, and Buxtehude +in Lübeck. In 1703 he was court musician +in Weimar, and afterwards was engaged as organist +in Arnstadt and Mühlhausen. In 1708 he was court +organist, and in 1714 concert-master in Weimar. +In 1718 he was chapel-master to the Prince von +Köthen, and in 1723 was appointed music-director +and cantor at the St. Thomas School in Leipsic,--a +position which he held during the remainder of his +life. He has left for the admiration of posterity an +almost endless list of vocal and instrumental works, +including chorales, motets, magnificats, masses, +fugues, and fantasies, especially for organ and piano, +the "Christmas Oratorio," and several settings of +<span class="pgnum" id="pg_32">[32]</span> +the passion, of which the most famous are the +"St. John" and "St. Matthew," the latter of which +Mendelssohn introduced to the world in 1829, after +it had slumbered an entire century. His most +famous instrumental work is the "Well-tempered +Clavichord,"--a collection of forty-eight fugues and +preludes, which was written for his second wife, +Anna Magdalena Bach, to whom also he dedicated +a large number of piano pieces and songs. His +first wife was his cousin, Maria Barbara Bach, the +youngest daughter of Johann Michael Bach, a +composer of no common ability. By these two +wives he had twenty-one children, of whom the +most celebrated were Carl Phillipp Emanuel, born +in 1714, known as the "Berlin Bach;" Johann +Christoph Friedrich, born in 1732, the "Bücheburger +Bach;" and Johann Christian, born in +1735, who became famous as the "London Bach." +Large as the family was, it is now extinct. Bach +was industrious, simple, honest, and God-fearing, +like all his family. He was an incessant and laborious +writer from necessity, as his compensation was +hardly sufficient to maintain his large family, and +nearly all his music was prepared for the service +of the church by contract. The prominent characteristics +of his work are profound knowledge, the +clearest statements of form, strength of logical +sequences, imposing breadth, and deep religious +sentiment. He was a favorite of Frederick the +Great, who upon one occasion made all his courtiers +stand on one side and do homage to the illustrious +<span class="pgnum" id="pg_33">[33]</span> +composer. "There is but one Bach," said the +monarch. With all Bach's amiable qualities, it is +said that he had a hasty temper. While playing +one day, Görner, the organist at St. Thomas, struck +a false chord; whereupon Bach flew at him in a +passion, tore off his wig and threw it at him, exclaiming: +"You ought to have been a cobbler, +instead of an organist!" Notwithstanding this infirmity +of temper, he was a deeply religious man, +and inscribed upon every one of his principal +compositions "S. D. G.," "to the glory of God +alone." He died July 28, 1750, and was buried +at Leipsic; but no cross or stone marks the spot +where he lies. His last composition was the beautiful +chorale, "Wenn wir in höchsten Nöthen sein," +freely translated, "When my last hour is close at +hand," as it was written in his last illness. The +only record of his death is contained in the official +register: "A man, aged 67, M. Johann Sebastian +Bach, musical director and singing-master at the +St. Thomas School, was carried to his grave in +the hearse, July 30, 1750."</p> +</div> +<div id="c03"> +<h3>The Christmas Oratorio.</h3> +<p>The "Christmas Oratorio" was written by Bach in +1734, the subject being taken from texts in Luke +and Matthew pertaining to the nativity. It is not, +as its name would suggest, a work to be performed +at a single hearing, but a composition divided into +<span class="pgnum" id="pg_34">[34]</span> +six parts of divine service, arranged for the three +days of Christmas, New Year's Day, New Year's +Sunday, and the Epiphany, each part being a complete +cantata for each day, and all linked together +by chorales which give it a unity of subject and +design. Like Wagner's "Ring der Nibelungen," +it was given in instalments, each part separate and +complete in itself, and yet combining to illustrate +a given subject in its entirety. It is not an oratorio +in the modern sense; but the justification of its +appellation as such is to be found in Bach's own +title, "Oratorium Tempore Navitatis Christi."</p> +<p>As the entire six parts are very rarely given, a +general review of their character will better suit +the reader's purpose than a detailed review of each. +When it has been performed in this country, only +the first two parts have been given; while in England, +though it has been presented entire, the performance +is usually confined to the first three, which +contain a complete story. The entire vocal score +embraces no less than sixty-four numbers,--which in +itself constitutes a sufficient reason for abridgment. +In the first three parts the connecting narratives, +recited by the evangelist, are assigned to tenor and +bass, and declare the events associated with the +birth of our Lord,--the journey to Bethlehem, the +birth in the manger, the joy of Mary, and the thanksgiving +over the advent of the Lord,--the choral +parts being sung by the shepherds. The fourth +part, that for New Year's Day, relates the naming +of Jesus, and follows his career in a grand expression +<span class="pgnum" id="pg_35">[35]</span> +of faith and hope. The fifth part illustrates +the visit of the three kings, the anxiety of Herod +when he hears of the advent of the Lord, and the +assurances given him to allay his fears. In the +sixth section the visitors depart to frustrate Herod's +designs, and choruses of rejoicing over the final +triumph of the Lord close the work. In his voluminous +life of Bach, Spitta makes an exhaustive +analysis of the various parts, an abridgment of which +will be of interest in this connection.</p> +<p>The only variation from the particular character +of each section is to be found in the introduction +of the first chorale in Part I. at the close of Part +VI., in the form of a brilliant choral fantasia.</p> +<blockquote><p>"In the first three the Christmas feeling prevails +most vividly; this is effected in great measure by the +chorales which are interspersed in far greater numbers +than in the last three, and which are almost all familiar +Christmas hymns. Most of them are simply set in +four parts, with highly ingenious applications of the +church modes."</p></blockquote> +<p>The first and second parts close with chorales, +but in the third the opening chorus is repeated at +the close.</p> +<blockquote><p>"Part IV. has least of the character of church +festival music. The Biblical matter consists of a single +verse from the Gospel of Saint Luke, ii. 21, which +relates the circumcision and naming of Jesus. Not +much material could be worked out of this, and Bach +has almost entirely set aside all adjuncts from the +<span class="pgnum" id="pg_36">[36]</span> +liturgy. No Christmas hymn, indeed no true chorale, +is introduced in it.... This section, therefore, bears +more strongly the stamp merely of a religious composition; +it is full of grace and sweetness, and can only +have derived its full significance for congregational +use from its position in context with the rest of the +work."</p></blockquote> +<p>Parts V. and VI., devoted to the history of the +three kings, are in no respect inferior to the first +three.</p> +<blockquote><p>"The lyrical choruses are full of artistic beauty and +swing. The cantata character is more conspicuous +here than in the first three sections, and the specially +Christmas feeling resides more in the general tone of +the music than in the chorales."</p></blockquote> +<p>Bitter, in his life of Bach, gives the following +interesting sketch of the origin of some of the +numbers contained in the work:--</p> +<blockquote><p>"In some parts of this music Bach borrowed from +former compositions of his own, especially from a +'Drama per Musica,' dedicated to the Queen of Poland, +and a drama entitled 'The Choice of Hercules,' +composed in 1733 for a Saxon prince. The old hymn-tune, +'O Haupt voll Blut und Wunden,' composed <span class="sc">A.D.</span> +1600 (by Hans Geo. Hassler to a secular tune), and +used by Bach five times to different words in the +'Matthäus-Passion,' is again used in this oratorio to the +words of Paul Gerhard's Advent hymn, 'Wie soll ich +dich empfangen,' and to the hymn of triumph, 'Nun +seid ihr wohl gerochen,' at the end of the last part. +As this tune was familiar to the hearers in connection +<span class="pgnum" id="pg_37">[37]</span> +with a hymn for Passion Week, its adaptation to +Advent and Christmas hymns seems intended to express +a presentiment at the time of Christ's birth of +his future sufferings. The same tune is now used +in the German Church to a number of different +hymns, especially to 'Herzlich thut mich verlangen' +and 'Befiehl du deine Wege,' and is in some tune-books +called by one or other of these names. 'Befiehl +du deine Wege' is one of the hymns to which Bach +has set it in the 'Matthäus-Passion.' In the first part +of the oratorio we find two verses of Luther's Christmas +hymn, 'Gelobet seist du Jesu Christ;' first, the +verse beginning 'Er ist auf Erden kommen arm,' to +the tune Luther composed for it, and the verse 'Ach, +mein herzliebes Jesulein,' to the tune (also of Luther's +composition), 'Von Himmel hoch da komm ich her.' +This last-mentioned tune is also used twice in the +second part, to the words 'Schaut hin, dort liegt im +finstern Stalle,' and 'Wir singen dir in deinem Heer,' +arranged differently each time. The chorales, 'Jesus, +richte mein Beginnen,' in the fourth part, and 'Dein +Glanz all Finsterniss verzehrt,' in the fifth part, are +probably Bach's own compositions."</p></blockquote> +<p>The first two parts of the work are the only ones +which need special notice for the purposes of the +oratorio-goer. The first part opens with a brilliant +prelude, introduced by the drum, which Bach, like +Beethoven, sometimes treated as a solo instrument. +It preludes the narrative bidding Zion prepare to +meet her Lord,--a simple, touching melody, followed +by the chorale, "How shall I fitly meet Thee +and give Thee welcome due," set to the old passion-hymn, +<span class="pgnum" id="pg_38">[38]</span> +"O Haupt, voll Blut und Wunden,"--a +solemn and even mournful melody, which at first +appears incongruous in the midst of so much jubilation. +It is the same melody which Bach frequently +uses in different harmonic forms in his "St. Matthew +Passion." It is introduced here in the midst +of the Christmas festivity for a special purpose. +Bitter gives it the following significance:--</p> +<blockquote><p>"We see the Angel of Death unveil his pale face, +bend over the cradle of the Lord, and foretell his +sorrows. The Child hears the song which one day, +sung to other words, will be his death-song."</p></blockquote> +<p>The composer's evident intention was to impress +the hearer with the fact that the object of the divine +advent on earth was the passion of our Lord. At +the close of the work the same chorale appears, +but it has another meaning. It is there an exultant +expression of Christ's victory over sin and death. +As the chorale dies away, the narrative is resumed, +leading up to another chorale, "For us to earth +he cometh poor," combined with an orchestral +symphony and bass recitative. The next number +is a bass aria with trumpet accompaniment, "Lord +Almighty, King all glorious," and is followed by a +chorale set to the words of Martin Luther's Christmas +hymn, which also occurs in other parts of the +work, differently harmonized to suit the nature of +the situation, with which the first part closes.</p> +<p>The second part opens with one of the most +delightful instances of Bach's orchestration, a pastoral +<span class="pgnum" id="pg_39">[39]</span> +symphony, with which the Thomas orchestra +have made audiences familiar in this country. Like +the symphony of the same style in Handel's "Messiah," +it is simple, graceful, and idyllic in character, +and pictures the shepherds watching their flocks by +night on the plains of Bethlehem. At its conclusion +the evangelist resumes his narrative, followed by +the chorale: "Break forth, O beauteous, heavenly +Light," preluding the announcement of the angel, +"Behold, I bring you Good Tidings." It is followed +by the bass recitative, "What God to Abraham +revealed, He to the Shepherds doth accord to see +fulfilled," and a brilliant aria for tenor, "Haste, ye +Shepherds, haste to meet Him." The evangelist +gives them the sign, followed by the chorale which +closed the first part, in another form, "Within yon +Gloomy Manger lies." The bass recitative, "O +haste ye then," preludes the exquisite cradle-song +for alto, "Sleep, my Beloved, and take Thy Repose,"--a +number which can hardly be excelled in the +sweetness and purity of its melody or in the exquisiteness +of its instrumentation. This lovely song brings +us to the close, which is an exultant shout from the +multitude of the heavenly host, singing, "Glory to +God in the highest."</p> +</div> +<div id="c04"> +<h3>The Saint Matthew Passion.</h3> +<p>The passion-music of Bach's time, as we have +already seen, was the complement of the mysteries +<span class="pgnum" id="pg_40">[40]</span> +of Mediæval days. It portrays the sufferings of +Christ, and was performed at church festivals, the +congregation taking part in the singing of the +chorales, which were mostly familiar religious folk-songs. +It was a revival of the sacred drama in +musical form, and the immediate precursor of the +modern oratorio. Bach wrote five passions,--the +"St. John," probably written in 1723, and first performed +in the following year; another, which has +been lost, in 1725; the "St. Matthew," in 1729; +the "St. Mark," in 1731; and the "St. Luke," in +1734. Of these only two are now known,--the +"St. John" and "St. Matthew;" of which the +latter is incomparably the greatest.</p> +<p>Macfarren, in his sketch of the "Matthew Passion," +says that the idea of this form of composition +was first suggested to Bach by Solomon Deyling, +who filled an important church position in Leipsic +when the composer went there to assume his duties +as cantor of the St. Thomas School, his purpose +being to introduce into the Reformed Church a +service which should be a counter attraction to the +Mass as performed in the Roman Church. It was +produced for the first time at the afternoon service +on Good Friday, 1729, but was not heard again +until the young Mendelssohn revived it in Berlin, +March 12, 1829. It was frequently repeated in +Germany and aroused extraordinary enthusiasm, +and still keeps its place in the festival oratorio +repertory, the necessary additional accompaniments +having been furnished by Robert Franz.</p> +<span class="pgnum" id="pg_41">[41]</span> +<p>The passion is written in two parts, between +which the sermon intervened in old times. It includes +portions of chapters xxvi. and xxvii. of the +Gospel according to Saint Matthew, the remainder +of the text being composed of hymns furnished to +Bach by Christian Friedrich Henrici, who wrote +under the pseudonym of "Picander," and, it is +said, was assisted in the compilation by the composer +himself. The <i>dramatis personæ</i> are Jesus, +Judas, Peter, Pilate, the Apostles, and the People, +or <i>Turbæ</i>, and the narrative is interpreted by reflections +addressed to Jesus, forming two choruses, +"The Daughter of Zion" and "The Faithful," as +Picander calls them. They are sometimes given +by the chorus, and sometimes by single voices. +The chorales are selected from those which were in +common use in the Lutheran Church, and were +familiar therefore to the congregations which sang +the melody, the harmony being sustained by the +chorus and instruments. The Gospel text is in +recitative form throughout, the part of the evangelist, +or narrator, being assigned to a tenor voice, +while those of the persons incidentally introduced +are given to other singers. In the dialogue, wherever +the words of Jesus occur, the accompaniment is +furnished by a string quartette, which serves to distinguish +them from the others, and invests them +with a peculiar gentleness and grace. The incidental +choruses, sung by the People and the Apostles, +are short and vivacious in character, many of +them being in madrigal form. The chorales, fifteen +<span class="pgnum" id="pg_42">[42]</span> +in number, as has already been said, were taken +from the Lutheran service. One of them, which +Bach also liberally used in his "Christmas Oratorio," +beginning, "Acknowledge me, my Keeper," +appears five times in the progress of the work, +forming the keynote of the church sentiment, and +differently harmonized on each occasion. Another, +"O Blessed Jesus," is twice used,--once where the +Saviour announces that he will be crucified after +the Feast of the Passover, when the whole congregation +sings it, and again in the scene at Gethsemane, +sung by select choirs. The whole work is +written for double chorus, the two choruses singing +the harmony of the chorales, accompanied by the +instruments, while the congregation sing the tune +in unison. They display to the utmost the breadth, +richness, ingenuity, and power of Bach in this form +of writing. The reflective portions of the work, the +text written by Picander, are composed of arias +introduced by recitative, with the first part repeated +in the close; of arias accompanied by chorus; and +of single choruses constructed in the most massive +manner. Speaking of the melodies in these portions +of the work, Spitta says,--</p> +<blockquote><p>"The grades of feeling traversed by Bach in the +solo songs of the 'St. Matthew Passion' are all the +more impressive because every sentiment of joy in +its various shades is wholly excluded; they are all +based on the emotion of sorrow. The most fervent +sympathy with the sufferings of the Son of Man, rising +to the utmost anguish, childlike trustfulness, manly +<span class="pgnum" id="pg_43">[43]</span> +earnestness, and tenderly longing devotion to the +Redeemer; repentance for the personal sins that his +suffering must atone for, and passionate entreaties +for mercy; an absorbed contemplation of the example +offered by the sufferings of Jesus, and solemn vows +pronounced over his dead body never to forsake or +forget him,--these are the themes Bach had to treat. +And he has solved the difficult problem as if it were +child's play, with that inexhaustible wealth of resource +which was most at his command precisely when he +had to depict the sadder emotions. In no other of +his works (unless it be in the 'Christmas Oratorio') +do we find such a store of lovely and various solo airs, +nor did Bach even ever write melodies more expressive +and persuasive than those of the arias in the +'St. Matthew Passion.'"</p></blockquote> +<p>As we have said, the music is arranged for +double chorus, and each chorus has its own orchestra +and its own organ accompaniment. The double +orchestra is composed of oboes, flutes, and stringed +instruments. Drums and brass instruments are not +used, the sentiment of the work, in Bach's estimation, +not being fitted for them, sweetness and +expressiveness of tone rather than power being required. +As Spitta says, sorrow is the characteristic +of the work. It has no choruses of rejoicing, no +pæans of praise, not even a hallelujah at its close.</p> +<p>The first part opens with a reflection sung by +double chorus, "Come, ye Daughters, weep for +Anguish," the first exhorting believers to weep +over the sinful world, the second responding with +brief interrogations, and at last taking part in the +<span class="pgnum" id="pg_44">[44]</span> +sorrowful strains of the first. Interwoven with these +is an independent instrumental melody, the whole +crowned with a magnificent chorale sung by the +sopranos, "O Lamb of God all blameless!" followed +by still another, "Say, sweetest Jesus," +which reappears in other parts of the work variously +harmonized. The double chorus and chorales form +the introduction, and are followed by recitative and +a chorale, "Thou dear Redeemer," and a pathetic +aria for contralto, "Grief and Pain," relating the +incident of the woman anointing the feet of Jesus. +The next number is an aria for soprano, "Only +bleed, Thou dearest Heart," which follows the +acceptance by Judas of the thirty pieces of silver, +and which serves to intensify the grief in the aria +preceding it. The scene of the Last Supper ensues, +and to this number Bach has given a character of +sweetness and gentleness, though its coloring is +sad. As the disciples ask, "Lord, is it I?" another +chorale is sung, "'Tis I! my Sins betray me." +Recitative of very impressive character, conveying +the divine injunctions, leads up to a graceful and +tender aria for soprano, "Never will my Heart +refuse Thee," one of the simplest and clearest, +and yet one of the richest and most expressive, +melodies ever conceived. After further recitative +and the chorale, "I will stay here beside Thee," +we are introduced to the scene in the Garden of +Gethsemane, which is characterized by a number +of extraordinary beauty and strength in its construction. +It is introduced by a short instrumental +<span class="pgnum" id="pg_45">[45]</span> +prelude, Zion, represented by the tenor voice, and +the Believers by the chorus, coming in after a few +bars and alternating with extraordinary vocal effect. +It calls for the highest dramatic power, and in its +musical development is a web of wonderful harmonies +such as we may look for only in the works +of the mighty master of counterpoint. It fitly prepares +the way for the two great movements which +close the first part, an aria for soprano and alto, +"Alas! my Jesus now is taken," and a double +chorus, "Ye Lightnings, ye Thunders!" The two +solo voices join in a lament of a most touching +nature, accompanied by the chorus exclaiming in +short, hurried phrases, "Let Him go! Hold! Bind +Him not!" until at last the double chorus bursts in +like a tempest, accompanied with the full power of +the instruments, expressing the world's indignation +at the deed which is to be committed, in the words:--</p> +<blockquote> +<div class="verse"> +<p class="t0">"Ye lightnings, ye thunders, in clouds are ye vanished!</p> +<p class="t0">Burst open, O fierce flaming caverns of hell!</p> +<p class="t0">Ingulf them, destroy them in wrathfullest mood!</p> +<p class="t0">Oh, blast the betrayer, the murderous brood!"</p> +</div> +</blockquote> +<p>and the first part concludes with a chorale, "O +Man, bewail thy great Sin!"</p> +<p>The second part, originally sung after the sermon, +opens with an aria for contralto, full of the deepest +feeling, "Alas! now is my Jesus gone," and one +of the most beautiful numbers in the oratorio, +<span class="pgnum" id="pg_46">[46]</span> +wherein Zion, or the Church, mourns her great loss. +The trial scene before Caiaphas and the threefold +denial of Peter follow, leading up to the beautiful +aria for alto, with violin obligato, "Oh, pardon me, +my God!" Macfarren, in his admirable analysis, +says of this aria,--</p> +<blockquote><p>"The deep, deep grief of a tormented conscience +finds here an utterance which fulfils the purport and +far transcends the expression of the words. One +might suppose the power of the artist to have been +concentrated upon this one incident, so infinite is its +beauty,--one might suppose Bach to have regarded +the situation it illustrates as more significant than +others of man's relation to Deity in his sense of sin +and need for mercy, and as requiring, therefore, peculiar +prominence in the total impression the oratorio +should convey. If this was his aim, it is all accomplished. +The penitential feeling embodied in the +song is that which will longest linger in a remembrance +of the work. The soft tone of the contralto +voice, and the keenness of that of the violin, are +accessories to the effect which the master well knew +how to handle; but these judicious means are little +to be considered in comparison with the musical idea +of which they are the adjuncts."</p></blockquote> +<p>The work now rapidly progresses to its beautiful +finale. The soprano recitative in response to Pilate's +question, "He hath done only good to all," +the aria for soprano, "From love unbounded," +the powerful contralto recitative, "Look down, O +God," the chorale, "O Head all bruised and +wounded!" the contralto aria with chorus, "Look +<span class="pgnum" id="pg_47">[47]</span> +where Jesus beckoning stands," and the peaceful, +soothing recitative for bass, "At Eventide, cool +Hour of Rest," are the principal numbers that +occur as we approach the last sad but beautiful +double chorus of the Apostles, "Around Thy Tomb +here sit we weeping,"--a close as peaceful as the +setting of the sun; for the tomb is but the couch on +which Jesus is reposing, and the music dies away in +a slumber-song of most exalted beauty. This brief +sketch could not better close than with the beautiful +description which Mr. Dwight gives of this scene +in the notes which he prepared when the work was +performed at the Triennial Festival of the Handel +and Haydn Society of Boston:--</p> +<blockquote><p>"How full of grief, of tender, spiritual love, of faith +and peace, of the heart's heaven smiling through tears, +is this tone-elegy! So should the passion-music +close, and not with fugue of praise and triumph like +an oratorio. How sweetly, evenly, the harmony flows +on,--a broad, rich, deep, pellucid river, swollen as by +countless rills from all the loving, bleeding, and believing +hearts in a redeemed humanity! How full of +a sweet, secret comfort, even triumph, is this heavenly +farewell: It is 'the peace which passeth understanding.' +'Rest Thee softly' is the burden of the song. +One chorus sings it, and the other echoes 'Softly rest;' +then both together swell the strain. Many times as +this recurs, not only in the voices, but in the introduction +and frequent interludes of the exceedingly +full orchestra, which sounds as human as if it too had +breath and conscious feeling, you still crave more of it; +for it is as if your soul were bathed in new life inexhaustible. +<span class="pgnum" id="pg_48">[48]</span> +No chorus ever sung is surer to enlist +the singers' hearts."</p></blockquote> +</div> +<div id="c05"> +<h3>The Magnificat in D.</h3> +<p>The Magnificat in D--known as the "Great Magnificat," +to distinguish it from the smaller--is considered +one of the grandest illustrations of Bach's +genius. It was composed for Christmas Day, 1723. +Spitta says:--</p> +<blockquote><p>"The performance of the cantata 'Christen, ätzet +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.'"</p></blockquote> +<p>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.</p> +<p>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 +<span class="pgnum" id="pg_49">[49]</span> +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 ancillæ suæ"), 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 bass ("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 God, 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 misericordiæ suæ"), +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 +<span class="pgnum" id="pg_50">[50]</span> +leads to the triumphant "Gloria," closing the work,--a +chorus of extraordinary majesty and power. +Spitta, in his exhaustive analysis of Bach's music, +says of this "Magnificat":--</p> +<blockquote><p>"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."</p></blockquote> +</div> +<div id="c06"> +<span class="pgnum" id="pg_51">[51]</span> +<h2>BEETHOVEN.</h2> +<p>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 illustration of this in its widest sense may be +found in the choral part of the Ninth Symphony. +<span class="pgnum" id="pg_52">[52]</span> +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 passages, +which he took from the inscription on the +temple of the Egyptian goddess 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: "<i>Fine</i>, with God'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, "God +alone is our Lord." In the extraordinary letter +which he wrote to his brothers, Carl and Johann, +he says: "God 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 album 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 +<span class="pgnum" id="pg_53">[53]</span> +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 assure you on my +honor--which, next to God, 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 Mass in C written +for Prince Esterhazy, and the Grand Mass 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.</p> +</div> +<div id="c07"> +<h3>The Mount of Olives.</h3> +<p>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 +<span class="pgnum" id="pg_54">[54]</span> +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 Mass 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.</p> +<p>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 Schönbrunn, where the Elector, +his old patron, was living in retirement. Trees were +his delight. In a letter to Madame von Drossdick, +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 circumstance connected with both these great +works, and of which Beethoven many years afterwards +<span class="pgnum" id="pg_55">[55]</span> +still retained a lively recollection, was, that he +composed them in the thickest part of the wood in +the park of Schönbrunn, 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 assistance, 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.</p> +<p>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 +<span class="pgnum" id="pg_56">[56]</span> +period. Marx, one of the keenest of critics, says +of the work:--</p> +<blockquote><p>"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."</p></blockquote> +<p>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.</p> +<p>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 +<span class="pgnum" id="pg_57">[57]</span> +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.</p> +<p>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, pronounces it +the <i>chef-d'œuvre</i> 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 +passage, 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 +<span class="pgnum" id="pg_58">[58]</span> +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, God's Almighty Son"), is introduced +with a short but massive 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 surpass it in majesty or power.</p> +<p>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 +<span class="pgnum" id="pg_59">[59]</span> +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:--</p> +<blockquote><p>"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."</p></blockquote> +<p>The substituted story has not proved successful, +principally 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.</p> +</div> +<div id="c08"> +<span class="pgnum" id="pg_60">[60]</span> +<h2>BENNETT.</h2> +<p>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 principal. 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 "Naïades" +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 +<span class="pgnum" id="pg_61">[61]</span> +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 Passion" 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 +<span class="pgnum" id="pg_62">[62]</span> +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, pronounces +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 passion. His +only sacred music is the short oratorio, "The Woman +of Samaria," and four anthems: "Now, my +God, 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."</p> +</div> +<div id="c09"> +<h3>The Woman of Samaria.</h3> +<p>"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 +<span class="pgnum" id="pg_63">[63]</span> +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.</p> +<p>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 bass, 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 passion-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.</p> +<p>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 +<span class="pgnum" id="pg_64">[64]</span> +chorus, but also by the contralto and tenor, these +episodes being taken mostly from the Prophecies +and Psalms.</p> +<p>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 God 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, bass, and soprano, +leading to an adagio solo for bass ("If thou +knewest the Gift of God"), 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 +<span class="pgnum" id="pg_65">[65]</span> +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 bass 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 assigned to Jesus +in his St. Matthew Passion. 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 principals, unaccompanied ("God is a Spirit"),--to +which an additional interest is lent from the fact +that it was sung in Westminster Abbey upon the +<span class="pgnum" id="pg_66">[66]</span> +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 God"), 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 manuscripts after +his death. The preface to the revised edition of +the oratorio has the following reference to this +number:-- +</p> +<blockquote><p>"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<sup><a id="fr_2" href="#fn_2">[2]</a></sup> that he thought of her as +an impulsive woman who would naturally be carried +from worldliness into the opposite extreme of religious +devotion."</p></blockquote> +<span class="pgnum" id="pg_67">[67]</span> +<p>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 God 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.</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_2" href="#fr_2">[2]</a></sup>"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 +passionately exclaims to the Samaritans: 'Come, see a man who +told me all the things that ever I did: is not this the +Christ?'"--<i>Original +Preface</i>. +</div> +</div> +</div> +<div id="c10"> +<span class="pgnum" id="pg_68">[68]</span> +<h2>BERLIOZ.</h2> +<p>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 +Côte St. André, 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 passion, +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 entitled 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 +<span class="pgnum" id="pg_69">[69]</span> +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 passion for Miss Smithson, an Irish +actress, whom he saw upon the Paris stage in the +<i>rôle</i> 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 "Æneid;" +the symphony, "Harold in Italy;" the symphony, +<span class="pgnum" id="pg_70">[70]</span> +"Funèbre et Triomphale;" the "Damnation 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.</p> +</div> +<div id="c11"> +<h3>The Requiem.</h3> +<p>Ferdinand Hiller writes in his "Künstlerleben:" +"Hector Berlioz does not belong to our musical +solar system; he does not belong to the planets, +neither to the large nor to the small. He was a +comet, shining far, somewhat eerie to look at, soon +again disappearing; but his appearance will remain +unforgotten." The Requiem ("Messe des Morts") +exemplifies Hiller's words. It is colossal, phenomenal, +and altogether unique. It is not sacred, for it +never came from the heart. It is not solemn, +though it is a drama of death. It is a combination +<span class="pgnum" id="pg_71">[71]</span> +of the picturesque, fantastic, and sublime, in a tone-poem +dedicated to the dead.</p> +<p>In 1836 Berlioz was requested by M. de Gasparin, +Minister of the Interior, to write a requiem commemorating +the victims of the July Revolution; but +the work was not given to the public until 1837, +when it was sung at the Invalides in memory of +General Damremont and the soldiers killed at the +siege of Constantina. It was subsequently asserted +by Berlioz that Cherubini had conspired with others +in the Conservatory to prevent its performance and +to secure that of his own, by virtue of the precedence +which his position gave him. The charge, however, +must have been a mere fancy on his part, as he had +already written a letter to Cherubini, saying:-- +</p> +<blockquote><p>"I am deeply touched by the noble abnegation +which leads you to refuse your admirable Requiem for +the ceremony of the Invalides. Be convinced of my +heartiest gratitude."</p></blockquote> +<p>The work embraced ten numbers: I. Requiem and +Kyrie ("Requiem æternam dona eis"); II., III., +IV., V., and VI., including different motives taken +from the hymn, "Dies Iræ;" VII. "Offertorium;" +VIII. "Hostias et Preces;" IX. "Sanctus;" X. +"Agnus Dei." It will be observed that the composer +has not followed the formal sequences of the +Mass, and that he has not only omitted some of the +parts, but has also frequently taken license with those +which he uses. This may be accounted for in two +ways. First, he was not of a religious nature. +Hiller, in the work already quoted, says of him:</p> +<span class="pgnum" id="pg_72">[72]</span> +<blockquote><p>"Of his Catholic education every trace had disappeared. +Doubts of all sorts had possession of him, and +the contempt of what he called 'prejudice' bordered +on the monstrous. Berlioz believed neither in a God +nor in Bach."</p></blockquote> +<p>Second, it is evident from the construction of the +work throughout that it was his purpose simply to +give free rein to his fancy and to express, even at +the risk of being theatrical, the emotions of sublimity, +terror, and awe called up by the associations +of the subject. This he could not have done with +a free hand had he been bound down to the set +forms of the Mass.</p> +<p>After a brief but majestic instrumental introduction, +the voices enter upon the "Requiem,"--a +beautiful and solemn strain. The movement +is built upon three melodies set to the words, +"Requiem æternam," "Tu decet Hymnus," and +the "Kyrie," the accompaniment of which is very +descriptive and characteristic. The "Kyrie" is +specially impressive, the chant of the sopranos being +answered by the tenors and basses in unison, and +the whole closing with a dirge-like movement by +the orchestra.</p> +<p>The "Dies Iræ" is the most spirited as well +as impressive number of the work. It is intensely +dramatic in its effects, indeed it might be called +theatrical. Berlioz seems to have fairly exhausted +the resources of instruments to produce the feeling +of awful sublimity and overwhelming power, even +to the verge of the most daring eccentricity and, as +<span class="pgnum" id="pg_73">[73]</span> +one prominent critic expressed it, "terrible cataclysms." +The first part of the "Dies Iræ" will +always be remarkable for the orchestral arrangement. +After the climax of the motive, "Quantus tremor +est futurus," there is a pause which is significant by +its very silence; it is the hush before the storm. +Suddenly from either angle of the stage or hall, in +addition to the principal orchestra in front, four +smaller bands of trombones, trumpets, and tubas +crash in with overwhelming power in the announcement +of the terrors of the day of judgment. The +effect is like that of peal upon peal of thunder. At +its culmination the bass voices enter in unison upon +the words, "Tuba mirum," in the midst of another +orchestral storm, which is still further heightened by +an unusual number of kettledrums. From the beginning +to the close, this part of the "Dies Iræ" is +simply cyclopean; words cannot describe its overwhelming +power. It is a relief when the storm has +passed over, and we come to the next verse ("Quid +sum miser"), for the basses and tenors, though mostly +for the first tenors. It is a breathing spell of quiet +delight. It is given in the softest of tone, and is +marked in the score to be sung with "an expression +of humility and awe." It leads to the andante +number ("Rex tremendæ majestatis"), which is +sung fortissimo throughout, and accompanied with +another tremendous outburst of harmonious thunder +in crashing chords, which continues up to the last +eight bars, when the voices drop suddenly from the +furious fortissimo to an almost inaudible pianissimo +<span class="pgnum" id="pg_74">[74]</span> +on the words "Salve me." The next verse ("Quærens +me") is an unaccompanied six-part chorus in +imitative style, of very close harmony. The "Dies +Iræ" ends with the "Lachrymosa," the longest +and most interesting number in the work. It is +thoroughly melodic, and is peculiarly strengthened +by a pathetic and sentimental accompaniment, which, +taken in connection with the choral part against +which it is set, presents an almost inexhaustible +variety of rhythms and an originality of technical +effects which are astonishing. Its general character +is broad and solemn, and it closes with a return +to the "Dies Iræ," with full chorus and all the +orchestras. This finishes the "Dies Iræ" section +of the work.</p> +<p>The next number is the "Offertorium," in which +the voices are limited to a simple phrase of two +notes, A alternating with B flat, which is never +varied throughout the somewhat long movement. +It never becomes monotonous, however, so rich +and varied is the instrumentation. The "Hostias +et Preces,"--sustained by the tenors and basses, +a very solemn and majestic movement,--displays +another of Berlioz's eccentricities, the accompaniment +at the close of the first phrase being furnished +by three flutes and eight tenor trombones, which +one enemy of the composer says represents the +distance from the sublime to the ridiculous. The +"Sanctus," a tenor solo with responses by the sopranos +and altos, is full of poetical, almost sensuous +beauty, and is the most popular number in the +<span class="pgnum" id="pg_75">[75]</span> +work. It closes with a fugue on the words "Hosanna +in Excelsis." The final number is the "Agnus +Dei," a chorus for male voices, in which the composer +once more employs the peculiar combination +of flutes and tenor trombones. In this number +he also returns to the music of the opening number, +"Requiem æternam," and closes it with an +"Amen" softly dying away. Thus ends the Requiem,--a +work which will always be the subject +of critical dispute, owing to its numerous innovations +on existing musical forms and the daring +manner in which the composer has treated it.</p> +<p>The following sketch of the first performance +of the Requiem, taken from Berlioz's Autobiography, +will be found interesting in this connection. +It is necessary to preface it with the statement that +the director of the Beaux-Arts had insisted that +Habeneck should conduct the work. As Berlioz +had quarrelled with the old conductor, and had not +been on speaking terms with him for three years, +he at first refused; but subsequently consented, +on condition that he should conduct at one full +rehearsal. Berlioz says:--</p> +<blockquote> +<p>"The day of the performance arrived in the Church +of the Invalides, before all the princes, peers, and +deputies, the French press, the correspondents of +foreign papers, and an immense crowd. It was absolutely +essential for me to have a great success; a +moderate one would have been fatal, and a failure +would have annihilated me altogether.</p> +<p>"Now, listen attentively.</p> +<div class="pgnum" id="pg_76">[76]</div> +<p>"The various groups of instruments in the orchestra +were tolerably widely separated, especially the four +brass bands introduced in the 'Tuba mirum,' each of +which occupied a corner of the entire orchestra. There +is no pause between the 'Dies Iræ' and 'Tuba mirum,' +but the pace of the latter movement is reduced to half +what it was before. At this point the whole of the +brass enters, first altogether, and then in passages, +answering and interrupting, each a third higher than +the last. It is obvious that it is of the greatest importance +that the four beats of the new tempo should +be distinctly marked, or else the terrible explosion +which I had so carefully prepared, with combinations +and proportions never attempted before or since, and +which, rightly performed, gives such a picture of the +Last Judgment as I believe is destined to live, would +be a mere enormous and hideous confusion.</p> +<p>"With my habitual mistrust, I had stationed myself +behind Habeneck, and, turning my back on him, overlooked +the group of kettledrums, which he could not +see, when the moment approached for them to take +part in the general <i>mêlée</i>. There are perhaps one +thousand bars in my Requiem. Precisely in that of +which I have just been speaking, when the movement +is retarded and the wind instruments burst in with +their terrible flourish of trumpets; in fact, just in <i>the</i> +one bar where the conductor's motion is absolutely +indispensable,--Habeneck <i>puts down his baton, quietly +takes out his snuffbox</i>, and proceeds to take a pinch +of snuff. I always had my eye in his direction, and +instantly turned rapidly on one heel, and, springing +before him, I stretched out my arm and marked the +four great beats of the new movement. The orchestras +followed me each in order. I conducted the piece to +<span class="pgnum" id="pg_77">[77]</span> +the end, and the effect which I had longed for was +produced. When, at the last words of the chorus, +Habeneck saw that the 'Tuba Mirum' was saved, he +said: 'What a cold perspiration I have been in! +Without you we should have been lost.' 'Yes, I +know,' I answered, looking fixedly at him. I did not +add another word.... Had he done it on purpose?... Could +it be possible that this man had dared to +join my enemy, the director, and Cherubini's friends, +in plotting and attempting such rascality? I don't +wish to believe it ... but I cannot doubt it. God +forgive me if I am doing the man injustice!</p> +<p>"The success of the 'Requiem' was complete, in +spite of all the conspiracies--cowardly, atrocious, +officious, and official--which would fain have hindered +it."</p> +</blockquote> +</div> +<div id="c12"> +<span class="pgnum" id="pg_78">[78]</span> +<h2>BRAHMS.</h2> +<p>Johannes Brahms, one of the most +eminent of living German composers, +was born at Hamburg, May 7, 1833. +His father was a double-bass player in +the orchestra in that city, and devoted his son at +a very early age to his own profession. His first +piano teacher was Cossell; but to Eduard Marxsen, +the Royal Music Director, he owes his real success +as a composer. Brahms remained in Hamburg +until 1853, when he went upon a concert-tour +with Reményí, the eccentric and somewhat sensational +Hungarian, who has been a familiar figure +upon the American concert-stage. He remained +with him, however, but a very short time, for +in October of that year they parted company. +Brahms had attracted the notice of Liszt and +Joachim; and it may have been through their advice +that the musical partnership was dissolved. In +any event, soon after leaving Reményí he went to +Düsseldorf and visited Schumann. It was the latter +who announced him to the world in such strong +words as these:--</p> +<span class="pgnum" id="pg_79">[79]</span> +<blockquote><p>"In following with the greatest interest the paths +of these elect [Joachim, Naumann, Norman, Bargiel, +Kirchner, Schäffer, Dietrich, and Wilsing], I thought +that after such forerunners there would, and must at +last, all on a sudden appear one whose mission it +would be to utter the highest expression of his time +in an ideal manner,--one who would attain mastery, +not by degrees, but, like Minerva, would at once spring +completely armed from the head of Cronion.... May +the highest genius give him strength for that +of which there is hope, as in him dwells also another +genius, that of modesty! We bid him welcome as a +strong champion."</p></blockquote> +<p>The next year (1854) appeared his first works,--three +sonatas, a trio, scherzo for piano, and three +books of songs. After a visit to Liszt at Weimar, he +settled down as chorus-conductor and music-teacher +at the court of Lippe-Detmold, where he remained a +few years. During this period he devoted himself assiduously +to composition. After leaving Detmold, he +successively resided in Hamburg, Zürich, and Baden-Baden, +though most of his time has been spent in +Vienna, where he has directed the Singakademie +and the concerts of the Gesellschaft der Musikfreunde. +Schumann's prophecy has been made +good; Brahms is to-day one of the most eminent of +living musicians. Among his most famous compositions +are a Funeral Hymn for chorus and wind-band; +the "German Requiem;" "Triumphlied," +for double-chorus and orchestra; "Schicksallied," +for chorus and orchestra; five symphonies; variations +<span class="pgnum" id="pg_80">[80]</span> +on a theme of Haydn, for orchestra; the +Tragic and Academic overtures; and several trios, +quartets, quintets, sextets, concertos, and sonatas.</p> +</div> +<div id="c13"> +<h3>The German Requiem.</h3> +<p>The "German Requiem," so called, is not a requiem +in its sentiment, nor in any sense a religious +service. The poem is full of consolation for the +mourner, of assurances of joy hereafter, of warnings +against the pomps and vanities of the world, and +closes with the victory of the saints over death and +the grave. It might with more propriety be called +"a sacred cantata." The work has seven numbers,--two +baritone solos and chorus, soprano solo +and chorus, and four separate choruses. It was +first performed at Bremen on Good Friday, 1868, +and in 1873 was first heard in England. It was +also given at the Cincinnati festival of 1884, under +Mr. Thomas's direction.</p> +<p>The opening chorus ("Blessed are they that go +mourning") is beautifully written, and is particularly +noticeable for the richness of its accompaniment. +In the Funeral March, which follows, a very +graphic resemblance to the measured tread of the +cortège is accomplished by the use of triple time. +In this, as well as in numerous other instances, the +composer cuts loose from ordinary methods, and in +pure classical form and by the use of legitimate +musical processes achieves what others seek to +<span class="pgnum" id="pg_81">[81]</span> +effect by sensuous or purely imitative music. The +third number ("Lord, make me to know the Measure +of my Days on Earth") opens with a baritone +solo, followed by two choral fugues, which are solidly +constructed, though they are extremely difficult to +sing, and call for a chorus of unusual discipline and +intelligence. The fourth, for chorus ("How lovely +is Thy Dwelling-place, O Lord of Hosts"), is in striking +contrast with its predecessor, being a slow movement, +and very melodious in style. The fifth ("Ye +now are sorrowful, grieve not"), for soprano solo and +chorus, shows the composer's unusual power as a +song-writer, as well as his melodious attractiveness +when melody answers his purpose. In the next +number, set for chorus with baritone solo responses +("Here on Earth we have no continuing Place, we +seek now a heavenly one"), the character of the +music changes again, and the resurrection of +the dead is pictured in fugal passages of tremendous +power and difficulty. After the storm +comes the calm again in the finale ("Blessed are +the Faithful who in the Lord are sleeping"), which +contains a reminiscence of the opening number, +and closes the work in a gentle, but deeply serious +strain. It was the "German Requiem" which +first made Brahms famous; it confirmed all that +Schumann had said of him. Its great difficulties +require an extraordinary chorus and orchestra; but +when these can be had, the power and beauty of +the work will always be conceded.</p> +</div> +<div id="c14"> +<span class="pgnum" id="pg_82">[82]</span> +<h2>COSTA.</h2> +<p>Michael Costa, the eminent conductor +and composer, was born at Naples, Feb. +4, 1810. Having displayed musical aptitude +at a very early age, he was placed +in the Royal Academy of Music. Before his twenty-first +year he had composed several works, among +them a mass for four voices, a "Dixit Dominus," +three symphonies, an oratorio, "La Passione," the +ballet music to "Kenilworth," and the operas, +"Il Delitto punito," "Il Sospetto funesto," "Il +carcere d' Ildegonda," and "Malvina,"--the last +for the San Carlo at Naples. In 1829 he was sent +to England by his master Zingarelli to conduct one +of the latter's compositions at Birmingham; and that +country thereafter became his home. The next year +he was engaged at the King's Theatre, now known as +Her Majesty's, as piano-master, and two years later +became the musical director. He was the first to +bring the band to its proper place, though he had +to make a hard fight against the ballet, which at +<span class="pgnum" id="pg_83">[83]</span> +that time threatened to absorb both singers and +orchestra, and to sweep the musical drama from the +stage. He succeeded, however, and did much also +to improve the composition of the orchestra. While +holding this position he wrote the ballets, "Une +heure à Naples" and "Sir Huon" for Taglioni, +and "Alma" for Cerito, the beautiful quartet, +"Ecco quel fiero istante," and the operas "Malek +Adhel" for Paris in 1837, and "Don Carlos" for +London in 1844. He remained at Her Majesty's +Theatre for fifteen years, during which time he did a +great work for singers and band, and reduced the +ballet to its proper rank. In 1846 he left his position +and went to the new Italian opera at Covent +Garden, where he remained for a quarter of a century, +absolute in his musical supremacy and free to +deal with all works as he pleased, among them +those of Meyerbeer, at that time the most prominent +composer in the operatic world; for Wagner +as yet was scarcely known. It is to Costa that +Meyerbeer owes his English reputation. In the +same year (1846) he took the direction of the +Philharmonic orchestra, and two years later that of +the Sacred Harmonic Society, which he held until +his death, and as conductor of which he also directed +the Handel festivals. In 1849 he was engaged for +the Birmingham festivals, and also conducted them +until his death. In 1854 he resigned his position +with the Philharmonic, and his successor, for a brief +time only, was Richard Wagner. His oratorio, +"Eli," was composed for the Birmingham Festival +<span class="pgnum" id="pg_84">[84]</span> +of 1855, and his second oratorio, "Naaman," for +the same festival in 1864. In 1869 he was knighted, +and shortly afterwards, when his "Eli" was produced +at Stuttgart, it won for him the royal order +of Frederick from the King of Würtemberg. He +also had decorations from the sovereigns of Germany, +Turkey, Italy, and the Netherlands, in recognition +of his musical accomplishments. In 1871 +he returned again to Her Majesty's Opera in the +capacity of "director of the music, composer, and +conductor;" but a few years ago he again dissolved +his connection with it, and devoted himself entirely +to the private management and public direction +of the Sacred Harmonic Society, with which he +was identified for over thirty years. He died in +April, 1884.</p> +</div> +<div id="c15"> +<h3>Eli.</h3> +<p>The oratorio of "Eli," the text taken from the +first book of Samuel, and adapted by William Bartholomew, +was first performed at the Birmingham +Festival, Aug. 29, 1855, under Costa's own direction, +with Mesdames Viardot and Novello and Messrs. +Sims Reeves and Carl Formes in the principal parts. +The characters are Eli, Elkanah, Hannah, Samuel, +the Man of God, Saph the Philistine warrior, Hophni +and Phinehas the sons of Eli, and the Priests and +Philistines as chorus. The story is not very consistent +in its outlines, and is fragmentary withal, the narrative +of the child Samuel being the central theme, +<span class="pgnum" id="pg_85">[85]</span> +around which are grouped the tribulations of Elkanah +and Hannah, the service of Eli the priest, the +revels of his profligate sons, and the martial deeds +of the Philistines.</p> +<p>The overture opens with a pianissimo prelude for +organ in chorale form, followed by an orchestral +fugue well worked up, but very quiet in character. +Indeed, the whole overture is mostly pianissimo. In +striking contrast follows the opening recitative for +bass ("Blow ye the Trumpet"), which is the signal +for those instruments, and introduces the first +chorus ("Let us go to pray before the Lord"), +beginning with a soft staccato which gradually +works up to a jubilant climax on the words "Make +a joyful Noise." A tenor solo for Elkanah is interwoven +with the chorus, which closes with broad, +flowing harmony. The next number, a bass air +with chorus ("Let the People praise Thee"), is +somewhat peculiar in its construction. It begins +with the air, which is slow and tender, and at the +close the chorus takes it in canon form. Then Eli +intones benedictions in chorale style, and the chorus +responds with "Amens" in full harmony at the end +of each, making a very impressive effect. It is followed +by a very elaborate chorus ("Blessed be the +Lord"), closing with a fugue on the word "Amen," +which is very clear and well worked up. The next +number is the sorrowful prayer of the barren and +grieving Hannah ("Turn Thee unto me"), which +is very expressive in its mournful supplication, and +splendidly contrasted with her joyous song after the +<span class="pgnum" id="pg_86">[86]</span> +birth of Samuel, of which mention will be made in +its proper connection. Eli rebukes her, and a dialogue +ensues, interrupted by the tender chorus, "The +Lord is good." The dialogue form is again renewed, +this time by Elkanah and Hannah, leading +to a beautiful duet between them ("Wherefore is +thy Soul cast down?").</p> +<p>The character of the music now changes as we +enter upon a long drinking-chorus, with solos by +the two revellers, Hophni and Phinehas ("For +everything there is a Season"). The change from +the seriousness of the preceding numbers is very +abrupt, and the music of the chorus is decidedly +of the conventional Italian drinking-song character. +Eli appears and rebukes them, and after a cantabile +aria ("Thou shouldst mark Iniquities"), a short +chorus of Levites, for tenors and basses, ensues, introducing +a simple, but well-sustained chorale for +full chorus ("How mighty is Thy Name"). At +this point the "Man of God" appears, rebuking +the Levites for their polluted offerings. His denunciations +are declaimed in strong, spirited phrases, +accompanied by the chorus of the people ("They +have profaned it"), beginning in unison. The +scene now changes to the camp of the Philistines, +where Saph, their man of war, shouts out his angry +and boisterous defiance in his solo ("Philistines, +hark, the Trumpet sounding"). It is followed by a +choral response from the Philistines ("Speed us on +to fight"), which is in the same robust and stirring +style, though the general effect is theatrical and +<span class="pgnum" id="pg_87">[87]</span> +somewhat commonplace. Combined with it is a +choral response by the priests of Dagon, of an +Oriental character. After this clash of sound follows +an air of a sombre style by Eli ("Hear my +Prayer, O Lord"), the introduction and accompaniment +of which are very striking. The "Man of +God" once more appears, announcing the approaching +death of Eli's sons to a weird, sepulchral accompaniment +of the reeds and trombones, and leading +up to a very effective duet between them ("Lord, +cause Thy Face to shine upon Thy Servant"). Another +chorale ensues ("O make a joyful Noise"), +and after a brief recitative Hannah has a most exultant +song, overflowing with love and gratitude at the +birth of Samuel ("I will extol Thee, O Lord"). The +first part closes with a brief recitative between Hannah +and Eli, preluding a fugued chorus ("Hosanna +in the highest"), built up on two motives and one +of the most elaborate numbers in the oratorio.</p> +<p>The second part opens with a chaste and lovely +melody, the morning prayer of the child Samuel +("Lord, from my Bed again I rise"), followed with +some pretty recitative between the child and his +parents, and an unaccompanied quartet, set to the +same choral theme that was heard in the organ prelude +to the overture. The next number is the long +and showy instrumental march of the Israelites, +followed by two very striking choruses,--the first +("Hold not Thy Peace and be not still, O God") +of which appeals for divine help against the enemy, +and the second, an allegro ("O God, make them +<span class="pgnum" id="pg_88">[88]</span> +like a Wheel"), leads into a fugue ("So persecute +them"), which is very energetic in character, and +closes with the martial hymn, "God and King +of Jacob's Nation," sung to the melody of the +preceding march.</p> +<p>The oratorio abounds in contrasts, and here occurs +another, the evening prayer of Samuel ("This +Night I lift my Heart to Thee"),--a pure, quiet +melody, gradually dying away as he drops asleep, +and followed by an angel chorus for female voices +with harp accompaniment ("No Evil shall befall +thee"), the effect of which is very beautiful, especially +in the decrescendo at the close. A messenger +suddenly arrives, announcing the defeat of Israel by +the Philistines, upon which the chorus bursts out +with one of the most telling numbers, both in the +voice parts and the descriptiveness of the accompaniment +("Woe unto us, we are spoiled!"). Some +very dramatic recitative between Samuel and Eli +follows, after which the Levites join in the chorus, +"Bless ye the Lord," opening with the tenors and +closing in four parts, with the call of Eli intervening +("Watchmen, what of the Night?"). A +long recitative by Samuel ("The Lord said"), foreshadowing +the disasters to the house of Eli; an +air by Eli ("Although my House be not with +God"); a funeral chorus by the Israelites ("Lament +with a doleful Lamentation"); further phrases +of recitative announcing more defeats of Israel, the +capture of the ark, the death of Eli and his sons, +and an appeal by Samuel to blow the trumpet, calling +<span class="pgnum" id="pg_89">[89]</span> +a solemn assembly to implore the pity of the +Lord,--prepare the way for the final chorus +("Blessed be the Lord"), closing with a fugue on +the word "Hallelujah."</p> +<p>The oratorio was first given in this country by +the Boston Handel and Haydn Society, Feb. 15, +1857, under the direction of Carl Zerrahn, with Mr. +Thomas Ball as Eli and also as Saph, Mr. Wilde as +the Man of God, Mr. C. R. Adams as Elkanah, +Mrs. Long as Hannah, and Miss Hawley in the +contralto part of Samuel. Writing of that performance, +Mr. Dwight, the careful and discriminating +critic, summed up the work as follows: "As +a whole, 'Eli' is a noble and impressive oratorio. +The composition is learned and musician-like, and +generally appropriate, tasteful, dignified, often beautiful, +and occasionally grand. It is by no means a +work of genius, but it is a work of high musical culture, +and indicates a mind imbued with the best traditions +and familiar with the best masters of the art, +and a masterly command of all the modern musical +resources, except the 'faculty divine,'"--which, +we may be permitted to say, is not included in +"modern musical resources." The characterization +of the oratorio, however, is thoroughly pertinent and +complete. It is somewhat remarkable that a work +so excellent and having so many elements of popularity +should not be given more frequently in this country.</p> +</div> +<div id="c16"> +<span class="pgnum" id="pg_90">[90]</span> +<h2>ANTON DVORÁK.</h2> +<p>Anton Dvorák, the Bohemian composer +who has risen so suddenly into +prominence, was born at Mülhausen, near +Prague, Sept. 8, 1841. His father combined +the businesses of tavern-keeper and butcher, +and young Dvorák assisted him in waiting upon +customers, as well as in the slaughtering business. +As the laws of Bohemia stipulate that music shall be +a part of common-school education, Dvorák learned +the rudiments in the village school, and also received +violin instruction. At the age of thirteen he went +to work for an uncle who resided in a village where +the schoolmaster was a proficient musician. The +latter, recognizing his ability, gave him lessons on +the organ, and allowed him to copy music. Piano-lessons +followed, and he had soon grounded himself +quite thoroughly in counterpoint. At the age of +sixteen he was admitted to the organ-school at +Prague, of which Joseph Pitsch was the principal. +Pitsch died shortly after, and was succeeded by +Kreyci, who made Dvorák acquainted with the +music of Mozart, Beethoven, and Mendelssohn. +<span class="pgnum" id="pg_91">[91]</span> +The first orchestral work which he heard was Beethoven's +"Ninth Symphony," during its rehearsal +under Spohr's direction. In 1860, being then in +his nineteenth year, he obtained an engagement, with +the meagre salary of $125 a year, as violinist in a +band that played at cafés and dances. Two years +later he secured a position in the Bohemian Opera-House +at Prague, then under the direction of Mayer, +where he remained until 1871, in which year he left +the theatre and devoted himself to teaching, with +the prospect of earning $250 a year. These were +hard days for the young musician; but while he was +thus struggling for a bare subsistence he continued +writing compositions, though he had no prospect of +selling them or of having them played. One writer +remarks on this point: "It is far from difficult to +compare him in this respect with that marvellous +embodiment of patience and enthusiasm, Franz +Schubert; only, more fortunate than the Viennese +master, the Bohemian has lived to receive his reward. +Between these two men another point of +resemblance appears. Neither can be charged with +pushing or intriguing himself into prominence. +Schubert had plenty of artistic ambition, but of personal +ambition none; while the quality he so entirely +lacked cannot be accredited to Dvorák, who +spent the best part of his life in the enjoyment of +merely local fame." About this time he wrote his +"Patriotic Hymn" and the opera "König und +Köhler." The latter was rejected after an orchestral +trial; but he continued his work, undaunted by +<span class="pgnum" id="pg_92">[92]</span> +failure. Shortly after this he received the appointment +of organist at the Adelbert Church, Prague, +and fortune began to smile upon him. His symphony +in F was laid before the Minister of Instruction +in Vienna, and upon the recommendation of +Herbeck secured him a grant of $200. When +Brahms replaced Herbeck on the committee which +reported upon artists' stipends, he fully recognized +Dvorák's ability, and not only encouraged him, but +also brought him before the world by securing him a +publisher and commending him to Joachim, who still +further advanced his interests by securing performances +of his works in Germany and England. Since +that time he has risen rapidly, and is now recognized +as one of the most promising of living composers. +Among his works which have been produced +during the past few years are the "Stabat Mater," +the cantata "The Spectre Bride," three operas in +the Czechist dialect, three orchestral symphonies, +several Slavonic rhapsodies, overtures, violin and +piano concertos, an exceedingly beautiful sextet, +and numerous songs.</p> +</div> +<div id="c17"> +<h3>The Stabat Mater.</h3> +<p>Dvorák's "Stabat Mater" was written in 1875. +It was sent to the Austrian Minister of Instruction, +but was not deemed worthy of the grant of $200 +which the composer had expected. Its merit was +subsequently recognized by Brahms and Joachim, +<span class="pgnum" id="pg_93">[93]</span> +and the latter secured a hearing of it in London in +1883. It immediately made its composer famous. +The Philharmonic Society invited him to London, +and the work was given with great success at the +Albert Hall, and later at the Worcester and Hereford +festivals. It was in England indeed that his +celebrity was established, and for that country all +his new works are now written.</p> +<p>The "Stabat Mater" is written for soli, chorus, +and orchestra, and comprises ten numbers. The +first is the quartet and chorus, "Stabat Mater dolorosa," +and carries the old Latin hymn as far as the +"Quis est homo." After an orchestral introduction +which gives out the principal motives on which the +number is based, the vocal quartet begins. The +materials of which it is composed are very simple, +but they are worked up with great technical skill. +The general effect is tragic rather than pathetic, as +if the composer were contemplating not so much +the grief of the Virgin Mother at the foot of the +Cross as the awful nature of the tragedy itself and +its far-reaching consequences.</p> +<p>The second number is the quartet "Quis est +homo." After a short introduction, the theme is +taken by the alto, followed by the tenor and bass, +and lastly by the soprano, the general structure +growing more elaborate at each entrance. After +the second subject is introduced a splendid climax +is reached, and in the coda the voices whisper the +words "vidit suum" to an accompaniment of wind +instruments in sustained and impressive chords.</p> +<span class="pgnum" id="pg_94">[94]</span> +<p>The third number, "Eia Mater," is built up on +an exceedingly brief motive, which is augmented +with surprising power in choral form. It is a work +of scholarly skill, and yet is full of charm and grace, +and will always commend itself even to the untutored +hearer by its tenderness and pathetic beauty.</p> +<p>The fourth number, "Fac ut ardeat cor meum," +for bass solo and chorus, like the third is most skilfully +constructed out of small materials, and has a +fine contrast between the solo and the chorus, which +at its entrance is assigned to the female voices only, +with organ accompaniment.</p> +<p>The fifth number is the chorus "Tui nati vulnerati," +which is remarkable for the smooth and +flowing manner in which its two subjects are treated.</p> +<p>The sixth number, "Fac me vere tecum flere," +for tenor solo and chorus, is very elaborate in its +construction. A stately theme is given out by the +tenor, repeated in three-part harmony by male +voices, the accompaniment being independent in +form; the subject then returns, first for solo, and +then for male voices, in varying harmonies. After +a brief vocal episode the subject reappears in still +different form, and, followed by the episode worked +up at length in a coda, brings the number to its close.</p> +<p>The seventh number, "Virgo, virgonum præclara," +for full chorus, is marked by great simplicity +and tenderness, and will always be one of the most +popular sections of the work.</p> +<p>The eighth number, "Fac ut portem," is a duet +for soprano and tenor, responsive in character, and +<span class="pgnum" id="pg_95">[95]</span> +constructed on very simple phrases presented in +varying forms both by the voices and orchestra.</p> +<p>The ninth number, "Inflammatus et accensus," +is one of the most masterly in the whole work. It is +an alto solo composed of two subjects, the first very +majestic, and the second pathetic in character, forming +a contrast of great power and beauty.</p> +<p>The tenth and closing number, "Quando corpus +morietur," for quartet and chorus, is constructed +substantially upon the same themes which appeared +in the "Stabat Mater," and closes with an "Amen" +of a massive character, exhibiting astonishing contrapuntal +skill. One of the best English critics says +of the whole work:--</p> +<blockquote><p>"The 'Stabat Mater' approaches as near to greatness +as possible, if it be not actually destined to rank +among world-renowned masterpieces. It is fresh and +new, while in harmony with the established canons of +art; and though apparently labored and over-developed +in places, speaks with the force and directness of +genius."</p></blockquote> +</div> +<div id="c18"> +<span class="pgnum" id="pg_96">[96]</span> +<h2>GOUNOD.</h2> +<p>Charles François Gounod was born +in Paris, June 17, 1818. His fame has +been made world-wide by the extraordinary +success of his opera "Faust," and +yet more than almost any other operatic composer +of modern times he has devoted himself to sacred +music. His earlier studies were pursued in Paris at +the Conservatory, under the tuition of Paër and +Lesueur, and in 1839 the receipt of the Grand +Prix gave him the coveted opportunity to go to +Italy. In the atmosphere of Rome religious influences +made a strong impression upon him. He devoted +himself assiduously to the study of Palestrina, +and among his first important compositions were +a mass performed at the Church of San Luigi dei +Francesi in 1841, and a second, written without +accompaniment, which was given in Vienna two +years later. On his return to Paris, religious ideas +still retained their sway over him, and he became +organist and conductor at the Missions étrangères. +He even contemplated taking orders, and attended +a theological course for two years. In 1846 he +<span class="pgnum" id="pg_97">[97]</span> +became a pupil at the Séminaire; but at last he +gave up his priestly intentions and devoted himself +wholly to musical composition, though he has +been, if not a devotee, a religious enthusiast all +his life, and that too in the midst of a peculiarly +worldly career. It was about this period that he +wrote his "Messe Solenelle" in G,--the first of his +compositions that was ever produced in England. +It was cordially received, and he was universally +recognized as a promising musician. For many +years succeeding this event he devoted himself +mainly to secular music, and opera after opera +rapidly came from his pen,--"Sappho" (1851); +"Nonne Sanglante" (1854); "Le Médecin malgré +lui" (1858); "Faust," his greatest work, and one +of the most successful of modern operas (1859); +"Philémon et Baucis" (1860); "Reine de Saba" +(1862); "Mireille" (1864); "La Colombe" +(1866); "Roméo et Juliette" (1867); "Cinq +Mars" (1877), and "Polyeucte" (1878). Notwithstanding +the attention he gave to opera and +to much other secular music, he found ample time +for the composition of sacred works. In 1852, +while in Paris, he became conductor of the Orphéon, +and for the pupils of that institution he +composed two masses. He has also written a +great number of pieces for choir use which are +very popular, and deservedly so, particularly the +beautiful song "Nazareth." Among his larger +works are a "Stabat Mater," with orchestral accompaniment; +the oratorio "Tobie;" a "De Profundis" +<span class="pgnum" id="pg_98">[98]</span> +and an "Ave Verum;" and the two oratorios, +"The Redemption," performed at Birmingham in +1882, and "Mors et Vita," brought out at the same +place in 1885. The composer is now engaged +upon the scheme of a new oratorio, the career of +Joan of Arc being its subject. It may be said in +closing this sketch, which has been mainly confined +to a consideration of his sacred compositions, as +his operatic career has been fully treated in "Standard +Operas," that in 1873 he wrote the incidental +music to Jules Barbier's tragedy, "Jeanne d'Arc," +which may have inspired his determination to write +an oratorio on the same subject.</p> +</div> +<div id="c19"> +<h3>The Redemption.</h3> +<p>"The Redemption, a Sacred Trilogy," is the title +which Gounod gave to this work, and on its opening +page he wrote: "The work of my life." In a +note appended to his description of its contents he says:--</p> +<blockquote><p>"It was during the autumn of the year 1867 that I +first thought of composing a musical work on the Redemption. +I wrote the words at Rome, where I passed +two months of the winter 1867-68 with my friend Hébert, +the celebrated painter, at that time director of +the Academy of France. Of the music I then composed +only two fragments: first, 'The March to Calvary' +in its entirety; second, the opening of the first +division of the third part, 'The Pentecost.' Twelve +<span class="pgnum" id="pg_99">[99]</span> +years afterwards I finished the work, which had so +long been interrupted, with a view to its being performed +at the festival at Birmingham in 1882."</p></blockquote> +<p>It was brought out, as he contemplated, in August +of that year, and the production was a memorable +one. It was first heard in this country in the winter +of 1883-84 under Mr. Theodore Thomas's direction, +and was one of the prominent works in his series of +festivals in the latter year.</p> +<p>Gounod himself has prefaced the music with an +admirably concise description of the text and its various +subjects. Of its general contents he says: +</p> +<blockquote><p>"This work is a lyrical setting forth of the three great +facts on which depends the existence of the Christian +Church. These facts are,--first, the passion and the +death of the Saviour; second, his glorious life on +earth from his resurrection to his ascension; third, +the spread of Christianity in the world through the +mission of the Apostles. These three parts of the +present trilogy are preceded by a prologue on the creation, +the fall of our first parents, and the promise of a +redeemer."</p></blockquote> +<p>The divisions of the work are as follows:--</p> +<dl> +<dt><span class="sc">Prologue.--The Creation.</span></dt> +<dt><span class="sc">Part I.--Calvary.</span></dt> +<dt><span class="sc">Part II.--From the Resurrection to the Ascension.</span></dt> +<dt><span class="sc">Part III.--The Pentecost.</span></dt> +</dl> +<p>The prologue comprises the Mosaic account of +the creation and fall of man, involving the necessity +<span class="pgnum" id="pg_100">[100]</span> +of divine mediation, the promise of redemption, +and the annunciation of the mystery of the incarnation +of the Holy Virgin. After a brief instrumental +introduction, descriptive of chaos, the tenor Narrator +announces the completion of creation in recitative, +followed by a similar declamation from the +bass Narrator announcing the fall of man, the +tenor Narrator answering with the announcement +of the Redeemer's advent ("But of the Spotless +Lamb"), in which we have for the first time a genuine +Wagnerian <i>leit motif</i>, which runs through the +music of the oratorio whenever allusion is made +to the divine atonement. This typical melody is +heard nine times,--three times in the prologue, +twice in the scene of the crucifixion, once in our +Saviour's promise to the thieves on the cross, once +in his appearance to the holy women, and twice in +the ascension. It is first given out as a violin solo, +and at the close of the tenor recitative is repeated +by all the strings, leading to the mystic chorale, +"The Earth is my Possession," to be sung by a +celestial choir of twenty-eight voices. At its close +the typical melody is introduced in responsive form +between flute and clarinet. To the first, the angelic +message of the annunciation, Gounod has +affixed the title, "Ave, gratia plena;" and to the +second, the reply of Mary, "Fiat mihi secundum +verbum tuum."</p> +<p>The first part includes the march to Calvary, +which is divided into six separate numbers, yet so +connected as to make a single musical series,--the +<span class="pgnum" id="pg_101">[101]</span> +crucifixion, Mary at the foot of the cross, the dying +thieves, the death of Jesus, and the confession of his +divinity by the centurion. It opens with the story +of the condemnation of the Man of Sorrows by +Pilate, told by the bass Narrator, the words of Jesus +himself, however, being used invariably in the first +person, and sung by the baritone voice, as when he +says, "If my Deeds have been evil," immediately +following the bass recitative. After another monologue +by the Narrator, ensues the march to the +cross,--an instrumental number which is brilliant +in its color effects and somewhat barbaric in tone. +Without any break, the sopranos enter with the +words, "Forth the Royal Banners go," set to a +melody from the Roman Catholic liturgy; after +which the march is resumed. The bass Narrator +tells the story of the women who followed lamenting, +interrupted by a semi-chorus of sopranos singing +the lament, and by the words of Jesus, "Ye +Daughters of Israel, weep not for me." Again +the march is heard, and the sopranos resume +("Forth the Royal Banners go"). The tenor +Narrator recites the preparation for the crucifixion, +accompanied by very descriptive music, and followed +by a stormy chorus of the People ("Ha! +thou that didst declare"), and the mocking cries of +the priests ("Can he now save himself?"), sung by +a male chorus. In a pathetic monologue Jesus appeals +for their pardon, which leads to an elaborate +concerted number for chorus or quartet, called +"The Reproaches." A conversation ensues between +<span class="pgnum" id="pg_102">[102]</span> +Jesus and Mary, followed by the quartet, +"Beside the Cross remaining," in canon form, +preluding the chorale, "While my Watch I am +keeping," at first sung by Mary, and then taken up +by the full chorus, accompanied by organ, trombones, +and trumpets. The next scene is that between +Jesus and the two Thieves, which also leads +to a chorale ("Lord Jesus, thou to all bringest +Light and Salvation"). This number contains the +last touch of brightness in the first part. Immediately +the bass Narrator announces the approach of +the awful tragedy. The gathering darkness is pictured +by a vivid passage for strings and clarinet, +succeeded by the agonizing cries of the Saviour. +The bass Narrator declares the consummation of the +tragedy, and then with the tenor Narrator describes +the throes of Nature ("And then the Air was filled +with a Murmur unwonted"), the rending of the veil +of the Temple, the breaking of the rocks, the earthquake, +and the visions of the saintly apparitions. +The last number is the conviction of the centurion, +followed by a short chorale ("For us the Christ is +made a Victim availing").</p> +<p>The second part includes the announcement of +the doctrine of the resurrection by the mystic +chorus, the appearance of the Angel to the Holy +Women at the sepulchre, that of Jesus to them +while on the way to Galilee, the consternation of +the Sanhedrim when it is learned that the tomb is +empty, the meeting of the Holy Women and the +Apostles, the appearance of Jesus to the latter, and +<span class="pgnum" id="pg_103">[103]</span> +his final ascension. It opens with a chorus for the +mystic choir ("Saviour of Men"), followed by a +short pastorale with muted strings and leading to a +trio for the three Women ("How shall we by ourselves +have Strength to roll away the Stone?"). +Their apprehensions are removed by the tenor Narrator +and the message of the Angel interwoven with +the harp and conveyed in the beautiful aria, "Why +seek ye the Living among the Dead?" Jesus at last +reveals himself to the Women with the words, "All +hail! Blessed are ye Women," accompanied by the +typical melody, of which mention has already been +made. The three Women disappear on the way to +convey his message to the Disciples, and the scene +changes to the Sanhedrim, where, in a tumultuous +and agitated chorus for male voices ("Christ is +risen again"), the story of the empty tomb is told +by the Watchers. The bass Narrator relates the +amazement of the priests and elders, and their plot +to bribe the guard, leading to the chorus for male +voices ("Say ye that in the Night his Disciples have +come and stolen him away"), at the close of which +ensues a full, massive chorus ("Now, behold ye the +Guard, this, your Sleep-vanquished Guard"), closing +with the denunciation in unison ("For Ages on +your Heads shall Contempt be outpoured"). The +tenor and bass Narrators in duet tell of the sorrow of +the Disciples, which prepares the way for a lovely +trio for first and second soprano and alto ("The +Lord he has risen again"). The next number is +one of the most effective in the whole work,--a +<span class="pgnum" id="pg_104">[104]</span> +soprano obligato solo, accompanied by the full +strength of chorus and orchestra, to the words:</p> +<blockquote> +<div class="verse"> +<p class="t2">"From thy love as a Father,</p> +<p class="t2">O Lord, teach us to gather</p> +<p class="t2">That life will conquer death.</p> +<p class="t2">They who seek things eternal</p> +<p class="t2">Shall rise to light supernal</p> +<p class="t2">On wings of lovely faith."</p> +</div> +</blockquote> +<p>In the close the effect is sublime, the climax reaching +to C in alt with the full power of the accompanying +forces. Then follows a dialogue between +the Saviour and his Apostles, in which he gives +them their mission to the world. The finale then +begins with a massive chorus ("Unfold, ye Portals +everlasting"). The celestial chorus above, +accompanied by harps and trumpets, inquire, "But +who is he, the King of Glory?" The answer +comes in a stately unison by the terrestrial chorus, +"He who Death overcame." Again the question +is asked, and again it is answered; whereupon +the two choirs are massed in the jubilant chorus, +"Unfold! for lo the King comes nigh!" the full +orchestra and organ sounding the Redemption +melody, and the whole closing with a fanfare of +trumpets.</p> +<p>The third part includes the prophecy of the +millennium, the descent of the Holy Ghost to +the Apostles, the Pentecostal manifestations, and +the Hymn of the Apostles. The latter is so +important that the composer's own analysis is +appended:--</p> +<span class="pgnum" id="pg_105">[105]</span> +<blockquote> +<p>"This division of the third part of the work, the +last and one of the most highly developed of the +trilogy, comprises seven numbers, and gives a summary +of the Christian faith.</p> +<p>"1. The Apostles first proclaim the three great +doctrines of the Incarnation of the Word, his eternal +generation, and his continual presence with his +Church. This first number is written in a style +which is intended to recall the form and rhythm of +the chants called 'Proses' in the Catholic liturgy.</p> +<p>"2. <span class="sc">Quartet and Chorus.</span> 'By faith salvation +comes, and by peace consolation.'</p> +<p>"3. <span class="sc">Chorus.</span> His power manifested by miracles.</p> +<p>"4. <span class="sc">Quartet.</span> 'O come to me, all ye that are +sad and that weep.'</p> +<p>"5. <span class="sc">Semi-Chorus.</span> The Beatitudes.</p> +<p>"6. Repetition of the theme of No. 1, with the +whole choir, the orchestra, and the great organ.</p> +<p>"7. <span class="sc">Final Coda.</span> Glorification of the Most Holy +Trinity throughout all ages."</p> +</blockquote> +<p>This part of the oratorio, after a short instrumental +prelude, opens with a brief chorus ("Lovely +appear over the Mountains"), followed by a soprano +solo, the only distinct number of that kind in the +work, set to the words, "Over the barren Wastes +shall Flowers have possession," at its close the +chorus resuming in unison, "Lovely appear over the +Mountains." The next number is "The Apostles +in Prayer," an instrumental sketch, followed by +the Narrators relating the descent of the Holy +Spirit. Without break, the Apostles' Hymn begins, +tenors and basses in unison ("The Word is Flesh +<span class="pgnum" id="pg_106">[106]</span> +become") leading into the quartet of solo voices +("By Faith Salvation comes, and by Peace, Consolation"). +The chorus responds antiphonally, and +again the solo voices are heard in a lovely quartet +("He has said to all the Unhappy"), followed by a +small choir of thirty voices ("Blessed are the poor +in Spirit"), at the end of which all the voices are +massed on the Apostles' Hymn, which closes in +fugal form on the words, "He like the Holy Ghost +is one with the Father, an everlasting Trinity," the +whole ending in massive chords.</p> +</div> +<div id="c20"> +<h3>Mors et Vita.</h3> +<p>The oratorio "Mors et Vita" ("Death and Life") +is the continuation of "The Redemption," and, like +that work also, is a trilogy. It was first performed +at the Birmingham Festival, Aug. 26, 1885, under +the direction of Herr Hans Richter, the principal +parts being sung by Mesdames Albani and Patey +and Messrs. Santley and Lloyd. Its companion +oratorio, "The Redemption," was dedicated to +Queen Victoria, and itself to His Holiness Pope +Leo XIII. In his preface to the work, Gounod says:--</p> +<blockquote><p>"It will perhaps be asked why, in the title, I have +placed death before life, although in the order of temporal +things life precedes death. Death is only the +end of that existence which dies each day; it is only +the end of a continual 'dying.' But it is the first +<span class="pgnum" id="pg_107">[107]</span> +moment, and, as it were, the birth of that which dies no +more. I cannot here enter into a detailed analysis of +the different musical forms which express the meaning +and idea of this work. I do not wish to expose myself +to the reproach either of pretension or subtlety. +I shall therefore confine myself to pointing out the +essential features of the ideas I have wished to express,--that +is to say, the tears which death causes us +to shed here below; the hope of a better life; the +solemn dread of unerring justice; the tender and filial +trust in eternal love."</p></blockquote> +<p>The composer further calls attention in his preface +to the use of representative themes, an illustration +of which was also noted in "The Redemption." +The first one, consisting of four notes, presenting a +sequence of three major seconds, is intended to +express "the terror inspired by the sense of the inflexibility +of justice and, in consequence, by that of +the anguish of punishment. Its sternness gives expression +both to the sentences of divine justice and +the sufferings of the condemned, and is found in +combination throughout the whole work, with melodic +forms which express sentiments altogether +different, as in the 'Sanctus' and the 'Pie Jesu' in +the 'Requiem,' which forms the first part." It is +first heard in the opening chorus, and for the last +time in the quartet of the third part. The second +melodic form, expressive of sorrow and tears, by +the change of a single note and the use of the +major key is made to express consolation and joy. +"The third," says Gounod, "by means of threefold +<span class="pgnum" id="pg_108">[108]</span> +superposition, results in the interval of an augmented +fifth, and announces the awakening of the +dead at the terrifying call of the angelic trumpets, +of which Saint Paul speaks in one of his epistles to +the Corinthians."</p> +<p>The oratorio is divided into a prologue and three +parts, the Latin text being used throughout. The +first part is entitled "Mors," and opens with the +prologue, which is brief, followed by the "Requiem," +interspersed with texts of a reflective character commenting +upon the sentiment. The second part is +entitled "Judicium" ("Judgment"), and includes +(1) The Sleep of the Dead; (2) The Trumpets +at the Last Judgment; (3) The Resurrection of +the Dead; (4) The Judge; (5) The Judgment of +the Elect; (6) The Judgment of the Rejected. The +third part is entitled "Vita," and includes the +vision of Saint John, the text being taken from +the Apocalypse; the work closing with an "Hosanna +in Excelsis," exulting in the glorious vision of the +heavenly Jerusalem.</p> +<p>The prologue, which is sustained by the chorus +and baritone solo, declares the terrors of death and +the judgment. The chorus intones the words, "It +is a Fearful Thing to fall into the Hands of the Living +God," and in this phrase is heard the chief motive, +heavily accented by the percussion instruments,--the +motive which typifies death both of the body +and of the unredeemed soul. Immediately after +follows the baritone voice, that of Jesus, in the +familiar words, "I am the Resurrection and the +<span class="pgnum" id="pg_109">[109]</span> +Life." The chorus repeats the declaration, and +the Requiem Mass then begins, divided into +various sections, of which the "Dies Iræ" is the +most important; this in turn subdivided in the conventional +form. After an adagio prelude and the +intonation of the "Requiem æternam," an interpolated +text occurs ("From the Morning Watch +till the Evening"), set as a double chorus without +accompaniment, in the genuine Church style of the +old masters. It leads directly to the "Dies Iræ," +in which the death motive already referred to frequently +occurs. It is laid out in duets, quartets, +and arias, with and without chorus, very much in the +same tempo and of the same character of melody. +The verse, "Ah! what shall we then be pleading?" +for quartet and chorus, is remarkable for its attractive +melody. It is followed by a soprano solo +and chorus ("Happy are we, with such a Saviour") +of a reflective character, which gives out still another +very tuneful melody. The hymn is then resumed +with the verse, "Faint and worn, thou yet +hast sought us," for duet and chorus, which is of +the same general character. The next verse, "Lord, +for Anguish hear us moaning," for quartet and +chorus, is very effective and elaborate in its construction, +particularly as compared with that immediately +following ("With the Faithful deign to place +us"), a tenor solo of a quaint and pastoral character. +The next number for chorus ("While the +wicked are confounded") affords still another +striking contrast, being in the grandiose style and +<span class="pgnum" id="pg_110">[110]</span> +very dramatic, closing with phrases for the solo +voices expressive of submission and contrition. +Up to this point the "Dies Iræ" has been monotonous +in its sameness of general style; but the +next verse ("Day of Weeping, Day of Mourning") +is a beautiful and thoroughly original number of +very striking effect. It leads directly to the offertory +("O Lord Jesus Christ, King of Glory"), which +is composed of a chorus for eight parts, a soprano +solo ("But, Lord, do thou bring them evermore"), a +chorus ("Which once to Abraham"), and a second +chorus ("Sacrifice of Prayer and Praise"). The +soprano solo is a delightful melody, sung to a delicate +accompaniment of the strings, with occasional +chords on the harp, and based upon the beautiful +second typical motive, which the composer styles +"The Motive of Happiness." The chorus, "Which +once to Abraham," is set in fugue form, which is +the conventional style among composers with this +number; but, as in "The Redemption," whenever +Gounod employs the fugue form, he drops it as soon +as the four voices have fairly launched themselves.</p> +<p>The next number is the "Sanctus,"--a beautiful +tenor aria with chorus, full of that sweetness which +is so characteristic of Gounod. It is followed by +the quartet, "Mighty Saviour, Jesus blest," which +is deeply religious in character; the lovely soprano +solo and chorus, "Agnus Dei;" and the chorus, +"Lord, forever let Light Eternal." The first part +is rounded off with an epilogue, an interlude for +full orchestra and organ, based upon the first and +<span class="pgnum" id="pg_111">[111]</span> +second typical melodies, forming a consistent and +stately finale to this part of the work.</p> +<p>The second part is peculiar for the prominence +which the composer assigns to the orchestra. It +opens with a well-sustained, gentle adagio movement, +entitled "The Sleep of the Dead," which at +times is somewhat harshly interrupted by the third +typical melody, announcing the awakening of the +dead at the terrifying call of the angelic trumpets. +This is specially noticeable in that part of the prelude +called "The Trumpet of the Last Judgment," +in which the trombones, trumpets, and tubas are +employed with extraordinary effect. Still a third +phrase of the prelude occurs,--"The Resurrection +of the Dead,"--which is smooth and flowing in its +style, and peculiarly rich in harmony. A brief recitative +by baritone ("But when the Son of Man") +intervenes, immediately followed by another instrumental +number, entitled "Judex" ("The Judge"),--one +of the most effective pieces of orchestration in +the oratorio, based upon the motive which indicates +the tempering of justice with mercy, given out by the +strings in unison. It preludes a short chorus ("Sitting +upon the Throne"), the previous melody still +continuing in the orchestra. The "Judgment of the +Elect" follows, pronounced by the baritone voice in +recitative, and leading directly to the soprano solo, +"The Righteous shall enter into Glory eternal,"--the +most exquisite solo number in the work,--followed +by an effective chorale ("In Remembrance +everlasting"). Then follows "The Judgment of the +<span class="pgnum" id="pg_112">[112]</span> +Rejected," consisting of baritone solos and chorus, +closing the second part.</p> +<p>The third part celebrates the delights of the celestial +city as pictured in the apocalyptic vision of +Saint John, and is in marked contrast to the gloom +and sombreness of the Requiem music, as well as +the terrors of the Judgment. It is bright, jubilant, +and exultant throughout. The title of the prelude is +"New Heaven, New Earth." The baritone intones +the recitative ("And I saw the New Heaven"), which +is followed by another delightful sketch for the orchestra +("Celestial Jerusalem"),--a most vivid and +graphic picture of the subject it describes. The remaining +prominent numbers are the "Sanctus" chorus, +the celestial chorus ("I am Alpha and Omega"), +and the final chorus ("Hosanna in Excelsis"), which +closes this remarkable work.</p> +<p>The weakest part of the oratorio is the "Requiem," +which suffers from the monotony of its +divisions, especially when compared with the treatment +of requiems by the great composers who +have made them a special study. As compared +with the "Redemption," however, it is more interesting, +because it is more melodious and less cumbered +with recitative. It is also peculiarly noticeable +for the free manner in which the composer uses +the orchestra, and the skill with which the typical +melodies are employed, as compared with which +the solitary "Redemption" motive seems weak and +thin. Both works are full of genuine religious sentiment, +and taken together cover almost the entire +<span class="pgnum" id="pg_113">[113]</span> +scope of human aspiration so far as it relates to +the other world. No composer has conceived a +broader scheme for oratorio. Though Gounod does +not always reach the sublime and majestic heights +of the old masters in sacred music, yet the feeling +manifested in these works is never anything but +religious; the hearer is always surrounded by an +atmosphere of devotion.</p> +</div> +<div id="c21"> +<span class="pgnum" id="pg_114">[114]</span> +<h2>HANDEL.</h2> +<p>George Frederick Handel was +born at Halle, in Lower Saxony, Feb. +23, 1685, and, like many another composer, +revealed his musical promise at a +very early age, only to encounter parental opposition. +His father intended him to be a lawyer; +but Nature had her way, and in spite of domestic +antagonism triumphed. The Duke of Saxe-Weissenfels +recognized his ability and overcame the +father's determination. Handel began his studies +with Zachau, organist of the Halle cathedral. After +the death of his father, in 1697, he went to Hamburg, +and for a time played in the orchestra of +the German opera. It was during his residence in +that city that he wrote his first opera, "Almira" +(1705). In the following year he went to Italy, +where he remained several months under the patronage +of the Grand Duke of Florence. During +the next two years he visited Venice, Rome, and +Naples, and wrote several operas and minor oratorios. +In 1709 he returned to Germany, and the +Elector of Hanover, subsequently George I. of England, +<span class="pgnum" id="pg_115">[115]</span> +offered him the position of Capellmeister, +which he accepted upon the condition that he +might visit England, having received many invitations +from that country. The next year he arrived +in London and brought out his opera of "Rinaldo," +which proved a great success. At the end of six +months he was obliged to return to his position in +Hanover; but his English success made him impatient +of the dulness of the court. In 1712 he +was in London again, little dreaming that the Elector +would soon follow him as king. Incensed with +him for leaving Hanover, the King at first refused +to receive him; but some music which Handel composed +for an aquatic fête in his honor brought about +the royal reconciliation. In 1718 he accepted the +position of chapel-master to the Duke of Chandos, +for whom he wrote the famous Chandos Te Deum +and Anthems, the serenata "Acis and Galatea," +and "Esther," his first English oratorio. In 1720 +he was engaged as director of Italian opera by the +society of noblemen known as the Royal Academy +of Music, and from that time until 1740 his career +was entirely of an operatic character. Opera after +opera came from his pen. Some were successful, +others failed. At first composer, then director, he +finally became <i>impresario</i>, only to find himself confronted +with bitter rivalry, especially at the hands +of Buononcini and Porpora. Cabals were instituted +against him. Unable to contend with them alone, +he formed a partnership with Heidegger, proprietor +of the King's Theatre, in 1729. It was broken in +<span class="pgnum" id="pg_116">[116]</span> +1734, and he took the management of Covent +Garden. The Italian conspiracies against him +broke out afresh. He failed in his undertaking, and +became a bankrupt. In eight years he had lost +$51,000 in Italian opera. Slanders of all sorts +were circulated against him, and his works were no +longer well received. In the midst of his adversity +sickness overtook him, ending with a partial stroke +of paralysis. When sufficiently recovered, he went +to the Continent, where he remained for a few +months. On his return to London he brought out +some new works, but they were not favorably received. +A few friends who had remained faithful +to him persuaded him to give a benefit concert, +which was a great success. It inspired him with +fresh courage; but he did not again return to the +operatic world. Thenceforward he devoted himself +to oratorio, in which he made his name famous +for all time. He himself said: "Sacred music is +best suited to a man descending in the vale of +years." "Saul" and the colossal "Israel in Egypt," +written in 1740, head the list of his wonderful oratorios. +In 1741 he was invited to visit Ireland. +He went there in November, and many of his works +were produced during the winter and received with +great enthusiasm. In April, 1742, his immortal +"Messiah" was brought out at Dublin. It was +followed by "Samson," "Joseph," "Semele," "Belshazzar," +and "Hercules," which were also successful; +but even in the midst of his oratorio work +his rivals did not cease their conspiracies against +<span class="pgnum" id="pg_117">[117]</span> +him, and in 1744 he was once more a bankrupt. +For over a year his pen was idle. In 1746 the +"Occasional Oratorio" and "Judas Maccabæus" +appeared, and these were speedily followed by +"Joshua," "Solomon," "Susanna," "Theodora," +and "Jephtha." It was during the composition +of the last-named work that he was attacked with +the illness which finally proved fatal. He died +April 14, 1759, and was buried in Westminster +Abbey. During the last few days of his life he +was heard to express the wish that he "might +breathe his last on Good Friday, in hopes of +meeting his good God, his sweet Lord and Saviour, +on the day of his resurrection." The wish +was granted him; for it was on Good Friday that +he passed away, leaving behind him a name and +fame that will be cherished so long as music retains +its power over the human heart.</p> +</div> +<div id="c22"> +<h3>Israel in Egypt.</h3> +<p>"Israel in Egypt," the fifth of the nineteen oratorios +which Handel composed in England, was +written in 1738. The Exodus, which is now the +second part, was written between the 1st and the +11th of October, and was superscribed, "Moses' +Song, Exodus, Chap. xv., begun Oct. 1, 1738;" +and at the close was written, "Fine, Oct. 11, 1738." +It is evident from this that the work was at first +written as a cantata, but that Handel on reflection +<span class="pgnum" id="pg_118">[118]</span> +decided that the plagues of Egypt would not only +be a good subject, but would also prove a logical +historical introduction to the second part. Four +days later he began the first part, and finished it on +the 1st of November,--the composition of the +whole of this colossal work thus occupying but +twenty-seven days. It was first performed as +"Israel in Egypt," April 4, 1739, at the King's +Theatre, of which Handel was then manager. It +was given the second time April 11, "with alterations +and additions," the alterations having been +made in order to admit of the introduction of +songs. The third performance took place April +17, upon which occasion the "Funeral Anthem," +which he had written for Queen Caroline, was +used as a first part and entitled, "Lamentations +of the Israelites for the Death of Joseph." During +the lifetime of Handel the oratorio was only performed +nine times, for in spite of its excellence, it +was a failure. For many years after his death it +was produced in mutilated form; but in 1849 the +Sacred Harmonic Society of London gave it as +it was originally written and as we know it now, +without the Funeral Anthem or any of the songs +which had been introduced.</p> +<p>The text of the oratorio is supposed to have been +written by Handel himself, though the words are +taken literally from the Bible. Schoelcher says:</p> +<blockquote><p>"The manuscript does not contain any of the +names of the personages. Nevertheless, the handbook, +which includes the extracts from Solomon for +<span class="pgnum" id="pg_119">[119]</span> +the first parts, has in this part the names of personages +(High Priest, Joseph, Israelite woman, Israelite man), +as if the composer wished to throw it into a dramatic +form. The words in their Biblical simplicity form a +poem eminently dramatic."</p></blockquote> +<p>The first part opens with the wail of the Israelites +over the burdens imposed upon them by their +Egyptian taskmasters, and then in rapid succession +follow the plagues,--the water of the Nile turned +to blood, the reptiles swarming even into the king's +chambers, the pestilence scourging man and beast, +the insect-cloud heralding the locusts, the pelting +hail and the fire running along the ground, the +thick darkness, and the smiting of the first-born. +Then come the passage of the Red Sea and the +escape from bondage, closing the first part. The +second part opens with the triumphant song of +Moses and the Children of Israel rejoicing over +the destruction of Pharaoh's host, and closes with +the exultant strain of Miriam the prophetess, "Sing +ye to the Lord, for He hath triumphed gloriously; +the Horse and his Rider hath He thrown into the +Sea."</p> +<p>"Israel in Egypt" is essentially a choral oratorio. +It comprises no less than twenty-eight massive +double choruses, linked together by a few bars of +recitative, with five arias and three duets interspersed +among them. Unlike Handel's other oratorios, +there is no overture or even prelude to the +work. Six bars of recitative for tenor ("Now there +arose a new King over Egypt which knew not +<span class="pgnum" id="pg_120">[120]</span> +Joseph") suffice to introduce it, and lead directly +to the first double chorus ("And the Children of +Israel sighed"), the theme of which is first given +out by the altos of one choir with impressive pathos. +The chorus works up to a climax of great force on +the phrase, "And their Cry came up unto God," the +two choruses developing with consummate power +the two principal subjects,--first, the cry for relief, +and second, the burden of oppression; and closing +with the phrase above mentioned, upon which they +unite in simple but majestic harmony. Then follow +eight more bars of recitative for tenor, and the long +series of descriptive choruses begins, in which Handel +employs the imitative power of music in the +boldest manner. The first is the plague of the water +turned to blood, "They loathed to drink of the +River,"--a single chorus in fugue form, based upon +a theme which is closely suggestive of the sickening +sensations of the Egyptians, and increases in loathsomeness +to the close, as the theme is variously +treated. The next number is an aria for mezzo soprano +voice ("Their Land brought forth Frogs"), +the air itself serious and dignified, but the accompaniment +imitative throughout of the hopping of +these lively animals. It is followed by the plague +of insects, whose afflictions are described by the +double chorus. The tenors and basses in powerful +unison declare, "He spake the Word," and the +reply comes at once from the sopranos and altos, +"And there came all Manner of Flies," set to a +shrill, buzzing, whirring accompaniment, which increases +<span class="pgnum" id="pg_121">[121]</span> +in volume and energy as the locusts appear, +but bound together solidly with the phrase of the +tenors and basses frequently repeated, and presenting +a sonorous background to this fancy of the composer +in insect imitation. From this remarkable +chorus we pass to another still more remarkable, +the familiar Hailstone Chorus ("He gave them Hailstones +for Rain"), which, like the former, is closely +imitative. Before the two choirs begin, the orchestra +prepares the way for the on-coming storm. Drop by +drop, spattering, dashing, and at last crashing, comes +the storm, the gathering gloom rent with the lightning, +the "fire that ran along upon the ground," +and the music fairly quivering and crackling with +the wrath of the elements. But the storm passes, +the gloom deepens, and we are lost in that vague, +uncertain combination of tones where voices and +instruments seem to be groping about, comprised +in the marvellously expressive chorus, "He sent a +Thick Darkness over all the Land." From the oppression +of this choral gloom we emerge, only to +encounter a chorus of savage, unrelenting retribution +("He smote all the First-born of Egypt"). +Chorley admirably describes the motive of this great +fugue:--</p> +<blockquote><p>"It is fiercely Jewish. There is a touch of Judith, +of Jael, of Deborah in it,--no quarter, no delay, no +mercy for the enemies of the Most High; 'He smote.' +And when for variety's sake the scimitar-phrase is +transferred from orchestra to voices, it is admirable to +see how the same character of the falchion--of hip-and-thigh +<span class="pgnum" id="pg_122">[122]</span> +warfare, of victory predominant--is sustained +in the music till the last bar. If we have from +Handel a scorn-chorus in the 'Messiah,' and here a +disgust-chorus, referred to a little while +since,<sup><a id="fr_3" href="#fn_3">[3]</a></sup> this +is the execution, or revenge chorus,--the chorus of +the unflinching, inflexible, commissioned Angels of +the Sword."</p></blockquote> +<p>After their savage mission is accomplished, we +come to a chorus in pastoral style ("But as for His +People, He led them forth like Sheep"), slow, tender, +serene, and lovely in its movement, and grateful to +the ear both in its quiet opening and animated, +happy close, after the terrors which have preceded +it. The following chorus ("Egypt was glad"), usually +omitted in performance, is a fugue, both strange +and intricate, which it is claimed Handel appropriated +from an Italian canzonet by Kerl. The +next two numbers are really one. The two choruses +intone the words, "He rebuked the Red Sea," in a +majestic manner, accompanied by a few massive +chords, and then pass to the glorious march of +the Israelites, "He led them through the Deep,"--a +very elaborate and complicated number, but +strong, forcible, and harmonious throughout, and +held together by the stately opening theme with +which the basses ascend. It is succeeded by another +graphic chorus ("But the Waters overwhelmed +their Enemies"), in which the roll and dash of the +billows closing over Pharaoh's hosts are closely imitated +<span class="pgnum" id="pg_123">[123]</span> +by the instruments, and through which in the +close is heard the victorious shout of the Israelites, +"There was not one of them left." Two more +short choruses,--the first, "And Israel saw that +Great Work," which by many critics is not believed +to be a pure Handel number, and its continuation, +"And believed the Lord," written in +church style, close this extraordinary chain of +choral pictures.</p> +<p>The second part, "The Song of Moses,"--which, +it will be remembered, was written first,--opens +with a brief but forcible orchestral prelude, leading +directly to the declaration by the chorus, "Moses +and the Children of Israel sang this Song," which, +taken together with the instrumental prelude, serves +as a stately introduction to the stupendous fugued +chorus which follows ("I will sing unto the Lord, +for He hath triumphed gloriously; the Horse and +his Rider hath He thrown into the Sea"). It is +followed by a duet for two sopranos ("The Lord is +my Strength and my Song") in the minor key,--an +intricate but melodious number, usually omitted. +Once more the chorus resumes with a brief announcement, +"He is my God," followed by a fugued +movement in the old church style ("And I will +exalt Him"). Next follows the great duet for two +basses, "The Lord is a Man of War,"--a piece of +superb declamatory effect, full of vigor and stately +assertion. The triumphant announcement in its +closing measures, "His chosen Captains also are +drowned in the Red Sea," is answered by a brief +<span class="pgnum" id="pg_124">[124]</span> +chorus, "The Depths have covered them," which +is followed by four choruses of triumph,--"Thy +Right Hand, O Lord," an elaborate and brilliant +number; "And in the Greatness of Thine Excellency," +a brief but powerful bit; "Thou sendest +forth Thy Wrath;" and the single chorus, "And +with the Blast of Thy Nostrils," in the last two of +which Handel again returns to the imitative style +with wonderful effect, especially in the declaration +of the basses, "The Floods stood upright as an +Heap, and the Depths were congealed." The only +tenor aria in the oratorio follows these choruses, a +bravura song, "The Enemy said, I will pursue," and +this is followed by the only soprano aria, "Thou +didst blow with the Wind." Two short double +choruses ("Who is like unto Thee, O Lord," and +"The Earth swallowed them") lead to the duet for +contralto and tenor, "Thou in Thy Mercy," which +is in the minor, and very pathetic in character. It +is followed by the massive and extremely difficult +chorus, "The People shall hear and be afraid." +Once more, after this majestic display, comes the +solo voice, this time the contralto, in a simple, +lovely song, "Thou shalt bring them in." A short +double chorus ("The Lord shall reign for ever +and ever"), a few bars of recitative referring to +the escape of Israel, the choral outburst once +more repeated, and then the solo voice declaring, +"Miriam the prophetess took a timbrel in her +hand, and all the women went out after her with +timbrels and with dances; and Miriam answered +<span class="pgnum" id="pg_125">[125]</span> +them," lead to the final song of triumph,--that +grand, jubilant, overpowering expression of victory +which, beginning with the exultant strain of +Miriam, "Sing ye to the Lord, for He hath triumphed +gloriously," is amplified by voice upon +voice in the great eight-part choir, and by instrument +upon instrument, until it becomes a tempest of +harmony, interwoven with the triumph of Miriam's +cry and the exultation of the great host over the +enemy's discomfiture, and closing with the combined +power of voices and instruments in harmonious +accord as they once more repeat Miriam's +words, "The Horse and his Rider hath He thrown +into the Sea."</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_3" href="#fr_3">[3]</a></sup>The second chorus, "The Plague of the Water turned to +Blood," and the loathing of the Egyptians. +</div> +</div> +</div> +<div id="c23"> +<h3>Saul.</h3> +<p>The oratorio of "Saul" was written by Handel +in 1738. He began it, says Schoelcher, on the +3d of July, and finished it on the 27th of September; +thus occupying eighty-six days. This, however, +is evidently an error, as Rockstro says: "The +score, written in a thick quarto volume, on paper +quite different from that used for the operas, is dated +at the beginning of the first chorus, July 23, 1738." +The next date is August 28, at the end of the +second part, and the last, at the end of the work, +September 27,--which would give two months and +four days as the time in which it was written. But +even this period, short as it is, seems brief when +<span class="pgnum" id="pg_126">[126]</span> +compared with that devoted to the composition of +"Israel in Egypt," which Handel began four days +after "Saul" was completed, and finished in twenty-seven +days.</p> +<p>It has already been said, in the analysis of the +last named-work, that in January, 1739, Handel +took the King's Theatre in the Haymarket, his +purpose being to give oratorios twice a week. +"Saul" was the first of the series; and in this connection +the following advertisement, which Schoelcher +reprints from the London "Daily Post" of +Jan. 3, 1739, will be of interest:--</p> +<blockquote><p>"We hear that on Tuesday se'en night the King's +Theatre will be opened with a new oratorio composed +by Mr. Handel, called 'Saul.' The pit and boxes will +be put together, the tickets delivered on Monday the +15th and Tuesday 16th (the day of performance), at +half a guinea each. Gallery 5<i>s.</i> The gallery will be +opened at 4; the pit and boxes at 5. To begin at 6."</p></blockquote> +<p>The first performance took place as announced, +and the second on the 23d, "with several new +concertos on the organ,"--which instrument also +plays a conspicuous part in the oratorio itself, not +only in amplifying the accompaniment, but also +in solo work. In 1740 it was performed by the +Academy of Ancient Music in London, and in +1742 in Dublin. Selections were also given from +it in the great Handel Commemoration at Westminster +Abbey in 1784, and in 1840 it was revived +by the Sacred Harmonic Society of London, since +<span class="pgnum" id="pg_127">[127]</span> +which time it has occupied an important place in +the oratorio repertory.</p> +<p>The story closely follows the Biblical narrative +of the relations between David and Saul. The +words have been attributed both to Jennens and +Marell; but the balance of evidence favors the +former,--a poet who lived at Gopsall. The overture, +marked "Symfonie" in the original manuscript, +is the longest of all the Handel introductions. +It is in four movements, the first an allegro, the +second a largo (in which the organ is used as a +solo instrument), the third an allegro, and the fourth +a minuetto. It is an exceedingly graceful and +delicate prelude, and makes a fitting introduction +to the dramatic story which follows. The characters +introduced are Saul, king of Israel; Jonathan, +his son; Abner, captain of the host; David; +the apparition of Samuel; Doeg, a messenger; an +Amalekite; Abiathar, Merab, and Michal, daughters +of Saul; the Witch of Endor; and the Israelites. +The very dramatic character of the narrative admirably +adapts it to its division into acts and scenes.</p> +<p>The first act is triumphant in its tone and expressive +of the exultation of the Israelites at their +victory over the Philistines. The second gives a story +of the passions,--Saul's jealousy of David, the love +of Michal, and the ardent friendship between David +and Jonathan. The last act is sombre in its character, +opening with the weird incantations of the +Witch, and closing with David's grief over Saul and +Jonathan.</p> +<span class="pgnum" id="pg_128">[128]</span> +<p>The first scene opens in the Israelitish camp by +the valley of Elah, where the people join in an Epinicion, +or Song of Triumph, over Goliah and the +Philistines. It is made up of a chorus ("How excellent +Thy Name, O Lord"), which is a stirring +tribute of praise; an aria ("An Infant raised by +Thy Command"), describing the meeting of David +and Goliah; a trio, in which the Giant is pictured +as the "monster atheist," striding along to the +vigorous and expressive music; and three closing +choruses ("The Youth inspired by Thee," "How +excellent Thy Name," and a jubilant "Hallelujah"), +ending in plain but massive harmony.</p> +<p>The second scene is in Saul's tent. Two bars +of recitative prelude an aria by Michal, Saul's +daughter, who reveals her love for David ("O godlike +Youth!"). Abner presents David to Saul, and a +dialogue ensues between them, in which the conqueror +announces his origin and Saul pleads with +him to remain, offering the hand of his daughter +Merab as an inducement. David (whose part is +sung by a contralto) replies in a beautiful aria, in +which he attributes his success to the help of the +Lord alone. In the next four numbers the friendship +of Jonathan and David is cemented, which is +followed by a three-verse hymn ("While yet thy +Tide of Blood runs high"), of a very stately character, +sung by the High Priest. In a few bars of recitative +Saul betroths his daughter Merab to David; but +the girl replies in a very powerful aria ("My Soul +rejects the Thought with Scorn"), in which she +<span class="pgnum" id="pg_129">[129]</span> +declares her intention of frustrating the scheme to +unite a plebeian with the royal line. It is followed +by a plaintive but vigorous aria ("See with what +a scornful Air"), sung by Michal, who again gives +expression to her love for David.</p> +<p>The next scene is entitled "Before an Israelitish +City," and is prefaced with a short symphony of +a jubilant character. A brief recitative introduces +the maidens of the land singing and dancing in +praise of the victor, leading up to one of Handel's +finest choruses, "Welcome, welcome, Mighty King,"--a +fresh, vigorous semi-chorus accompanied by the +carillons, in which Saul's jealousy is aroused by the +superiority of prowess attributed to David. It is +followed by a furious aria, "With Rage I shall burst, +his Praises to hear." Jonathan laments the imprudence +of the women in making comparisons, and +Michal suggests to David that it is an old malady +which may be assuaged by music, and in the aria, +"Fell Rage and black Despair passest," expresses +her belief that the monarch can be cured by David's +"persuasive lyre."</p> +<p>The next scene is in the King's house. David +sings an aria ("O Lord, whose Mercies numberless"), +followed by a harp solo; but it is in vain. Jonathan +is in despair, and Saul, in an aria ("A Serpent in my +Bosom warmed"), gives vent to his fury and hurls +his javelin at David. The latter escapes; and in +furious recitative Saul charges his son to destroy +him. The next number is an aria for Merab ("Capricious +Man, in Humor lost"), lamenting Saul's +<span class="pgnum" id="pg_130">[130]</span> +temper; and Jonathan follows with a very dramatic +recitative and aria, in which he refuses to obey his +father's behest. The High Priest appeals to Heaven +("O Lord, whose Providence") to protect David, +and the first part closes with a powerful chorus, +"Preserve him for the Glory of Thy Name."</p> +<p>The second act is laid in the palace, and opens +with a powerfully descriptive chorus ("Envy, Eldest-born +of Hell!"). In a noble song ("But sooner +Jordan's Stream, I swear") Jonathan assures David +he will never injure him. In a colloquy between +them, David is informed that Saul has bestowed +the hand of the haughty Merab on Adriel, +and Jonathan pleads the cause of the lovely Michal. +Saul approaches, and David retires. Saul inquires +of Jonathan whether he has obeyed his commands, +and in a simple, sweet, and flowing melody ("Sin +not, O King, against the Youth") he seems to overcome +the wrath of the monarch, who dissembles +and welcomes David, bidding him to repel the +insults of the Philistines, and offering him his +daughter Michal as a proof of his sincerity.</p> +<p>In the second scene Michal declares her love for +David, and they join in a rapturous duet ("O fairest +of ten thousand fair"), which is followed by a chorus +in simple harmony ("Is there a Man who all his +Ways"). A long symphony follows, preparing the +way for the attempt on David's life. After an agitated +duet with Michal ("At Persecution I can +laugh"), David makes his escape just as Doeg, the +messenger, enters with instructions to bring David +<span class="pgnum" id="pg_131">[131]</span> +to the King's chamber. He is shown the image +in David's bed, which he says will only enrage the +King still more. Michal sings an exultant aria, +"No, let the Guilty tremble," and even Merab, +won over by David's qualities, pleads for him in a +beautiful aria, "Author of peace." Another symphony +intervenes, preluding the celebration of the +feast of the new moon in the palace, to which +David has been invited. Jonathan again interposes +with an effort to save David's life, whereupon Saul, +in a fresh outburst of indignation, hurls his javelin +at his son, and the chorus bursts out in horror, "Oh, +fatal Consequence of Rage."</p> +<p>The third act opens with the intensely dramatic +scene with the Witch of Endor, the interview being +preluded by the powerful recitative, "Wretch that +I am!" The second scene is laid in the Witch's +abode, where the incantation is practised that brings +up the Apparition of Samuel. The whole scene is +very dramatic, and the instrumentation powerful, +although the effect, vigorous as it is, is made +simply by oboes, bassoons, and strings, instead of +by the brass instruments which other composers +employ so vigorously in similar scenes. This +scene closes with an elegy foreboding the coming +tragedy.</p> +<p>The third scene opens with the interview between +David and the Amalekite who brings the tidings of +the death of Saul and Jonathan. It is followed by +that magnificent dirge, the "Dead March," whose +simple yet solemn and majestic strains are familiar +<span class="pgnum" id="pg_132">[132]</span> +to every one. The trumpets and trombones with +their sonorous pomp and the wailing oboes and +clarinets make an instrumental pageant which is +the very apotheosis of grief. The effect of the +march is all the more remarkable when it is considered +that, in contradistinction to all other +dirges, it is written in the major key. The chorus, +"Mourn, Israel, mourn thy Beauty lost," and the +three arias of lament sung by David, which follow, +are all characterized by feelings of the deepest gloom. +A short chorus ("Eagles were not so swift as they") +follows, and then David gives voice to his lament +over Jonathan in an aria of exquisite tenderness +("In sweetest Harmony they lived"), at the close +of which he joins with the chorus in an obligato +of sorrowful grandeur ("O fatal Day, how low +the Mighty lie!"). In an exultant strain Abner +bids the "Men of Judah weep no more," and the +animated martial chorus, "Gird on thy Sword, +thou Man of Might," closes this great dramatic oratorio.</p> +</div> +<div id="c24"> +<h3>Samson.</h3> +<p>The oratorio of "Samson" was written in 1741, +and begun immediately after the completion of +"The Messiah," which was finished September 14 of +that year. The last chorus was dated October 29; +but in the following year Handel added to it "Let +the bright Seraphim" and the chorus, "Let their +<span class="pgnum" id="pg_133">[133]</span> +celestial Concerts." The text was compiled by Newburgh +Hamilton from Milton's "Samson Agonistes," +"Hymn on the Nativity," and "Lines on a Solemn +Musick." The oratorio was first sung at Covent +Garden, Feb. 18, 1743, the principal parts being +assigned as follows: Samson, Mr. Beard;<sup><a id="fr_4" href="#fn_4">[4]</a></sup> Manoah, +Mr. Savage; Micah, Mrs. Cibber; Delilah, Mrs. +Clive. The aria, "Let the bright Seraphim," was +sung by Signora Avolio, for whom it was written, +and the trumpet obligato was played by Valentine +Snow, a virtuoso of that period. The performance +of "Samson" was thus announced in the London +"Daily Advertiser" of Feb. 17, 1743:-- +</p> +<blockquote><p>"By subscription. At the Theatre Royal in Covent +Garden, to-morrow, the 18th inst., will be performed a +new oratorio, called <i>Sampson</i>. Tickets will be delivered +to subscribers (on paying their subscription +money) at Mr. Handel's house in Brooke Street, Hanover +Square. Attendance will be given from nine +o'clock in the morning till three in the afternoon. Pit +and boxes to be put together, and no person to be admitted +without tickets, which will be delivered that day +at the office in Covent Garden Theatre at half a guinea +each; first gallery 5<i>s.</i>; +upper gallery, 3<i>s.</i> 6<i>d.</i>"</p></blockquote> +<span class="pgnum" id="pg_134">[134]</span> +<p>The representation was greeted with extraordinary +enthusiasm, and "Samson" soon became so popular +that many had to be turned away; notwithstanding +which, the ill-natured Horace Walpole could write, +in a letter dated Feb. 24, 1743:-- +</p> +<blockquote><p>"Handel has set up an oratorio against the opera, +and succeeds. He has hired all the goddesses from the +farces, and the singers of roast beef from between the +acts at both theatres, with a man with one note in his +voice, and a girl without ever an one; and so they sing +and make brave hallelujahs, and the good company +encore the recitative if it happens to have any cadence +like what they call a tune."</p></blockquote> +<p>The text, as we have said, was adapted from +Milton by Hamilton, who says in his preface to +the handbook, or libretto:--</p> +<blockquote><p>"That poem indeed was never divided by Milton +into acts or scenes, nor designed for the stage, but given +only as the plan of a tragedy with choruses, after the +manner of the ancients. But as Mr. Handel had so +happily introduced here oratorios, a musical drama, +whose subject must be scriptural, and in which the +solemnity of church music is agreeably united with the +most pleasing airs of the stage, it would have been +an irretrievable loss to have neglected the opportunity +of that great master's doing justice to this work; he +having already added new life and spirit to some of the +finest things in the English language, particularly that +inimitable ode<sup><a id="fr_5" href="#fn_5">[5]</a></sup> of +Dryden's which no age nor nation ever excelled."</p></blockquote> +<span class="pgnum" id="pg_135">[135]</span> +<p>The characters introduced are Samson; Micah, +his friend; Manoah, his father; Delilah, his wife; +Harapha, a giant of Gath; Israelitish woman; +priests of Dagon; virgins attendant upon Delilah; +Israelites, friends of Samson; Israelitish virgins; +and Philistines. After a brilliant overture, closing, +like that to "Saul," with a minuet movement, the +scene opens before the prison in Gaza, with Samson +blind and in chains. His opening recitative, setting +forth his release from toil on account of the feast to +Dagon, introduces a brilliant and effective chorus by +the priests with trumpets ("Awake the Trumpet's +lofty Sound"), after which a Philistine woman in a +bright, playful melody invites the men of Gaza to +bring "The merry Pipe and pleasing String;" whereupon +the trumpet chorus is repeated. After the +tenor aria ("Loud is the Thunder's awful Voice"), +the chorus recurs again, showing Handel's evident +partiality for it. The Philistine Woman has another +solo ("Then free from Sorrow"), whereupon in a +pathetic song ("Torments, alas!") Samson bewails +his piteous condition. His friend Micah appears, +and in the aria, "O Mirror of our fickle State," +condoles with him. In answer to his question, +"Which shall we first bewail, thy Bondage, or lost +Sight?" Samson replies in a short, but exquisitely +tender aria, "Total Eclipse: no Sun, no Moon, all +dark amidst the Blaze of Noon,"--a song which +brought tears to the eyes of the blind Handel himself +when he listened to it long afterwards. The +next chorus ("O first-created Beam") is of more +<span class="pgnum" id="pg_136">[136]</span> +than ordinary interest, as it treats the same subject +which Haydn afterwards used in "The Creation." +It begins in a soft and quiet manner, in ordinary +time, develops into a strong allegro on the words, +"Let there be Light," and closes with a spirited +fugue on the words, "To Thy dark Servant Life by +Light afford." A dialogue follows between Manoah +and Micah, leading up to an intricate bravura +aria for bass ("Thy glorious Deeds inspired my +Tongue"), closing with an exquisite slow movement +in broad contrast to its first part. Though comforted +by his friends, Samson breaks out in furious +denunciation of his enemies in the powerfully dramatic +aria, "Why does the God of Israel sleep?" +It is followed up in the same spirit by the chorus, +"Then shall they know,"--a fugue on two vigorous +subjects, the first given out by the altos, and the +second by the tenors. Samson's wrath subsides in +the recitative, "My genial Spirits droop," and +the first act closes with the beautifully constructed +chorus, "Then round about the starry Throne," +in which his friends console him with the joys he +will find in another life.</p> +<p>The second act, after a brief recitative, opens with +an aria by Manoah ("Just are the Ways of God to +Man"), in which he conjures Samson to repose his +trust in God. It is followed by the beautiful prayer +of Micah ("Return, return, O God of Hosts"), +emphasized by the chorus to which it leads ("To +Dust his Glory they would tread"), with which the +prayer is interwoven in obligato form. From this +<span class="pgnum" id="pg_137">[137]</span> +point, as Delilah appears, the music is full of bright +color, and loses it sombre tone. In a short recitative, +she excuses her misdeed, and then breaks out +in an aria of sensuous sweetness, "With plaintive +Notes and am'rous Moan, thus coos the Turtle left +alone." Its bewitching grace, however, makes +little impression upon Samson, who replies with +the aria, "Your Charms to Ruin led the Way." In +another enticing melody, "My Faith and Truth, +O Samson, prove," she seeks to induce his return +to her house, and a chorus of Virgins add their entreaties. +A last effort is made in the tasteful and +elegant aria, "To fleeting Pleasures make your +Court;" but when that also fails, Delilah reveals +her true self. Samson rebukes her "warbling +charms," her "trains and wiles," and counts "this +prison-house the house of liberty to thine;" whereupon +a highly characteristic duet ensues ("Traitor +to Love"). An aria for Micah follows ("It is nor +Virtue, Valor, Wit"), leading up to a powerful +dissertation on masculine supremacy in a fugued +chorus which is treated in a spirited manner, and +in which we may well fancy that the woman-hating +composer gave free rein to his spite:--</p> +<blockquote> +<div class="verse"> +<p class="t2">"To man God's universal law</p> +<p class="t2">Gave power to keep his wife in awe.</p> +<p class="t2">Thus shall his life be ne'er dismayed,</p> +<p class="t2">By female usurpation swayed."</p> +</div> +</blockquote> +<p>The giant Harapha now appears, and mocks Samson +with the taunt that had he met him before he +was blind, he would have left him dead on the field +<span class="pgnum" id="pg_138">[138]</span> +of death, "where thou wrought'st wonders with an +ass' jaw." His first number ("Honor and Arms +scorn such a Foe") is one of the most spirited and +dashing bass solos ever written. Samson replies +with the majestic aria, "My Strength is from the +living God." The two solos reach their climax +in the energetic duet between the giants, "Go, +baffled Coward, go." Micah then suggests to +Harapha that he shall call upon Dagon to dissolve +"those magic spells that gave our hero strength," +as a test of his power. The recitative is followed +by an impressive six-part chorus ("Hear, Jacob's +God") in the true church style. Its smooth, quiet +flow of harmony is refreshing as compared with the +tumult of the giants' music which precedes, and the +sensuousness of the chorus ("To Song and Dance +we give the Day") which follows it. The act +closes with the massive double chorus ("Fixed in +His everlasting Seat") in which the Israelites and +Philistines celebrate the attributes of their respective +deities and invoke their protection, and in which +also the composer brings out with overwhelming +effect the majesty and grandeur of God as compared +with the nothingness of Dagon.</p> +<p>The third act opens with a dialogue in which +Harapha brings the message to Samson that he +must repair to the feast of Dagon to delight the +Philistines with some of his feats of strength. Upon +Samson's refusal, Harapha sings the threatening aria, +"Presuming Slave!" The Israelites invoke the protection +of God in the spirited chorus, "With Thunder +<span class="pgnum" id="pg_139">[139]</span> +armed," closing with a prayer which changes +to wild and supplicating entreaty. Samson at last +yields in a tender, pathetic aria ("Thus when the +Sun"), which seems to anticipate his fate. In a +song of solemn parting ("The Holy One of Israel +be thy Guide"), accompanied by the chorus ("To +Fame immortal go"), his friends bid him farewell. +The festivities begin, and in an exultant chorus +("Great Dagon has subdued our Foe") the Philistines +are heard exulting over Samson's discomfiture. +Micah and Manoah, hearing the sounds, are filled +with anxiety, and the latter expresses his solicitude +in the tender aria, "How willing my paternal Love." +But the scene suddenly changes. In a short, crashing +presto the coming destruction is anticipated. +The trembling Israelites express their alarm in +the chorus, "Hear us, our God," and appeal to +Heaven for protection. A Messenger rushes upon +the scene and announces that Samson is dead and +has involved the destruction of his enemies in the +general calamity. Micah gives expression to his +grief in the touching aria, "Ye Sons of Israel, now +lament," followed by the Israelites in a sorrowful +wail, "Weep, Israel, weep." A funeral march, in +the major key, intervenes, full of tender expression +of sorrow,--for which, after the first two representations +Handel substituted the Dead March from +"Saul;" and both marches are now printed in the +scores for general use. As at first written, the oratorio +closed with the effective chorus and solo, +"Bring the Laurels;" but, as has been already said, +<span class="pgnum" id="pg_140">[140]</span> +a year afterwards Handel made a different ending. +Manoah calls upon the people to cease their lamentation, +and the funeral pageant is followed by the +magnificent trumpet aria, "Let the bright Seraphim,"--a +song worthy only of the greatest artists, +both with voice and instrument,--and the equally +magnificent chorus, "Let their celestial Concerts," +which closes the great oratorio with triumphant +exultation.</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_4" href="#fr_4">[4]</a></sup>"John +Beard, a quondam chorister of the Chapel Royal, under +Bernard Gates, and afterwards the greatest English tenor singer of +his day, achieved one of his brightest triumphs in the part of +Samson. His history was romantic. In 1732 he married the Lady +Henrietta, daughter of James, Earl of Waldegrave, and widow of +Lord Edward Herbert, second son of the Marquis of Powis. In +1759 he took as his second wife Charlotte, daughter of John Rich, +the harlequin."--<i>Rockstro.</i> +</div> +<div class="fndef"><sup><a id="fn_5" href="#fr_5">[5]</a></sup>Alexander's Feast; or, the Power of Music. +</div> +</div> +</div> +<div id="c25"> +<h3>The Messiah.</h3> +<p>The "Messiah" represents the ripened product +of Handel's genius, and reflects the noblest aspirations +and most exalted devotion of mankind. +Among all his oratorios it retains its original +freshness, vigor, and beauty in the highest degree, +in that it appeals to the loftiest sentiment and to +universal religious devotion, and is based upon the +most harmonious, symmetrical, and enduring forms +of the art.</p> +<p>It was begun on the 22d day of August, 1741. +The first part was concluded August 28, the second, +September 6, the third, September 12, and the instrumentation, +September 14. It is an illustration +of Handel's almost superhuman capacity for work, +that at the age of fifty-six he should have written +his masterpiece in twenty-three days. The text +was taken from the literal words of Scripture, and +the libretto arranged by Charles Jennens, who, +<span class="pgnum" id="pg_141">[141]</span> +singularly enough, was not satisfied with the music +which has satisfied the world. In a letter written +at that time, he says:-- +</p> +<blockquote><p>"I shall show you a collection I gave Handel, called +'Messiah,' which I value highly. He has made a fine +entertainment of it, though not near so good as he +might and ought to have done. I have with great difficulty +made him correct some of the grossest faults in +the composition; but he retained his overture obstinately, +in which there are some passages far unworthy +of Handel, but much more unworthy of the 'Messiah.'"</p></blockquote> +<p>For two or three years prior to the appearance of +the "Messiah," Handel had been harassed by cabals +set on foot by rival opera-managers in London, who, +by importing Italian singers, drew off the patronage +of the nobility, and ultimately succeeded in reducing +him to the condition of an insolvent debtor. +While in this wretched plight an invitation came to +him from the Duke of Devonshire, then Lord Lieutenant +of Ireland, to visit Dublin. He eagerly accepted +it, and in the correspondence which passed +between them promised to contribute a portion of +whatever might accrue from his music to charitable +institutions, and also agreed to give an oratorio "for +the benefit and enlargement of poor distressed prisoners +for debt in the several marshalseas of the city +of Dublin." He left London early in November, +arriving in that city, after many delays, on the 18th. +On the 23d of December he began a series of six +musical entertainments, which was completed February +10. His success was so great that he was +<span class="pgnum" id="pg_142">[142]</span> +induced to begin a second series February 17, a +fortnight before the close of which appeared the +following advertisement:--</p> +<blockquote><p>"For the Relief of the Prisoners in the several +Gaols, and for the Support of Mercer's Hospital, +in Stephen's Street, and of the Charitable Infirmary +on the Inn's Quay, on Monday, the 12th of April, will +be performed at the Musick Hall in Fishamble-street, +<i>Mr. Handel's</i> new Grand <i>Oratorio, called the Messiah</i>, +in which the Gentlemen of the Choirs of both Cathedrals +will assist, with some Concertos on the Organ by +Mr. Handel."</p></blockquote> +<p>The first rehearsal took place on the 8th of April, +in the presence of "a most Grand, Polite, and +Crowded Audience," as we are informed by +"Faulkner's Journal." The same paper, referring +to the first public performance, which took place on +Tuesday, April 13, 1742, says:--</p> +<blockquote><p>"At the desire of several persons of distinction, the +above performance is put off to Tuesday next. The +doors will be opened at eleven, and the performance +begins at twelve. Many ladies and gentlemen who are +well-wishers to this noble and grand charity, for which +this oratorio was composed, request it as a favor that +the ladies who honor this performance with their presence +would be pleased to come without hoops, as it +would greatly increase the charity by making room +for more company."</p></blockquote> +<p>Gentlemen were also requested to come without +their swords. "In this way," it is said, "the stewards" +<span class="pgnum" id="pg_143">[143]</span> +were able to seat seven hundred persons in +the room instead of six hundred. The principal +parts in the performance were assigned to Signora +Avolio, Mrs. Cibber, and Messrs. Church and Ralph +Roseingrane; and Mrs. Cibber's delivery of the aria +"He was despised" is said to have been so touching +that Dr. Delany, the companion of Swift, exclaimed, +as she closed: "Woman, for this be all +thy sins forgiven."</p> +<p>The "Messiah" was performed thirty-four times +during the composer's life, but never upon a scale +commensurate with its merits until the Handel +Commemoration at Westminster Abbey in 1784, +when the largest choir and band that had ever assembled +before, with the renowned Madame Mara +at the head of the soloists, first gave the "Messiah" +to the world in accordance with the grand ideal of +the composer. The orchestra was composed as +follows: First violins, 40; second violins, 47; tenors, +26; first oboes, 13; second oboes, 13; flutes, 6; +violoncellos, 21; double-basses, 15; bassoons, +26; double-bassoon, 1; trumpets, 12; trombones, +6; horns, 12; kettledrums, 3; double-kettledrum, +1: total, 242. The choir was made up as follows: +Sopranos, 60, of whom 45 were choir-boys; counter-tenors +(altos), 40; tenors, 83; basses, 84: +making the entire number of singers 267. Of the +performance of the band upon this occasion, +Burney quaintly says:--</p> +<blockquote><p>"Dante in his <i>Paradiso</i> imagines nine circles, or +choirs, of cherubs, seraphs, patriarchs, prophets, martyrs, +<span class="pgnum" id="pg_144">[144]</span> +saints, angels, and archangels, who with hand and +voice are eternally praising and glorifying the Supreme +Being, whom he places in the centre, taking the idea +from <i>Te Deum laudamus</i>, where it is said: 'To +Thee Cherubim and Seraphim continually do cry,' +etc. Now, as the orchestra in Westminster Abbey +seemed to ascend into the clouds and unite with the +saints and martyrs represented on the painted glass in +the west window, which had all the appearance of a +continuation of the Orchestra, I could hardly refrain, +during the performance of the Allelujah, to imagine +that this Orchestra, so admirably constructed, filled, +and employed, was a point or segment of one of these +celestial circles. And perhaps no band of mortal musicians +ever exhibited a more respectable appearance +to the eye, or afforded a more ecstatic and affecting +sound to the ear, than this."</p></blockquote> +<p>He is equally enthusiastic over the chorus; and +of Madame Mara's singing of the aria, "I know +that my Redeemer liveth," he says:-- +</p> +<blockquote><p>"Her power over the sensibility of the audience +seemed equal to that of Mrs. Siddons. There was +no eye within my view which did not 'silently a gentle +tear let fall,' nor, though long hackneyed in music, did +I find myself made of stronger earth than others."</p></blockquote> +<p>The oratorio is divided into three parts. The +first illustrates the longing of the world for the +Messiah, prophesies his coming, and announces +his birth; the second part is devoted to the sufferings, +death, and exaltation of Christ, and develops +the spread and ultimate triumph of the Gospel; +<span class="pgnum" id="pg_145">[145]</span> +while the third is occupied with the declaration +of the highest truths of doctrine,--faith in the +existence of God, the surety of immortal life, the +resurrection, and the attainment of an eternity of +happiness.</p> +<p>The first part opens with an overture, or rather +orchestral prelude, of majestic chords, leading to a +short fugue, developed with severe simplicity and +preparing the way for the accompanied recitative, +"Comfort ye My People," and the aria for tenor, +"Every Valley shall be exalted," which in turn +leads to the full, strong chorus, "And the Glory of +the Lord shall be revealed,"--the three numbers +in reality forming one. The prophecy is announced, +only to be followed by the human apprehension in +the great aria for bass ("But who may abide the Day +of His coming"), written in the Sicilian pastoral +style,--a form of which, Burney affirms, Handel was +very fond. The aria leads to the exquisitely constructed +number, "And He shall purify," a fugued +chorus closing in simple harmony. Once more the +prophet announces, "Behold, a Virgin shall conceive," +followed by the alto solo, "O Thou that +tellest," which preludes a chorus in the same +tempo. The next aria ("The People that walked +in Darkness"), with its curious but characteristic +modulations, leads to one of the most graphic fugued +choruses in the whole work ("For unto us a Child +is born"), elegantly interwoven with the violin parts, +and emphasized with sublime announcements of the +names of the Messiah in full harmony and with the +<span class="pgnum" id="pg_146">[146]</span> +strongest choral power. The grand burst of sound +dies away, there is a significant pause, and then +follows a short but exquisite Pastoral Symphony for +the strings, which with the four succeeding bits of +recitative tells the message of the Angels to the +Shepherds on the plains of Bethlehem. Suddenly +follows the chorus of the heavenly hosts ("Glory to +God"), which is remarkably expressive, and affords +sharp contrasts in the successive clear responses to +the fugue. The difficult but very brilliant aria for +soprano, "Rejoice greatly," the lovely aria, "He +shall feed His Flock," originally written entire for +soprano, in which Handel returns again to the pastoral +style, and a short chorus ("His Yoke is easy"), +close the first part.</p> +<p>The second part is the most impressive portion +of the work. It begins with a majestic and solemn +chorus ("Behold the Lamb of God"), which +is followed by the aria for alto, "He was despised,"--one +of the most pathetic and deeply expressive +songs ever written, in which the very key-note of +sorrow is struck. Two choruses--"Surely He +hath borne our Griefs," rather intricate in harmony, +and "With His Stripes we are healed," a fugued +chorus written <i>a capella</i> upon an admirable +subject--lead to the spirited and thoroughly interesting +chorus, "All we like Sheep have gone +astray," closing with an adagio of great beauty +("And the Lord hath laid on Him the Iniquity +of us all"). This is followed by several short numbers,--a +choral fugue ("He trusted in God"), the +<span class="pgnum" id="pg_147">[147]</span> +accompanied recitative ("Thy Rebuke hath broken +His Heart"), a short but very pathetic aria for +tenor ("Behold and see if there be any Sorrow"), +and an aria for soprano ("But Thou didst not leave +His Soul in Hell"),--all of which are remarkable +instances of the musical expression of sorrow and +pity. These numbers lead to a triumphal shout in +the chorus and semi-choruses, "Lift up your Heads, +O ye Gates," which reach a climax of magnificent +power and strongly contrasted effects. After the +chorus, "Let all the Angels of God worship Him," +a fugue constructed upon two subjects, the aria, +"Thou art gone up on high," and the chorus, +"The Lord gave the Word," we reach another +pastoral aria of great beauty, "How beautiful are the +Feet." This is followed by a powerfully descriptive +chorus ("Their Sound is gone out into all +Lands"), a massive aria for bass ("Why do the +Nations"), the chorus, "Let us break their Bonds +asunder," and the aria, "Thou shalt break them," +leading directly to the great Hallelujah Chorus, +which is the triumph of the work and its real +climax. It opens with exultant shouts of "Hallelujah." +Then ensue three simple phrases, the +middle one in plain counterpoint, which form the +groundwork for the "Hallelujah." These phrases, +seemingly growing out of each other, and reiterated +with constantly increasing power, interweaving +with and sustaining the "Hallelujah" with wonderful +harmonic effects, make up a chorus that has +never been excelled, not only in musical skill, +<span class="pgnum" id="pg_148">[148]</span> +but also in grandeur and sublimity. After listening +to its performance, one can understand Handel's +words: "I did think I did see all heaven before +me, and the great God himself." This number +closes the second part. It is worthy of note in this +connection that when the oratorio was first performed +at Covent Garden, London, in 1743, the whole audience, +with the King at its head, arose during the +singing of the "Hallelujah" and remained standing +until it was finished,--a custom which is still +observed, not only in England, but also in this +country.</p> +<p>If the oratorio had closed at this point it would +not have disturbed the unities; but Handel carried +it into a third part with undiminished interest, opening +it with that sublime confession of faith, "I +know that my Redeemer liveth,"--an aria which +will never be lost. It is followed by two quartets +in plain counterpoint with choral responses, "Since +by Man came Death," and "For as in Adam all +die," in which the effects of contrast are very forcibly +brought out. The last important aria in the +work ("The Trumpet shall sound"), for bass with +trumpet obligato, will always be admired for its +beauty and stirring effect. The oratorio closes +with three choruses, all in the same key and of the +same general sentiment,--"Worthy is the Lamb," a +piece of smooth, flowing harmony; "Blessing and +Honor," a fugue led off by the tenors and bassos +in unison, and repeated by the sopranos and altos +on the octave, closing with full harmony on the +<span class="pgnum" id="pg_149">[149]</span> +words "for ever and ever" several times reiterated; +and the final, "Amen" chorus, which is treated in +the severest style, and in which the composer evidently +gave free rein to his genius, not being hampered +with the trammels of words.</p> +<p>Other oratorios may be compared one with another; +the "Messiah" stands alone, a majestic +monument to the memory of the composer, an +imperishable record of the noblest sentiments of +human nature and the highest aspirations of man.</p> +</div> +<div id="c26"> +<h3>Judas Maccabæus.</h3> +<p>The oratorio of "Judas Maccabæus" was written +in thirty-two days, between July 9 and Aug. 11, +1746, upon the commission of Frederic, Prince of +Wales, to celebrate the return of the Duke of Cumberland +from Scotland after the decisive victory of +Culloden, April 16, 1746. The words were written +by the Rev. Thomas Morell, D.D., a learned Greek +scholar of that time, the plot being taken from +the narrative of the exploits of the Jewish deliverer +contained in the first book of Maccabees and in +the twelfth book of Josephus' "Antiquities of the +Jews." In his dedication, Dr. Morell says:-- +</p> +<blockquote><p>"To His Royal Highness Prince William, Duke of +Cumberland, this faint portraiture of a truly wise, +valiant, and virtuous commander as the possessor +of the like noble qualities is, with the most profound +<span class="pgnum" id="pg_150">[150]</span> +respect and veneration, inscribed by His Royal Highness' +most obedient and most devoted servant the +author."</p></blockquote> +<p>To what extremes of adulation even a doctor of +divinity may go, is well shown in Schoelcher's +pithy comment: "This is addressed to a man who +pitilessly murdered as many prisoners after the +battle as his courage had slain enemies during the +combat." It is but just to the composer, however, +to say that the great success of this oratorio had +little to do with the political causes which led to its +composition. It was first performed at Covent +Garden, April 1, 1747, and was repeated six times +that year. Handel himself conducted it thirty-eight +times with ever growing popularity, to which +the Jews contributed greatly, as it glorified an episode +in their national history.</p> +<p>The characters represented are Judas Maccabæus; +Simon, his brother; an Israelitish Messenger; +and Israelitish Men and Women. The story may +be gathered from the following summary of the +plot as prepared for the Birmingham Festival of +1861:--</p> +<blockquote> +<p class="tm1"><span class="sc">Part I.</span>--Lamentations for the death of Mattathias +(the father of Judas Maccabæus and Simon), by +whom the Jewish people had been roused to resist +the cruelties and oppressions of Antiochus +Epiphanes, the Syrian king, in his attempt to +suppress their religion and liberties.--The divine +favor invoked.--Judas recognized as leader.--Appeal +to the patriotism of the people, and +<span class="pgnum" id="pg_151">[151]</span> +their response.--The value of liberty.--Preparations +for war.--Pious trust in God, and +heroic resolve to conquer or die.</p> +<p class="tm1"><span class="sc">Part II.</span>--Celebration of the victories gained over +the armies of Apollonius, the governor of Samaria +and Seron, the Deputy Governor of Cœlesyria, +and the valor of Judas.--Renewal of war +by a division of the Syrian array from Egypt, +under Gorgias, and the despondency it occasions +among the Israelites.--Judas again arouses the +failing courage of the people, and they set out to +meet the enemy.--Those who remain behind +utter their detestation of the heathen idolatries, +by which the sanctuary at Jerusalem had been +desecrated, and their determination only to worship +the God of Israel.</p> +<p class="tm1"><span class="sc">Part III.</span>--Feast of the dedication at Jerusalem, +after Judas and his followers had recovered and +restored the sanctuary, and re-established the +liberties of his country.--Return of Judas from +his final victory over Nicanor and his confederates.--Celebration +of peace, and national thanksgiving.</p> +</blockquote> +<p>The first scene introduces the Israelitish Men and +Women lamenting the death of the father of Judas +in the sorrowful chorus, "Mourn, ye afflicted Children," +which, after a duet for soprano and tenor, +is followed by still another chorus in a similar strain +("For Zion Lamentation make"), but much more +impressive, and rising to a more powerful climax. +After a brief and simple soprano solo ("Pious +Orgies"), the chorus sings the prayer, "O Father, +<span class="pgnum" id="pg_152">[152]</span> +whose Almighty Power," closing with a characteristic +fugue on the words, "And grant a Leader." +After a short recitative, Simon (bass) breaks out +in the heroic and sonorous aria, "Arm, arm, ye +brave," which has always retained its popularity, +notwithstanding its antique bravura. It is followed +by the chorus in the brief, but stirring number, "We +come in bright array." Five arias, a duet, and +two choruses, nearly all of which are now omitted +in performances, being of the same general character, +and mainly apostrophes to liberty, lead to the +great chorus closing the first part, "Hear us, O +Lord." It is intricate in its construction, but +when properly sung resolves itself into one of the +most vigorous and impressive choruses Handel has +written.</p> +<p>The second part opens with the Israelites celebrating +the return of Judas from the victories over +Apollonius and Seron. An instrumental prelude, +picturing the scenes of battle, leads directly to the +great chorus, the best in the work, "Fallen is the +Foe." The triumphant declaration is made over and +over with constantly increasing energy, finally leading +to a brilliant fugue on the words, "Where warlike +Judas wields his righteous Sword;" but interwoven +with it are still heard those notes of victory, "Fallen +is the Foe," and the response, "So fall Thy Foes." +The Israelitish Man sings a vigorous tribute to +Judas ("So rapid thy Course is"). The triumphant +strain, "Zion now her Head shall raise," is taken +by two voices, closing with the soprano alone; but +<span class="pgnum" id="pg_153">[153]</span> +before her part ends, the whole chorus takes it and +joins in the pæan, "Tune your Harps," and the +double number ends in broad, flowing harmony. +In a florid number ("From mighty Kings he took +the Spoil") the Israelitish Woman once more sings +Judas's praise. The two voices unite in a welcome +("Hail Judæa, happy Land"), and finally the whole +chorus join in a simple but jubilant acclaim to the +same words. The rejoicings soon change to expressions +of alarm and apprehension as a Messenger +enters and announces that Gorgias has been sent +by Antiochus to attack the Israelites, and is already +near at hand. They join in a chorus expressive of +deep despondency ("Oh, wretched Israel"); but +Simon, in a spirited aria ("The Lord worketh Wonders"), +bids them put their trust in Heaven, and +Judas rouses their courage with the martial trumpet +song, "Sound an Alarm," which, though very +brief, is full of vigor and fire. After the departure +of Judas to meet the foe, Simon, the Israelitish Man, +and the Israelitish Woman follow each other in denunciation +of the idolatries which have been practised +by the heathen among them, and close with +the splendid chorus, "We never will bow down to +the rude Stock or sculptured Stone," in which +vigorous repetitions of the opening phrase lead to a +chorale in broad, impressive harmony, with which is +interwoven equally vigorous repetitions of the phrase, +"We worship God alone."</p> +<p>The third part opens with the impressive prayer, +"Father of Heaven, from Thy eternal Throne," +<span class="pgnum" id="pg_154">[154]</span> +sung by the Priest. As the fire ascends from the +altar, the sanctuary having been purified of its +heathen defilement, the Israelites look upon it as +an omen of victory and take courage. A Messenger +enters with tidings of Judas's triumph over all their +enemies. The Israelitish Maidens and Youths go +out to meet him, singing the exultant march chorus, +"See the Conquering Hero comes," which is familiar +to every one by its common use on all occasions, +from Handel's time to this, where tribute has +been paid to martial success and heroes have been +welcomed. It is the universal accompaniment of +victory, as the Dead March in "Saul" is of the +pageantry of death. It is very simple in its construction, +like many others of Handel's most effective +numbers. It is first sung as a three-part +chorus, then as a duet or chorus of Virgins, again by +the full power of all the voices, and gradually dies +away in the form of an instrumental march. The +chorus did not originally belong to "Judas Maccabæus," +but to "Joshua," in which oratorio it is +addressed to Othniel when he returns from the +capture of Debir. Handel frequently made transfers +of that kind, and this was a permanent one; for +the celebrated chorus is now unalterably identified +with the work in which he placed it, and in which +also the setting is still more imposing. A very elaborate +chorus ("Sing unto God"), a florid aria with +trumpet solo for Judas ("With Honor let Desert be +crowned"), the chorus, "To our Great God," a +pastoral duet with exquisite accompaniment ("O +<span class="pgnum" id="pg_155">[155]</span> +Lovely Peace"), and a Hallelujah in the composer's +customary exultant style, close this very brilliant and +dramatic oratorio.</p> +</div> +<div id="c27"> +<h3>The Dettingen Te Deum.</h3> +<p>On the 27th of June, 1743, the British army and +its allies, under the command of King George II. +and Lord Stair, won a victory at Dettingen, in Bavaria, +over the French army, commanded by the +Maréchal de Noailles and the Duc de Grammont. +It was a victory plucked from an expected defeat, +and aroused great enthusiasm in England. On the +King's return, a day of public thanksgiving was +appointed, and Handel, who was at that time +"Composer of Musick to the Chapel Royal," was +commissioned to write a Te Deum and an anthem +for the occasion. The original score, a large folio +volume in the Royal Collection, is headed "Angefangen +Juli 17, 1743." There is no date at the +end; but as the beginning of the Dettingen Anthem +is dated July 30, it is probable that the Te Deum +was finished between the 17th and 30th. Both +works were publicly rehearsed at the Chapel Royal, +Whitehall, on the 18th and 25th of the ensuing +November, and formed part of the thanksgiving +services on the 27th at the Chapel Royal of St. +James, in the presence of the King and royal family.</p> +<p>The Dettingen Te Deum has been universally +considered as one of the masterpieces among +<span class="pgnum" id="pg_156">[156]</span> +Handel's later works. Never was a victory more +enthusiastically commemorated in music. It is not +a Te Deum in the strict sense, but a grand martial +panegyric, and, as Rockstro says:--</p> +<blockquote><p>"It needs no great stretch of the imagination to +picture every drum and trumpet in the realm taking +part in the gorgeous fanfare of its opening chorus, +while the whole army, with the King at its head, +joins the assembled nation in a shout of praise for +the escape which was so unexpectedly changed into +a memorable victory."</p></blockquote> +<p>Schoelcher, in his reference to this work, notes +that Handel set the hymn of St. Ambrose to +music five different times in thirty years, and +always with new beauty and fresh color, though it +is somewhat remarkable that he gave each time a +plaintive character to the verse, "To Thee all +angels cry aloud,"--a fact also observed by Burney, +who says:--</p> +<blockquote><p>"There is some reason to suspect that Handel, in +setting his grand Te Deum for the peace of Utrecht, +as well as in this, confined the meaning of the word +'cry' to a sorrowful sense, as both the movements to +the words 'To Thee all angels cry aloud' are not only +in a minor key, but slow and plaintive."</p></blockquote> +<p>Burney further says, speaking of its performance +at the great Handel Commemoration in Westminster +Abbey in 1784:--</p> +<blockquote><p>"As it was composed for a military triumph, the fourteen +trumpets, two pairs of common kettledrums, two +<span class="pgnum" id="pg_157">[157]</span> +pairs of double drums from the Tower, and a pair +of double-bass drums made expressly for this occasion, +were introduced with great propriety; indeed, +these last drums, except the destruction, had all the +effect of the most powerful artillery."</p></blockquote> +<p>The Te Deum contains eighteen short solos and +choruses, mostly of a brilliant, martial character, the +solos being divided between the alto, baritone, and +bass. After a brief instrumental prelude, the work +opens with the triumphant, jubilant chorus with +trumpets and drums, "We praise Thee, O God," +written for five parts, the sopranos being divided +into firsts and seconds, containing also a short +alto solo leading to a closing fugue. The second +number ("All the Earth doth worship Thee") is +also an alto solo with five-part chorus of the same +general character. It is followed by a semi-chorus +in three parts ("To Thee all Angels cry aloud"), +plaintive in style, as has already been observed, +and leading to the full chorus ("To Thee Cherubim +and Seraphim"), which is majestic in its +movement and rich in harmony. The fifth number +is a quartet and chorus ("The glorious Company +of the Apostles praise Thee"), dominated by +the bass, with responses from the other parts, and +followed by a short full chorus ("Thine adorable, +true, and only Son"). The seventh number is a +stirring bass solo with trumpets ("Thou art the +King of Glory"), leading without break into a +stately choral enunciation of the same words. +The eighth is a slow and plaintive bass solo, +<span class="pgnum" id="pg_158">[158]</span> +usually sung by a tenor ("When Thou tookest +upon Thee to deliver Man"), followed by a +grave and impressive chorus ("When Thou hadst +overcome the Sharpness of Death"). The next +number is a trio for alto, tenor, and bass ("Thou +sittest at the Right Hand of God"), closing with a +beautiful adagio effect. A fanfare of trumpets introduces +the next four numbers, all choruses, set to +four verses of the hymn:--</p> +<blockquote> +<div class="verse"> +<p class="t0">"We therefore pray Thee, help Thy servants: Whom Thou hast redeemed with Thy precious blood.</p> +<p class="t0">"Make them to be numbered with Thy Saints: in glory everlasting.</p> +<p class="t0">"O Lord, save Thy people: and bless Thine heritage.</p> +<p class="t0">"Govern them: and lift them up forever.</p> +<p class="t0">"Day by day: we magnify Thee:</p> +<p class="t0">"And we worship Thy Name! ever, world without end."</p> +</div> +</blockquote> +<p>In this group of choruses the art of fugue and +counterpoint is splendidly illustrated, but never to +the sacrifice of brilliant effect, which is also heightened +by the trumpets in the accompaniments. An +impressive bass solo ("Vouchsafe, O Lord") intervenes, +and then the trumpets sound the stately symphony +to the final chorus, "O Lord, in Thee have +I trusted." It begins with a long alto solo with +delicate oboe accompaniment that makes the effect +very impressive when voices and instruments take +up the phrase in a magnificent outburst of power +and rich harmony, and carry it to the close.</p> +</div> +<div id="c28"> +<span class="pgnum" id="pg_159">[159]</span> +<h2>HAYDN.</h2> +<p>Joseph Haydn, the creator of the symphony +and the stringed quartet, was born +at Rohrau, a little Austrian village on the +river Leitha, March 31, 1732. His father +was a wheelwright and his mother a cook, in service +with Count Harrach. Both the parents were fond +of music, and both sang, the father accompanying +himself upon the harp, which he played by ear. The +child displayed a voice so beautiful that in his sixth +year he was allowed to study music, and was also +given a place in the village church-choir. Reutter, +the capellmeister of St. Stephen's, Vienna, having +heard him, was so impressed with the beauty of his +voice that he offered him a position as chorister. +Haydn eagerly accepted it, as it gave him opportunities +for study. While in the service of St. +Stephen's he had lessons on the violin and piano, as +well as in composition. When his voice broke, and +his singing was of no further value, he was thrown +upon the tender mercies of the world. Fortune +favored him, however. He obtained a few pupils, +<span class="pgnum" id="pg_160">[160]</span> +and gave himself up to composition. He made the +acquaintance of Metastasio, Porpora, and Gluck. +His trios began to attract attention, and he soon +found himself rising into prominence. In 1759, +through the influence of a wealthy friend and amateur, +he was appointed to the post of musical director +and composer in the service of Count Morzin, +and about this time wrote his first symphony. When +the Count dismissed his band, Prince Paul Anton +Esterhazy received him as his second capellmeister, +under Werner. When the latter died, in 1766, +Haydn took his place as sole director. His patron, +meanwhile, had died, and was succeeded by his +brother Nicolaus, between whom and Haydn there +was the utmost good feeling. Up to this time Haydn +had written thirty symphonies, a large number of +trios, quartets, and several vocal pieces. His connection +with the Prince lasted until 1790, and was +only terminated by the latter's death. But during +this period of twenty-eight years his musical activity +was unceasing; and as he had an orchestra of his +own, and his patron was ardently devoted to music, +the incentive to composition was never lacking. +Anton succeeded Nicolaus, and was generous enough +to increase Haydn's pension; but he dismissed +the entire chapel, and the composer took up his +abode in Vienna. He was hardly established before +he received a flattering proposition from Salomon, +the manager, to go to England. He had already +had many pressing invitations from others, but could +not accept them, owing to his engagement at Esterhazy. +<span class="pgnum" id="pg_161">[161]</span> +Now that he was free, he decided to make +the journey. On New Year's Day, 1791, he arrived +in London. Success greeted him at once. +He became universally popular. Musicians and +musical societies paid him devoted attention. He +gave a series of symphony concerts which aroused +the greatest enthusiasm. He was treated with distinguished +courtesy by the royal family. Oxford +gave him the honorary degree of Doctor of Music. +The nobility entertained him sumptuously. After a +year of continuous fêtes, he returned to Germany, +where he remained two years, during a portion of +which time Beethoven was his pupil. In 1794 he +made his second journey to England, where his +former successes were repeated, and fresh honors +were showered upon him. In 1804 he was notified +by Prince Esterhazy that he was about to reorganize +his chapel, and wished him for its conductor +again. Haydn accordingly returned to his old position, +where he remained during the rest of his +life. He was already an old man, but it was +during this period that his most remarkable works +were produced, among them the Austrian National +Hymn ("Gott erhalte Franz den Kaiser"), the +"Seven Words," the "Creation," the "Seasons," +and many of his best trios and quartets. He +died May 31, 1809, a few days after the occupation +of Vienna by the French, and among the +mourners at his funeral were many French officers. +Funeral services were held in all the principal +European cities. Honored and respected all over +<span class="pgnum" id="pg_162">[162]</span> +Europe, he was most deeply loved by his own +countrymen, who still affectionately speak of him as +"Papa" Haydn.</p> +</div> +<div id="c29"> +<h3>The Creation.</h3> +<p>Haydn was sixty-five years of age when he undertook +the great work of his life. It was begun in +1796, and finished in 1798. When urged to bring +it to a conclusion more rapidly, he replied, "I +spend much time over it, because I intend it to +last a long time." Shortly before his final departure +from London, Salomon, his manager, brought him +a poem for music which had been compiled by +Lydley from Milton's "Paradise Lost," for use by +Handel, though the latter had not availed himself of +it. Haydn took it with him to Vienna, and submitted +it to the Baron van Swieten, the Emperor's +librarian, who was not only a very learned scholar, +but also something of a musician and composer. +The Baron suggested that he should make an oratorio +of it, and to encourage him, not only translated +the text into German, but added a number +of arias, duets, and choruses, particularly those of +the descriptive kind. Several of the nobility also +guaranteed the expenses of preparation and performance. +His friend Griesinger writes:--</p> +<blockquote><p>"Haydn wrote 'The Creation' in his sixty-fifth year +with all the spirit that usually dwells in the breast of +youth. I had the good fortune to be a witness of the +deep emotions and joyous enthusiasm which several +<span class="pgnum" id="pg_163">[163]</span> +performances of it under Haydn's own direction +aroused in all listeners. Haydn also confessed +to me that it was not possible for him to describe the +emotions with which he was filled as the performance +met his entire expectation, and his audience listened to +every note. 'One moment I was as cold as ice, and +the next I seemed on fire, and more than once I feared +I should have a stroke.'"</p></blockquote> +<p>On another occasion Haydn remarked: "Never +was I so pious as when composing 'The Creation.' +I knelt down every day and prayed God +to strengthen me for the work." That he sought +this inspiration in his old age more than once, we +may infer from another remark to Griesinger: +"When composition does not get on well, I go +to my chamber, and with rosary in hand say a few +<i>aves</i>, and then the ideas return." It was first performed +in private at the Schwartzenberg Palace, +April 29, 1798; and Bombet, the celebrated French +critic, who was present, says in one of his letters:</p> +<blockquote><p>"Who can describe the applause, the delight, the +enthusiasm of this society? I was present, and I +can assure you I never witnessed such a scene. +The flower of the literary and musical society of +Vienna were assembled in the room, which was well +adapted to the purpose, and Haydn himself directed +the orchestra. The most profound silence, the most +scrupulous attention, a sentiment, I might almost say, +of religious respect, were the dispositions which prevailed +when the first stroke of the bow was given. +The general expectation was not disappointed. A +long train of beauties, to that moment unknown, +<span class="pgnum" id="pg_164">[164]</span> +unfolded themselves before us; our minds, overcome +with pleasure and admiration, experienced during +two successive hours what they had rarely felt,--a +happy existence, produced by desires, ever lively, +ever renewed, and never disappointed."</p></blockquote> +<p>The first public performance was given at the +National Theatre, March 19, 1799, Haydn's name-day, +and the next by the Tonkünstler Societät. On +the 9th of March he conducted it at the palace of +Ofen before the Archduke Palatine Joseph of Hungary. +Its success was immediate, and rivalled that +of "The Messiah." It was performed all over Europe, +and societies were organized for the express +purpose of producing it. In London rival performances +of it were given at Covent Garden and +the King's Theatre during the year 1800.</p> +<p>The oratorio opens with an overture representing +chaos. Its effect is at first dull and indefinite, its +utterances inarticulate, and its notes destitute of perceptible +melody. It is Nature in her chaotic state, +struggling into definite form. Gradually instrument +after instrument makes an effort to extricate itself, +and as the clarinets and flutes struggle out of the +confusion, the feeling of order begins to make itself +apparent. The resolutions indicate harmony. +At last the wonderful discordances settle, leaving +a misty effect that vividly illustrates "the Spirit +of God moving upon the face of the waters." +Then, at the fiat of the Creator, "Let there be +Light," the whole orchestra and chorus burst forth +in the sonorous response, "And there was Light." +<span class="pgnum" id="pg_165">[165]</span> +A brief passage by Uriel (tenor) describes the division +of light from darkness, and the end of chaos, +introducing a fugued chorus, in which the rage of +Satan and his hellish spirits, as they are precipitated +into the abyss, is described with tremendous +discords and strange modulations; but +before it closes, the music relates the beauties of +the newly created earth springing up "at God's +command." Raphael describes the making of the +firmament, the raging of the storms, the flashing +lightning and rolling thunders, the showers of rain +and hail, and the gently falling snow, to an accompaniment +which is closely imitative in character. +The work of the second day forms the theme of +"The Marvellous Work," for soprano obligato with +chorus,--a number characterized by great joyousness +and spirit. This leads to the number, "Rolling +in foaming Billows," in which the music is employed +to represent the effect of water, from the roaring billows +of the "boisterous seas," and the rivers flowing +in "serpent error," to "the limpid brook," whose +murmuring ripple is set to one of the sweetest and +most delicious of melodies. This leads the way to +the well-known aria, "With Verdure clad," of which +Haydn himself was very fond, and which he recast +three times before he was satisfied with it. It is +followed by a fugued chorus ("Awake the Harp"), +in which the Angels praise the Creator. We next +pass to the creation of the planets. The instrumental +prelude is a wonderful bit of constantly developing +color, which increases "in splendor bright," +<span class="pgnum" id="pg_166">[166]</span> +until the sun appears. It is followed by the rising +of the moon, to an accompaniment as tender as its +own radiance; and as the stars appear, "the Sons of +God" announce the fourth day, and the first part +closes with the great chorus, "The Heavens are +telling," in which the entire force of band and +singers is employed in full, broad harmony and sonorous +chords, leading to a cadence of magnificent +power.</p> +<p>The second part opens with the aria, "On mighty +Pens," describing in a majestic manner the flight +of the eagle, and then blithely passes to the gayety +of the lark, the tenderness of the cooing doves, and +the plaintiveness of the nightingale, in which the +singing of the birds is imitated as closely as the +resources of music will allow. A beautiful terzetto +describes with inimitable grace the gently sloping +hills covered with their verdure, the leaping of +the fountain into the light, and the flights of +birds, and a bass solo in sonorous manner takes +up the swimming fish, closing with "the upheaval +of Leviathan from the deep," who disports himself +among the double-basses. This leads to a powerful +chorus, "The Lord is great." The next number +describes the creation of various animals; and +perhaps nothing that art contains can vie with it in +varied and vivid description. It begins with the +lion, whose deep roar is heard among the wind-instruments. +The alertness of the "flexible tiger" +is shown in rapid flights by the strings. A presto +ingeniously represents the quick movements of the +<span class="pgnum" id="pg_167">[167]</span> +stag. The horse is accompanied by music which +prances and neighs. A quiet pastoral movement, in +strong contrast with the preceding abrupt transitions, +pictures the cattle seeking their food "on fields and +meadows green." A flutter of sounds describes the +swarms of insects in the air, and from this we pass +to a long, undulating thread of harmony, representing +"the sinuous trace" of the worm. This masterpiece +of imitative music is contained in a single +recitative. A powerful and dignified aria, sung by +Raphael ("Now Heaven in fullest Glory shone"), +introduces the creation of man, which is completed +in an exquisitely beautiful aria ("In Native Worth ") +by Uriel, the second part of which is full of tender +beauty in its description of the creation of Eve, and +closes with a picture of the happiness of the newly +created pair. A brief recitative ("And God saw +everything that He had made") leads to the +chorus, "Achieved is the glorious Work,"--a +fugue of great power, superbly accompanied. It +is interrupted by a trio ("On Thee each living +Soul awaits"), but soon returns with still greater +power and grandeur, closing with a Gloria and +Hallelujah of magnificent proportions.</p> +<p>The third part opens with a symphonic introduction +descriptive of the first morning of creation, +in which the flutes and horns, combined with the +strings, are used with exquisite effect. In a brief +recitative ("In rosy Mantle appears") Uriel pictures +the joy of Adam and Eve, and bids them sing +the praise of God with the angelic choir, which +<span class="pgnum" id="pg_168">[168]</span> +forms the theme of the succeeding duet and chorus +("By Thee with Bliss"); to which the answering +choir replies with a gentle and distant effect, as if +from the celestial heights, "Forever blessed be +His Power." Again Adam and Eve in successive +solos, finally uniting, join with the choir in extolling +the goodness of God; and as they close, all +take up the beautiful and majestic pæan, "Hail, +bounteous Lord! Almighty, hail!" As the angelic +shout dies away, a tender, loving dialogue +ensues between Adam and Eve, leading to the +beautiful duet, "Graceful Consort," which is not +only the most delightful number in the work, but in +freshness, sweetness, and tenderness stands almost +unsurpassed among compositions of its kind. After +a short bit of recitative by Uriel ("O happy Pair"), +the chorus enters upon the closing number ("Sing +the Lord, ye Voices all"), beginning slowly and +majestically, then developing into a masterly fugue +("Jehovah's Praise forever shall endure"), and +closing with a Laudamus of matchless beauty, in +which the principal voices in solo parts are set +off against the choral and orchestral masses with +powerful effect.</p> +<p>Haydn's last appearance in public was at a performance +of the "Creation," which took place in +1808, when it was given in Italian under the direction +of Salieri. Dies says of this remarkable +scene:--</p> +<blockquote><p>"On alighting from the Prince's carriage, he was received +by distinguished personages of the nobility and +<span class="pgnum" id="pg_169">[169]</span> +by his scholar, Beethoven. The crowd was so great that +the military had to keep order. He was carried, sitting +in his arm-chair, into the hall, and was greeted +upon his entrance with a flourish of trumpets and joyous +shouts of 'Long live Haydn!' He occupied a +seat next his Princess, the Prince being at court that +day; and on the other side sat his favorite scholar, +Fräulein Kurzbeck. The highest people of rank in +Vienna selected seats in his vicinity. The French +ambassador noticed that he wore the medal of the +Paris Concert des Amateurs. 'Not only this, but +all the medals which have been awarded in France, +you ought to have received,' said he. Haydn thought +he felt a little draught; the Princess threw her shawl +about him, many ladies following her example, and in +a few moments he was completely wrapped in shawls. +Poems by Collin and Carpani, the adapter of the text, +were presented to him. He could no longer conceal +his feelings. His overburdened heart sought and +found relief in tears. When the passage, 'And there +was Light,' came, and the audience broke out into tumultuous +applause, he made a motion of his hands +towards heaven, and said, 'It came from thence.' +He remained in such an agitated condition that he +was obliged to take his leave at the close of the +first part. As he went out, the audience thronged +about him to take leave of him, and Beethoven +kissed his hand and forehead devoutly. His departure +completely overcame him. He could not +address the audience, and could only give expression +to his heartfelt gratitude with broken, feeble +utterances and blessings. Upon every countenance +there was deep pity, and tearful eyes followed him +as he was taken to his carriage."</p></blockquote> +<span class="pgnum" id="pg_170">[170]</span> +<p>He lived but a short time longer, but long enough +to witness the success of his scholar, Beethoven, in +the same year.</p> +</div> +<div id="c30"> +<h3>The Seasons.</h3> +<p>"The Seasons," written two years after "The +Creation," was Haydn's last oratorio. The music +was composed between April, 1798, and April, 1801. +It is not an oratorio in the strict sense of the term, +as it partakes of the form and qualities, not only +of the oratorio, but also of the opera and cantata. +The words were compiled by Baron van Swieten +from Thomson's well-known poem of "The Seasons," +but it was a long time before he could persuade +Haydn to undertake the task of composing +an oratorio on the subject. His old age and infirmities +made him averse to the work. He was greatly +annoyed by the text, and still more so by its compiler, +who insisted upon changes in the music which +Haydn testily declined to make. He was frequently +irritated over the many imitative passages, +and it was to relieve his own feelings and vary the +monotony of the sentiment that he introduced the +rollicking bacchanal chorus in the third part. He +expressed his feelings to a friend in the remark: +"My head was so full of the nonsensical stuff that it +all went topsy-turvy, and I therefore called the closing +fugue the 'drunken fugue.'" Notwithstanding +his many objections, when once he started, he +<span class="pgnum" id="pg_171">[171]</span> +worked hard,--so hard, indeed, that this continuous +labor induced brain-fever and intense suffering, +and he never entirely rallied from its effects. A +weakness followed, which constantly increased. To +one friend he remarked: "The 'Seasons' have +brought this trouble upon me. I ought not to have +written it. I have overdone;" and to another: "I +have done; my head is no longer what it was. +Formerly ideas came to me unsought: I am now +obliged to seek for them; and for this I feel I am +not formed." It is a sad picture, that of the old +composer sitting down to work in his seventieth +year, distrustful of his own powers, with an uncongenial +text before him; but no indications of age or +weakness are to be found in this music, which from +its first note to the last is fresh, original, bright, and +graceful,--a treasure-house of ideas to which subsequent +composers have gone time after time when +they would write of Nature or attempt to picture +her moods.</p> +<p>The "Seasons" was first performed at the +Schwartzenberg Palace, Vienna, April 24, 1801, +and was repeated on the 27th and on the 1st of +May. On the 29th of May Haydn himself conducted +it in public at the Redoutensaal, for his own +benefit. Though some of the critics disparaged it, +and Beethoven was not overpleased with it, it met +with a great popular success, and Haydn himself +was delighted with the work that had cost him so +much trouble. Bombet, the French critic, who was +present at the first performance, says of it:--</p> +<span class="pgnum" id="pg_172">[172]</span> +<blockquote><p>"The best critique that has been given of the work +is that which Haydn himself addressed to me when I +went to give him an account of the performance of it +in the Palace Schwartzenberg. The applause had +been universal, and I hastened out to congratulate +the author. Scarcely had I opened my lips when the +honest composer stopped me: 'I am happy to find +that my music pleases the public; but I can receive +no compliment on this work from you. I am convinced +that you feel yourself that it is not the "Creation;" and +the reason is this: in the "Creation" the actors are +angels; here they are peasants.'"</p></blockquote> +<p>The work is divided into four parts,--Spring, +Summer, Autumn, and Winter,--and the characters +introduced are Simon, a farmer; Jane, his daughter; +Lucas, a young countryman and shepherd; +and a chorus of Country People and Hunters. A +vivacious overture, expressing the passage from +winter to spring, and recitatives by Simon, Lucas, +and Jane, who in turn express their delight at the +close of the one season and the approach of the +other, lead to the opening chorus ("Come, gentle +Spring, ethereal Mildness, come"),--a fresh and +animated number, which is familiar to every one. +Simon trolls out a pastoral aria ("With Joy the impatient +Husbandman"), full of the very spirit of +quiet, peace, and happiness,--a quaint melody +which will inevitably recall to opera-goers the +"Zitti, Zitti" from Rossini's "Barber of Seville," the +essential difference between the two pieces being +that in the latter the time is greatly accelerated. +This aria is followed by a trio and chorus ("Be +<span class="pgnum" id="pg_173">[173]</span> +propitious, bounteous Heaven"), a free fugue, in +which all beseech a blessing upon the sowing of the +seed. The next number is a duet for Jane and +Lucas, with chorus ("Spring her lovely Charms unfolding"), +which is fairly permeated with the delicate +suggestions of opening buds and the delights +of the balmy air and young verdure of spring. As +its strains die away, all join in the cheerful fugued +chorus, "God of Light," which closes the first part.</p> +<p>After a brief adagio prelude, the second part, +"Summer," opens with a charming aria by Simon +("From out the Fold the Shepherd drives"), which +gives us a delightful picture of the shepherd driving +his flock along the verdant hillside, then leaning +upon his staff to watch the rising sun. As it +appears, it is welcomed by trio and chorus with the +exultant shout, "Hail, O glorious Sun!" As noon +approaches, the music fairly becomes radiant. A +series of recitatives and arias follow, bringing out +in a vivid and picturesque manner the oppressive, +exhaustive heat and the longing for rest and shade, +leading at last to an ominous silence as the clouds +begin to gather and the sky darkens. A short recitative +prepares the way. A crash of thunder is +heard upon the drums: it is the prelude to the storm-chorus +("Hark! the deep tremendous Voice"), +which has been the model for nearly all the storm-descriptions +written since Haydn's time. It is +worked up to a tremendous climax of tumult and +terror, of pouring rain, flashing lightning, and pealing +thunder. At last the tempest dies away, and in the +<span class="pgnum" id="pg_174">[174]</span> +trio and chorus, "Now cease the Conflicts," night +comes on, with its song of the quail,--which Beethoven +subsequently utilized in his Pastoral Symphony,--the +chirp of the crickets, the croaking +of the frogs, the distant chime of the evening bells, +and the invocation to sleep. Of the frog episode, +Nohl says:-- +</p> +<blockquote><p>"He particularly disliked the croaking of the frogs, +and realized how much it lowered his art. Swieten +showed him an old piece of Grétry's in which the +croak was imitated with striking effect. Haydn contended +that it would be better if the entire croak were +omitted, though he yielded to Swieten's importunities. +He declared afterwards, however, that the frog passage +was not his own. 'It was urged upon me,' he said, 'to +write this French croak. In the orchestral setting it +is very brief, and it cannot be done on the piano. I +trust the critics will not treat me with severity for it. +I am an old man, and liable to make mistakes.'"</p></blockquote> +<p>After a quaintly melodious prelude the third part +opens with a terzetto and chorus ("Thus Nature ever +kind rewards"), an invocation to virtue and industry, +and a quaintly sentimental duet ("Ye gay and +painted Fair"). The next number, an aria by +Simon ("Behold along the dewy Grass"),--which +gives us a picture of the hunter and his dog pursuing +a bird,--prepares the way for the great hunting +chorus ("Hark! the Mountains resound"), one of +the most graphic and stirring choruses of this description +ever written. The whole scene,--the +vales and forests resounding with the music of the +<span class="pgnum" id="pg_175">[175]</span> +horns, the finding of the quarry, the flying stag outstripping +the wind, the pack at fault, but starting in +again as they find the scent, the tally-ho of the +hunters, the noble animal at bay, his death, and the +shouts of the crowd,--are all pictured with a freshness +and genuine out-door feeling which seem +almost incredible considering Haydn's age. This +remarkable number is separated from its natural +companion, the bacchanalian chorus, by a recitative +extolling the wealth of the vintage. This chorus +("Joyful the Liquor flows") is in two parts,--first a +hymn in praise of wine, sung by the tippling revellers, +and second, a dance tempo, full of life and beauty, +with imitations of the bagpipe and rustic fiddles, the +melody being a favorite Austrian dance-air. With +this rollicking combination, for the two movements +are interwoven, the third part closes.</p> +<p>A slow orchestral prelude, "expressing the thick +fogs at the approach of winter," introduces the closing +part. In recitative Simon describes the on-coming +of the dreary season, and Jane reiterates the +sentiment in the cavatina, "Light and Life dejected +languish." In Lucas's recitative we see the snow +covering the fields, and in his following aria, "The +Traveller stands perplexed," a graphic tone-picture +of the wanderer lost in the snow is presented. At +last he espies the friendly light in the cottage. +"Melodious voices greet his ears," and as he enters +he beholds the friendly circle, the old father telling +over his stories of the past, the mother plying the +distaff, the girls spinning, and the young people +<span class="pgnum" id="pg_176">[176]</span> +making the night merry with jest and sport. At +last they join in a characteristic imitative chorus +("Let the Wheel move gayly"). After the spinning +they gather about the fire, and Jane sings a +charming love-story ("A wealthy Lord who long +had loved"), accompanied by chorus. Simon improves +the occasion to moralize on the sentiment +of the seasons in the aria, "In this, O vain, misguided +Man," impressing upon us the lesson that +"Nought but Truth remains;" and with a general +appeal to Heaven for guidance through life, this +quaint and peaceful pastoral poem in music draws +to its close. It was the last important work of the +aged Haydn, but it has all the charm and freshness +of youth.</p> +</div> +<div id="c31"> +<span class="pgnum" id="pg_177">[177]</span> +<h2>LISZT.</h2> +<p>Franz Liszt, the most eminent pianist +of his time, who also obtained world-wide +celebrity as a composer and orchestral +conductor, was born at Raiding, +Hungary, Oct. 22, 1811. His father was an accomplished +amateur, and played the piano and +violoncello with more than ordinary skill. He was +In his ninth year Liszt played for the first +noblemen encouraged him to continue his studies, +and guaranteed him sufficient to defray the expenses +of six years' tuition. He went to Vienna at +once and studied the piano with Czerny, besides +taking lessons in composition from Salieri and Randhartinger. +It was while in that city that his first +composition, a variation on a waltz of Diabelli, +appeared. In 1823 he went to Paris, hoping to +secure admission to the Conservatory; but Cherubini +<span class="pgnum" id="pg_178">[178]</span> +refused it on account of his foreign origin, +though Cherubini himself was a foreigner. Nothing +daunted, young Liszt continued his studies with +Reicha and Paer, and two years afterwards brought +out a one-act opera entitled "Don Sancho," +which met with a very cordial reception. The +slight he had received from Cherubini aroused +popular sympathy for him. His wonderful playing +attracted universal attention and gained him admission +into the most brilliant Parisian salons. He +soon became known as the "wonder-child," and +was a favorite with every one, especially with the +ladies. For two or three years he made artistic +tours through France, Switzerland, and England, +accompanied by his father, and everywhere met +with the most brilliant success. In 1827 the father +died, leaving him alone in the world; but good fortune +was on his side. During his stay in Paris he +had made the friendship of Victor Hugo, George +Sand, Lamartine, and other great lights in literature +and music, and their influence prepared the way for +his permanent success. Notwithstanding that he +was in many senses a Bohemian and a man of the +world, he had a strong religious tendency. For a +time he became deeply interested in the doctrines +of Saint-Simon; but his adherence to that system +did not last long. He speedily returned to the Roman +Church, and some years afterwards went to +Rome, at the suggestion of the Pontiff took orders, +and set himself about the work of reforming the +church music,--a task, however, which he soon +<span class="pgnum" id="pg_179">[179]</span> +abandoned; too many obstacles stood in his way. +He expected to become Capellmeister at the Sistine +Chapel; but, as he himself said: "I was thwarted +by the lack of culture among the cardinals; and +besides, most of the princes of the Church were +Italian." The Abbé was soon in Germany again, +where he resided until the close of his life. From +1839 to 1847 he travelled from one city to another, +arousing the most extraordinary enthusiasm; +his progress was one continued ovation. In 1849 +he went to Weimar and accepted the post of conductor +at the Court Theatre. He made Weimar +the musical centre of Europe. It was there that +his greatest compositions were written, that the +school of the music of the future was founded, and +that Wagner's operas first gained an unprejudiced +hearing; and it is from Weimar that his distinguished +pupils, like Von Bülow, Tausig, Bendel, +Bronsart, Klindworth, Winterberger, Reubke, and +many others date their success. In 1859 he resigned +his position, and after that time resided at +Rome, Pesth, and Weimar, working for the best interests +of his beloved art, and encouraging young +musicians to reach the highest standards. Few men +of this century have had such a powerful influence +upon music, or have done so much to elevate and +purify it. His most important works were the +"Divina Commedia" and "Faust" symphonies, the +twelve symphonic poems, the six Hungarian rhapsodies, +the "Graner Mass," the "Hungarian Coronation +Mass," and the oratorios "Christus" and +<span class="pgnum" id="pg_180">[180]</span> +"The Legend of the Holy Elizabeth." Besides +these he wrote a large number of orchestral pieces, +songs, and cantatas, and a rich and varied collection +of pianoforte solos, transcriptions, and arrangements. +He died July 31, 1886.</p> +</div> +<div id="c32"> +<h3>The Legend of the Holy Elizabeth.</h3> +<p>The oratorio, "Legend of the Holy Elizabeth," +was written in 1864, and first produced Aug. 15, +1865, upon the occasion of the twenty-fifth anniversary +of the Conservatory of Pesth-Ofen. The text +is by Otto Roquette, and was inspired by Moritz +von Schwind's frescos at the Wartburg representing +scenes in the life of the saint. A brief allusion +to her history will still further elucidate the story +which Liszt has treated so powerfully. She was the +daughter of King Andreas II. of Hungary, and was +born in 1207. At the age of four she was betrothed +to Ludwig, son of the Landgrave Hermann of Thuringia, +whom she married in 1220. After his death, +in 1227, she was driven from the Wartburg and +forced to give up the regency by her cruel and +ambitious mother-in-law. After long wanderings +and many privations she retired to Bamberg, where +her uncle, the bishop, dwelt; but shortly afterwards +her rights were restored to her. She renounced +them in favor of her son, Hermann II., and died +in 1231. Four years later she was canonized at +<span class="pgnum" id="pg_181">[181]</span> +Marpurg by order of Pope Gregory IX. Her life +was devoted to the relief of the poor and suffering.</p> +<p>The characters introduced in the oratorio are +Saint Elizabeth, Landgrave Ludwig, Landgrave Hermann, +Landgravine Sophie, a Hungarian Magnate, +the Seneschal, and the Emperor Frederick II. The +last three <i>rôles</i> are usually assigned to Ludwig, thus +reducing the number of solo-singers to four. The +work is laid out in two parts, each having three +scenes corresponding in subjects with Von Schwind's +six frescos. The first describes the arrival of Elizabeth +at the Wartburg, and the welcome she receives. +In the second she is married, and her husband, Ludwig, +has succeeded to the throne. His devotion to +knight-errantry leads him from home. During his +absence a famine breaks out, and Elizabeth in her +devotion to the sufferers impoverishes herself and +incurs the wrath of her mother-in-law, the Landgravine +Sophie. While carrying a basket of bread and +wine one day to the victims of the scourge, she is +met by her husband, who has unexpectedly returned. +Amazed at the absence of her attendants, he questions +her, and she excuses herself with the plea that +she has been gathering flowers. Doubting the truth +of her statement, he snatches the basket from her. +She confesses her falsehood; but upon examining the +basket it is found to be full of roses. The Lord has +performed a miracle. Overcome with remorse for +doubting her, Ludwig begs her forgiveness, and +the two join in prayer that the Lord may continue +His goodness to them. The third scene opens at +<span class="pgnum" id="pg_182">[182]</span> +Schmalkald, on the borders of Thuringia, where +Ludwig has assembled his knights and nobles who +are to accompany him to the Holy Land. They +declare their allegiance to Ludwig as their leader, +and he calls upon them also to swear fealty to his +wife. After a sad farewell Ludwig rides away at +the head of his Crusaders. The fourth scene opens +with the news of Ludwig's death. The Landgravine +claims the castle as her inheritance, compels Elizabeth +to abandon the regency, and drives her out in +the midst of a furious storm. In the fifth scene we +find her at a hospital which she has founded, and +notwithstanding her own troubles and sufferings still +ministering to others in like affliction. This scene +closes with her death, and in the last we have the +ceremonies of her canonization at Marpurg.</p> +<p>The first scene opens with a long orchestral introduction, +working up to a powerful climax, and based +mainly upon a theme from the old church service, +which is Elizabeth's motive, and is frequently heard +throughout the work. An animated prelude which +follows it introduces the opening chorus ("Welcome +the Bride"). A brief solo by Landgrave +Hermann ("Welcome, my little Daughter") and +another of a national character by the Hungarian +Magnate attending the bride intervene, and again +the chorus break out in noisy welcome. After a +dignified solo by Hermann and a brief dialogue between +Ludwig and Elizabeth, a light, graceful allegretto +ensues, leading up to a children's chorus +("Merriest Games with thee would we play"), +<span class="pgnum" id="pg_183">[183]</span> +which is delightfully fresh and joyous in its character. +At its close the chorus of welcome resumes, +and the scene ends with a ritornelle of a +plaintive kind, foreboding the sorrow which is fast +approaching.</p> +<p>The second scene, after a short prelude, opens +with Ludwig's hunting-song ("From the Mists of +the Valleys"), which is written in the conventional +style of songs of this class, although it has two distinct +movements in strong contrast. As he meets +Elizabeth, a dialogue ensues, including the scene of +the rose miracle, leading up to a brief chorus +("The Lord has done a Wonder"), and followed +by an impressive duet in church style ("Him we +worship and praise this Day"). The scene closes +with an ensemble, a duet with full choral harmony, +worked up with constantly increasing power and set +to an accompaniment full of rich color and brilliant +effect.</p> +<p>The third scene opens with the song of the Crusaders, +an impetuous and brilliant chorus ("In +Palestine, the Holy Land"), the accompaniment to +which is an independent march movement. The +stately rhythm is followed by a solo by the Landgrave, +bidding farewell to Elizabeth and appealing to +his subjects to be loyal to her. The chorus replies in +a short number, based upon the Hungarian melody +which has already been heard. Elizabeth follows +with a tender but passionate appeal to her husband +("Oh, tarry! oh, shorten not the Hour"), leading +to a solo ("With Grief my Spirit wrestles"), +<span class="pgnum" id="pg_184">[184]</span> +which is full of the pain of parting. A long dialogue +follows between them, interrupted here and there +by the strains of the Crusaders, in which finally the +whole chorus join with great power in a martial but +sorrowful style. As it comes to a close, the orchestra +breaks out into the Crusaders' march,--a brilliant +picture of the knightly pageant, the time gradually +accelerating as well as the force, until it reaches +a tremendous climax. The trio of the march is +based upon a religious melody which was sung in +the time of the Crusaders; but the remainder follows +the Gregorian intonation. The chorus once more +resumes its shout of jubilee, and the brilliant scene +comes to an end. So vividly colored is this music +that one can well fancy the sorrowful Elizabeth as +she stands gazing at the band of knights, with Ludwig +at their head, slowly riding away, pennons fluttering +in the breeze, and lances and mail glittering +in the sunlight.</p> +<p>In the fourth scene a slow and mournful movement, +followed by an allegro ominous and agitated +in style, introduces the Landgravine Sophie, the evil +genius of the Wartburg. The tidings of the death +of Ludwig have come, and with fierce declamation +she orders Elizabeth away from the castle. The +latter replies in an aria ("O Day of Mourning, Day +of Sorrow") marked by sorrowful lamentation. +Sophie again hurls her imprecations, and a very +dramatic dialogue ensues, which takes the trio form +as the reluctant Seneschal consents to enforce the +cruel order. Once more Elizabeth tenderly appeals +<span class="pgnum" id="pg_185">[185]</span> +to her in the aria, "Thou too art a Mother." +Sophie impatiently and fiercely exclaims, "No +longer tarry!" The scene comes to an end with +Elizabeth's lament as she goes out into the storm, +which is vividly described in an orchestral movement, +interspersed with vocal solos. These have +little bearing upon the subject-matter, however, +which is mainly described by the band with +overwhelming power.</p> +<p>The fifth scene opens with a long declamatory +solo by Elizabeth,--full of tenderness and pathos, +in which she recalls the dream of childhood,--closing +with an orchestral movement of the same general +character. It is followed by the full chorus ("Here +'neath the Roof of Want"), which after a few bars +is taken by the sopranos and altos separately, closing +with chorus again and soprano solo ("Elizabeth, +thou holy one"). The death-scene follows ("This +is no earthly Night"). Her last words, "Unto mine +End Thy Love has led me," are set to music full of +pathos, and as she expires, the instrumentation dies +away in peaceful, tranquil strains. A semi-chorus, +which can also be sung by three solo voices ("The +Pain is over"), closes the sad scene, the ritornelle +at the end being made still more effective by the +harps, which give it a celestial character.</p> +<p>The last scene opens with an interlude which +gathers up all the motives of the oratorio,--the +Pilgrim's Song, the Crusaders' March, the Church +Song, and the Hungarian Air, and weaves them into +a rich and varied texture for full orchestra, bells, and +<span class="pgnum" id="pg_186">[186]</span> +drums, forming the funeral song of the sainted Elizabeth,--the +same effect, and produced in the same +manner, which Wagner subsequently used with such +magnificent power in the dirge of Siegfried. It is +followed by a solo from the Emperor, "I see assembled +round the Throne,"--a slow and dignified +air, leading to the great ensemble closing the +work, and descriptive of the canonization of Elizabeth. +It begins as an antiphonal chorus ("Mid +Tears and Solemn Mourning"), the female chorus +answering the male and closing in unison. Once +more the Crusaders' March is heard in the orchestra +as the knights sing, "O Thou whose Life-blood +streamed." The church choir sings the chorale, +"Decorata novo flore," the Hungarian and German +bishops intone their benedictions, and then all join +in the powerful and broadly harmonious hymn, "Tu +pro nobis Mater pia," closing with a sonorous and +majestic "Amen."</p> +</div> +<div id="c33"> +<h3>Christus.</h3> +<p>"Christus, oratorio, with texts from the Holy +Scriptures and the Catholic Liturgy," as Liszt entitles +his work, was finished in 1866. At the outset +the composer selected the "Hymn of Praise" and +"Pater Noster" from Rüchert's "Evangelical Harmony;" +and upon these and one or two other detached +numbers for a background, he built up a +series of religious events connected with the offices +<span class="pgnum" id="pg_187">[187]</span> +of the Church according to the Vulgate and its Liturgy. +These events are laid out in three divisions,--"The +Christmas Oratorio," "After Epiphany," and +"The Passion and Resurrection;" the separate parts +of which are as follows: (1) The Introduction. (2) +Pastoral and Vision of the Angels. (3) Stabat Mater +speciosa. (4) Song of the Shepherds in the Manger. +(5) The Anointing of the three Kings. (6) Hymn +of Praise. (7) Pater Noster. (8) The Establishment +or Foundation of the Christian Church. (9) +The Storm on the Lake. (10) The Entry into Jerusalem. +(11) Tristis est anima mea. (12) Stabat +Mater dolorosa. (13) Easter Hymn. (14) Resurrection +of Christ. The motive of the work is announced +in Saint Paul's words to the Ephesians: +"But speaking the truth in love, may grow up into +him in all things, which is the head, even Christ."</p> +<p>The long instrumental introduction is constructed +upon a theme representative of a text from Isaiah, +"Resound, ye Heavens above," many times repeated, +and leading to a pastoral which prepares the +way for the angelic announcement to the shepherds. +This announcement is made in the simple collect +music by a soprano solo, and replied to by a female +chorus, first accompanied by string quartet, and then +by full orchestra, and leading to the full chorus, +"Gloria in excelsis," a series of mighty shouts, closing +with a stately Hallelujah and a return of the +orchestra to the pastoral movement. The next division +is the old Latin hymn, "Stabat Mater speciosa," +the Virgin at the cradle of our Lord,--a six-part +<span class="pgnum" id="pg_188">[188]</span> +chorus in church style, accompanied by the organ, +with solo variations interspersed through it, and characterized +by a lofty feeling of devotion, especially in +the "Inflammatus" and the majestic final "Amen." +The remaining numbers of the first part are entirely +instrumental, including the "Shepherd's Song at the +Manger," a pastoral full of beautiful effects, and "the +Three Holy Kings," a march which is majestic in +its style and broad in its rhythm, and full of characteristic +color. The two numbers close the part in a +brilliant and jubilant manner.</p> +<p>The second part opens with the "Seligkeiten" +("Hymn of Praise"), a grand declamatory solo for +baritone, accompanied by a six-part chorus, which, +like the next number, was written by Liszt in his +younger days and utilized in its present setting. +The hymn is accompanied by organ throughout, +and is followed by the "Pater Noster," also with organ,--a +fervent, almost passionate, offering of prayer +by the precentors and congregation, closing with a +mighty "Amen." In the next number--the founding +of the Church ("Tu es Petrus"), beginning with +male chorus--the orchestra resumes its work. The +voices move on in stately manner until the words, +"Simon, son of Jona, lovest thou me?" are reached, +when the full chorus comes in with imposing effect. +Of this number, Nohl says in his fine analysis of +"Christus:"--</p> +<blockquote><p>"The perishable, sinful world in all its aspects is +here contrasted with an undoubting faith in an everlastingly +constant higher ideal, to give it this name. +<span class="pgnum" id="pg_189">[189]</span> +That it is the spirit of the subject, not its mere perishable +husk, is shown by the nature of the melody, which +rises to the most powerful expression of the final victory +of this spirit of love. Now again the full orchestra +joins the double chorus; for the world, the whole +world, is meant."</p></blockquote> +<p>The next scene, entitled "The Wonder," is purely +instrumental, and is a marvellous picture of the storm +upon the lake, which Nohl also characterizes with +reference to its inner meanings:-- +</p> +<blockquote><p>"The ninth scene is a marvel. 'The storms rage in +contention,'--not the storms of the sea, but the storm +of desires to which the weak of faith are exposed. It +is not the outward marvel or superstition that is to be +strengthened, but the faith of human nature in itself +and its higher power and destiny. Hence the actual +inner tranquillity when, after the raging orchestral tumult, +'a great stillness' succeeds Christ's words, which +is ingeniously introduced with the motive of the 'Seligkeit,' +because such inner purity alone bestows upon +mankind effective power over the savage forces of the +world."</p></blockquote> +<p>"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.</p> +<p>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, +<span class="pgnum" id="pg_190">[190]</span> +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 Filiæ," +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 massive 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."</p> +</div> +<div id="c34"> +<span class="pgnum" id="pg_191">[191]</span> +<h2>MACFARREN.</h2> +<p>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 Æneas" (1840); editions of "Belshazzar," +"Judas Maccabæus," 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 +<span class="pgnum" id="pg_192">[192]</span> +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 principal 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. +<span class="pgnum" id="pg_193">[193]</span> +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 Analyses +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.</p> +</div> +<div id="c35"> +<h3>St. John the Baptist.</h3> +<p>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 "Machærus," 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:--</p> +<blockquote><p>"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 +<span class="pgnum" id="pg_194">[194]</span> +figure. He stands out clothed with all the noble 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 circumstance. +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 circumstances +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."</p></blockquote> +<p>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 +<span class="pgnum" id="pg_195">[195]</span> +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 massive 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.</p> +<p>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 +<span class="pgnum" id="pg_196">[196]</span> +strong contrast in the music assigned 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 Nobles ("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 Nobles 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 Nobles 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," +<span class="pgnum" id="pg_197">[197]</span> +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:--</p> +<blockquote><p>"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 passed 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 illustrator. 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."</p></blockquote> +</div> +<div id="c36"> +<span class="pgnum" id="pg_198">[198]</span> +<h2>MACKENZIE.</h2> +<p>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 assiduity 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, +<span class="pgnum" id="pg_199">[199]</span> +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.</p> +</div> +<div id="c37"> +<h3>The Rose of Sharon.</h3> +<p>"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 principal 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 +<span class="pgnum" id="pg_200">[200]</span> +cheering. In speaking of the text, its compiler says:--</p> +<blockquote> +<p>"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.</p> +<p>"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.</p> +<p>"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."</p> +</blockquote> +<p>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, Nobles, +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 +<span class="pgnum" id="pg_201">[201]</span> +upon her by her passionate 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 principal 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:</p> +<blockquote> +<div class="verse"> +<p class="t2">"We will open our mouth in a parable;</p> +<p class="t2">We will utter dark sayings of old,</p> +<p class="t2">Which we have heard and known,</p> +<p class="t2">Which our fathers have told us;</p> +<p class="t2">We will not hide them from our children,</p> +<p class="t2">That the generation to come may know them,</p> +<p class="t2">Who shall declare them to their children.</p> +</div> +<p>This is a great mystery; but we speak concerning Christ and +his Church."</p> +</blockquote> +<p>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 passionate 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 +<span class="pgnum" id="pg_202">[202]</span> +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 ("God 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 +Nobles 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 passionate 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 cortège music, accompanied by the +chorus.</p> +<span class="pgnum" id="pg_203">[203]</span> +<p>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 passing 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 +pass 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 "God save the +King!" The brilliant procession passes from view. +The Women once more appeal to the Sulamite; but +<span class="pgnum" id="pg_204">[204]</span> +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."</p> +<p>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 passionate +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."</p> +<p>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 +bass 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 gratitude and joy ("Sing, O +<span class="pgnum" id="pg_205">[205]</span> +Heavens, and be joyful, O Earth"). A rapturous +duet ensues between the Sulamite and the Beloved, +and then all join in the spirited finale:-- +</p> +<blockquote> +<div class="verse"> +<p class="t2">"For the flame of Love is as fire,</p> +<p class="t2">Even the fire of God.</p> +<p class="t2">Many waters cannot quench it,</p> +<p class="t2">Neither can floods drown it.</p> +<p class="t2">Yea, Love is strong as death,</p> +<p class="t2">And unconquerable as the grave."</p> +</div> +</blockquote> +</div> +<div id="c3a"> +<span class="pgnum" id="pg_206">[206]</span> +<h2>MENDELSSOHN.</h2> +<p>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 Düsseldorf. +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 +Cécile Jeanrenaud, the beautiful daughter of a minister +of the Reformed Church in Frankfort, and +<span class="pgnum" id="pg_207">[207]</span> +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 +<span class="pgnum" id="pg_208">[208]</span> +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.</p> +</div> +<div id="c38"> +<h3>St. Paul.</h3> +<p>"St. Paul," the first of Mendelssohn's oratorios, +was begun in Düsseldorf 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 Fürst and Schubring, and +the libretto as it now stands represents their joint +<span class="pgnum" id="pg_209">[209]</span> +compilation. Its three principal 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:--</p> +<blockquote><p>"The main thought which runs through the whole +work is too high and broad to be linked by the tie of a +personal interest to any single man. It is the glorification +of Christianity, with its humility, its joy in living +and dying for the Lord, in contrast with the blind +self-righteousness of Judaism and the mere sensuous +morality of the heathen schools. It is the contrast, +or rather the struggle, of the last two with the former, +and the victory of the light and love of the Gospel,--the +light eternal, the love divine. This thought is +made incarnate in the persons of Stephen, Paul, and +Barnabas, and it is concentrated at that point which is +really the central point of interest to the oratorio,--the +conversion of Saint Paul."</p></blockquote> +<p>The work was written upon a commission given +by the Cecilien Verein of Frankfort in 1831; but +it was not produced until May 22, 1836, on the +occasion of the Lower Rhine Festival at Düsseldorf. +The principal parts were sung by Madame Fischer-Achten, +Mademoiselle Grabau, Herren Schmetzer +and Wersing, the latter artist taking the part of Paul. +The second performance was given at Liverpool, +Oct. 3, 1836; and between the two performances +Mendelssohn revised the work and cut out fourteen +numbers.</p> +<span class="pgnum" id="pg_210">[210]</span> +<p>After a long and expressive overture for orchestra +and organ, the first part opens with a strong and +exultant chorus ("Lord! Thou alone art God"). +It is massively constructed, and in its middle part +runs into a restless, agitated theme ("The Heathen +furiously rage"). It closes, however, in the same +energetic and jubilant manner which characterizes +its opening, and leads directly to a chorale ("To +God on High"), set to a famous old German hymn-book +tune, "Allein Gott in der Höh' sei Ehr," +which is serenely beautiful in its clearly flowing +harmony. The martyrdom of Stephen follows. +The basses in vigorous recitative accuse him of +blasphemy, and the people break out in an angry +chorus ("Now this Man ceaseth not to utter blasphemous +Words"). At its close Stephen sings +a brief but beautiful solo ("Men, Brethren, and +Fathers!"); and as the calm protest dies away, +again the full chorus gives vent to a tumultuous +shout of indignation ("Take him away"). A note +of warning is heard in the fervent soprano solo, +"Jerusalem, thou that killest the Prophets;" but +it is of no avail. Again the chorus hurls its imprecations +more furiously than before ("Stone him to +death"). The tragedy occurs. A few bars of recitative +for tenor, full of pathos, tell the sad story, +and then follows another beautiful chorale of submission +("To Thee, O Lord, I yield my Spirit"). +Saul's participation in the tragedy is barely touched +upon. The lament for Stephen is followed by the +chorus, "Happy and blest are they," which is +<span class="pgnum" id="pg_211">[211]</span> +beautifully melodious in character. Saul now appears, +"breathing out threatenings and slaughter" +against the apostles. His first aria ("Consume +them all") is a bass solo which is fiery in its energy. +It is followed by the lovely arioso for alto, "But the +Lord is mindful of His own,"--fitting companion +to the equally beautiful "O rest in the Lord" from +"Elijah," and much resembling it in general style. +Then occurs the conversion. The voice from heaven +("Saul, Saul, why persecutest thou Me?") is +represented, as was often done in the passion-music, +by the soprano choir, which gives it peculiar significance +and makes it stand out in striking contrast +with the rest of the work. A forcible orchestral interlude, +worked up in a strong crescendo, leads to +the vigorous chorus, "Rise up! arise!" in which +the powerful orchestral climax adds great strength +to the vocal part. It is a vigorously constructed +chorus, and is followed by a chorale ("Sleepers, +wake! a Voice is calling"), which still further +heightens the effect by its trumpet notes between +the lines. At the close of the imposing harmony +the music grows deeper and more serious in character +as Saul breathes out his prayer, "O God, have +Mercy upon me;" and again, after the message of +forgiveness and mercy delivered by Ananias, more +joyful and exultant in the bass solo with chorus ("I +praise Thee, O Lord, my God"), Saul receives his +sight, and straightway begins his ministrations. A +grand reflective chorus ("O great is the Depth of +the Riches of Wisdom"), strong and jubilant in +<span class="pgnum" id="pg_212">[212]</span> +character, and rising to a powerful climax, closes the +first part.</p> +<p>The second part opens with the five-part chorus, +"The Nations are now the Lord's,"--a clear fugue, +very stately and dignified in its style, leading, after +a tenor and bass duet ("Now all are Ambassadors +in the Name of Christ"), to the beautifully melodious +chorus, "How lovely are the Messengers that +preach us the Gospel of Peace," and the equally +beautiful soprano arioso, "I will sing of Thy great +Mercies." After the chorus, "Thus saith the Lord," +and a second tumultuous chorus expressive of rage +and scorn ("Is this He who in Jerusalem"), another +chorale occurs ("O Thou, the true and only +Light"), in which the Church prays for direction. +The tenor recitative announcing the departure of +Paul and Barnabas to the Gentiles, followed by the +tenor and bass duet, "For so hath the Lord Himself +commanded," bring us to the scene of the +sacrifice at Lystra, in which the two choruses, "The +Gods themselves as Mortals," and "O be gracious, +ye Immortals," are full of genuine Greek +sensuousness and in striking contrast with the seriousness +and majestic character of the harmony in +the Christian chorus ("But our God abideth in +Heaven") which follows. Once more the Jews +interfere, in the raging, wrathful chorus, "This is +Jehovah's Temple." In a pathetic tenor aria +("Be thou faithful unto Death") Paul takes a sorrowful +leave of his brethren, and in response comes +an equally tender chorus, "Far be it from thy +<span class="pgnum" id="pg_213">[213]</span> +Path." Two stately choruses ("See what Love +hath the Father," and "Now only unto Him") +close the work.</p> +</div> +<div id="c39"> +<h3>Hymn of Praise.</h3> +<p>The "Lobgesang" ("Hymn of Praise") was written +at Leipsic in 1840, the occasion which gave birth +to it being the fourth centennial celebration of the +art of printing. The musical features of the festival +were intrusted to Mendelssohn, the ceremonies +occupying two days, June 24 and 25 of the above +year. On the evening of the 23d there was a +performance of Lortzing's opera, "Hans Sachs," +written for the occasion. On the morning of the +24th there was a service in the church, followed by +the unveiling of the statue of Guttenberg in the +public square, and an open-air performance of the +composer's "Festgesang" for two choirs, with trombone +accompaniment, David conducting one choir, +and Mendelssohn the other. In the afternoon of +the 25th the "Hymn of Praise" was given for the +first time in St. Thomas's Church, preceded by +Weber's "Jubilee Overture" and Handel's "Dettingen +Te Deum." Lampadius, who was present at +the performance, says:-- +</p> +<blockquote><p>"The work called out the greatest enthusiasm, +which could hardly be repressed within bounds even +by the fact that the audience were seated within the +walls of a church. After the first duet a subdued +<span class="pgnum" id="pg_214">[214]</span> +whisper of applause ran through the edifice and betrayed +the suppressed delight of the listeners. On one +of the evenings following, a torchlight procession was +made in honor of the great composer. Mendelssohn, +who then lived in Lurgenstein's Garden, appeared at +the window, his face lighted up with joy. 'Gentlemen,' +he said in his neat, quiet way, with a sensible +trembling of the voice, 'you know that it is not my +manner to make many words; but I heartily thank you.' +A loud 'Hoch!' three times shouted, was our reply."</p></blockquote> +<p>Its next performance was at Birmingham, Sept. +23, 1840, Mendelssohn himself conducting. After +this performance it was considerably changed, and +the whole scene of the watchman was added. The +idea occurred to him after a sleepless night, during +which, as he informed a friend, the words, +"Will the night soon pass?" incessantly came into +his mind.</p> +<p>The title given to the "Hymn of Praise," "a symphony-cantata," +was first suggested by his friend +Carl Klingemann, of London, as will be seen by the +following interesting extract from a letter written by +Mendelssohn to him, Nov. 18, 1840:-- +</p> +<blockquote><p>"My 'Hymn of Praise' is to be performed the end +of this month for the benefit of old invalided musicians. +I am determined, however, that it shall not be produced +in the imperfect form in which, owing to my illness, it +was given in Birmingham; so that makes me work +hard. Four new pieces are to be added, and I have +also much improved the three sets of symphonies, +which are now in the hands of the copyist. As an introduction +to the chorus, 'The Night is passed,' I +<span class="pgnum" id="pg_215">[215]</span> +have found far finer words in the Bible, and admirably +adapted to the music. By the by, you have much to +answer for in the admirable title you hit on so cleverly; +for not only have I sent forth the piece into the world +as a symphony-cantata, but I have serious thoughts +of resuming the first 'Walpurgis Night' (which has +been so long lying by me) under the same cognomen, +and finishing and getting rid of it at last. It is singular +enough that at the very first suggestion of this idea I +should have written to Berlin that I was resolved to +compose a symphony with a chorus. Subsequently I +had not courage to begin, because the three movements +were too long for an introduction; and yet I never +could divest myself of the impression that something +was wanting in the shape of an introduction. Now the +symphony is to be inserted according to my original +intention, and the piece brought out at once."</p></blockquote> +<p>The text to the "Hymn of Praise" is not in +narrative form, nor has it any particular dramatic significance. +It is what its name indicates,--a tribute +of praise. Lampadius says the composer undertook +to show "the triumph at the creation of light +over darkness. With his pious and believing heart +he could easily enter into that theme, and show with +matchless power and skill the closing-in of those +ancient foes, and the victory of light when darkness +cowered and ignobly shrank away." The expression +of delight over this victory is very well brought +out, not only in the music, but also in the arrangement +of the Scriptural texts, which begin with exhortations +of praise, and appeals to those who have +been in distress and affliction to trust the Lord. +<span class="pgnum" id="pg_216">[216]</span> +The tenor, who may be regarded as the Narrator, +calls upon the Watchman, "What of the night?" +The response comes that the night has passed. In +exultation over the victory, once more the text ascribes +praise to the Lord. "All that has life and +breath" sings to His name.</p> +<p>The symphony is in three parts, beginning with a +maestoso movement, in which the trombones at +once give out the choral motive, "All that has life +and breath sing to the Lord,"--a favorite theme +of Mendelssohn. This movement, which is strong +and energetic in character, is followed by an allegretto +based upon a beautiful melody, and to this +in turn succeeds an adagio religioso rich in harmony. +The symphony clearly reflects the spirit of +the cantata, which follows. The opening chorus +("All that has Life and Breath") is based upon the +choral motive, and enunciates the real hymn of +praise. It moves along in a stately manner, and +finally leads without break into a semi-chorus, +"Praise thou the Lord, O my Spirit," a soprano +solo with accompaniment of female voices. The +tenor in a long dramatic recitative ("Sing ye +Praise, all ye redeemed of the Lord") urges the +faithful to join in praise and extol His goodness, +and the chorus responds, first, the tenors, and then +all the parts, in a beautiful number, "All ye that +cried unto the Lord." The next number is an exquisite +duet for soprano and alto with chorus ("I +waited for the Lord"). It is thoroughly devotional in +style, and in its general color and effect reminds one +<span class="pgnum" id="pg_217">[217]</span> +of the arias, "O Rest in the Lord" from "Elijah," +and "The Lord is mindful of His own" from "St. +Paul." This duet is followed by a sorrowful, almost +wailing tenor solo, "The Sorrows of Death had +closed all around me," ending with the piercing, +anxious cry in recitative, "Watchman! will the Night +soon pass?" set to a restless, agitated accompaniment +and thrice repeated. Like a flash from a cloud +comes the quick response of the chorus, "The Night +is departing," which forms the climax of the work. +The chorus is beautifully constructed, and very impressive +in its effect. At first the full chorus proclaims +the night's departure; it then takes the fugal +form on the words, "Therefore let us cast off the +works of darkness," which is most effectively worked +out.</p> +<p>In the finale the male voices are massed on the +declaration, "The Night is departing," and the +female voices on the response, "The Day is approaching;" +and after alternating repetitions all +close in broad, flowing harmony. This chorus +leads directly to the chorale, "Let all Men praise +the Lord," sung first without accompaniment, and +then in unison with orchestra. Another beautiful +duet, "My Song shall alway be Thy Mercy," this +time for soprano and tenor, follows, and prepares +the way for the final fugued chorus, "Ye Nations, +offer to the Lord," a massive number, stately in its +proportions and impressive in its effect, and closing +with a fortissimo delivery of the splendid choral +motive, "All that has Life and Breath."</p> +<span class="pgnum" id="pg_218">[218]</span> +<p>Notwithstanding that the choral part is brief as +compared with the "St. Paul" and "Elijah," there +are many critics who are inclined to pronounce the +"Hymn of Praise" Mendelssohn's greatest work. +In its combination of the symphony and the voice +parts, the one growing out of the other and both so +intimately connected, it stands almost alone. Some +critics have condemned Mendelssohn for imitating +Beethoven's Choral Symphony, though in that +colossal work the chorus is not only subordinate to +the symphony, but is even trifling in length as compared +with it, and very inferior in style. While in +Mendelssohn's work the symphony is subordinated +to the choral part, and serves only as an introduction +to it, they are yet conventionally connected; +but in Beethoven's work the chorus was the product +of necessity, as the idea could not have been developed +without it. The instruments had gone as far +as possible; the voices <i>must</i> speak.</p> +</div> +<div id="c40"> +<h3>Elijah.</h3> +<p>"Elijah," the most admired of all Mendelssohn's +compositions, was finished in 1846. The plan of +the work was first considered in 1837, and was +discussed with his friend Klingemann in London. +During the next year he had frequent consultations +with another friend, Schubring, as to the +preparation of the book, and many of the passages +were selected and scenes sketched out; but +<span class="pgnum" id="pg_219">[219]</span> +it was not until 1840 that he really began to put it +into shape. We learn by a letter that in 1842 he +was still at work upon the book itself. Two years +later he received an invitation to conduct the Birmingham +Festival of 1846; and it was evidently at +that time he decided to prepare the work for that +occasion. We learn by another letter that on the +23d of May, 1846, the entire first part and six or +eight numbers of the second part were sent to London +to a Mr. Bartholomew, who was engaged translating +the text into English. That Mendelssohn +himself was pleased with his work is evident from +his own words, written to a friend after he had +finished the first part: "I am jumping about my +room for joy. If it only turns out half as good as I +fancy, how pleased I shall be!" By the latter part +of July the entire oratorio was in the hands of Mr. +Bartholomew, and on August 18 Mendelssohn +himself arrived in London and immediately began +the rehearsals. The work was first performed +on the 26th at Birmingham, coming between +Haydn's "Creation" on the 25th, and Handel's +"Messiah" on the 27th, the latter oratorio being +followed by Beethoven's Mass in D. A correspondent +who was present writes:-- +</p> +<blockquote><p>"How shall I describe what to-day has been in the +Music Hall? After such an intense enjoyment it is a +hard task to express one's feelings in cold words. It +was a great day for the festival, a great day for the +performers, a great day for Mendelssohn, a great day +for art. Four da-capos in the first part, four in the +<span class="pgnum" id="pg_220">[220]</span> +second, making eight encores, and at the close the calling +out of the composer,--are significant facts when +one considers that it was the rigid injunction of the +Committee that the public should not testify its approval +by applause. But the enthusiasm would be +checked by no rules; when the heart is full, regulations +must stand aside. It was a noble scene, the +hall filled with men, the galleries gay with ladies, like +so many tulip-beds, added to the princely music and +their thundering bravas."</p></blockquote> +<p>Mendelssohn himself on the day after the performance +writes to his brother in Berlin:--</p> +<blockquote><p>"No work of mine ever went so admirably the first +time of execution, or was received with such enthusiasm +by both the musicians and the audience, as this +oratorio. It was quite evident at the first rehearsal in +London that they liked it, and liked to sing and play +it; but I own I was far from anticipating that it would +acquire such fresh vigor and impetus at the performance. +Had you only been there! During the whole +two hours and a half that it lasted, the large hall, with +its two thousand people, and the large orchestra were +all so fully intent on the one object in question that +not the slightest sound was to be heard among the +whole audience, so that I could sway at pleasure the +enormous orchestra and choir, and also the organ accompaniments. +How often I thought of you during +the time! more especially, however, when 'the sound +of abundance of rain' came, and when they sang and +played the final chorus with <i>furore</i>, and when, after +the close of the first part, we were obliged to repeat +the whole movement. Not less than four choruses +and four airs were encored, and not one single mistake +<span class="pgnum" id="pg_221">[221]</span> +occurred in the first part; there were some afterwards +in the second part, but even these were but trifling. A young English +tenor<sup><a id="fr_6" href="#fn_6">[6]</a></sup> sang the last air with such wonderful +sweetness that I was obliged to collect all my +energies, not to be affected, and to continue beating +time steadily."</p></blockquote> +<p>Notwithstanding his delight with the performance, +he was not satisfied with the oratorio as a whole. +He made numerous changes and re-wrote portions +of the work,--indeed there was scarcely a movement +that was not retouched. It is interesting to +note in this connection that the beautiful trio, "Lift +thine Eyes," was originally a duet, and very different +in character. The first performance of the work in +London took place April 16, 1847, when it was +given by the Sacred Harmonic Society. Her Majesty +and Prince Albert were in attendance; and after +the performance the Prince sent to Mendelssohn +the score which he had used in following the music, +with the following tribute written in it:--</p> +<blockquote><p>To the noble artist who, surrounded by the Baal-worship +of corrupted art, has been able by his genius +and science to preserve faithfully, like another Elijah, +the worship of true art, and once more to accustom +our ear, lost in the whirl of an empty play of sounds, +to the pure notes of expressive composition and legitimate +harmony; to the great master who makes us conscious +of the unity of his conception through the whole +<span class="pgnum" id="pg_222">[222]</span> +maze of his creation, from the soft whispering to the +mighty raging of the elements.</p> +<p>Written in token of grateful remembrance by</p> +<p class="rjust"><span class="sc">Albert.</span></p> +<p><span class="sc">Buckingham Palace</span>, April 24, 1847.</p></blockquote> +<p>The text was mainly compiled from the First +Book of Kings, and was translated, as has been +said, by Mr. Bartholomew. Hiller says that the idea +of the oratorio was first suggested by the verse in +the nineteenth chapter, "Behold, the Lord passed +by," and that Mendelssohn, while reading it, remarked +to him, "Would not that be splendid for an +oratorio?" The prominent scenes treated are the +drought prophecy, the raising of the widow's son, +the rival sacrifices, the appearance of the rain in +answer to Elijah's appeal, Jezebel's persecution of +Elijah, the sojourn in the desert, his return, his disappearance +in the fiery chariot, and the finale, which +reflects upon the meaning of the sacred narrative. +The scenes themselves indicate the dramatic character +of the oratorio. In this respect, indeed, Mendelssohn +may almost be said to have created a new +school of oratorio construction. "Elijah" could be +placed upon the stage with scenery, costume, and +properties as a sacred opera, and make a powerful +impression,--almost as much so, indeed, as +Rossini's "Moses." Mendelssohn's own testimony +on this point is interesting. In a letter +written Nov. 2, 1838, to Pastor Julius Schubring, +who was assisting him in the preparation of the +book, he says:--</p> +<span class="pgnum" id="pg_223">[223]</span> +<blockquote><p>"I figured to myself Elijah as a grand, mighty +prophet, such as we might again require in our own +day,--energetic and zealous, but also stern, wrathful, +and gloomy; a striking contrast to the court myrmidons +and popular rabble,--in fact, in opposition to the +whole world, and yet borne on angel's wings.... I +am anxious to do justice to the dramatic element, and, +as you say, no epic narrative must be introduced.... +I would fain see the dramatic element more prominent, +as well as more exuberant and defined,--appeal +and rejoinder, question and answer, sudden interruptions, +etc."</p></blockquote> +<p>Again, on the 6th of December, he writes:--</p> +<blockquote><p>"In such a character as that of Elijah, like every +one in the Old Testament (except, perhaps, Moses), it +appears to me that the dramatic should predominate, +the personages should be introduced as acting and +speaking with fervor,--not, however, for Heaven's +sake, to become mere musical pictures, but inhabitants +of a positive, practical world such as we see +in every chapter of the Old Testament; and the contemplative +and pathetic element, which you desire, +must be entirely conveyed to our apprehension by the +words and the mood of the acting personages."</p></blockquote> +<p>The introduction to the oratorio is prefaced by +a brief but very impressive recitative,--Elijah's +prophecy of the drought; leading directly to the +overture, a sombre, despairing prelude, picturing +the distress which is to follow as the curse settles +down upon the streams and valleys. At last the +suffering is voiced in the opening chorus ("Help, +<span class="pgnum" id="pg_224">[224]</span> +Lord"), which, after three passionate appeals, moves +along in plaintive beauty, developing phrase after +phrase of touching appeal, and leading to a second +chorus, with duet for two sopranos ("Lord, bow +Thine Ear to our Prayer"), the choral part of +which is an old Jewish chant, sung alternately by +the male and female voices in unison. It is followed +by Obadiah's lovely tenor aria, "If with all +your Hearts," full of tenderness and consolation. +Again the People break out into a chorus of lamentation +("Yet doth the Lord see it not"), which at +the close develops into a chorale of graceful and +serene beauty ("For He the Lord our God"). +Then follows the voice of an Angel summoning +Elijah to the brook of Cherith, leading to the beautiful +double quartet, "For He shall give His Angels +Charge over thee," the melody of which is simple, +but full of animation, and worked up with a +skilful effect. Again the Angel summons Elijah to +go to the Widow's house at Zarephath. The dramatic +scene of the raising of her son ensues, comprising +a passionate song by the mother ("What have +I to do with thee?") and the noble declaration of +the prophet, "Give me thy Son," and closing with +the reflective chorus, "Blessed are the Men who +fear Him."</p> +<p>In the next scene we have the appearance of +Elijah before Ahab, and the challenge of the Priests +of Baal to the sacrifice on Mount Carmel, set forth +in vigorous recitative, accompanied by short choral +outbursts. At the words of Elijah, "Invoke your +<span class="pgnum" id="pg_225">[225]</span> +forest gods and mountain deities," the Priests of +Baal break out into the stirring double-chorus, +"Baal, we cry to thee," which is fairly sensual and +heathenish in its rugged, abrupt melodies, as compared +with the Christian music. At its close Elijah +bids them "call him louder, for he is a god; he +talketh, or he is pursuing." Again they break out +into a chorus of barbaric energy ("Hear our Cry, +O Baal"), in the intervals of which Elijah taunts +them again and again with the appeal, "Call him +louder." The Priests renew their shouts, each time +with increasing force, "pausing in vain for the reply, +and closing with a rapid, almost angry expostulation +("Hear and answer"). Then follows the calm, +dignified prayer of the prophet ("Lord God of +Abraham"), succeeded by a simple, but beautiful +chorale ("Cast thy Burden upon the Lord"). It is +the moment of quiet before the storm which is to +come. He calls for the fire to descend upon the +altar, and a chorus of passionate energy replies, +"The Fire descends from Heaven," accompanied +by imitative music, and closing with a brief movement +in broad harmony. In fierce recitative Elijah +dooms the Priests of Baal to destruction, and after +a short choral reply sings the bass aria, "Is not His +Word like a Fire?"--a song of extraordinary difficulty, +and requiring a voice of exceptional accuracy +and power for its proper performance. A +lovely arioso for alto ("Woe unto them") follows +Elijah's vigorous declamation. These two arias are +connecting links between the fire chorus and +<span class="pgnum" id="pg_226">[226]</span> +the rain scene which ensues. Obadiah summons +Elijah to help the People, and Elijah replies in +an exquisite little andante passage, repeated by the +chorus ("Open the Heavens and send us Relief"). +Then follows a dialogue-passage between +the prophet, the People, and the Youth, whom he +bids "look toward the sea,"--the most striking +features of which are the responses of the Youth +and the orchestral climax as the heavens grow black +and "the storm rushes louder and louder." As the +deluge of rain descends, the thankful People break +out into a passionate shout of delight ("Thanks be +to God"), heard above the tempest in the orchestra. +At first it is a brief expression of gratitude. The +voices come to a pause, and Elijah repeats the +tribute of praise. Then all join in a surging +tumult of harmony, as fresh and delightful as +was the pouring rain to the thirsty land, voices +and instruments vying with each other in joyful +acclamations, until the end is reached and the first +part closes.</p> +<p>The second part opens with a brilliant soprano +solo ("Hear ye, Israel"), beginning with a note of +warning, and then with trumpet obligato developing +into another melody of an impetuous and animated +description ("I, I am He that comforteth"). The +solo leads to the magnificent chorus, "Be not +afraid," in which, after a short pause, the entire +force of voices, orchestra, and organ join in the +sublime strain, sweeping on in broad, full harmony. +There is a pause of the voices for two bars, then +<span class="pgnum" id="pg_227">[227]</span> +they move on in a strong fugue ("Though Thousands +languish and fall"). At its close they are all +merged again in the grand announcement, "Be not +afraid," delivered with impetuosity, and ending with +the same subject in powerful chorale form. The +scene which follows is intensely dramatic. The +prophet rebukes Ahab and condemns the Baal worship. +Jezebel fiercely accuses Elijah of conspiring +against Israel, and the People in sharp, impetuous +phrases declare, "He shall perish," leading to the +chorus, "Woe to him!" After a few bars for the +instruments, Obadiah, in an exquisite recitative, +counsels him to fly to the wilderness. In the next +scene we behold Elijah alone, and in a feeble but +infinitely tender plaint he resigns himself. It is +hard to conceive anything grander and yet more +pathetic than this aria, "It is enough," in which +the prophet prays for death. A few bars of tenor +recitative tell us that, wearied out, he has fallen asleep +("See, now he sleepeth beneath a juniper-tree in +the wilderness, and there the angels of the Lord encamp +round about all them that fear Him"). It +introduces the trio of the Angels, "Lift thine Eyes +to the Mountains," sung without accompaniment,--one +of the purest, loveliest, and most delightful of +all vocal trios. An exquisite chorus ("He watching +over Israel") follows, in which the second +theme, introduced by the tenors ("Shouldst thou, +walking in Grief"), is full of tender beauty; the +trio and chorus are the perfection of dream-music. +At its close the Angel awakes Elijah, and once more +<span class="pgnum" id="pg_228">[228]</span> +we hear his pathetic complaint, "O Lord, I have +labored in vain; oh, that I now might die!" In +response comes an aria of celestial beauty, sung by +the Angel ("Oh, rest in the Lord"), breathing the +very spirit of heavenly peace and consolation,--an +aria of almost matchless purity, beauty, and grace. +Firmly and with a certain sort of majestic severity +follows the chorus, "He that shall endure to the +end." The next scene is one of the most impressive +and dramatic in the oratorio. Elijah no longer +prays for death; he longs for the divine presence. +He hears the voice of the Angel: "Arise now, get +thee without, stand on the mount before the Lord; +for there His glory will appear and shine on thee. +Thy face must be veiled, for He draweth near." +With great and sudden strength the chorus announces: +"Behold! God the Lord passed by." +With equal suddenness it drops to a pianissimo, gradually +worked up in a crescendo movement, and we +hear the winds "rending the mountains around;" +but once more in pianissimo it tells us "the Lord +was not in the tempest." The earthquake and the +fire pass by, each treated in a similar manner; but +the Lord was not in those elements. Then, in gentle +tones of ineffable sweetness, it declares, "After the +fire there came a still, small voice, ... and in that +still, small voice onward came the Lord;" and onward +sings the chorus in low, sweet, ravishing tones +to the end: "The Seraphim above Him cried one +to the other, Holy, holy, holy, is God the Lord!"--a +double chorus of majestic proportions. Once +<span class="pgnum" id="pg_229">[229]</span> +more Elijah goes on his way, no longer dejected, +but clothed with "the strength of the Lord." His +aria, "For the Mountains shall depart," prepares +us for the final climax. In strong accents the chorus +announce, "Then did Elijah the prophet break +forth like a fire;" his words were like "burning +torches;" he overthrew kings; he stood on Sinai +and heard the vengeance of the future on Horeb. +Then comes a significant pause. The basses begin, +"And when the Lord would take him away;" another +brief pause, and the full chorus pictures in vivid color +the coming of the fiery chariot and the whirlwind +by which he was caught up into heaven. The picturesqueness +and dramatic intensity of this splendid +chorus can hardly be described in words. One +more tenor aria ("Then, then shall the Righteous +shine") and a brief soprano solo introduce the +chorus, "Behold My servant." A beautiful quartet +("Oh! come, every one that thirsteth") follows, and +the massive fugue, "And then shall your Light break +forth as the Light of the Morning," closes this great +masterpiece.</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_6" href="#fr_6">[6]</a></sup>Mr. Lockey was the tenor on this occasion; the part of +Elijah was sung by Standigl. +</div> +</div> +</div> +<div id="c41"> +<h3>Christus.</h3> +<p>"Christus," which Mendelssohn intended as the +third in the series with "Elijah" and "St. Paul," +was left unfinished. The words were written by +the Chevalier Bunsen and given to the composer in +<span class="pgnum" id="pg_230">[230]</span> +1844, before he began "Elijah." With his customary +fastidiousness, he altered and rearranged the +text, and it was not until 1847, after "Elijah" was +finished, that he touched the music. At this time +he was in delicate health, and had not recovered +from the shock of his sister's death. He sought +consolation for his troubles and relief for his +ailments among the mountains of Switzerland. +Part of his time was devoted to mountain-rambling, +and the remainder to work upon "Christus" and +the opera "Loreley," neither of which he lived to +finish.</p> +<p>It is interesting to note in this connection that +before Mendelssohn settled upon "Christus," the +subject of Saint Peter occupied his attention, although +he still had the former in view for later consideration. +In a letter to his friend Schubring, +written at Bingen-on-the-Rhine, July 14, 1837, he +says:-- +</p> +<blockquote><p>"I wish to ask your advice in a matter which is +of importance to me, and I feel it will therefore not +be indifferent to you either, having received so many +proofs to the contrary from you. It concerns the selection +of a subject of an oratorio which I intend to +begin next winter. I am most anxious to have your +counsels, as the best suggestions and contributions +for the text of my 'St. Paul' came from you. Many +very apparent reasons are in favor of choosing St. +Peter as the subject,--I mean its being intended for +the Düsseldorf Musical Festival at Whitsuntide, and +the prominent position the feast of Whit Sunday would +<span class="pgnum" id="pg_231">[231]</span> +occupy in this subject. In addition to these grounds, +I may add my wish (in connection with a greater plan +for a later oratorio) to bring the two chief apostles +and pillars of the Christian Church side by side in +oratorios,--in short, that I should have a 'St. Peter' +as well as a 'St. Paul.'"</p></blockquote> +<p>Another extract from the same letter will show +the keenness with which he analyzed his themes. +He writes:--</p> +<blockquote><p>"I need not tell you that there are sufficient internal +grounds to make me prize the subject; and far above +all else stands the outpouring of the Holy Ghost, which +must form the central point or chief object. The question, +therefore, is whether the place that Peter assumes +in the Bible, divested of the dignity which he enjoys +in the Catholic or Protestant Churches as a martyr, +or the first Pope, etc.,--whether what is said of him +in the Bible is alone and in itself sufficiently important +to form the basis of a symbolical oratorio. For, according +to my feeling, the subject must not be treated +historically, however indispensable this was in the case +of 'St. Paul.' In historic handling, Christ must appear +in the earlier part of St. Peter's career; and where +he appears, St. Peter could not lay claim to the chief +interest. I think, therefore, it must be symbolical; +though all the historical points might probably be introduced,--the +betrayal and repentance, the keys of +Heaven given him by Christ, his preaching at Pentecost,--not +in an historical, but prophetic light, if I may +so express myself, in close connection."</p></blockquote> +<p>The project was never carried out; but the deep +earnestness with which Mendelssohn considered it +<span class="pgnum" id="pg_232">[232]</span> +shows how thoughtfully he must have devoted himself +to the scheme which took its place. Neither +his letters nor his biographers throw much light +upon the history of "Christus." Lampadius says: +"The oratorio was laid out upon a grand scale. It +was to be in three parts,--the career on earth, +the descent into hell, the ascent to heaven." This +plan must have been subsequently changed, for +the fragments of the oratorio are included in +two parts, though they entirely pertain to the +earthly career. There are in all eight complete +numbers,--three from the first part, and five +from the second. The first part opens with a +soprano recitative ("When Jesus our Lord was +born in Bethlehem"), leading to a strong trio +for tenor and two basses ("Say, where is he +born?"), the question of the Wise Men from the +East. The chorus replies, "Then shall a Star from +Jacob come forth," closing with the old German +chorale, "Wie schön leuchtet der Morgenstern" +("How brightly shines the Morning Star!"), in +plain, flowing harmony.</p> +<p>The fragments of the second part are in the +form of the passion-music, and include five tenor +recitatives, narrating the dialogue between Pilate, +the Elders and the People, and his final order, +"Take ye him and crucify him, for I cannot find +a fault in him," and several short, angry choruses +of the Jews, accusing Jesus and calling for his +death, leading to a beautiful chorus for mixed +voices ("Daughters of Zion, weep"), and closing +<span class="pgnum" id="pg_233">[233]</span> +with an effective chorale for male voices in the +genuine Bach style:--</p> +<blockquote> +<div class="verse"> +<p class="t0">"He leaves his heavenly portals,</p> +<p class="t0">Endures the grief of mortals,</p> +<p class="t">To raise our fallen race.</p> +<p class="t0">O love beyond expressing!</p> +<p class="t0">He gains for us a blessing,</p> +<p class="t">He saves us by redeeming grace.</p> +</div> +<div class="verse"> +<p class="t0">"When thou, O sun, art shrouded,</p> +<p class="t0">By night or tempest clouded,</p> +<p class="t">Thy rays no longer dart;</p> +<p class="t0">Though earth be dark and dreary,</p> +<p class="t0">If, Jesus, thou art near me,</p> +<p class="t">'Tis cloudless day within my heart."</p> +</div> +</blockquote> +</div> +<div id="c42"> +<span class="pgnum" id="pg_234">[234]</span> +<h2>MOZART.</h2> +<p>Johann Chrysostomus Wolfgang Amadeus Mozart, one +of the most remarkable musical geniuses +the world has produced, and the only +one of his contemporaries whose operas still hold +the stage with unimpaired freshness, was born at +Salzburg, Jan. 27, 1756. He was the son of Leopold +Mozart, the Salzburgian Vice-Capellmeister, +who gave him and his sister Nannerl their earliest +instructions in music, and with such good results +that the children travelled and gave concerts with +great success. Before he was seven years of age, +he had composed several pieces for piano and violin, +his earliest having been written at the age of five! +At twelve he became court capellmeister in Salzburg. +After his musical travels he went to Vienna, and there +began his real period of classic activity, which commenced +with "Idomeneus," reached its culmination +in "Don Giovanni," and closed with the "Requiem,"--the +"swan-song" of his wonderful life. In his +brief life Mozart composed more than fifty great +<span class="pgnum" id="pg_235">[235]</span> +works, besides hundreds of minor ones in every possible +form of musical writing. His greatest compositions +may be classed in the following order: "Idomeneus" +(1780); "Entführung aus dem Serail" (1781); +"Figaro's Hochzeit" ("The Marriage of Figaro"), +(1785); "Don Giovanni" (1787); "Cosi fan tutti," +"Zauberflöte" ("The Magic Flute"), and "Titus" +(1790); and the "Requiem" (1791, the year of +his death). The catalogue of Mozart's works is an +immense one, for his period of productivity was +unusually long. From the age of five to his death, +there was not a year that was not crowded with his +music. Besides his numerous operas, of which only +the more famous are given above, he wrote a large +number of symphonies (of which the "Jupiter" is now +the best known), sonatas, concertos for all kinds of +instruments, even to musical-glasses, trios, quartets, +quintets, and sextets for all possible combinations of +instruments, marches, fugues, masses, hymns, arias +of extraordinary brilliancy,--many of them written +for his sister-in-law, Aloysia Weber, to whom at one +time he was engaged,--liturgies, cantatas, songs, +and ballads, and indeed every form of music that is +now known. His style was studied by Beethoven, +and so closely imitated that the music of his first +period, if published without autograph, would readily +be attributed to Mozart. His style was so spontaneous +and so characteristic that it has been well +said there is but one Mozart. The distinguishing +trait of his music is its rich melodic beauty and its +almost ravishing sweetness. His melody pours +<span class="pgnum" id="pg_236">[236]</span> +along in a bright, unbroken stream that sometimes +even overflows its banks, so abundant is it. It is +peculiarly the music of youth and spring-time, exquisite +in form, graceful in technique, and delightful +in expression. It was the source where all his immediate +successors went for their inspiration, though +it lacked the maturity, majesty, and emotional depths +which were reached by such a Titan as Beethoven. +Old as it is, and antiquated in form, especially as +compared with the work of the new schools, its +perennial freshness, grace, and beauty have made +it immortal.</p> +</div> +<div id="c43"> +<h3>The Requiem.</h3> +<p>Mozart's "Requiem" was written in Vienna in +1791 and was left in an unfinished state by the composer, +who made suggestions and gave instructions +as to its completion even upon his death-bed; it +was literally his swan-song. No work by any composer +has given rise to more romantic stories or +more bitter discussion. It was long the popular +belief that the "Requiem" was commissioned by +a dark, mysterious stranger, whose appearance impressed +Mozart with the conviction that he was a +messenger of death; more than this, that he himself +had been poisoned, and that he was writing his own +death-song, upon the order of some supernatural +power. There was some foundation for the belief, +as the commission was given in a very mysterious +<span class="pgnum" id="pg_237">[237]</span> +manner, and Mozart's health at that time was so +delicate that he had had several premonitions of +death. In his gloomy spirits he even said to his wife +that he was writing his own requiem. The actual +circumstances attending the commission, though they +do not bear out the romantic versions of the story-tellers, +are yet of extraordinary interest.</p> +<p>The author of the commission was one Count von +Walsegg, living in the village of Stuppach, whose +wife had died early in 1791. He was an amateur +musician of vast ambitions and small accomplishments, +and had conceived the idea of purchasing a +requiem anonymously from Mozart and passing it off +as his own work. In pursuance of his scheme he +despatched his steward, named Leutgeb, a tall, solemn, +mysterious looking person, with an anonymous +letter to Mozart, who at that time was in absolute +poverty, asking for the music and requesting him to +name his own price,--stipulating, however, that he +should make no effort to discover the identity of +his patron. The unsuspicious Mozart accepted the +proposition, after consulting with his wife. He was +about to begin work upon it at once, when he received +a commission to write the opera of "Clemenza +de Tito," in honor of the Emperor Leopold's +coronation. This occupied him several weeks, and +when it was completed he decided upon a visit to +Baden. At the moment he was about to get into +the carriage, the mysterious stranger again appeared +and inquired about the progress of the "Requiem." +Mozart excused himself, and replied that as soon as +<span class="pgnum" id="pg_238">[238]</span> +he returned he would begin the work; and the +stranger went away satisfied.</p> +<p>Mozart came back to Vienna in September; and +after the completion of the "Magic Flute," and its +first performance, Nov. 30, 1791, he devoted himself +assiduously to the "Requiem," though it served +only to increase his gloom. One day he remarked +to his wife: "I well know that I am writing this requiem +for myself. My own feelings tell me that I +shall not last long. No doubt some one has given +me poison; I cannot get rid of the thought." It is +now known that this suspicion was only the result +of his morbid thoughts; but when it was publicly +uttered, most unjust accusations were made against +his rival, Salieri, embittering the old composer's life +until its close. As the work progressed, his gloom +increased. "The day before his death," Nohl says, +"he desired the score to be brought to him in bed, +and he sang his part, taking the alto voice. Benedict +Shack took the soprano, his brother-in-law, Hofer, +the tenor, and Gerl the bass. They had got +through the various parts to the first bars of the +'Lacrymosa,' when Mozart suddenly burst into +tears and laid aside the score." His sister-in-law +has left an account of his last moments. She writes:</p> +<blockquote><p>"As I approached his bed, he called to me: 'It is +well you are here; you must stay to-night and see me +die.' I tried as far as I was able to banish this impression; +but he replied: 'The taste of death is already +on my tongue, I taste death; and who will be near to +support my Constance if you go away?' Süssmayer +<span class="pgnum" id="pg_239">[239]</span> +[his favorite pupil] was standing by the bedside, and +on the counterpane lay the 'Requiem,' concerning +which Mozart was still speaking and giving directions. +He now called his wife and made her promise to keep +his death secret for a time from every one but +Albrechtsberger, that he might thus have an advantage +over other candidates for the vacant office of +capellmeister to St. Stephen's. His desire in this respect +was gratified, for Albrechtsberger received the +appointment. As he looked over the pages of the +'Requiem' for the last time, he said, with tears in his +eyes: 'Did I not tell you I was writing this for +myself?'"</p></blockquote> +<p>Mozart's widow, after his death, fearing that she +might have to refund the money advanced for the +work, induced Süssmayer, who was thoroughly familiar +with Mozart's ideas, to complete it. He did +so, and the copy was delivered to Count von Walsegg, +who did not hesitate to publish it as his own. +Süssmayer, however, had kept a copy, and after +completion published it; and in a letter to the publishers +set up a claim to the instrumentation of the +"Requiem," "Kyrie," "Dies Iræ," and "Domine," +and to the whole of the "Sanctus," "Benedictus," +and "Agnus Dei." The publication of Süssmayer's +letter provoked a controversy which has raged from +that day to this. The ablest critics and musicians +in Europe have taken part in it. Nearly all of them +have defended Mozart's authorship; but after half a +century's discussion it still remains in doubt how far +Süssmayer participated in the completion of the +work as it now stands. The bulk of the evidence, +<span class="pgnum" id="pg_240">[240]</span> +however, favors the theory that Süssmayer only +played the part of a skilful copyist, in writing out +the figurings which Mozart had indicated, carrying +out ideas which had been suggested to him, and +writing parts from the sketches which the composer +had made. One of the most pertinent suggestions +made in the course of this controversy is that of +Rockstro, who says:-- +</p> +<blockquote><p>"Some passages, though they may perhaps strengthen +Süssmayer's claim to have filled in certain parts of +the instrumentation, stand on a very different ground to +those which concern the composition of whole movements. +The 'Lacrymosa' is quite certainly one of the +most beautiful movements in the whole 'Requiem'--and +Mozart is credited with having only finished the +first eight bars of it! Yet it is impossible to study +this movement carefully without arriving at Professor +Macfarren's conclusion that 'the whole was the work +of one mind, which mind was Mozart's.' Süssmayer +may have written it out, perhaps; but it must have +been from the recollection of what Mozart had played +or sung to him, for we know that this very movement +occupied the dying composer's attention almost to the +last moment of his life. In like manner Mozart may +have left no <i>Urschriften</i> (sketches) of the 'Sanctus,' +'Benedictus,' and 'Agnus Dei,'--though the fact that +they have never been discovered does not prove that +they never existed,--and yet he may have played and +sung these movements often enough to have given +Süssmayer a very clear idea of what he intended to +write. We must either believe that he did this, or +that Süssmayer was as great a genius as he; for not +one of Mozart's acknowledged masses will bear comparison +<span class="pgnum" id="pg_241">[241]</span> +with the 'Requiem,' either as a work of art or +the expression of a devout religious feeling. In this +respect it stands almost alone among instrumental +masses, which nearly always sacrifice religious feeling +to technical display."</p></blockquote> +<p>After an introduction, which gives out the subject +of the opening movement,--a slow, mournful, solemn +theme,--the first number begins with the impressive +strain, "Requiem æternam dona eis," which +gradually brightens in the phrase, "Et Lux perpetua," +and reaches a splendid burst of exultation in the +"Te decet hymnus," of which Oublichieff, the Russian +critic, says: "One seems to hear the voice +of an archangel, and Saint Cecilia herself with her +organ sounding a fugued accompaniment which the +most laborious efforts of mortals never could have +power to reach." After a repetition of the "Requiem +æternam," the number closes with the "Kyrie +eleison," a slow and complicated fugue, which is +sublime in its effect, though very sombre in color, +as befits the subject.</p> +<p>The next number is the "Dies Iræ," written for +chorus in simple counterpoint, and very dramatic in +its character, the orchestral part being constantly +vigorous, impetuous, and agitated, and reaching intense +energy on the verse, "Quantus tremor est +futurus," the whole presenting a vivid picture in +tones of the terrors of the last judgment. In the +"Tuba mirum" the spirit of the music changes +from the church form to the secular. It is written +for solo voices, ending in a quartet. The bass +<span class="pgnum" id="pg_242">[242]</span> +begins with the "Tuba mirum," set to a portentous +trombone accompaniment; then follow the tenor +("Mors stupebit"), the alto ("Judex ergo"), and +the soprano ("Quid sum miser"). This number +is particularly remarkable for the manner in which +the music is shaded down from the almost supernatural +character of the opening bass solo to the +beauty and sweetness of the soprano solo. From +this extraordinary group we pass to the sublime +chorus, "Rex tremendæ majestatis," once more +in the church style, which closes with the prayer, +"Salva me," in canonical form. With rare skill is +this last appeal of humanity woven out of the thunder-crashes +of sound in the judgment-music.</p> +<p>The "Dies Iræ" is followed by the "Recordare," +written, like the "Tuba mirum," as a quartet for solo +voices. The vocal parts are in canon form and are +combined with marvellous skill, relieved here and +there with solos in purely melodic style, as in the +"Quærens me," while the orchestral part is an independent +fugue, with several subjects worked up with +every form of instrumental embellishment, the fugue +itself sometimes relieved by plain accompaniment. +The whole is an astonishing piece of contrapuntal +skill, apparently inexhaustible in its scientific combinations, +and yet never for an instant losing +its deep religious significance. Once more the +orchestral part is full of agitation and even savage +energy in the "Confutatis maledictis," as it accompanies +a powerful double chorus, closing at +last in a majestic prayer ("Oro supplex et +<span class="pgnum" id="pg_243">[243]</span> +acclinis"), in which all the voices join in magnificent +harmony.</p> +<p>The "Lacrymosa" is the most elegant and poetically +conceived movement in the "Requiem." +It begins in a delicate, graceful, and even sensuous +manner, which gradually broadens and strengthens, +and at last develops into a crescendo of immense +power, reaching its climax on the words "Judicandus +homo reus." Then it changes to a plaintive +prayer ("Huic ergo parce Deus"), and closes +in a cloud of gloom in the "Dona eis requiem." +The next number ("Domine Jesu Christe") is +in pure church form, beginning with a motet by +chorus in solid harmony, which runs into a fugue +on the words "Ne absorbeat eas Tartarus," followed +by a quartet of voices regularly fugued, leading to +another great fugue on the passage, "Quam olim +Abrahæ," which closes the number in a burst of +sacred inspiration. The "Domine" is followed by +the "Hostias," a lovely choral melody which leads +to the "Sanctus," a sublime piece of harmony closing +with a fugued "Hosanna." The "Benedictus," +which follows it, is a solo quartet plaintive and +solemn in character, but full of sweet and rich +melodies magnificently accompanied.</p> +<p>The "Agnus Dei" closes the work, a composition +of profound beauty, with an accompaniment of +mournful majesty, developing into a solemn, almost +funereal strain on the words "Dona eis requiem," +and closing with the fugue of the opening "Kyrie" +on the words "Lux æterna." "Written under the +<span class="pgnum" id="pg_244">[244]</span> +inspiration of death" might well be inscribed on this +great monument of musical skill, this matchless requiem +of awful majesty and divine beauty. In its +own unity, its perfection of form and design, its +astonishing skill, from the opening fugue of the +"Kyrie" to its repetition in the finale, may be +found the proof that Mozart and no other wrote the +entire score, and that every thought and idea in it +are the inspired work of the dying master.</p> +</div> +<div id="c44"> +<span class="pgnum" id="pg_245">[245]</span> +<h2>PAINE.</h2> +<p>John K. Paine, one of the very few +really eminent American composers, was +born at Portland, Me., Jan. 9, 1839. He +studied the piano, organ, and composition +with Kotzschmar in that city, and made his +first public appearance as an organist, June 25, 1857. +During the following year he went to Germany and +studied the organ, composition, and instrumentation +with Haupt and other masters in Berlin. He returned +to this country in 1861 and gave several concerts, +in which he played many of the organ works +of the best writers for the first time in the United +States. Shortly after his return he was appointed +instructor of music in Harvard University, and in +1876 was honored with the elevation to a professorship +and given a regular chair. He is best known +as a composer, and several of his works have been +paid the rare compliment of performance in Germany, +among them his Mass in D and all his +symphonies. The former was given at the Berlin +Singakademie in 1867, under his own direction. +Among his principal compositions are the oratorio +<span class="pgnum" id="pg_246">[246]</span> +"St. Peter;" the Mass in D; the Centennial Hymn, +set to Whittier's poem and sung at the opening of +the Philadelphia Centennial Exhibition; the overture +to "As You Like It;" "The Tempest," in the +style of a symphonic poem; the symphony in C +minor and "Spring" symphony; besides numerous +sonatas, fantasies, preludes, songs, and arrangements +for organ and piano. His larger orchestral works +have been made familiar to American audiences by +Mr. Theodore Thomas's band, and have invariably +met with success. His style of composition is large, +broad, and dignified, based upon the best classic +models, and evinces a high degree of musical +scholarship.</p> +</div> +<div id="c45"> +<h3>St. Peter.</h3> +<p>"St. Peter," Mr. Paine's only oratorio,--and +from the highest standpoint it may be said the only +oratorio yet produced in this country,--was written +in 1872-73, and first performed at Portland, Me., +in June of the latter year, under the composer's +own direction. The solos were sung by Mrs. Wetherbee, +Miss Adelaide Phillipps, Mr. George L. +Osgood, and Mr. Rudolphsen. It was again produced +with great success at the third Triennial Festival +of the Boston Handel and Haydn Society, +May 9, 1874, with Mrs. J. Houston West, Mr. Nelson +Varley, Miss Phillipps, and Mr. Rudolphsen in +the principal parts.</p> +<span class="pgnum" id="pg_247">[247]</span> +<p>The establishment of Christianity, illustrated by +the four principal scenes in the life of St. Peter, +forms the subject of the oratorio. It is divided into +two parts, and these are subdivided as follows: +Part I. The Divine Call; The Denial and Repentance. +Part II. The Ascension; Pentecost. The +overture, a short adagio movement expressive of +the unsettled spiritual condition of the world prior +to the advent of Christianity, leads directly to the +opening chorus, "The Time is fulfilled," which +develops not only this subject, but also a second, +"Repent, and believe the glad Tidings of God," +in a masterly manner. The chorus, written in a +very noble style, is followed by the tenor recitative, +which describes the divine call of our Lord +to Simon and Andrew as "He walked by the Sea of +Galilee." It prepares the way for a soprano aria +("The Spirit of the Lord is upon me") which announces +the glad tidings they are commissioned to +deliver. Twelve male voices, representing the Disciples, +accept the call in the chorus, "We go before +the Face of the Lord," which is beautifully +accompanied by and interwoven with the full chorus, +closing with the smoothly flowing chorale, "How +lovely shines the Morning Star." Then ensues the +first dramatic scene. To the question of the Saviour, +"Who do men say that I am," the twelve male +voices first reply, followed by Peter in a few bars of +very effective recitative, "Thou art the Christ." +A tenor arioso, declaring the foundation of the +Church "upon this rock," is followed by a noble +<span class="pgnum" id="pg_248">[248]</span> +and exquisitely chaste bass aria for Peter ("My +Heart is glad and my Spirit rejoiceth"), the scene +ending with the powerful chorus, "The Church is +built upon the Foundation of the Apostles and +Prophets." The next scene, "The Denial and +Repentance," opens with the warning to Peter +that he will deny his Lord, and his remonstrance, +"Though I should die with thee," which is repeated +by the Apostles. These brief passages are +followed by a very pathetic aria for tenor ("Let +not your Heart be troubled") and a beautifully +worked-up quartet and chorus ("Sanctify us through +Thy Truth"). A contralto solo announces the coming +of "Judas with a great multitude," leading Jesus +away to the High Priest, and is followed by the +very expressive chorus, "We hid our Faces from +him." The scene of the denial is very dramatic, +the alternating accusations of the servants and the +denials of Peter being treated with great skill; it +closes with a very effective contralto recitative, illustrating +the sad words: "And while he yet spake, +the cock crew. And the Lord turned, and looked on +Peter; and he remembered the word of the Lord, +and he went out and wept bitterly." An orchestral +interlude follows, in the nature of a lament, a minor +adagio full of deep feeling. It is followed by an aria +for Peter ("O God, my God, forsake me not"), +which is cast in the same strain of lamentation as +the orchestral number which precedes and really +introduces it. At its close a chorus of Angels, sopranos, +and altos, with harp accompaniment ("Remember, +<span class="pgnum" id="pg_249">[249]</span> +remember from whence thou art fallen"), +is heard warning Peter, augmented on the introduction +of the second subject ("And he that overcometh +shall receive a Crown of Life") by the full +chorus. This chorus is followed by a beautiful aria +for alto ("The Lord is faithful and righteous to +forgive our Sins"); and then a massive chorus, +which is fairly majestic ("Awake, thou that sleepest"), +closes the first part.</p> +<p>The second part opens with a chorus ("The Son +of Man was delivered into the Hands of sinful +Men"), which tells the story of the crucifixion, not +only with great power, but also with intense pathos, +ending with the chorale, "Jesus my Redeemer +lives," which invests the sad narrative with tender +and consolatory feeling. The ascension scene is +accompanied by graceful and expressive recitatives +for tenor and bass, followed by a tenor arioso ("Go +ye and teach") and a short soprano recitative +("And he lifted up his Hands"), leading to the full +melodious chorus, "If ye then be risen." The +next number is an impressive soprano solo ("O Man +of God"), in which Peter is admonished "to put on +the whole armor of God and fight the good fight." +A beautifully written quartet ("Feed the Flock of +God") closes the scene of the ascension. The +last scene opens with a tenor solo describing the +miracle of Pentecost, set to an extremely vigorous +and descriptive accompaniment. It is followed by +the chorus, "The Voice of the Lord," which is +one of the most effective in the whole work, though +<span class="pgnum" id="pg_250">[250]</span> +not constructed in the massive style of those which +close the two parts. A contralto recitative links +this chorus to its successor, "Behold! are not all +these who speak Galileans?" After a brief soprano +recitative, Peter has another vigorous solo +("Ye Men of Judæa"), which is as dramatic in its +style and almost as descriptive in its accompaniment +as the opening tenor solo of this scene. A reflective +aria for alto ("As for Man") follows it, and +bass and tenor recitatives lead up to the eagerly +questioning chorus of the people, "Men and Brethren." +The answer comes from Peter and the +Apostles, "For the Promise is to you." An intricate +chorus ("This is the Witness of God"), closing +with a chorale ("Praise to the Father"), leads +to the finale, which comprises the chorus, "Beloved, +let us love one another," written for bass solo, +tenors, and basses (the Disciples), and full chorus; +an effective duet for soprano and tenor ("Sing unto +God"); and the final majestic chorus ("Great and +marvellous are thy Works").</p> +</div> +<div id="c46"> +<span class="pgnum" id="pg_251">[251]</span> +<h2>ROSSINI.</h2> +<p>Gioachino Antonio Rossini, the +father of the modern Italian school of +opera, was born Feb. 29, 1792, at Pesaro, +in the Romagna. His father was an accomplished +musician, and his mother a professional +singer, so that he was brought up in a musical +atmosphere. Even as a boy he sang with his +mother in the theatre. He first studied with +Mattei, and later with Martini. His first opera, +"Demetrio e Polibio," was brought out at Rome +in 1812, and before he had concluded his life-work, +more than forty of his operas had been given in +almost every part of Europe,--a crowning result of +labor and contemporaneous fame not often enjoyed +by composers. His "Tancredi," which was produced +for the first time at Venice in 1813, was the +opera which made him famous, and its remarkable +success spread his reputation far and wide. In +1815 appeared "L' Italiana in Algeri" and "Aureliano +in Palmira;" in 1816, "Elisabetta," "Otello," +and his splendid work "The Barber of Seville," +which, though his masterpiece, is said to have been +<span class="pgnum" id="pg_252">[252]</span> +written in fourteen days; in 1817, "La Cenerentola," +"La Gazza Ladra," and "Armida;" and in +1819, "Ricciardo e Zoraïde," "La Donna del Lago," +and many others. From 1815 to 1822 Rossini was +under the "management" of the <i>impresario</i> Barbaja +in Naples, who had much difficulty in keeping him +to the work of composition, his facility in writing +often leading him to defer work until it was the very +eve of performance. In 1823, under the auspices +of Barbaja, and with the assistance of the prima +donna, Colbran, whom Rossini married about this +time, his opera "Zelmira" and others of his works +were given with such brilliant success as to raise his +aspirations for a wider and more promising field of +labor. In the year 1823 he went to Paris and London, +finally settling in the former city, where he not +only began a new grand opera, but also gave himself +to the study and development of orchestral music +and the encouragement of artists. His home was +the Mecca of singers, and, like Liszt's at Weimar, +the centre of art influences. The new work was +"William Tell," which was first brought out in Paris +in 1829. It was his last important effort. It met +with only temporary success, though it enjoys to-day +a reputation almost equal to that of the "Barber." +His most celebrated work in sacred music is the +"Stabat Mater," which, though written in operatic +style and very brilliant in coloring, has retained its +place in popular favor, and is to-day as eagerly +sought for by artists and the public as it was in his +own day. Among his other sacred works is "Moses +<span class="pgnum" id="pg_253">[253]</span> +in Egypt,"--originally written as an oratorio for the +San Carlo in Naples, and brought out there in 1818, +though subsequently recast and provided with a +revised libretto for the Paris Grand Opera in 1827. +The "Prayer" from this work has a world-wide popularity. +During the latter years of his life Rossini +gave up composition entirely,--in part because of +the eventual failure of his "William Tell,"--and +enjoyed the fruits of his labors at his beautiful villa +in Passy. He died Nov. 14, 1868. His sacred +works, besides those already mentioned, are a few +Italian oratorios, now unknown, three choruses, +"Faith, Hope, and Charity," the "Petite Messe +Solenelle," a "Tantum Ergo," a "Quoniam," and an +"O Salutaris."</p> +</div> +<div id="c47"> +<h3>Stabat Mater.</h3> +<p>The great Stabat Maters in the musical world are +those of Palestrina, Pergolesi, Haydn, Steffani, Clari, +Astorga, Winter, Neukomm, Rossini, and the one +recently written by the Bohemian composer, Dvorák. +Of all these no one has been so popular as that of +Rossini, nor made the world so familiar with the text +of the Virgin's Lamentation. After the failure of +"William Tell," Rossini abandoned opera-writing, +though he had a contract with the Grand Opera at +Paris for four more works, and contemplated taking +up the subject of Faust. "William Tell" was his +<span class="pgnum" id="pg_254">[254]</span> +last work for the stage; but before his absolute retirement +he was to produce a work destined to add +to his fame. In 1832 his friend Aguado induced +him to compose a "Stabat Mater" for the Spanish +minister, Don Valera, which was not intended to be +made public. Before its completion he fell ill, and +Tadolini wrote the last four numbers. The work +was dedicated to Valera, with the understanding that +it should always be retained by him. Nine years +afterwards Valera died, and Rossini learned that his +heirs had sold the work to a Paris publisher for two +thousand francs. He at once claimed the copyright +and brought an action, in which he was successful. +He then composed four new numbers in place of +those written by Tadolini, and sold the work complete +to the publisher, Troupenas, for six thousand +francs. The latter sold the right of performance for +a limited time to the Escudiers for eight thousand +francs, and they in turn sold it to the Théâtre Italien +for twenty thousand. Its first complete performance +was at the Salle Ventadour, Jan. 7, 1842, Grisi, +Albertazzi, Mario, and Tamburini taking the principal +parts.</p> +<p>A brief but brilliant orchestral prelude leads to +the opening chorus, "Stabat Mater dolorosa," +arranged for solos and chorus, and very dramatic +in style, especially in its broad, melodious contrasts. +It is followed by the tenor solo, "Cujus Animam," +which is familiar to every concert-goer,--a clear-cut +melody free of embellishment, but very brilliant +and even jubilant in character, considering the +<span class="pgnum" id="pg_255">[255]</span> +nature of the text. The next number ("Quis est +Homo"), for two sopranos, is equally familiar. It +is based upon a lovely melody, first given out by +the first soprano, and then by the second, after +which the two voices carry the theme through +measure after measure of mere vocal embroidery, +closing with an extremely brilliant cadenza in genuine +operatic style. The fourth number is the bass +aria "Pro peccatis," the two themes in which +are very earnest and even serious in character, and +come nearer to the church style than any other +parts of the work. It is followed by a beautifully +constructed number ("Eia Mater"), a bass recitative +with chorus, which is very strong in its effect. +The sixth number is a lovely quartet ("Sancta +Mater"), full of variety in its treatment, and closing +with full, broad harmony. After a short solo for +soprano ("Fac ut Portem"), the climax is reached +in the "Inflammatus,"--a brilliant soprano obligato +with powerful choral accompaniment. The solo +number requires a voice of exceptional range, +power, and flexibility; with this condition satisfied, +the effect is intensely dramatic, and particularly +fascinating by the manner in which the solo is set +off against the choral background. A beautiful +unaccompanied quartet in broad, plain harmony, +"Quando Corpus," leads to the showy fugued +"Amen" which closes the work.</p> +<p>Unquestionably the "Stabat Mater" is one of the +most popular of all the minor sacred compositions; +and the secret lies on the surface: it is to be found +<span class="pgnum" id="pg_256">[256]</span> +in the delightful and fascinating melodies, which are +strewn so thickly through it, as well as in the +graceful bravura, which was so characteristic of +Rossini, and which when delivered by accomplished +artists is very captivating to a popular audience. +As to its sacred form, it is as far from the +accepted style of church music as Berlioz's or +Verdi's requiems. Indeed, Rossini himself remarked +to Hiller that he wrote it in the "mezzo +serio" style. In connection with this matter one +or two criticisms will be of interest. Rossini's biographer, +Sutherland Edwards, says: "The 'Stabat +Mater' was composed, as Raphael's Virgins were +painted, for the Roman Catholic Church, which +at once accepted it, without ever suspecting that +Rossini's music was not religious." The remark, +however, would be more pertinent were it not for +the fact that the Church itself has not always been +a good critic of its own music, or a good judge of +what its music should be, as Liszt discovered when +he went to Rome full of his purposes of reform in +the musical service. Heine, in a letter to the "Allgemeine +Zeitung" in 1842, replying to certain German +criticisms, went so far as to say,-- +</p> +<blockquote><p>"The true character of Christian art does not reside +in thinness and paleness of the body, but in a +certain effervescence of the soul, which neither the +musician nor the painter can appropriate to himself +either by baptism or study; and in this respect I find +in the 'Stabat' of Rossini a more truly Christian character +than in the 'Paulus' ['St. Paul'] of Felix Mendelssohn +<span class="pgnum" id="pg_257">[257]</span> +Bartholdy,--an oratorio which the adversaries +of Rossini point to as a model of Christian style."</p></blockquote> +<p>It will hardly be claimed, however, even by Heine's +friends, that this sweeping statement is either just to +Mendelssohn or true of Rossini. Perhaps they will +also concede that Heine was not a very good judge +of Christianity in any of its aspects, musical or otherwise. +The veteran Moscheles in one of his letters +criticizes the work very pertinently. He says,--</p> +<blockquote><p>"It is, as you may imagine, a model of 'singableness' +(if I may say so); but it is not sufficiently church +music to my taste. His solitary fugue is clumsy. The +criticisms on the work are very various. Some agree +with me; but the majority delight in the captivating +Italian phrases, which I admire too, but which I +cannot think are in the right place."</p></blockquote> +<p>He might have added, "Because they are the +phrases of 'Semiramide,' 'Tancredi,' and the 'Barber.'" +There is scarcely a number of the "Stabat +Mater" which might not be detached from it and +reset in one of Rossini's operas without doing violence +to whatever of the real religious style it may +be supposed, or was intended, to have. The "Stabat +Mater" music would be captivatingly beautiful in any setting.</p> +</div> +<div id="c48"> +<span class="pgnum" id="pg_258">[258]</span> +<h2>RUBINSTEIN.</h2> +<p>Anton Gregor Rubinstein was +born, Nov. 30, 1829, at the village of +Wechwotynetz, in Russia. His parents, +who were in moderate circumstances, +moved to Moscow during his infancy, and in that +city he received his first musical instruction. His +mother gave him lessons at the age of four, with the +result that by the time he was six she was unable +to teach him anything more. He then studied +the piano with Alexander Villoing, a pupil of John +Field. His first composition appeared in his +twelfth year, and soon his songs and two and +four hand piano-pieces began to attract the attention +of musicians. In 1840 Villoing took him to +Paris and placed him in the Conservatory, where he +attracted the attention of Liszt, Chopin, and Thalberg. +He remained in that city eighteen months, +devoting himself to unremitting study, and then +made some professional tours, in which he met +with extraordinary success, particularly in England. +From that country he went to Holland and Sweden, +everywhere meeting with an enthusiastic reception. +<span class="pgnum" id="pg_259">[259]</span> +In 1844 his parents removed to Berlin, and he was +placed under Dehn, the famous contrapuntist, to +study composition, his brother Nicholas being a +companion in his work. The father dying in 1846, +the mother and Nicholas returned to Russia, leaving +Anton alone. During the next two years he +taught music in Pressburg and Vienna, and in the +latter part of 1848 went back to Russia. About this +time he received an honorary musical appointment +from the Grand-Duchess Hélène. For eight years +he studied and wrote in St. Petersburg, and at the +end of that time had accumulated a mass of manuscripts +destined to make his name famous all over +Europe, while his reputation as a skilful pianist was +already world-wide. He visited England again in +1857, and the next year returned home and settled +in St. Petersburg, about which time he was made Imperial +Concert Director, with a life-pension. At this +period in his career he devoted himself to the cause +of music in Russia. His first great work was the +foundation of the Conservatory in the above city in +1862, of which he remained principal until 1867. +He also founded the Russian Musical Society in +1861, and in 1869 was decorated by the Czar. In +1870 he directed the Philharmonic and Choral +Societies of Vienna, and shortly afterwards made +another tour, during which, in 1872, he came to this +country with the eminent violinist Wieniawsky, as +will be well remembered. His visit here was marked +by a succession of ovations. No other pianist ever +achieved such a wonderful success, not only among +<span class="pgnum" id="pg_260">[260]</span> +musicians, but among the people of all classes. +Musicians were astounded at his remarkable knowledge, +while musical and unmusical people alike were +carried off their feet by the whirlwind-style of his +playing. It was full of grace, nobility, breadth, and +dignity; but it combined with these qualities a fire, +an intensity, and a passion which sometimes invested +the piano with orchestral effects, and again transformed +it into an instrument that wept, laughed, +sang, and danced. His power was irresistible and +electric. As a composer he ranks very high. His +greatest works are the Ocean Symphony, Dramatic +Symphony, and a character sketch for grand +orchestra called "Ivan the Terrible;" his operas, +"Children of the Heath," "Feramors," "Nero," +"The Maccabees," "Dimitri Donskoi," and the +"Demon;" the oratorios "Paradise Lost" and +"Tower of Babel;" and a long and splendid catalogue +of chamber, salon, and concert music, besides +some beautiful songs which are great favorites +in the concert-room.</p> +</div> +<div id="c49"> +<h3>The Tower of Babel.</h3> +<p>"The Tower of Babel," a sacred opera, as Rubinstein +entitles it, was written in 1870, the text, +which is somewhat of a travesty on sacred history, +by Julius Rodenberg. An English critic very pertinently +says: "One item alone in all the multitude +of details crowded by Herr Rodenberg into his +<span class="pgnum" id="pg_261">[261]</span> +canvas has any foundation in fact. He adopts the +theory that there really was a tower of Babel, and +all the rest he founds on conjecture." In point +of fact, the anachronisms are numerous enough to +make the text almost a burlesque. Nimrod, the +mighty hunter, is made the chief builder of the +tower, which is supposed to be in process of erection +as an insult to the Deity. Abraham appears +upon the scene (many years before he was born), +and rebukes Nimrod for his presumption; whereupon +the hunter-king orders "the shepherd," as +he is called, to be thrown into a fiery furnace, after +the manner of Shadrach, Meshach, and Abednego. +The angels watch over the patriarch, and he comes +out of the fire unharmed. Some of the people +standing by ascribe the miracle to Baal, some to +Dagon, some to Ashtaroth, and a few to Jehovah, +and at last get into a quarrel with each other. +Nimrod interposes his authority, and orders them +to their work on the tower again. Soon the +heavens cloud over, and a storm is seen approaching. +Abraham prophesies destruction, and Nimrod +orders him to be seized and hurled from the summit +of the tower; but before his commands can be +executed, a thunderbolt strikes it and crumbles it +into a heap of shapeless stones. While Abraham +exults over the destruction, the dispersion of the +three races, the Shemites, Hamites, and Japthides, +occurs. Nimrod laments over the result of his +folly, and at last acknowledges the authority of the +Divine Power, and thus the story ends.</p> +<span class="pgnum" id="pg_262">[262]</span> +<p>The <i>dramatis personæ</i> are Nimrod (bass), Abraham +(tenor), Master Workman (baritone), four +Angels (boys' voices), the choruses by Nimrod's followers, +the People, Angels, and Demons. The overture +is a confused, formless number, indicating the +darkness. In the beginning there is no clear musical +idea; but at last the subject assumes definite +form as the dawn breaks and the Master Workman +announces the sunrise and calls the People to their +work, in the recitative, "Awake! ye Workers, +awake!" The summons is followed by the chorus, +"To work," in which the vocal part is noisy, +broken, and somewhat discordant, representing +the hurry and bustle of a crowd of working-men,--with +which, however, the orchestra and organ build +up a powerful theme. The song of the Master +Workman is also interwoven, and the chorus is +finally developed with great vigor and splendid +dramatic effect. Nimrod now appears, and in a +triumphant outburst ("Stately rises our Work on +high") contemplates the monument to his greatness +now approaching completion. Abraham rebukes +him ("How, Mortal, canst thou reach His +Presence?"). The scene at this point is full of +dramatic vigor. Nimrod hurls imprecations at +Abraham, followed by strongly contrasting choruses +of the angry People and protecting Angels, which +lead up to the mixed chorus of the People, indicating +the confusion of tongues as they severally ascribe +the escape of Abraham from the furnace-fire +to Baal, Dagon, Ashtaroth, and Jehovah, and closing +<span class="pgnum" id="pg_263">[263]</span> +with tumultuous dissension, which is quelled by +Nimrod. The effect of the Angels' voices in the +hurlyburly is exceedingly beautiful, and the accompaniments, +particularly those of the fire-scene, are +very vivid. Nimrod's order to resume work on the +tower is followed by the angelic strain, "Come +on! let us down to Earth now hasten." Once +more the Builders break out in their barbaric +chorus, "To work," followed by the portentous +outburst of the People, "How the Face of Heaven +is o'ershadowed!" In a vigorous solo Abraham +replies, "No! 'tis not Vapor nor Storm-clouds +that gather." There is a final controversy between +Abraham and Nimrod, and as the latter +orders the patriarch to be thrown from the tower, +the storm breaks, and amid the shrieks of the chorus +("Horror! horror") and the tremendous clangor +of organ and orchestra on the theme already +developed in the opening, the tower is destroyed.</p> +<p>The tumultuous scene is followed by Nimrod's +lament ("The Tower whose lofty Height was like +my State"), a bass aria of great power, and reaching +a splendid climax. Abraham, in an exultant +strain ("The Lord is strong in Might"), proclaims +God's purpose to scatter the people. The most +picturesque scene in the work now occurs,--the +dispersal of the Shemites, Hamites, and Japthides, +typified by orchestral marches and choruses of a +barbaric cast. The stage directions at this point +indicate that the three choruses "must be sung +behind the scenes, while dissolving views present +<span class="pgnum" id="pg_264">[264]</span> +to the audience the emigration of the three great +human races,"--an effect which is also made in +the last act of Goldmark's "Queen of Sheba." +The first chorus, that of the Shemites, which is sung +in unison, is taken from some of the ancient music +in the ritual of the Jewish Synagogue, that used +on the eve of the Day of Atonement. The other +two choruses are also Oriental in color and rhythm, +and give a very striking effect to this part of the +work. The chorus of Angels ("Thus by Almighty +Power of God") proclaims the completion of the +work, and two long solos by Abraham and Nimrod +lead up to the final choruses of the Angels, People, +and Demons, worked up in very powerful style, and +in the finale uniting the themes which originally introduced +the chorus of the People and the Angels, +and the subject of the darkness in the overture. +The tableau is thus described in the stage directions: +"The stage is divided into three horizontal compartments. +In the middle is the earth; in the upper is +the throne of the Almighty, surrounded by all the +heavenly powers; in the lower, hell, Satan seated on +his throne, surrounded by all the infernal deities."</p> +</div> +<div id="c50"> +<h3>Paradise Lost.</h3> +<p>The oratorio "Paradise Lost" was first produced +in Vienna in 1859 by the Gesellschaft der Musikfreunde, +a choral organization conducted by Rubinstein +during his stay in that city. Like "The Tower +<span class="pgnum" id="pg_265">[265]</span> +of Babel," it is entitled by the composer "a sacred +opera," though it is in genuine oratorio form, and +usually classed as such. The text is a very free +transcription from Milton. The work is divided +into three parts; but as the second is usually the +only part given by oratorio societies, our sketch will +be principally confined to that. The first part +mainly concerns the defeat of Satan's forces by the +legions of Heaven, and is remarkable for its vigorous +instrumental treatment.</p> +<p>The second part is devoted to the creation, and +is composed principally of choruses introduced by +a few bars of recitative, invariably for the tenor, who +acts the part of narrator. The first seven of these +describe the creation of the earth. After a characteristic +introduction, the tenor declares "Chaos, be +ended!" whereupon the Angels sing a glowing tribute +to light ("Upspringing, the darkened Air broke +forth into radiant Brightness"). Again the tenor +and chorus in a brief number describe the firmament. +The third chorus ("Fierce raged the Billows") +pictures the division of land and water with great +vigor, accompanied by imitative instrumentation +which indicates Rubinstein's skill as a water-painter +quite as clearly as his great Ocean Symphony. In +the fourth and fifth choruses the music vividly tells +the story of the creation of the trees and plants +and the appearance of the stars in the firmament. +The sixth ("Gently beaming, softly streaming"), +in which the Angels rejoice in the soft radiance +of the moon, is short, but exceedingly tender and +<span class="pgnum" id="pg_266">[266]</span> +beautiful. In the seventh ("All around rose the +Sound of the Strife of Life"), we have a description +of the awakening of life characterized by +extraordinary descriptive power. This group of +choruses, each one thoroughly fresh, original, and +picturesque in its description, brings us up to the +creation of man, which is the finest portion of +the whole work. It begins with a long tenor +recitative, "In all her Majesty shines on high the +Heaven," reaching a fine crescendo at the close +("And lo! it was Man"). The Angels reply with +their heavenly greeting, "Hail to Thee, O Man." A +short dialogue follows between Adam and the Narrator, +and the Angels renew their greeting, this time to +Eve. This leads up to a lovely duet between Adam +and Eve ("Teach us then to come before Thee"), +which is very gracefully constructed, and tenderly melodious +in character. The final number is a chorus +of the Angels ("Clear resounded the Trumpets of +Heaven"), beginning in broad, flowing, jubilant harmony, +then developing into a fugue on the words +"Praise the Almighty One," built up on a subject +full of exultation and grandeur, and closing with a +Hallelujah delivered with mighty outbursts of power.</p> +<p>The third part is devoted to the fall of Adam and +Eve and their banishment from Eden, closing with +the announcement of the ultimate salvation of mankind. +Both the Almighty and Satan appear in this +part, the former's music being sung by the tenor +voice; though, curiously enough, the latter's music +is much the more attractive.</p> +</div> +<div id="c51"> +<span class="pgnum" id="pg_267">[267]</span> +<h2>SAINT-SAËNS.</h2> +<p>Charles Camille Saint-Saëns, +famous as composer, pianist, and critic, +was born in Paris, Oct. 9, 1835. He +began his musical studies at a very +early age. In his seventh year he took piano lessons +of Stamaty and studied harmony, and in his +twelfth was a student at the Conservatory, where +he took two organ prizes; though he failed on +two occasions in his competition for the Prix de +Rome. His first symphony appeared in 1851, and +was performed with success. In 1853 he was appointed +organist of the Church of St. Merri, and five +years later secured a like position at the Madeleine, +which he filled with high honor for nineteen +years, finally resigning in favor of Theodore Dubois. +In 1867 he was awarded a prize for his cantata +"Les Noces de Prométhée" by the Paris International +Exhibition, and the next year he was received +with distinguished honor at the Artists' Meeting +in Weimar, both as pianist and composer. His +operatic career began about this time. "La Princesse +jeune" appeared in 1872, and "Le Timbre +<span class="pgnum" id="pg_268">[268]</span> +d'Argent" in 1877; but neither was successful. +His next work was the sacred drama "Samson et +Dalila," produced at Weimar in the latter part of +1877; followed by "Étienne Marcel" at Lyons in +1879. In addition to his operas he has written +several cantatas, among them "The Deluge" and +"La Lyre et la Harpe," composed for the Birmingham +Festival of 1879; three symphonies; four symphonic +poems, "La Rouet d'Omphale," "Phaéthon," +"Danse Macabre," and "La Jeunesse d'Hercule;" +a large number of concerted pieces with orchestra, +songs and romances, as well as chamber-music and +compositions for piano and organ. His sacred +music includes the following works: mass for four +voices, Requiem Mass, "Oratorio de Noël," "Tantum +Ergo," the Nineteenth Psalm for solos, chorus, +and orchestra, and many minor pieces for choir use. +He has been a prolific writer, but his fame thus far +rests upon his instrumental music. He has travelled +much as a virtuoso in Russia, Spain, Germany, and +England, conducting his own compositions, and also +giving piano and organ recitals, in which he has +met with great success. He also ranks high as a +musical critic, and many of his contributions to the +Parisian press have been collected, with a view to +publication in a separate volume. Of late he has +obtained considerable notoriety by his controversial +articles on the Wagner question,--in which, however, +national prejudice sometimes has been more +apparent than cosmopolitan judgment. As a composer, +he is unquestionably more learned than are +<span class="pgnum" id="pg_269">[269]</span> +any of his native contemporaries, and he has made +a closer study of Bach than even Gounod has. His +descriptive powers are very strong, as is evidenced +by the symphonic poems which Mr. Thomas has +introduced into this country. They even go to the +verge of the sensational; but, on the other hand, +the study of his "Oratorio de Noël" and of his +transcriptions from Bach will show that he is a +master of counterpoint and thematic treatment.</p> +</div> +<div id="c52"> +<h3>Christmas Oratorio.</h3> +<p>"Noël," Saint-Saëns' Christmas oratorio, in dimensions +hardly exceeds the limits of a cantata, but +musically is constructed in oratorio style. Its subject +is the nativity, combined with ascriptions of +praise and a final exultant hallelujah. The work is +short, but very effective, and is written for five solo +voices and chorus, with accompaniment of strings +and organ, and the harp in one number. It opens +with a pastoral symphony of a very melodious character. +The first number is the recitative, "And +there were Shepherds," including the angelic message +and the appearance of the heavenly hosts, the +subject being divided among the tenor, alto, soprano, +and baritone, and leading up to the first +chorus ("Glory now unto God in the highest"), +which is quite short, but beautifully written. The +next number is an aria for mezzo-soprano ("Firm +in Faith"), which is very simple, but graceful in its +melody. The fourth number is a tenor solo and +<span class="pgnum" id="pg_270">[270]</span> +chorus ("God of all"), written in the church style, +followed by a soprano and baritone duet ("Blessed, +ever blessed"), which is very elaborate in its construction, +and highly colored. The next number is +the chorus, "Wherefore are the Nations raging," +which is intensely dramatic in its effect, especially +for the manner in which the voice-parts are set off +against the agitated accompaniment. The contrasts +also are very striking, particularly that between the +tumultuous opening of the chorus and its tranquil +close in full harmony on the words, "As it was in +the Beginning." The next number is a lovely trio +for tenor, soprano, and baritone ("Thou art from +first to last"), with harp accompaniment throughout, +which gives to it an extremely graceful and +elegant effect. It is followed by a quartet ("Alleluia"), +in which the theme is introduced by the +alto. The Alleluia is then taken up by all four +parts (soprano, mezzo-soprano, alto, and baritone), +in full, rich harmony, the alto closing the number +alone in a very effective adagio passage. The next +number is a quintet and chorus, the prelude to +which is a repetition of parts of the opening pastoral. +It is also utilized in the voice parts. The +number is very elaborate in its construction and +development, and is followed by a short final chorus +("Raise now your Song on high") in simple church +style. Short as the work is, it is very beautiful, and +full not only of genuine service music, but also of +graceful conceits and delicate fancies, both in the +voice parts and the accompaniments.</p> +</div> +<div id="c53"> +<span class="pgnum" id="pg_271">[271]</span> +<h2>SCHUMANN.</h2> +<p>Robert Schumann, one of the greatest +of musicians, and one who, had his life +been spared, would probably have stood +at the head of all composers since Beethoven +and Schubert, was the son of a bookseller, +and was born at Zwickau, in Saxony, June 8, 1810. +In his earliest youth he was recognized as a child of +genius. His first teacher in music was Baccalaureus +Kuntzsch, who gave him piano instructions. It +was while taking these lessons that he attended a +concert given by Moscheles. The playing of the +great teacher aroused his musical ambition, and first +inspired him to become a musician. His father +recognized his talent very early, but his mother +was opposed to his ambition. In deference to +her wishes, he began the study of law,--with +the full determination, however, to make music +his vocation; and in this he ultimately succeeded, +through the influence of Wieck, whose daughter, +Clara, he subsequently married, and who is still a +skilful pianist and famous teacher. He studied the +<span class="pgnum" id="pg_272">[272]</span> +piano with Wieck until his right hand was injured. +In 1830, in which year his artistic career really +opened, he began the theoretical study of music +in its groundwork, first with Director Kupsch in +Leipsic, and later with Heinrich Dorn, and at the +same time entered upon the work of composition. +His opus No. 1 was the so-called "Abegg Variations," +dedicated to a young lady, Meta Abegg, +whom he had met at a ball in Mannheim. In the +same year, 1830, he composed a toccata. In 1831 +his famous "Papillons" and other piano works +appeared. Schumann was not only a musician, but +an able critic and graceful writer; and in 1834, with +Schunke, Knorr, and Wieck, he founded the "Neue +Zeitschrift für Musik," which had an important influence +upon musical progress in Germany, and in +which the great promise of such musicians as Chopin +and Brahms was first recognized. He married Clara +Wieck in 1840, after much opposition from her +father; and in this year appeared some of his best +songs, including the three famous cycluses, "Liederkreis," +"Woman's Life and Love," and "Poet's +Love," which now have a world-wide fame. In +the following year larger works came from his +pen, among them his B major symphony, overture, +scherzo, and finale in E major, and the symphony +in D minor. During this period in his career he +also made many artistic journeys with his wife, +which largely increased the reputation of each. In +1843 he completed his great "romantic oratorio," +"Paradise and the Peri," set to Moore's text, and +<span class="pgnum" id="pg_273">[273]</span> +many favorite songs and piano compositions, among +them the "Phantasiestücke" and "Kinderscenen," +and his elegant piano quintet in E flat. In 1844, in +company with his wife, he visited St. Petersburg and +Moscow, and their reception was a royal one. The +same year he abandoned his "Zeitschrift," in which +"Florestan," "Master Raro," "Eusebius," and the +other pseudonyms had become familiar all over Germany, +and took the post of director in Düsseldorf, +in the place of Ferdinand Hiller. During the last +few years of his life he was the victim of profound +melancholy, owing to an affection of the brain, and +he even attempted suicide by throwing himself into +the Rhine. He was then removed to an asylum +at Endenich, where he died July 20, 1856. The +two men who exercised most influence upon Schumann +were Jean Paul and Franz Schubert. He +was deeply pervaded with the romance of the one +and the emotional feeling of the other. His work +is characterized by genial humor, a rich and warm +imagination, wonderfully beautiful instrumentation, +especially in his accompaniments, the loftiest form +of expression, and a rigid adherence to the canons +of art.</p> +</div> +<div id="c54"> +<h3>Paradise and the Peri.</h3> +<p>Schumann's secular oratorio, "Paradise and the +Peri," was written in 1843, and first performed +at the Gewandhaus, Leipsic, December 4th of that +<span class="pgnum" id="pg_274">[274]</span> +year, under the composer's own direction. Its first +performance in England was given June 23, 1856, +with Madame Jenny Lind-Goldschmidt in the part +of the Peri, Sterndale Bennett conducting. The +text is taken from the second poem in Moore's +"Lalla Rookh," and was suggested to Schumann +by his friend Emil Flechsig, who had translated the +poem. This was in 1841; but he did not set it to +music until two years later. The text required +many changes, and these he made himself. The +principal additions are a chorus for "The Spirits +of the Nile," the chorus of Houris, the Peri's +solo, "Banished," the quartet, "Peri, 'tis true," +the solo, "Sunken was the Golden Orb," and +the final chorus. It has also been suggested that +he availed himself of still another translation, that +of Ollker's, as many of the changes agree with his +text.</p> +<p>It is difficult to define the exact form of the +work, though it is nearly always classed as a secular +oratorio, principally because of the introduction of +the narrator, after the style of the passion-music. In +other respects it resembles the cantata. Reissmann, +in his Life of Schumann, says on this point,-- +</p> +<blockquote><p>"It seems right that he should have retained the +most primitive form of the oratorio, that of the passion-music. +The poem has no genuinely dramatic +course; there was not the smallest intrinsic or extrinsic +reason to dramatize it more fully. Even with +treatment such as that of the 'Walpurgisnacht,' it +must have lost much of its picturesque development +<span class="pgnum" id="pg_275">[275]</span> +The only proper way to treat the subject, therefore, +was to retain the original epic form, and to introduce +a narrator in the style of antique oratorio, who should +relate the facts in a few simple words up to the point +where they seem to demand a more dramatic setting."</p></blockquote> +<p>Von Wasielewski also discusses the same point:</p> +<blockquote><p>"The narrator is evidently copied from the evangelist +in Bach's passion-music; but by no means with +a like necessity. Unquestionably the latter shared +the conviction of his day, that not only the substance, +but the words, of the biblical dogma were sacred. +Schumann's case was not at all similar. He had before +him, in the poem to be set to music, a work of +art which, although once remodelled, would still permit +every formal change required by æsthetic considerations. +How easy, for example, it would have been to +abolish the narrator, as destructive of unity!"</p></blockquote> +<p>Had the narrative passages been omitted, it would +unquestionably have enhanced the interest and perhaps +relieved the monotony and wearisomeness of +some parts of the work. Unlike the usual manner +in which the narrator's part is treated,--as a mere +recitative link between numbers,--Schumann invests +it with the same importance as the acts and +events themselves, and treats it melodically, so that +the relief which comes from contrast is lacking.</p> +<p>The oratorio is written in three parts, for solo +voices, chorus, and orchestra, the principals being +the Peri (soprano); the Angel (alto); the King of +Gazna (bass); a Youth (tenor); the Horseman +(baritone); and the Maiden (soprano). The choruses +<span class="pgnum" id="pg_276">[276]</span> +are sung by Indians, Angels, Houris, and +Genii of the Nile, and the part of Narrator is +divided among the various voices. The story follows +that of the original poem. The Peri, expelled +from Paradise, stands at its gate weeping to think</p> +<blockquote> +<div class="verse"> +<p class="t5">"her recreant race</p> +<p class="t">Should e'er have lost that sacred place."</p> +</div> +</blockquote> +<p>The angel who keeps the gate of light promises +she shall be re-admitted if she brings "the gift +that is most dear to Heaven." The Peri goes +in quest of the gift, first to India, where she procures +the last drop of blood shed by the hero +who resisted the tyrant Mahmoud, and takes it +with her to the gate; but the crystal bar moves not. +She continues her quest, and from the pestilential +plains of Egypt she takes back the last sigh of the +maiden who sacrificed herself to her love for the +youth who stole out to die alone. But still the crystal +bar moves not. At last, in the vale of Baalbec, +she finds the gift,--the tear of a repentant sinner,--which +secures her admission.</p> +<p>After a brief orchestral introduction, the Narrator +(alto) tells the story of the disconsolate Peri at the +gate, and introduces her in the first solo ("How blest +seem to me, vanished Child of Air"), a tender, beautiful +melody, characterized by romantic sentiment. +The Narrator (tenor) introduces the Angel, who +delivers her message to the Peri ("One Hope is +thine"), to which the latter replies in a sensuous +melody, full of Oriental color ("I know the Wealth +<span class="pgnum" id="pg_277">[277]</span> +hidden in every Urn"). The tenor Narrator introduces +at this point a quartet ("O beauteous Land"), +in which the two trebles, tenor, and bass alternate, +followed by the full, powerful chorus, "But crimson +now her Rivers ran." A weird march, fairly barbaric +in its effect, indicates the approach of the +tyrant of Gazna, and introduces the stirring chorus +of the Indians and Conquerors ("Hail to Mahmoud"). +The tenor Narrator describes the youthful +warrior standing alone beside his native river and +defying the tyrant. Once more the chorus shouts +its greeting to Mahmoud, and then ensues a dialogue +in recitative between the two, leading up to +the youth's death and a double chorus of lamentation +("Woe, for false flew the Shaft"). The tenor +Narrator describes the flight of the Peri to catch the +last drop of blood shed for liberty; and then all the +voices join with the soprano solo in a broad, strong, +exultant finale ("For Blood must holy be"), which +is one of the most effective numbers in the work.</p> +<p>The second part opens in the most charming +manner. The tenor Narrator pictures the return of +the Peri with her gift, leading up to the Angel's solo +("Sweet is our welcome"), which preludes a brief +choral passage for sixteen female voices. After the +Narrator's declaration of her disappointment, the +scene changes to Egypt, and in a dainty, delicate +three-part chorus the Spirits of the Nile are invoked +not to disturb the Peri. Her lament is heard ("O +Eden, how longeth for thee my Heart!"), and the +Spirits now weave a gentle, sympathetic strain with +<span class="pgnum" id="pg_278">[278]</span> +her song. A long tenor narration follows ("Now +wanders forth the Peri sighing"), describing the +pestilence brooding over the Egyptian plains, the +music to which is very characteristic. The scene +of the maiden dying with her lover is full of pathos, +and contains two exquisite numbers,--the narrative +solo for mezzo-soprano ("Poor Youth, thus deserted"), +and the dying love-song of the Maiden +("O let me only breathe the Air, Love"). The +scene closes with a sweet and gentle lament for the +pair ("Sleep on"), sung by the Peri, followed by +the chorus, which joins in the pathetic farewell.</p> +<p>The third part opens with a lovely chorus of +Houris ("Wreathe ye the Steps to Great Allah's +Throne"), interspersed with solos and Oriental in its +coloring. The tenor narration ("Now Morn is +blushing in the Sky"), which is very melodious in +character, introduces the Angel, who in an alto solo +("Not yet") once more dooms the Peri to wander. +Her reply ("Rejected and sent from Eden's Door") +is full of despair. The narration is now taken by +the baritone in a flowing, breezy strain ("And now +o'er Syria's rosy Plain"), which is followed by a +charming quartet of Peris ("Say, is it so?"). Once +more the baritone intervenes, followed by the Peri; +and then the tenor Narrator takes up the theme in +a stirring description of the boy nestling amid the +roses, and the "passion-stained" horseman at the +fountain. The alto proclaims the vesper call to +prayer, and the tenor reflects upon the memories of +the wretched man as he sees the child kneeling. +<span class="pgnum" id="pg_279">[279]</span> +The solo baritone announces his repentance, followed +by a quartet and chorus in very broad, full +harmony ("O blessed Tears of true Repentance!"). +The next number is a double one, composed of soprano +and tenor solos with chorus ("There falls a +Drop on the Land of Egypt"). In an exultant, triumphant +strain ("Joy, joy forever, my Work is +done!"), the Peri sings her happiness, and the chorus +brings the work to a close with the heavenly +greeting, "Oh, welcome 'mid the Blessed!" The +third part is unquestionably long and wearisome, +and taxes not only the voices of the singers, but +also the patience of the hearers. The first and +second, however, contain some beautiful gems, and +the orchestral work is very rich in its coloring. +Taken all in all, however, it is a severe treatment of +a fanciful subject.</p> +</div> +<div id="c55"> +<span class="pgnum" id="pg_280">[280]</span> +<h2>SPOHR.</h2> +<p>Louis Spohr, one of the world's greatest +violinists, and a composer of world-wide +fame, was born at Brunswick, April 25, +1784. Like all great musical geniuses, his +ability was displayed very early. He began to play +the violin in his fifth year, and to compose for that +instrument before he was in his teens. After studying +the rudiments with several teachers, the Duke of +Brunswick induced Franz Eck, a recognized master +of the violin, to give him instruction. Spohr remained +with him two years, and accompanied him on his +travels to Russia, studying, composing, and learning +much by his observation of Eck's playing. In 1805 +he was appointed leader of the band of the Duke of +Gotha, and began writing orchestral works, his compositions +before that time having been mainly for +the violin. His first opera, "Die Prüfung," also +appeared about this time. In 1807 he made a very +successful tour through Germany, and another in +<span class="pgnum" id="pg_281">[281]</span> +1809, arousing great enthusiasm by his admirable +playing. In that year also occurred the first musical +festival in Germany, which was conducted by Spohr +at Frankenhausen, in Thuringia. In 1811 another +was held, for which he wrote his first symphony. +In 1812 his first oratorio, "Das jüngste Gericht," +appeared; but after two performances of it he was +greatly dissatisfied, and laid it aside. In the fall +of that year he made his first public appearance in +Vienna, and achieved such success that he was +offered and accepted the leadership of the band at +the Theater-an-der-Wien. He remained there only +three years, however, and then resumed his professional +tours in Switzerland and Italy. In 1818 he +was appointed conductor of the opera at Frankfort, +where he remained for two years, during which time +he brought out his operas "Faust" and "Zemire +and Azor." In 1820 he went to England for the +first time, and played many of his compositions in +the Philharmonic concerts. His English visit was +a very successful one, and on his journey back to +Germany he stopped in Paris, where also he met +with an enthusiastic welcome. He finally settled +down at Dresden, where Weber was then busy with +the preparations for the performance of his "Freischütz." +During his stay there, Weber had been +offered the post of Hofkapellmeister to the Elector +of Cassel; but not being in a position to accept it, +he recommended Spohr, and the latter obtained the +appointment Jan. 1, 1822, where he remained the +rest of his days, as it was a life-office. During this +<span class="pgnum" id="pg_282">[282]</span> +year he finished his opera "Jessonda," one of +the most successful of all his vocal works. Four +years later he conducted the Rhenish Festival at +Düsseldorf and brought out his second oratorio, +"Die letzten Dinge" ("The Last Things"). In +1831 he completed his "Violin School," which has +ever since been a standard work. His most important +symphony, "Die Weihe der Töne" ("The +Consecration of Sound"), was produced at Cassel +in 1832, and his third oratorio, "Des Heiland's +letzte Stunden" ("Calvary"), at the same place in +1835. Four years later he went to England again, +and produced his "Calvary" at the Norwich Festival +with immense success, which led to his reception +of a commission to produce "The Fall of +Babylon" for the Festival of 1842. His last opera, +"The Crusaders," was written in 1844, but did not +meet with a permanent success. From this time +until 1857 he was engaged in making tours and +producing the works of other composers, among +them those of Wagner, whose "Tannhäuser" he +brought out in 1853, in spite of the Elector's opposition. +In 1857 he was pensioned, and two years +later died. He was born a musician and died +one, and in his long and honorable life he was always +true to his art and did much to ennoble and +dignify it, notwithstanding the curious combinations +in his musical texture. He never could understand +or appreciate Beethoven. He proclaimed himself +a disciple of Mozart, though he had little in common +with him, and he declared Wagner the greatest +<span class="pgnum" id="pg_283">[283]</span> +of all living composers, on the strength of his "Flying +Dutchman" alone. As a performer, he was one +of the best of any period.</p> +</div> +<div id="c56"> +<h3>The Last Judgment.</h3> +<p>Spohr wrote two oratorios upon the same subject,--"Das +jüngste Gericht" ("The Last Judgment") +and "Die letzten Dinge" ("The Last Things"); but +the latter is now universally entitled "The Last Judgment," +and the former was shelved by the composer +himself shortly after its performance. His autobiography +gives us some interesting details of each. +After a concert-tour to Hamburg, Spohr returned to +Gotha, and found there a letter from Bischoff, the +Precentor of Frankenhausen, informing him that he +had been commanded by the Governor of Erfurt +to arrange a musical festival there in celebration of +the birthday of Napoleon, August 15. He invited +Spohr to assume its direction and to write an oratorio +for the occasion. Previous to this a poet in +Erfurt had offered him the text called "The Last +Judgment," and Spohr determined to avail himself +of it. He writes,--</p> +<blockquote><p>"I sent for the libretto and set to work at once. +But I soon felt that for the oratorio style I was yet too +deficient in counterpoint and in fugueing. I therefore +suspended my work in order to make the preliminary +studies requisite for the subject. From one of my +<span class="pgnum" id="pg_284">[284]</span> +pupils I borrowed Marpurg's 'Art of Fugue-writing,' +and was soon deeply and continuously engaged in the +study of that work. After I had written half a dozen +fugues according to its instruction, the last of which +seemed to me very successful, I resumed the composition +of my oratorio, and completed it without allowing +anything else to intervene. According to a memorandum +I made, it was begun in January, 1812, and finished +in June."</p></blockquote> +<p>In this connection Spohr tells the following +humorous story:--</p> +<blockquote><p>"One of the solo-singers alone, who sang the part +of Satan, did not give me satisfaction. The part, +which was written with a powerful instrumentation, I +gave, by the advice of Bischoff, to a village schoolmaster +in the neighborhood of Gotha who was celebrated +throughout the whole district for his colossal +bass voice. In power of voice he had indeed quite +sufficient to outroar a whole orchestra; but in science +and in music he could by no means execute the part in +a satisfactory manner. I taught and practised him in +the part myself, and took great pains to assist him a +little. But without much success; for when the day of +public trial came, he had totally forgotten every instruction +and admonition, and gave such loose to his +barbarian voice that he first of all frightened the +auditory, and then set it in roars of laughter."</p></blockquote> +<p>It is clear from Spohr's remarks that he was +satisfied with the choruses and fugues, but not with +the solo parts of Jesus and Mary, which were in the +florid cantata style of that day. He subsequently +<span class="pgnum" id="pg_285">[285]</span> +determined to re-write them; but "when about to +begin," he says, "it seemed to me as though I could +no longer enter into the spirit of the subject, and +so it remained undone. To publish the work as it +was, I could not make up my mind. Thus in later +years it has lain by without any use being made +of it."</p> +<p>Thirteen years afterwards he wrote "Die letzten +Dinge," now so well known as "The Last Judgment." +He says in one of his letters,--</p> +<blockquote><p>"In the same year [1825] Councillor Rochlitz, the +editor of the 'Leipsic Musical Journal,' offered me +the text of an oratorio, 'Die letzten Dinge,' to compose +for, which I received with great pleasure, as my +previous attempt in that style of art, 'Das jüngste +Gericht,' by no means pleased me any longer, and +therefore I had not once been disposed to perform +a single number of it at the meeting of our Society.... The +whole work was finished by Good Friday +[1826], and then first performed complete in the +Lutheran Church. It was in the evening, and the +church was lighted up. My son-in-law, Wolff, who +had been long in Rome, proposed to illuminate the +church as at Rome on Good Friday, with lights disposed +overhead in the form of a cross, and carried out +his idea. A cross fourteen feet long, covered with +silver-foil and hung with six hundred glass lamps, +was suspended overhead in the middle of the church, +and diffused so bright a light that one could everywhere +clearly read the text-books. The musicians +and singers, nearly two hundred in number, were +placed in the gallery of the church, arranged in +rows one above the other, and for the most part +<span class="pgnum" id="pg_286">[286]</span> +unseen by the auditory, which, amounting to nearly two +thousand persons, observed a solemn stillness. My +two daughters, Messrs. Wild, Albert, and Föppel, together +with an amateur, sang the soli, and the performance +was faultless. The effect was, I must +myself say, extraordinary."</p></blockquote> +<p>The title of the work is clearly a misnomer, as well +as a mistranslation, for it contains nothing of the terrors +of the Last Judgment, but, on the other hand, is +graceful and elegant in style. The affixing of this +title to it is said to have been the work of Professor +Taylor, who arranged it for the Norwich festival of +1830, and supposed he was preparing the earlier +oratorio, "Das jüngste Gericht." The title has +now become so indissolubly connected with it +that no effort has been made to change it. In +the first part the text is confined to ascriptions +of praise. The solo, "Blessing, honor, glory, and +power be unto him that sitteth upon the throne, +and unto the Lamb forever," conveys the meaning +of the whole first part; while the second part is confined +to those portions of the Apocalypse which +describe the terrible signs of the last day, concluding +with visions of the new heaven and a +hallelujah. And yet Malibran, in her biography +of Spohr, calls the oratorio a musical copy of +Michael Angelo's "Last Judgment,"--showing +that more than one person has confounded the +two oratorios.</p> +<p>The work opens with a very long overture of a +grave and majestic character, in limits far beyond +<span class="pgnum" id="pg_287">[287]</span> +those usually found in oratorio. It is followed by +the striking chorus, "Praise His awful Name," +which is beautifully written, and contains impressive +soprano and bass solos. Some brief tenor and bass +recitatives lead to the second number, a short chorus +("Holy, holy, Lord God of Hosts"), in which the +voices have no accompaniment except the horns. +Three phrases of recitative for soprano and tenor +lead to the next chorus ("All Glory to the Lamb +that died"), a grand number, which is familiar to +nearly every lover of oratorio music. The next +number is one of the most striking in the work. +A short tenor recitative introduces the tenor solo +and chorus, "Blessing, honor, glory, and power," +beginning with a tranquil and smoothly flowing +solo, the chorus opening in the same manner, then +developing into an admirably written fugue, and +closing in the same serene style as it opened. A +very dramatic and picturesque scene follows, comprising +the tenor recitative ("And lo! a mighty +Host"), with a very striking accompaniment +descriptive of "the mighty host of all nations +and people that stood before the throne and the +Lamb," and the exquisite quartet and chorus +("Lord God of Heaven and Earth") which close +the first part.</p> +<p>The second part opens with an orchestral symphony +which heralds the signs and portents of the +Day of Judgment in graphic style. It is followed +by a long bass recitative with intensely dramatic +accompaniment:--</p> +<span class="pgnum" id="pg_288">[288]</span> +<blockquote> +<div class="verse"> +<p class="t2">"The day of wrath is near.</p> +<p class="t2">The Almighty shall reveal His power.</p> +<p class="t2">The reaper's song is silent in the field,</p> +<p class="t2">And the shepherd's voice on the mountain.</p> +<p class="t2">The valleys then shall shake with fear,</p> +<p class="t2">With dread the hills shall tremble.</p> +<p class="t2">It comes, the day of terror comes!</p> +<p class="t2">The awful morning dawns!</p> +<p class="t2">Thy mighty arm, O God, is uplifted.</p> +<p class="t2">Thou shalt shake the earth and heavens.</p> +<p class="t2">They shall shrivel as a scroll</p> +<p class="t2">When Thou in wrath appearest."</p> +</div> +</blockquote> +<p>The text indicates the dramatic nature of the subject, +and it is treated with a force and vigor that are +in striking contrast with the tenderness and serenity, +at times rising to exultation, that characterize the +remainder of the work. This recitative leads to the +very pathetic duet for soprano and tenor, "Forsake +me not in this dread hour," which is a gem of +beautiful melody, followed by the response of the +chorus in unison, "If with your whole Hearts." +After a short tenor recitative, another strong +chorus ensues ("Destroyed is Babylon"), with +an agitated and powerful accompaniment, which +continues for some time after the voices cease, +once interrupted by the tenor proclaiming "It is +ended," and then coming to a close in a gentle pianissimo +effect. A tender, melodious quartet and +chorus ("Blest are the Departed") follows. The +soprano voice announces the new heaven and earth. +A short tenor recitative ("Behold! He soon shall +come") and the quartet response ("Then come, +Lord Jesus") prepare the way for the final massive +<span class="pgnum" id="pg_289">[289]</span> +chorus ("Great and wonderful are all Thy Works"), +which begins with a few bars of full harmony, then +develops into a vigorous fugue, which, after choral +announcements of hallelujah, is followed by another +fugue ("Thine is the Kingdom"), closing +with a tumultuous ascription of praise, and Amen. +The solo parts in the oratorio are always short and +of a reflective character. It is peculiarly a choral +work, of which, with one or two exceptions, the predominant +traits are sweetness, tenderness, and grace. +In these exceptions, like the great chorus, "Destroyed +is Babylon," with its wonderful accompaniments, +it reaches a high strain of sublimity.</p> +</div> +<div id="c57"> +<span class="pgnum" id="pg_290">[290]</span> +<h2>SULLIVAN.</h2> +<p>The great popularity which Arthur Seymour +Sullivan has enjoyed for a few years past, +growing out of his extraordinarily successful +series of comic operettas, beginning +with "The Sorcerer" (1877), which first caught the +public fancy, and ending with "The Mikado" (1885), +has almost overshadowed the permanent foundations +upon which his reputation must rest; namely, his +serious and sacred music. He was born in London, +May 13, 1842. His father, a band-master and clarinet-player +of distinction, intrusted his musical education +at first to the Rev. Thomas Hilmore, master of +the children of the Chapel Royal. He entered the +Chapel in 1854 and remained there three years, and +also studied in the Royal Academy of Music under +Goss and Sterndale Bennett during this period, leaving +the latter institution in 1858, in which year he +went to Leipsic. He remained in the Conservatory +there until 1861, when he returned to London +and introduced himself to its musical public with +his music to Shakspeare's "Tempest," which made +a great success. The enthusiasm with which this +was received and the favors he gained at the hands +<span class="pgnum" id="pg_291">[291]</span> +of Chorley, at that time musical critic of the "Athenæum," +gave him a secure footing. The cantata +"Kenilworth," written for the Birmingham Festival, +the music to the ballet "L'Île enchantée," and an +opera, "The Sapphire Necklace," were produced in +1864. In 1866 appeared his first symphony, which +has been played not only in England, but also in Germany, +and an overture, "In Memoriam,"--a tribute +to his father, who died that year. The next year his +overture "Marmion" was first performed. In 1869 +he wrote his first oratorio, "The Prodigal Son," in +1873 "The Light of the World," and in 1880 "The +Martyr of Antioch;" the first for the Worcester, +the second for the Birmingham, and the third for +the Leeds festivals. The beautiful "Overture di +Ballo," so frequently played in this country by the +Thomas orchestra, was written for Birmingham in +1870, and the next year appeared his brilliant cantata +"On Shore and Sea." On the 11th of May, +1867, was first heard in public his little comic operetta +"Cox and Box." It was the first in that +series of extraordinary successes, really dating from +"The Sorcerer," which are almost without parallel in +the operatic world, and which have made his name +and that of his collaborator, Gilbert, household words. +He has done much for sacred as well as for secular +music. In addition to his oratorios he has written +numerous anthems, forty-seven hymn-tunes, two Te +Deums, several carols, part-songs, and choruses, and +in 1872 edited the collection of "Church Hymns +with Tunes" for the Christian Knowledge Society.</p> +<span class="pgnum" id="pg_292">[292]</span> +<p>He received the honorary degree of Doctor of Music +from Cambridge in 1876, and from Oxford in +1879, and in 1883 was knighted by the Queen.</p> +</div> +<div id="c58"> +<h3>The Prodigal Son.</h3> +<p>"The Prodigal Son," the first of Sullivan's oratorios, +was written for the Worcester Festival in England, +and performed for the first time Sept. 8, 1869. +It is a short work, comprising but eighteen numbers, +and very melodious in character. In his preface to +the work the composer says,--</p> +<blockquote> +<p>"It is a remarkable fact that the parable of the Prodigal +Son should never before have been chosen as the +text of a sacred musical composition. The story is so +natural and pathetic, and forms so complete a whole; +its lesson is so thoroughly Christian; the characters, +though few, are so perfectly contrasted; and the opportunity +for the employment of local color is so obvious,--that +it is indeed astonishing to find the subject so +long overlooked.</p> +<p>"The only drawback is the shortness of the narrative, +and the consequent necessity for filling it out with +material drawn from elsewhere. In the present case +this has been done as sparingly as possible, and entirely +from the Scriptures. In so doing, the Prodigal +himself has been conceived, not as of a naturally brutish +and depraved disposition,--a view taken by many +commentators, with apparently little knowledge of human +nature, and no recollection of their own youthful +impulses,--but rather as a buoyant, restless youth, tired +of the monotony of home, and anxious to see what lay +<span class="pgnum" id="pg_293">[293]</span> +beyond the narrow confines of his father's farm, going +forth in the confidence of his own simplicity and ardor, +and led gradually away into follies and sins which at +the outset would have been as distasteful as they were +strange to him. The episode with which the parable +concludes has no dramatic connection with the former +and principal portion, and has therefore not been +treated."</p> +</blockquote> +<p>In reality there are but six of the eighteen numbers +concerned with the narration of the parable. +The remainder moralize upon the story and illustrate +its teaching. After a short, simple orchestral +prelude, an opening chorus, beginning with soprano +solo ("There is Joy in the Presence of the Angels +of God"), and containing also alto and bass solos, +gives the key to the whole work in reflective style, +as it proclaims the rejoicing in heaven over the +"one sinner that repenteth." At its conclusion the +parable begins with tenor recitative and solo, "A +certain man had two sons," in which the Prodigal +asks for his portion of goods. In a bass aria preceded +by recitative, the father gives him good +advice, "Honor the Lord," and presumably his +portion also, as the soprano recites in the next +number that "he took his journey into a far country, +and there wasted his substance in riotous living." +Thereupon follows a very melodious and vivacious +chorus ("Let us eat and drink; to-morrow we die"), +in which the tenor has an important part. The response +to the bacchanal comes in the next number, +a brief chorus beginning with the alto recitative, +<span class="pgnum" id="pg_294">[294]</span> +"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.</p> +<p>After an effective prelude by orchestra, the soprano +recitative relates the famine and the experiences +of the Prodigal among the swine, leading up to a +pretty aria ("O that thou hadst hearkened"). The +tenor follows with an expressive aria ("How many +hired Servants of my Father's"). The narrative +again halts to give place to a very taking chorus +("The Sacrifices of God"), after which we have the +return and reconciliation ("And he arose and came +to his Father"),--a very dramatic duet for tenor +and bass, followed by the vigorous and exultant bass +aria ("For this my Son was dead") of the father. +The parable ends here; but the music goes on moralizing +upon and illustrating the theme in four effective +numbers,--the chorus, "O that Men would +praise the Lord," which is the longest and best +constructed in the work; the recitative and aria for +tenor, "Come, ye Children;" the unaccompanied +quartet, "The Lord is nigh;" and the final chorus, +"Thou, O Lord, art our Father," closing +with a Hallelujah in full, broad harmony.</p> +</div> +<div id="c59"> +<h3>The Light of the World.</h3> +<p>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 +<span class="pgnum" id="pg_295">[295]</span> +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,--</p> +<blockquote><p>"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."</p></blockquote> +<p>The first part has four scenes, "Bethlehem," "Nazareth," +"Lazarus" (which might more appropriately +have been entitled "Bethany"), and "The Way to +Jerusalem." The scenes of the second part are laid +entirely in Jerusalem. "Bethlehem" includes the +message of the angels to the shepherds, their +visit to Mary, the nativity, the warning by the +angel to Mary and Joseph of Herod's design, the +lament and consolation of Rachel in Rama, and +the promise of God's blessing upon the child. In +"Nazareth" we have a scene representing Christ in +<span class="pgnum" id="pg_296">[296]</span> +the synagogue reading from Isaiah and declaring +himself the object of the prophecy, his expulsion by +the incredulous crowd of listeners, and his exhortations +to his disciples, when left alone with them, +to bear their persecutions with meekness. "Lazarus" +describes the journey to Bethany and our +Lord's assurances to the bereaved sisters that their +brother shall rise again. "The Way to Jerusalem" +scene is indicated by its title,--the entry of the +Lord into the city amid the hosannas and exultant +acclamations of the people. In the second part, we +have the discourse concerning the sheep and the +goats, the interview between the ruler and the people, +and the former's anger with Nicodemus, the +sufferings and death of Christ, and the resurrection +and joy of the disciples as they glorify God and +sing the praises of their risen Master.</p> +<p>The work opens with a prologue chorus ("There +shall come forth a Rod out of the Stem of Jesse"), +at the close of which the "Bethlehem" scene begins. +It is preluded with a quiet but effective pastoral +movement for the orchestra, a tenor recitative +("There were Shepherds abiding in the Field"), +and a contralto solo announcing the heavenly message +to the Shepherds, which lead up to a spirited +"Gloria" by the sopranos and altos, followed by a +chorus of the Shepherds ("Let us now go even +unto Bethlehem") for male voices. A Shepherd, in +brief recitative passages, declares to Mary, "Blessed +art thou among Women," followed by the soprano +solo, "My Soul doth magnify the Lord." After +<span class="pgnum" id="pg_297">[297]</span> +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.</p> +<p>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.</p> +<span class="pgnum" id="pg_298">[298]</span> +<p>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").</p> +<p>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 +<span class="pgnum" id="pg_299">[299]</span> +the power of the full chorus; and the first part +comes to a close.</p> +<p>The first part opens with a prelude of a few bars; +but the second begins with a long overture, very +effectively written, and intended, as the composer +himself says, to indicate the angry feelings and dissensions +caused by the Lord's presence in Jerusalem. +At its close the baritone, in one of the most forcible +solos assigned to this part ("When the Son of Man +shall come in his Glory"), discourses the parable of +the sheep and goats. The wondering chorus of the +People, "Is not this he whom they seek to kill?" +follows, and then ensues a somewhat tedious scene. +A Ruler argues with the People, contemptuously asking +if Christ shall come out of Galilee. The People +remain unconvinced, however. Nicodemus then +strives to reason with the Ruler, with the natural +effect of making him very angry. All this leads up +to an effective female chorus ("The Hour is come"). +In a very tender and pathetic solo ("Daughters of +Jerusalem") Jesus sings his farewell. The incidents +of the crucifixion are avoided, as the work +is intended only to illustrate the human career of +Jesus. The rest of the story is told in narrative +form; an unaccompanied quartet ("Yea, though +I walk") and a powerful, but gloomy chorus, describing +Christ's sufferings ("Men and Brethren"), +bring us to the sepulchre. The scene opens with +the plaint of Mary Magdalene, "Where have they +laid him?" and the response of the Angel, who +tells her Christ has risen, which is followed by a six-part +<span class="pgnum" id="pg_300">[300]</span> +unaccompanied chorus ("The Lord is risen"). +A short tenor solo ("If ye be risen with Christ") +leads directly to the final chorus ("Him hath God +exalted"), which is worked up in fugal form with +much spirit.</p> +</div> +<div id="c60"> +<span class="pgnum" id="pg_301">[301]</span> +<h2>VERDI.</h2> +<p>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 aptitude 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 +<span class="pgnum" id="pg_302">[302]</span> +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); "Aïda" (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 "Othello," which will +soon be placed in rehearsal in Paris. In the +interval between "Aïda" and "Othello" 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 +<span class="pgnum" id="pg_303">[303]</span> +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.</p> +</div> +<div id="c6a"> +<h3>The Manzoni Requiem.</h3> +<p>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 assigned to thirteen Italian +composers, Verdi taking the "Libera me," which +was to be the last number in the work. Each of +<span class="pgnum" id="pg_304">[304]</span> +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.</p> +<p>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 bass, 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.</p> +<p>The mass is divided into seven parts, with solos, +choruses, and full orchestra, as follows: No. 1. +"Requiem" and "Kyrie" (quartet and chorus). 2. +"Dies Iræ;" thus divided: "Dies Iræ" (chorus); +"Tuba Mirum" (chorus); "Liber scriptus" (chorus +and fugue); "Quid sum miser" (trio for soprano, +<span class="pgnum" id="pg_305">[305]</span> +alto, and tenor); "Rex tremendæ" (quartet and +chorus); "Recordare" (duo for soprano and alto, +and chorus); "Ingemisco" (solo for tenor); +"Confutatis" (solo for bass); "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 æterna" (trio for alto, tenor, and +bass). 7. "Libera me" (solo for soprano, chorus, +and final fugue).</p> +<p>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 basses, 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 sextet interwoven +with it, and the whole closing pianissimo, as the +"Requiem" opened.</p> +<p>The second part, the "Dies Iræ," 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 basses 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 +<span class="pgnum" id="pg_306">[306]</span> +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 tremendæ 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 bass 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.</p> +<p>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 +mass) is a very impressive allegro double chorus, +followed by the "Agnus Dei," a duet for soprano and +alto which is full of melodious inspiration, illustrated +with charming instrumental color; it is the +gem of the mass, and one of the happiest numbers +Verdi has ever scored. The sixth part is the +"Lux æterna," a trio for alto, tenor, and bass 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 Iræ" is repeated, likewise the "Requiem +<span class="pgnum" id="pg_307">[307]</span> +æternam" (which forms the introduction of the +mass), and closes with a fugue of majestic proportions +that finally ends in the same pianissimo effect +as characterizes the opening of the work.</p> +<p>Thus much of the work in detail. It remains to +look at this mass as a whole. The first thought +that will strike the listener is its utter dissimilarity +to any other of Verdi's works, except "Aïda." 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 mass, although +it has had Papal approval, is not so much a +mass as it is a dramatic threnody in memory of a +loved friend. As compared with the masses of Beethoven, +Mozart, Haydn, and the other early mass-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 Bülow 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 +<span class="pgnum" id="pg_308">[308]</span> +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 classical form +of composition, and a dramatic intensity and passion +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.</p> +</div> +<div id="c61"> +<span class="pgnum" id="pg_309">[309]</span> +<h2>SACRED MUSIC IN AMERICA.</h2> +<p>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 +illustrations of that class 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.</p> +<p>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 +<span class="pgnum" id="pg_310">[310]</span> +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.</p> +<p>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 mass, 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 noble cathedral +<span class="pgnum" id="pg_311">[311]</span> +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."</p> +<p>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 title: "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 +title: "The Psalms of David to English Metre, with +notes of Four Parts set unto them, by Wm. Damon, +to the Use of the Godly 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 title: "The +Psalms of David in Metre, the Plain song being +<span class="pgnum" id="pg_312">[312]</span> +the common Tune, to be sung and played upon +the Lute, Orpharion, Citterne, or Bass-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., Practitioner +in the Art of Music." Notwithstanding its +formidable title, 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."</p> +<p>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 shore where they might worship God +in their own fashion, the psalm-book was not forgotten. +<span class="pgnum" id="pg_313">[313]</span> +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 association 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:-- +</p> +<blockquote> +<p>"<i>First</i>, observe how many note-compass 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 +compass 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: +<span class="pgnum" id="pg_314">[314]</span></p> +<p>"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.</p> +<div class="htmlonly"> +<table class="bq"><tr> +<td>Oxford Tune. +<br />Litchfield Tune. +<br />Low Dutch Tune.</td> +<td>}<br />} To Psalms Consolatory.<br />}</td> +</tr></table> +<table class="bq"><tr> +<td>York Tune. +<br />Winsor Tune.</td> +<td>}<br />}</td> +<td>To Psalms of Prayer, Confessions, and Funerals.</td> +</tr></table> +</div> +<table class="bq"><tr> +<td>Cambridge Short Tune to peculiar Psalms, as 21, +24, 33, 70, 86, first metre, 114, 132.</td> +</tr></table> +<table class="bq"><tr> +<td>"Those six short tunes, in tuning the first notes, +will bear a cheerful high pitch; in regard to their whole +compass from the lowest note, the highest is not above +five or six notes.</td> +</tr></table> +<div class="htmlonly"> +<table class="bq"><tr> +<td>St. David's Tune. +<br />Martyrs Tune.</td> +<td>}<br />}</td> +<td>To Psalms of Praise and Thanksgiving.</td> +</tr></table> +</div> +<table class="bq"><tr> +<td>"These two tunes are eight notes compass above +the first note, and therefore begin the first note low.</td> +</tr></table> +<table class="bq"><tr> +<td>"Of five long tunes following:</td> +</tr></table> +<table class="bq"><tr> +<td>"Hackney Tune--119 Psalm Tune, second metre. +These two tunes begin your first note low, for the compass +is nine notes, and eight above the first note of the tune.</td> +</tr></table> +<table class="bq"><tr> +<td>"100 Psalm Tune. This one tune begin your note +indifferent high, in regard you are to fall your note +lower than your first pitch note.</td> +</tr></table> +<table class="bq"><tr> +<td>"113 Psalm Tune, and 148 Psalm Tune.--These +two tunes begin your first note low, in regard the Tune +ascends eight notes above it."</td> +</tr></table> +</blockquote> +<p>The turmoil in the churches was settled for a +time by Rev. John Cotton, who issued a tract entitled +"Singing of Psalms a Gospel ordinance, or a +<span class="pgnum" id="pg_315">[315]</span> +Treatise wherein are handled these four Particulars: +I. Touching the duty itself. II. Touching the matter +to be sung. III. Touching the singers. IV. +Touching the manner of singing." In this tract +the author says:--</p> +<blockquote><p>"For the first Question we lay downe this conclusion +for a Doctrine of Truth: That singing of Psalms +with a lively voyce, is an holy duty of God's worship +now in the day of the New Testament. When we +say, singing with lively voyce, we suppose none will so +farre misconstrue us as to thinke we exclude singing +with the heart; for God is a Spirit, and to worship him +with the voyce without the spirit, were but lip-labour; +which (being rested in) is but lost labour, or at most +profitted but little. Concerning the second Question +we hold and believe that not only the Psalms of David, +but any other spirituall song recorded in the Scripture, +may lawfully be sung in Christian Churches. 2d. We +grant also that any private Christian who hath a gifte +to frame a spirituall song, may both frame it and sing +it privately for his own private comfort, and remembrance +of some special benefit or deliverance. Nor do +we forbid the private use of any instrument of Music +therewithall, so that attention to the instrument does +not divert the heart from attention of the matter of +song.</p> +<p>"Whether women may sing as well as men: For +in this point there be some that deale with us as Pharaoh +delt with the Israelites, who, though he was at +first utterly unwilling that any should go to sacrifice +to the Lord in the Wilderness, yet being at length convinced +that they must goe, then he was content that +the men should goe, but not the women. So here, +<span class="pgnum" id="pg_316">[316]</span> +some that were altogether against singing of Psalms +at all with lively voyce, yet being convinced that it is +a morall worship of God warranted in Scripture, then +if there must be a Singing, one alone must sing, not +all (or if all) the men only, and not the women. And +their reason is: Because it is not permitted to a women +to speake in the Church, how then shall they sing? +Much less is it permitted to them to prophecy in +the Church. And singing the Psalms is a kind of Prophecying."</p> +</blockquote> +<p>Peace, however, was of short duration. Fresh +quarrels arose. The early colonists were good fighters. +They quarrelled over the question whether one +should sing or the whole congregation; whether +women as well as men should sing; whether pagans +should be allowed to lift up their voices; and +whether the scanty stock of tunes should be enlarged. +Learning a tune by note, without having +previously heard it, was almost a mortal offence, and +at last something like a compromise was effected +in some of the churches, where alternate singing +by rote and rule satisfied both parties. The ministers +added to the general confusion with a flood of +circulars on the subject. Several of them issued a +tract entitled "Cases of Conscience about singing +Psalms," in which they ask:--</p> +<blockquote> +<p>"Whether you do believe that singing Psalms, +Hymns, and Spirituall Songs is an external part of +Divine Worship, to be observed in and by the assembly +of God's people on the Lord's Days, as well as +on other occasional meetings of the Saints for the +worshipping of God. +<span class="pgnum" id="pg_317">[317]</span></p> +<p>"Whether you do believe that singing in the worship +of God ought to be done skilfully?</p> +<p>"Whether you do believe that skilfulness in singing +may ordinarily be gained in the use of outward means +by the blessing of God.</p> +<p>"Is it possible for Fathers of forty years old and +upward to learn to sing by rule; and ought they to +attempt at this age to learn?</p> +<p>"Do you believe that it is Lawful and Laudable for +us to change the customary way of singing the psalms?</p> +<p>"Whether they who purposely sing a tune different +from that which is appointed by the pastor or elder +to be sung are not guilty of acting disorderly, and of +taking God's name in vain also, by disturbing the +order of the sanctuary."</p> +</blockquote> +<p>Rev. Thomas Symmes, of Bradford, Mass., also +issued a tract in which he contended for rule-singing. +On this point he says:--</p> +<blockquote> +<p>"The total neglect of singing psalms by many serious +Christians for want of skill in singing psalm-tunes. +There are many who never employ their tongues in +singing God's praises, because they have no skill. It +is with great difficulty that this part of worship is performed, +and with great indecency in some congregations +for want of skill; it is to be feared singing must +be wholly omitted in some places for want of skill if +this art is not revived. I was present in a congregation +where singing was for a whole Sabbath omitted +for want of a man able to lead the assembly in singing.</p> +<p>"The declining from and getting beside the rule +was gradual and insensible. Singing-schools and +singing-books being laid aside, there was no way to +learn, but only by hearing of tunes sung or by taking +<span class="pgnum" id="pg_318">[318]</span> +the run of the tunes, as it is phrased. The rules of +singing not being taught or learnt, every one sang as +best pleased himself; and every leading-singer would +take the liberty to raise any note of the tune, or lower +it, as best pleased his ear, and add such notes and +flourishes as were grateful to him; and this was done +so gradually as that but few if any took notice of it. +One Clerk or Chorister would alter the tunes a little +in his day, the next a little in his, and so one after +another, till in fifty or sixty years it caused a considerable +alteration."</p> +</blockquote> +<p>John Eliot, who was having famous success with +the Indians, particularly in teaching them psalm-singing,--for +Dr. Mather says "their singing was +most ravishing,"--made a long contribution to the +general discussion, which contains the following +"Lamentation:"--</p> +<blockquote><p>"That musick, which in itself is concord, harmony, +melody, sweetness, charming even to irrational creatures, +cheers the spirits of men, and tends to raise +them in devotion, and in the praises of God, and was +instituted by God as a means of divine worship, which +is a terrour to evil spirits, the delight of the holy +Angels, and will be everlasting imployment of those +Seraphim and the glorified Saints, should be an occasion +of strife, debate, discord, contention, quarelling, +and all manner of disorder. That men, the only +creatures in the lower creation that are accomplished +with reason and apt organs to praise God with, should +improve them so to dishonour him; and that instead of +an angelick temper in man, which they are capable of, +and is required of them, and especially in this matter, +<span class="pgnum" id="pg_319">[319]</span> +there should be rather a cynick disposition and an improvement +of such noble Organ to bark, snarl at, and +bite one another; that instead of one heart and one +voice in the praises of our Glorious Creator and most +bountiful Benefactor, there should be only jangle, discord, +and sluring and reviling one another, etc., this +is, and shall be, for a lamentation."</p></blockquote> +<p>The essay closes with the following exhortation:</p> +<blockquote><p>"Whatever our thoughts are as to the mode or vocal +part, whether the <i>old</i> or the <i>new way</i> (as it is +called) be most pleasing to us, it would be our wisdom +and a manifestation of our Christianity to deny ourselves +and our own obstinate wills, which are apparently +the chief cause of our contention in these things, +and condescend (at least) so far one to the other as to +keep time, <i>i.e.</i> to begin and end the lines all together, +which if we did, there would not in most of the tunes +commonly sung be so wide a difference as is by some +imagined, many of the lines being near alike; if we +all sincerely endeavour to exercise grace in Singing, +and to perform the vocal part in the best manner we +could, our service would be accepted of God. And I +doubt not but regular singing would have a better relish +with the most of our people and be comply'd with, and +so our differences would end in a good and lasting union, +and our jars and discords in a sweet and delightful +concord and harmony. So let it be: Amen."</p></blockquote> +<p>At last harmony was restored, and a serious +effort was made to introduce better singing, in which +the college at Cambridge took a leading part. In +1712, Rev. John Tufts, of Newbury, issued a book of +<span class="pgnum" id="pg_320">[320]</span> +twenty-eight tunes, so arranged by appending letters +to the notes, as F for Fa, S for Sol, etc., "that the +learner may attain the skill of singing them with the +greatest ease and speed imaginable." These tunes +were reprinted in three parts from Playford's "Book +of Psalms." In 1721, Rev. Thomas Walter, of Roxbury, +Mass., issued a new book, also compiled from +Playford, which was highly commended by the +clergy. The English singing-books by Tansur and +Williams were reprinted by Thomas Bailey, at Newburyport, +Mass., and had a large circulation. In +1761, James Lyon, of Philadelphia, published a +very ambitious work, called "Urania, or a choice +collection of Psalm Tunes, Anthems, and Hymns," +which was compiled from the English books. The +edition, however, was a small one, and was issued +in such an expensive manner that it ruined the unfortunate +author. In 1764 appeared another collection, +made by Josiah Flagg, who was a composer +himself as well as band-master. Its title reads: +"A Collection of the best Psalm Tunes in two, three, +and four parts, from the most approved authors, +fitted to all measures and approved by the best +masters in Boston, New England; the greater part +of them never before printed in America. Engraved +by Paul Revere, printed and sold by him and Jos. +Flagg." About the same time Daniel Bailey, of +Newburyport, Mass., published "A new and complete +Introduction to the Grounds and Rules of +Music, in two Books;" and in 1769, "the American +Harmony," reprinted from English collections.</p> +<span class="pgnum" id="pg_321">[321]</span> +<p>Up to this period, or, more strictly, to the year +1770, no American composers had contributed to +New England psalmody. Though numerous singing-books +had appeared, they were compiled from +the English collections and reprinted. The first +composer of church music in America was William +Billings, born at Boston, Oct. 7, 1747. He was the +son of poor parents, and followed tanning for an +occupation. Gould, in his "History of Church +Music," says of him:--</p> +<blockquote><p>"Billings was somewhat deformed in person, blind +in one eye, one leg shorter than the other, one arm +somewhat withered, with a mind as eccentric as his +person was deformed. To say nothing of the deformity +of his habits, suffice it, he had a propensity for taking +snuff that may seem almost incredible, when in +these days those who use it are not very much inclined +to expose the article. He used to carry it in his coat-pocket, +which was made of leather; and every few +minutes, instead of taking it in the usual manner, with +thumb and finger, would take out a handful and +snuff it from between his thumb and clenched hand. +We might infer from this circumstance that his voice +could not have been very pleasant and delicate."</p></blockquote> +<p>This uncouth and eccentric tanner was the father +of American church music, and of American choirs, +concerts, and singing-schools as well. He wrote his +first tunes on the boards of the tannery as he tended +the bark-mill. He was a zealous patriot; and as +Governor Samuel Adams was not only a still more +zealous patriot, but devotedly attached to music, the +<span class="pgnum" id="pg_322">[322]</span> +two became warm friends and at one time sang +together in a choir, evidently much to the distress of +Adams, as his companion had a stentorian voice. +His association with Adams led him to the composition +of songs of a patriotic and religious character, +one of which, set to the tune known as "Chester," +played an important part in rousing the martial +spirit of the colonists. It runs as follows:--</p> +<blockquote> +<div class="verse"> +<p class="t">"Let tyrants shake their iron rod,</p> +<p class="t2">And slavery clank her galling chains;</p> +<p class="t">We'll fear them not, we'll trust in God;</p> +<p class="t2">New England's God forever reigns.</p> +</div> +<div class="verse"> +<p class="t">"The foe comes on with haughty stride,</p> +<p class="t2">Our troops advance with martial noise;</p> +<p class="t">Their veterans flee before our arms,</p> +<p class="t2">And generals yield to beardless boys."</p> +</div> +</blockquote> +<p>That the tanner had a sly humor of his own is +demonstrated by the following instructions appended +to one of his anthems which was performed +in a concert:--</p> +<blockquote> +<div class="verse"> +<p class="t">"We've met for a concert of modern invention;</p> +<p class="t">To tickle the ear is our present intention;</p> +<p class="t">The audience seated, expect to be treated</p> +<p class="t">With a piece of the best.</p> +</div> +<div class="verse"> +<p class="t4">"And since we all agree</p> +<p class="t4">To set the key on E,</p> +<p class="t4">The author's darling key</p> +<p class="t4">He prefers to the rest,</p> +<p class="t4">The bass take the lead,</p> +<p class="t4">And firmly proceed;</p> +<p class="t4">Let the tenor succeed," etc.</p> +</div> +</blockquote> +<span class="pgnum" id="pg_323">[323]</span> +<p>In 1770 his first compositions appeared in a work +of one hundred and eight pages entitled "The +New England Psalm Singer; or American Chorister. +Containing a number of Psalm Tunes, Anthems, and +Canons. In four and five parts. (Never before +published.) Composed by William Billings, a native +of Boston, in New England. Matt. xii. 16, +'Out of the mouth of Babes and Sucklings hast thou +perfected Praise;' James v. 13, 'Is any merry, let +him sing Psalms.'</p> +<blockquote> +<div class="verse"> +<p class="t">'O, praise the Lord with one consent,</p> +<p class="t2">And in this grand design</p> +<p class="t">Let Britain and the Colonies</p> +<p class="t2">Unanimously join.'</p> +</div> +</blockquote> +<p>Boston: New England. Printed by Edes and Gill."</p> +<p>In the preface to this work he quaintly says:--</p> +<blockquote> +<p class="center">"<i>To all Musical Practitioners.</i></p> +<p>"Perhaps it may be expected by some, that I could +say something concerning rules for composition; to +these I answer that <i>Nature is the best Dictator</i>, for all +the hard dry studied rules that ever were prescribed +will not enable any person to form an Air any more +than the four and twenty letters, and strict Grammatical +rules will qualify a scholar for composing a piece +of Poetry, or properly adjusting a Tragedy without a +Genius. It must be Nature; Nature must lay the +Foundation, Nature must give the Thought. But +perhaps some may think I mean and intend to throw +Art entirely out of Question. I answer by no Means, +for the more Art is displayed, the more Art is decorated. +And in some sorts of composition there is dry +<span class="pgnum" id="pg_324">[324]</span> +Study requir'd, and Art very requisite. For instance, +in a Fuge. But even there Art is subservient to +Genius, for Fancy goes first, and strikes out the Work +roughly, and Art comes after and polishes it over. +But to return to my Text: I have read several Authors' +Rules on Composition, and find the strictest of +them make some Exceptions, as thus, they say that two +8<span class="small"><sup>vos</sup></span> or two 5<span class="small"><sup>ths</sup></span> +may not be taken together rising or +falling, unless one be Major and the other Minor; but +rather than spoil the Air, they will allow that Breach +to be made, and this Allowance gives great Latitude +to young Composers, for they may always make that +Plea, and say, if I am not allowed to transgress the +Rules of composition I shall certainly spoil the Air, +and cross the Strain that Fancy dictated. And indeed +this is without dispute, a very just Plea, for I am sure +I have often and sensibly felt the disagreeable and +slavish Effect of such Restraint as is here pointed out, +and so I believe every Composer of Poetry as well as +Musick, for I presume there are strict Rules for +Poetry, as for Musick. But as I have often heard of +a Poetical License I don't see why with the same propriety +there may not be a musical License, for Poetry +and Musick are in close Connection, and nearly allied +besides they are often assistants to each other, and +like a true friend often hide each other's feelings. For +I have known a Piece of Poetry that hath neither +Rhime nor Reason in it, pass for tolerable good sense +because it happened to be set to an excellent Piece of +Musick, and to get Respect rather for its good Fortune +in falling into such respectable company than for any +Merit in itself: so likewise I have known and heard a +very indifferent Tune often sung and much caress'd, +only because it was set to a fine Piece of Poetry, without +this recommendation, perhaps it would not be sung +<span class="pgnum" id="pg_325">[325]</span> +twice over by one Person, and would be deemed to be +dearly bought only at the expense of Breath requisite +to perform it.</p> +<p>"For my own part, as I don't think myself confined +to any Rules for Composition laid down by any that +went before me, neither should I think (were I to pretend +to lay down rules) that any who comes after me +were any ways obligated to adhere to them any further +than they should think proper; so in fact I think it is +best for every composer to be his own learner. Therefore +upon this consideration, for me to dictate, or pretend +to prescribe Rules of this Nature for others, +would not only be very unnecessary but also a very +great piece of Vanity."</p> +</blockquote> +<p>His second work was the "Singing Master's Assistant," +an abridgment and revision of his first. His +humor again crops out in the following extract from +its preface:--</p> +<blockquote> +<p>"Kind reader, no doubt you remember that about +ten years ago I published a book entitled 'The New +England Psalm-Singer;' and truly a most masterly +performance I then thought it to be. How lavish was +I of encomium on this my infant production! 'Welcome, +thrice Welcome, thou legitimate Offspring of my +brain, go forth my little book, go forth and immortalize +the name of your Author: may your sale be rapid and +may you speedily run through ten thousand Editions,' +said I, 'Thou art my Reuben, my first born; the beginning +of my Strength, the Excellency of my Dignity, +and the Excellency of my power.' But to my great +mortification I soon discovered it was Reuben in the +sequel, and Reuben all over; I have discovered that +<span class="pgnum" id="pg_326">[326]</span> +many pieces were never worth my printing or your +inspection.</p> +<p>"It is the duty of Christians to praise God publicly +by singing of psalms together in the congregation, and +also privately in the family. In singing of psalms the +voice is to be audible and gravely ordered; but the +chief care must be to sing with understanding and +with grace in the heart, making melody unto the Lord. +That the whole congregation may join therein, every +one that can read is to have a psalm-book, and all +others not disabled by age or otherwise are to be exhorted +to learn to read. But for the present, where +many in the congregation cannot read, it is convenient +that the minister or some fit person to be appinted by +him and the other ruling officers, do read the psalms +line by line, before the singing thereof."</p> +</blockquote> +<p>Billings's other publications were "Music in Miniature," +"Psalm Singers' Amusement," "Suffolk Harmony," +and "Continental Harmony." Though the +crudest of musical works, for he was entirely unacquainted +with harmony and musical rules, they +had an immense influence. He was the pioneer, +and the path he cleared was soon crowded with +his successors. The most prominent of these were +Andrew Law, born at Cheshire, Conn., in 1748, who +published many books and taught in most of the +New England States; Jacob Kimball, born at Topsfield, +Mass., in 1761, who published the "Rural +Harmony;" Oliver Holden, of Charlestown, Mass., +who published the "American Harmony," "Union +Harmony," and "Worcester Collection," and wrote +the favorite tune "Coronation;" Samuel Holyoke, +<span class="pgnum" id="pg_327">[327]</span> +born at Boxford, Mass., in 1771, author of the +"Harmonia Americana" and "Columbian Repository;" +Daniel Reed, born at Rehoboth, Mass., +in 1757, who published the "American Singing-Book" +and "Columbian Harmony;" Jacob French, +born at Stoughton, Mass., in 1754, who issued a +work entitled "Harmony of Harmony;" Timothy +Swan, born at Suffield, Conn., in 1757, who published +"Federal Harmony" and "New England +Harmony," and wrote the familiar tunes "Poland" +and "China;" John Hubbard, who wrote many +anthems and treatises on music; Dutton, of Hartford, +Conn., who issued the "Hartford Collection," +and wrote the tune of "Woodstock;" Oliver Shaw, +born at Middleborough, Mass., in 1799, who was +totally blind, but became a very successful teacher +and composer. Gould says that his compositions +were "truly original," and one of them, "There's +Nothing True but Heaven," was repeated night after +night by the Boston Handel and Haydn Society.</p> +<hr /> +<p>The era of psalm composers was followed by that +of the singing-school teachers, who exerted a mighty +influence upon sacred music and musical taste. At +the same time numerous societies were organized, +among them the Handel and Haydn Society of +Boston, which was born April 20, 1815, and still +exists,--a vigorous growth from the little gathering +which gave its first concert on Christmas, Dec. 25, +1815, singing the first part of "The Creation" and +selections from Handel's works, and was pronounced +<span class="pgnum" id="pg_328">[328]</span> +by an enthusiastic critic of that time "the wonder +of the nation." The great singing-teachers were +Thomas Hastings of Washington, Conn., Lowell +Mason of Mansfield, Mass., Nathaniel D. Gould of +Chelmsford, Mass. Still later came George F. Root, +Woodbury, Dyer, Bradbury, Ives, Johnson, and +others, whose labors, both as composers and teachers, +are familiar to all lovers of sacred music even at +this day. The old-fashioned singing-school, however, +has disappeared. The musical convention still +survives in rural places. The great festivals, oratorio +societies, the modern concert stage, even the opera, +have all had their effect upon sacred music. The +paid choir of professional musicians marks a long +departure from the robust Puritan psalm-singers; +its music is equally remote from the jingling tunes of +Billings which "tickled the ears" of the colonists.</p> +</div> +<div id="c62"> +<span class="pgnum" id="pg_329">[329]</span> +<h2>APPENDIX.</h2> +<p>The following chronological list is intended +to present to the reader a statement of the +more important sacred music which has been +written during the last two centuries, with its +composers and dates, for the purposes of reference.</p> +<dl> +<dt><span class="sc">Allegri</span></dt> +<dd>Miserere (1630).</dd> +<dt><span class="sc">Arne</span></dt> +<dd>Abel (1755);</dd> +<dd>Judith (1764).</dd> +<dt><span class="sc">Bach</span></dt> +<dd>St. John Passion (1720); </dd> +<dd>Magnificat in D (1723); </dd> +<dd>St. Matthew Passion (1729); </dd> +<dd>Christmas Oratorio (1734).</dd> +<dt><span class="sc">Barnby</span></dt> +<dd>Rebekah (1870).</dd> +<dt><span class="sc">Beethoven</span></dt> +<dd>Mount of Olives (1799-1801);</dd> +<dd>Mass in C (1807); </dd> +<dd>Mass in D (1822).</dd> +<dt><span class="sc">Benedict</span></dt> +<dd>St. Cecilia (1866); </dd> +<dd>St. Peter (1870).</dd> +<dt><span class="sc">Bennett</span></dt> +<dd>Woman of Samaria (1867).</dd> +<dt><span class="sc">Berlioz</span></dt> +<dd>Grande Messe des Morts (1837);</dd> +<dd>L'Enfance du Christ (1854).</dd> +<dt><span class="sc">Brahms</span></dt> +<dd>German Requiem (1868).</dd> +<dt><span class="sc">Costa</span></dt> +<dd>Eli (1855); </dd> +<dd>Naaman (1864).</dd> +<dt><span class="pgnum" id="pg_330">[330]</span></dt> +<dt><span class="sc">Cusins</span></dt> +<dd>Gideon (1871).</dd> +<dt><span class="sc">Crotch</span> </dt> +<dd>Palestine (1812);</dd> +<dd>Captivity of Judah (1834).</dd> +<dt><span class="sc">David</span></dt> +<dd>Moses on Sinai (1846).</dd> +<dt><span class="sc">Dvorák</span></dt> +<dd>Stabat Mater (1875).</dd> +<dt><span class="sc">Goldschmidt</span></dt> +<dd>Ruth (1867).</dd> +<dt><span class="sc">Gounod</span></dt> +<dd>Messe Solenelle (1850); </dd> +<dd>Tobie (1870); </dd> +<dd>Redemption (1883);</dd> +<dd>Mors et Vita (1885).</dd> +<dt><span class="sc">Graun</span></dt> +<dd>The Death of Jesus (1755); </dd> +<dd>Prague Te Deum (1756).</dd> +<dt><span class="sc">Handel</span> </dt> +<dd>First Passion Oratorio (1704); </dd> +<dd>La Resurrezione (1708); </dd> +<dd>Il trionfo del Tempo (1708); </dd> +<dd>Utrecht Te Deum (1713); </dd> +<dd>Second Passion Oratorio (1716); </dd> +<dd>Esther (1720);</dd> +<dd>Deborah (1733); </dd> +<dd>Athalia (1733);</dd> +<dd>Saul (1738); </dd> +<dd>Israel in Egypt (1738); </dd> +<dd>Messiah (1741); </dd> +<dd>Samson (1742); </dd> +<dd>Joseph (1743);</dd> +<dd>Dettingen Te Deum (1743);</dd> +<dd>Belshazzar (1744); </dd> +<dd>Occasional Oratorio (1745); </dd> +<dd>Judas Maccabæus (1746); </dd> +<dd>Alexander Balus (1747); </dd> +<dd>Joshua (1747); </dd> +<dd>Solomon (1748); </dd> +<dd>Susanna (1748);</dd> +<dd>Theodora (1749); </dd> +<dd>Jephtha (1751).</dd> +<dt><span class="sc">Haydn</span></dt> +<dd>Stabat Mater (1771); </dd> +<dd>Return of Tobias (1774); </dd> +<dd>Mariazeller Mass (1782); </dd> +<dd>Imperial Mass (1797); </dd> +<dd>The Creation (1796-98);</dd> +<dd>Te Deum (1800); </dd> +<dd>The Seasons (1800); </dd> +<dd>The Seven Words (1801).</dd> +<dt><span class="pgnum" id="pg_331">[331]</span></dt> +<dt><span class="sc">Hiller</span></dt> +<dd>The Destruction of Jerusalem (1839).</dd> +<dt><span class="sc">Horsley</span></dt> +<dd>Gideon (1860).</dd> +<dt><span class="sc">Kiel</span></dt> +<dd>Requiem (1862);</dd> +<dd>Christus (1866).</dd> +<dt><span class="sc">Klein</span></dt> +<dd>Job (1820);</dd> +<dd>Jephthah (1828);</dd> +<dd>David (1830).</dd> +<dt><span class="sc">Lassus</span></dt> +<dd>Penitential Psalms (1565);</dd> +<dd>Vigiliæ Mortuorum (1565).</dd> +<dt><span class="sc">Leslie</span></dt> +<dd>Immanuel (1853);</dd> +<dd>Judith (1858).</dd> +<dt><span class="sc">Liszt</span></dt> +<dd>Graner Mass (1854);</dd> +<dd>Hungarian Coronation Mass (1856);</dd> +<dd>Legend of Saint Elizabeth (1864);</dd> +<dd>Christus (1866).</dd> +<dt><span class="sc">Macfarren</span></dt> +<dd>John the Baptist (1873);</dd> +<dd>The Resurrection (1876);</dd> +<dd>Joseph (1877).</dd> +<dt><span class="sc">Mackenzie</span></dt> +<dd>Rose of Sharon (1884).</dd> +<dt><span class="sc">Marx</span></dt> +<dd>Moses (1850).</dd> +<dt><span class="sc">Massenet</span></dt> +<dd>Mary Magdalen (1873);</dd> +<dd>Eve (1875);</dd> +<dd>The Virgin (1879).</dd> +<dt><span class="sc">Mendelssohn</span></dt> +<dd>Psalm cxv (1830);</dd> +<dd>Psalm xcv (1835);</dd> +<dd>St. Paul (1836);</dd> +<dd>Hymn of Praise (1840);</dd> +<dd>Elijah (1838-46);</dd> +<dd>Christus (1844-47);</dd> +<dd>Lauda Sion (1846).</dd> +<dt><span class="sc">Meyerbeer</span></dt> +<dd>God and Nature (1811).</dd> +<dt><span class="sc">Mozart</span></dt> +<dd>Coronation Mass (1779);</dd> +<dd>Mass in C (1780);</dd> +<dd>Mass in G (1785);</dd> +<dd>Mass in B (1791);</dd> +<dd>Ave Verum (1791);</dd> +<dd>Requiem (1791).</dd> +<dt><span class="sc">Neukomm</span></dt> +<dd>Mount Sinai (1830);</dd> +<dd>David (1834).</dd> +<dt><span class="sc">Ouseley</span></dt> +<dd>St. Polycarp (1854);</dd> +<dd>Hagar (1873).</dd> +<dt><span class="sc">Paine</span></dt> +<dd>St. Peter (1873).</dd> +<dt><span class="sc">Palestrina</span></dt> +<dd>Papæ Marcelli Mass (1563);</dd> +<dd>Stabat Mater (1589);</dd> +<dd>Requiem (1591).</dd> +<dt><span class="pgnum" id="pg_332">[332]</span></dt> +<dt><span class="sc">Pergolesi</span></dt> +<dd>Stabat Mater (1736).</dd> +<dt><span class="sc">Pierson</span></dt> +<dd>Jerusalem (1852).</dd> +<dt><span class="sc">Randegger</span></dt> +<dd>Psalm cl (1872).</dd> +<dt><span class="sc">Reinthaler</span></dt> +<dd>Jephta (1856).</dd> +<dt><span class="sc">Rossini</span></dt> +<dd>Moses in Egypt (1818); </dd> +<dd>Stabat Mater (1832-41); </dd> +<dd>Messe Solenelle (1864).</dd> +<dt><span class="sc">Rubinstein</span></dt> +<dd>Tower of Babel (1870); </dd> +<dd>Paradise Lost (1876).</dd> +<dt><span class="sc">Schneider</span> (<span class="sc">Fr.</span>)</dt> +<dd>The Judgement of the World (1819);</dd> +<dd>Paradise Lost (1824);</dd> +<dd>Pharaoh (1828); </dd> +<dd>Christ the Child (1829); </dd> +<dd>Gideon (1829);</dd> +<dd>Gethsemane and Golgotha (1838).</dd> +<dt><span class="sc">Schubert</span></dt> +<dd>Lazarus (1820).</dd> +<dt><span class="sc">Schumann</span></dt> +<dd>Paradise and the Peri (1843); </dd> +<dd>Advent Hymn (1848); </dd> +<dd>Mass and Requiem (1852).</dd> +<dt><span class="sc">Schutz</span></dt> +<dd>Passions' Music (1665).</dd> +<dt><span class="sc">Spohr</span></dt> +<dd>The Last Judgment (1812); </dd> +<dd>The Last Things (1826); </dd> +<dd>Calvary (1833); </dd> +<dd>Fall of Babylon (1840).</dd> +<dt><span class="sc">Stanford</span></dt> +<dd>The Three Holy Children (1885).</dd> +<dt><span class="sc">Sullivan</span></dt> +<dd>The Prodigal Son (1869); </dd> +<dd>Light of the World (1873); </dd> +<dd>Martyr of Antioch (1880).</dd> +<dt><span class="sc">Verdi</span></dt> +<dd>Manzoni Requiem (1874);</dd> +<dd>Pater Noster and Ave Maria (1880).</dd> +<dt><span class="sc">Vogler</span></dt> +<dd>Magnificat and Stabat Mater (1777).</dd> +<dt><span class="sc">Wagner</span></dt> +<dd>Das Liebesmahl der Apostel (1843).</dd> +<dt><span class="sc">Winter</span> </dt> +<dd>Pilgrimage to Calvary (1792); </dd> +<dd>Stabat Mater (1805).</dd> +</dl> +</div> +<div id="index"> +<span class="pgnum" id="pg_333">[333]</span> +<h2>INDEX.</h2> +<dl> +<dt>Ainsworth, Henry, <a href="#pg_313">313</a>.</dt> +<dt>Albrechtsberger, <a href="#pg_239">239</a>.</dt> +<dt>Allison, Richard, <a href="#pg_312">312</a>.</dt> +<dt>Appendix, <a href="#pg_329">329</a>.</dt> +<dt>Astorga, <a href="#pg_253">253</a>.</dt> +<dt>Athalia, <a href="#pg_21">21</a>.</dt> +<dt> </dt> +<dt>Bach, <a href="#pg_19">19</a>-21, <a href="#pg_24">24</a>, <a href="#pg_26">26</a>, <a href="#pg_30">30</a>, <a href="#pg_61">61</a>, <a href="#pg_65">65</a>, <a href="#pg_269">269</a>, <a href="#pg_275">275</a>;</dt> +<dd>life of, <a href="#pg_31">31</a>.</dd> +<dt>Bailey, Daniel, <a href="#pg_320">320</a>.</dt> +<dt>Bailey, Thomas, <a href="#pg_320">320</a>.</dt> +<dt>Bay Psalm Book, <a href="#pg_313">313</a>, <a href="#pg_314">314</a>.</dt> +<dt>Beethoven, <a href="#pg_23">23</a>, <a href="#pg_91">91</a>, <a href="#pg_161">161</a>, <a href="#pg_174">174</a>, <a href="#pg_218">218</a>, <a href="#pg_219">219</a>, <a href="#pg_235">235</a>, <a href="#pg_236">236</a>, <a href="#pg_282">282</a>, <a href="#pg_307">307</a>;</dt> +<dd>life of, <a href="#pg_51">51</a>.</dd> +<dt>Belshazzar, <a href="#pg_22">22</a>.</dt> +<dt>Benedict, <a href="#pg_205">205</a>.</dt> +<dt>Bennett, Sterndale, <a href="#pg_26">26</a>, <a href="#pg_200">200</a>, <a href="#pg_274">274</a>, <a href="#pg_290">290</a>;</dt> +<dd>life of, <a href="#pg_60">60</a>.</dd> +<dt>Berlioz, <a href="#pg_27">27</a>, <a href="#pg_30">30</a>, <a href="#pg_259">259</a>;</dt> +<dd>life of, <a href="#pg_68">68</a>.</dd> +<dt>Billings, William, <a href="#pg_321">321</a>-326.</dt> +<dt>Blow, Dr., <a href="#pg_30">30</a>.</dt> +<dt>Bononcini, <a href="#pg_17">17</a>, <a href="#pg_115">115</a>.</dt> +<dt>Bradbury, <a href="#pg_328">328</a>.</dt> +<dt>Brahms, <a href="#pg_27">27</a>, <a href="#pg_92">92</a>, <a href="#pg_272">272</a>;</dt> +<dd>life of, <a href="#pg_78">78</a>.</dd> +<dt> </dt> +<dt>Caldara, <a href="#pg_17">17</a>.</dt> +<dt>Carissimi, <a href="#pg_15">15</a>.</dt> +<dt>Cherubini, <a href="#pg_27">27</a>, <a href="#pg_68">68</a>, <a href="#pg_71">71</a>, <a href="#pg_178">178</a>.</dt> +<dt>Chopin, <a href="#pg_258">258</a>, <a href="#pg_272">272</a>.</dt> +<dt>Christmas Oratorio (Bach), <a href="#pg_20">20</a>, <a href="#pg_33">33</a>.</dt> +<dt>Christmas Oratorio (Saint-Saëns), <a href="#pg_269">269</a>.</dt> +<dt>Christus (Liszt), <a href="#pg_186">186</a>.</dt> +<dt>Christus (Mendelssohn), <a href="#pg_25">25</a>, <a href="#pg_229">229</a>.</dt> +<dt>Cimarosa, <a href="#pg_23">23</a>.</dt> +<dt>Colonna, <a href="#pg_17">17</a>, <a href="#pg_27">27</a>.</dt> +<dt>Costa, <a href="#pg_82">82</a>.</dt> +<dt>Cotton, John, <a href="#pg_314">314</a>.</dt> +<dt>Creation, <a href="#pg_136">136</a>, <a href="#pg_162">162</a>.</dt> +<dt>Croft, Dr., <a href="#pg_30">30</a>.</dt> +<dt> </dt> +<dt>Damon, William, <a href="#pg_311">311</a>.</dt> +<dt>Das jüngste Gericht, <a href="#pg_23">23</a>, <a href="#pg_283">283</a>, <a href="#pg_286">286</a>.</dt> +<dt>Deborah, <a href="#pg_21">21</a>.</dt> +<dt>Der Tod Jesu, <a href="#pg_20">20</a>.</dt> +<dt>Des Heilands letzte Stunden, <a href="#pg_24">24</a>.</dt> +<dt>Dettingen Te Deum, <a href="#pg_155">155</a>.</dt> +<dt>Die Auferstehung Christi, <a href="#pg_19">19</a>.</dt> +<dt>Die Sieben Wörte Christi, <a href="#pg_19">19</a>.</dt> +<dt>Dutton, <a href="#pg_327">327</a>.</dt> +<dt>Dvorák, <a href="#pg_253">253</a>;</dt> +<dd>life of, <a href="#pg_90">90</a>.</dd> +<dt>Dyer, <a href="#pg_328">328</a>.</dt> +<dt> </dt> +<dt>Eli, <a href="#pg_84">84</a>.</dt> +<dt>Elijah, <a href="#pg_25">25</a>, <a href="#pg_218">218</a>.</dt> +<dt>Eliot, John, <a href="#pg_313">313</a>, <a href="#pg_318">318</a>.</dt> +<dt>Emilio del Cavaliere, <a href="#pg_14">14</a>, <a href="#pg_15">15</a>.</dt> +<dt>Engedi, <a href="#pg_58">58</a>.</dt> +<dt>Esther, <a href="#pg_21">21</a>.</dt> +<dt> </dt> +<dt>Fall of Babylon, <a href="#pg_24">24</a>.</dt> +<dt>Federici, <a href="#pg_17">17</a>.</dt> +<dt>Flagg, Josiah, <a href="#pg_320">320</a>.</dt> +<dt>French, Jacob, <a href="#pg_327">327</a>.</dt> +<dt>Fux, <a href="#pg_22">22</a>.</dt> +<dt><span class="pgnum" id="pg_334">[334]</span></dt> +<dt> </dt> +<dt>Gabrielli, <a href="#pg_18">18</a>.</dt> +<dt>German Requiem, <a href="#pg_27">27</a>, <a href="#pg_80">80</a>.</dt> +<dt>Gluck, <a href="#pg_160">160</a>.</dt> +<dt>Gould, Nathaniel D., <a href="#pg_328">328</a>.</dt> +<dt>Gounod, <a href="#pg_15">15</a>, <a href="#pg_20">20</a>, <a href="#pg_26">26</a>;</dt> +<dd>life of, <a href="#pg_96">96</a>.</dd> +<dt>Graun, <a href="#pg_20">20</a>, <a href="#pg_30">30</a>.</dt> +<dt>Grétry, <a href="#pg_174">174</a>.</dt> +<dt> </dt> +<dt>Habeneck, <a href="#pg_75">75</a>, <a href="#pg_76">76</a>, <a href="#pg_77">77</a>.</dt> +<dt>Handel, <a href="#pg_17">17</a>, <a href="#pg_18">18</a>, <a href="#pg_19">19</a>, <a href="#pg_20">20</a>, <a href="#pg_21">21</a>, <a href="#pg_22">22</a>, <a href="#pg_24">24</a>, <a href="#pg_26">26</a>, <a href="#pg_30">30</a>;</dt> +<dd>life of, <a href="#pg_114">114</a>.</dd> +<dt>Handel and Haydn Society, <a href="#pg_327">327</a>.</dt> +<dt>Hasse, <a href="#pg_22">22</a>.</dt> +<dt>Hastings, Thomas, <a href="#pg_328">328</a>.</dt> +<dt>Haydn, <a href="#pg_19">19</a>, <a href="#pg_22">22</a>, <a href="#pg_23">23</a>, <a href="#pg_26">26</a>, <a href="#pg_28">28</a>, <a href="#pg_80">80</a>, <a href="#pg_136">136</a>, <a href="#pg_253">253</a>, <a href="#pg_307">307</a>;</dt> +<dd>life of, <a href="#pg_159">159</a>.</dd> +<dt>Heine, <a href="#pg_256">256</a>, <a href="#pg_257">257</a>.</dt> +<dt>Hiller, <a href="#pg_26">26</a>, <a href="#pg_70">70</a>, <a href="#pg_222">222</a>, <a href="#pg_256">256</a>, <a href="#pg_273">273</a>.</dt> +<dt>Himmel, <a href="#pg_23">23</a>.</dt> +<dt>Holden, Oliver, <a href="#pg_326">326</a>.</dt> +<dt>Holyoke, Samuel, <a href="#pg_326">326</a>.</dt> +<dt>Hubbard, John, <a href="#pg_327">327</a>.</dt> +<dt>Hymn of Praise, <a href="#pg_25">25</a>, <a href="#pg_213">213</a>.</dt> +<dt> </dt> +<dt>Israel in Egypt, <a href="#pg_21">21</a>, <a href="#pg_23">23</a>, <a href="#pg_117">117</a>.</dt> +<dt>Italian oratorio composers, <a href="#pg_15">15</a></dt> +<dt>Ives, <a href="#pg_328">328</a>.</dt> +<dt> </dt> +<dt>Joachim, <a href="#pg_78">78</a>, <a href="#pg_92">92</a>.</dt> +<dt>Johnson, <a href="#pg_328">328</a>.</dt> +<dt>Joseph, <a href="#pg_22">22</a>.</dt> +<dt>Joshua, <a href="#pg_22">22</a>, <a href="#pg_154">154</a>.</dt> +<dt>Judas Maccabæus, <a href="#pg_22">22</a>, <a href="#pg_149">149</a>.</dt> +<dt> </dt> +<dt>Keiser, Reinhard, <a href="#pg_19">19</a>, <a href="#pg_20">20</a>.</dt> +<dt> </dt> +<dt>Kimball, Jacob, <a href="#pg_326">326</a>.</dt> +<dt> </dt> +<dt>La Rappresentazione dell' Anima e del Corpo, <a href="#pg_14">14</a>.</dt> +<dt>Last Judgment, <a href="#pg_23">23</a>, <a href="#pg_283">283</a>.</dt> +<dt>Latimer, <a href="#pg_310">310</a>.</dt> +<dt>Law, Andrew, <a href="#pg_326">326</a>.</dt> +<dt>Legend of the Holy Elizabeth, <a href="#pg_180">180</a>.</dt> +<dt>Light of the World, <a href="#pg_294">294</a>.</dt> +<dt>Liszt, <a href="#pg_78">78</a>, <a href="#pg_256">256</a>, <a href="#pg_258">258</a>;</dt> +<dd>life of, <a href="#pg_177">177</a>.</dd> +<dt>Lyon, James, <a href="#pg_320">320</a>.</dt> +<dt> </dt> +<dt>Macfarren, George A., <a href="#pg_30">30</a>;</dt> +<dd>life of, <a href="#pg_199">199</a>.</dd> +<dt>Mackenzie, <a href="#pg_191">191</a>.</dt> +<dt>Magnificat (Bach), <a href="#pg_48">48</a>.</dt> +<dt>Magnificats, <a href="#pg_26">26</a>, <a href="#pg_30">30</a>.</dt> +<dt>Martin Luther, <a href="#pg_309">309</a>.</dt> +<dt>Mason, Lowell, <a href="#pg_328">328</a>.</dt> +<dt>Massenet, <a href="#pg_26">26</a>.</dt> +<dt>Mattheson, <a href="#pg_20">20</a>.</dt> +<dt>Mazzocchi, <a href="#pg_17">17</a>.</dt> +<dt>Mendelssohn, <a href="#pg_24">24</a>, <a href="#pg_25">25</a>, <a href="#pg_26">26</a>, <a href="#pg_30">30</a>, <a href="#pg_60">60</a>, <a href="#pg_256">256</a>, <a href="#pg_257">257</a>;</dt> +<dd>life of, <a href="#pg_206">206</a>.</dd> +<dt>Messe des Morts, <a href="#pg_27">27</a>, <a href="#pg_71">71</a>.</dt> +<dt>Messiah, <a href="#pg_21">21</a>, <a href="#pg_23">23</a>, <a href="#pg_25">25</a>, <a href="#pg_39">39</a>, <a href="#pg_140">140</a>.</dt> +<dt>Meyerbeer, <a href="#pg_83">83</a>.</dt> +<dt>Mors et Vita, <a href="#pg_26">26</a>, <a href="#pg_106">106</a>.</dt> +<dt>Moscheles, <a href="#pg_257">257</a>, <a href="#pg_271">271</a>.</dt> +<dt>Mount of Olives, <a href="#pg_23">23</a>, <a href="#pg_53">53</a>.</dt> +<dt>Mozart, <a href="#pg_30">30</a>, <a href="#pg_60">60</a>, <a href="#pg_282">282</a>, <a href="#pg_307">307</a>;</dt> +<dd>life of, <a href="#pg_234">234</a>.</dd> +<dt>Mysteries and miracle-plays, <a href="#pg_10">10</a>, <a href="#pg_11">11</a>, <a href="#pg_12">12</a>.</dt> +<dt> </dt> +<dt>Neukomm, <a href="#pg_253">253</a>.</dt> +<dt> </dt> +<dt>Oratorio, its origin, <a href="#pg_9">9</a>;</dt> +<dd>in England, <a href="#pg_21">21</a>;</dd> +<dd>in Germany, <a href="#pg_22">22</a>;</dd> +<dd>oratorios of the present century, <a href="#pg_23">23</a>-26.</dd> +<dt> </dt> +<dt>Paine, <a href="#pg_26">26</a>, <a href="#pg_245">245</a>.</dt> +<dt>Palestrina, <a href="#pg_27">27</a>, <a href="#pg_28">28</a>, <a href="#pg_96">96</a>, <a href="#pg_253">253</a>, <a href="#pg_307">307</a>.</dt> +<dt>Paradise and the Peri, <a href="#pg_25">25</a>, <a href="#pg_273">273</a>.</dt> +<dt>Paradise Lost, <a href="#pg_26">26</a>, <a href="#pg_264">264</a>.</dt> +<dt>Passion Music, <a href="#pg_18">18</a>, <a href="#pg_19">19</a>, <a href="#pg_20">20</a>.</dt> +<dt>Pistocchi, <a href="#pg_17">17</a>.</dt> +<dt>Playford's Psalms, <a href="#pg_320">320</a>.</dt> +<dt>Porpora, <a href="#pg_22">22</a>, <a href="#pg_115">115</a>, <a href="#pg_160">160</a>.</dt> +<dt>Prodigal Son, <a href="#pg_292">292</a>.</dt> +<dt>Protestant Psalmody, <a href="#pg_309">309</a>.</dt> +<dt>Psalmody in England, <a href="#pg_310">310</a>.</dt> +<dt>Puritan reforms, <a href="#pg_310">310</a>.</dt> +<dt> </dt> +<dt>Ravenscroft Collection, <a href="#pg_312">312</a>.</dt> +<dt>Redemption, <a href="#pg_26">26</a>, <a href="#pg_98">98</a>.</dt> +<dt>Reed, Daniel, <a href="#pg_327">327</a>.</dt> +<dt>Reményí, <a href="#pg_78">78</a>.</dt> +<dt>Requiem (Manzoni), <a href="#pg_27">27</a>, <a href="#pg_303">303</a>.</dt> +<dt>Requiem (Mozart), <a href="#pg_236">236</a>.</dt> +<dt>Requiems, <a href="#pg_26">26</a>, <a href="#pg_27">27</a>.</dt> +<dt>Rheinthaler, <a href="#pg_26">26</a>.</dt> +<dt>Richter, Jean Paul, <a href="#pg_273">273</a>.</dt> +<dt>Root, George F., <a href="#pg_328">328</a>.</dt> +<dt>Rose of Sharon, <a href="#pg_192">192</a>.</dt> +<dt><span class="pgnum" id="pg_335">[335]</span></dt> +<dt>Rossini, <a href="#pg_222">222</a>, <a href="#pg_303">303</a>, <a href="#pg_307">307</a>;</dt> +<dd>life of, <a href="#pg_251">251</a>.</dd> +<dt>Rubinstein, <a href="#pg_26">26</a>; </dt> +<dd>life of, <a href="#pg_258">258</a>.</dd> +<dt> </dt> +<dt>Sacred dramas, <a href="#pg_13">13</a>, <a href="#pg_14">14</a>.</dt> +<dt>Sacred Music in America, <a href="#pg_309">309</a>.</dt> +<dt>Saint-Saëns, <a href="#pg_26">26</a>, <a href="#pg_267">267</a>.</dt> +<dt>Salieri, <a href="#pg_23">23</a>, <a href="#pg_168">168</a>, <a href="#pg_177">177</a>.</dt> +<dt>Samson, <a href="#pg_22">22</a>, <a href="#pg_131">131</a>.</dt> +<dt>Sarti, <a href="#pg_30">30</a>.</dt> +<dt>Saul, <a href="#pg_21">21</a>, <a href="#pg_125">125</a>.</dt> +<dt>Scarlatti, <a href="#pg_16">16</a>.</dt> +<dt>Schneider, <a href="#pg_24">24</a>.</dt> +<dt>Schubert, <a href="#pg_23">23</a>, <a href="#pg_91">91</a>, <a href="#pg_273">273</a>.</dt> +<dt>Schumann, <a href="#pg_25">25</a>, <a href="#pg_60">60</a>, <a href="#pg_78">78</a>, <a href="#pg_79">79</a>, <a href="#pg_81">81</a>; </dt> +<dd>life of, <a href="#pg_271">271</a>.</dd> +<dt>Schütz, <a href="#pg_18">18</a>.</dt> +<dt>Seasons, <a href="#pg_22">22</a>, <a href="#pg_170">170</a>.</dt> +<dt>Sebastiani, <a href="#pg_19">19</a>.</dt> +<dt>Shaw, Oliver, <a href="#pg_327">327</a>.</dt> +<dt>Spohr, <a href="#pg_23">23</a>, <a href="#pg_26">26</a>, <a href="#pg_52">52</a>, <a href="#pg_91">91</a>;</dt> +<dd>life of, <a href="#pg_280">280</a>.</dd> +<dt>St. John Passion, <a href="#pg_20">20</a>.</dt> +<dt>St. John the Baptist, <a href="#pg_201">201</a>.</dt> +<dt>St. Matthew Passion, <a href="#pg_20">20</a>, <a href="#pg_24">24</a>, <a href="#pg_39">39</a>.</dt> +<dt>St. Paul, <a href="#pg_25">25</a>, <a href="#pg_208">208</a>.</dt> +<dt>St. Peter, <a href="#pg_26">26</a>, <a href="#pg_246">246</a>.</dt> +<dt>Stabat Mater (Dvorák), <a href="#pg_28">28</a>, <a href="#pg_92">92</a>.</dt> +<dt>Stabat Mater (Rossini), <a href="#pg_28">28</a>, <a href="#pg_253">253</a>.</dt> +<dt>Stabat Maters, <a href="#pg_27">27</a>.</dt> +<dt>Stephani, <a href="#pg_18">18</a>.</dt> +<dt>Sternhold and Hopkins, <a href="#pg_311">311</a>, <a href="#pg_313">313</a>.</dt> +<dt>Stradella, <a href="#pg_16">16</a>, <a href="#pg_17">17</a>.</dt> +<dt>Sullivan, <a href="#pg_30">30</a>, <a href="#pg_290">290</a>.</dt> +<dt>Swan, Timothy, <a href="#pg_327">327</a>.</dt> +<dt>Symmes, Thomas, <a href="#pg_317">317</a>.</dt> +<dt> </dt> +<dt>Tansur and Williams, <a href="#pg_320">320</a>.</dt> +<dt>Te Deums, <a href="#pg_28">28</a>, <a href="#pg_29">29</a>.</dt> +<dt>Telemann, <a href="#pg_20">20</a>.</dt> +<dt>Thalberg, <a href="#pg_258">258</a>.</dt> +<dt>The Bleeding and Dying Jesus, <a href="#pg_19">19</a>.</dt> +<dt>Theile, <a href="#pg_19">19</a>.</dt> +<dt>Theodora, <a href="#pg_22">22</a>.</dt> +<dt>Thomas, Theodore, <a href="#pg_80">80</a>, <a href="#pg_99">99</a>, <a href="#pg_192">192</a>, <a href="#pg_246">246</a>, <a href="#pg_269">269</a>, <a href="#pg_291">291</a>.</dt> +<dt>Tower of Babel, <a href="#pg_26">26</a>, <a href="#pg_260">260</a>.</dt> +<dt>Tufts, John, <a href="#pg_319">319</a>.</dt> +<dt> </dt> +<dt>Verdi, <a href="#pg_256">256</a>;</dt> +<dd>life of, <a href="#pg_301">301</a>.</dd> +<dt>Victor Hugo, <a href="#pg_69">69</a>, <a href="#pg_178">178</a>.</dt> +<dt>Vittoria, <a href="#pg_27">27</a>.</dt> +<dt>Von Bülow, <a href="#pg_179">179</a>, <a href="#pg_307">307</a>.</dt> +<dt> </dt> +<dt>Wagner, <a href="#pg_65">65</a>, <a href="#pg_83">83</a>, <a href="#pg_179">179</a>, <a href="#pg_186">186</a>, <a href="#pg_268">268</a>, <a href="#pg_282">282</a>.</dt> +<dt>Walter, Thomas, <a href="#pg_320">320</a>.</dt> +<dt>Weber, <a href="#pg_281">281</a>.</dt> +<dt>Weniawski, <a href="#pg_259">259</a>.</dt> +<dt>Winter, <a href="#pg_23">23</a>.</dt> +<dt>Woman of Samaria, <a href="#pg_26">26</a>, <a href="#pg_62">62</a>.</dt> +<dt>Woodbury, <a href="#pg_328">328</a>.</dt> +<dt> </dt> +<dt>Zingarelli, <a href="#pg_23">23</a>.</dt> +</dl> +</div> +<div id="biblio"> +<span class="pgnum" id="pg_336">[336]</span> +<h3>UPTON'S MUSICAL HANDBOOKS.</h3> +<hr /> +<p class="center"><b>UNIFORM IN STYLE.</b></p> +<hr /> +<h4>I.</h4> +<p class="ut1"><b>The Standard Operas.</b> Their Plots, their Music, and their +Composers. A Handbook. 12mo, yellow edges, $1.50; extra +gilt, gilt edges, $2.00.</p> +<h4>II.</h4> +<p class="ut1"><b>The Standard Oratorios.</b> Their Stories, their Music, and +their Composers. A Handbook. 12mo, yellow edges, +$1.50; extra gilt, gilt edges, $2.00.</p> +<h4>III.</h4> +<p class="ut1"><b>The Standard Cantatas.</b> Their Stories, their Music, and +their Composers. A Handbook. 12mo, yellow edges, +$1.50; extra gilt, gilt edges, $2.00.</p> +<h4>IV.</h4> +<p class="ut1"><b>The Standard Symphonies.</b> Their History, their Music, +and their Composers. A Handbook. 12mo, yellow edges, +$1.50; extra gilt, gilt edges, $2.00.</p> +</div> +<div class="ads"> +<span class="pgnum" id="pg_337">[337]</span> +<span class="pgnum" id="pg_338">[338]</span> +<p>THE STANDARD OPERAS. Their +Plots, their Music, and their Composers. By +<span class="sc">George P. Upton</span>, author of "Woman in Music," etc., etc.</p> +<div class="verse"> +<p class="t0">12mo, flexible cloth, yellow edges $1.50</p> +<p class="t0">The same, extra gilt, gilt edges $2.00</p> +</div> +<hr /> +<blockquote> +<p>"Mr. Upton has performed a service that can hardly be too +highly appreciated, in collecting the plots, music, and the composers +of the standard operas, to the number of sixty-four, and +bringing them together in one perfectly arranged volume.... +His work is one simply invaluable to the general reading public. +Technicalities are avoided, the aim being to give to musically +uneducated lovers of the opera a clear understanding of the +works they hear. It is description, not criticism, and calculated +to greatly increase the intelligent enjoyment of music."--<i>Boston +Traveller.</i></p> +<p>"Among the multitude of handbooks which are published +every year, and are described by easy-going writers of book-notices +as supplying a long-felt want, we know of none which +so completely carries out the intention of the writer as 'The +Standard Operas,' by Mr. George P. Upton, whose object is to +present to his readers a comprehensive sketch of each of the +operas contained in the modern repertory.... There are +thousands of music-loving people who will be glad to have the +kind of knowledge which Mr. Upton has collected for their +benefit, and has cast in a clear and compact form."--<i>R. H. +Stoddard, in "Evening Mail and Express" (New York).</i></p> +<p>"The summaries of the plots are so clear, logical, and well +written, that one can read them with real pleasure, which cannot +be said of the ordinary operatic synopses. But the most important +circumstance is that Mr. Upton's book is fully abreast +of the times."--<i>The Nation (New York).</i></p> +<hr /> +<p><i>Sold by all booksellers, or mailed, post-paid, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +</blockquote> +<span class="pgnum" id="pg_339">[339]</span> +<p>THE STANDARD CANTATAS. Their +Stories, their Music, and their Composers. A Handbook. +By <span class="sc">George P. Upton</span>. 12mo, 367 pages, yellow +edges, price, $1.50; extra gilt, gilt edges, $2.00.</p> +<div class="verse"> +<p class="t0">In half calf, gilt top $3.25</p> +<p class="t0">In half morocco, gilt edges 3.75</p> +<p class="t0">In tree calf, gilt edges 5.50</p> +</div> +<hr /> +<blockquote> +<p>The "Standard Cantatas" forms the third volume in the uniform +series which already includes the now well known "Standard +Operas" and the "Standard Oratorios." This latest work +deals with a class of musical compositions, midway between the +opera and the oratorio, which is growing rapidly in favor both +with composers and audiences.</p> +<p>As in the two former works, the subject is treated, so far as +possible, in an untechnical manner, so that it may satisfy the +needs of musically uneducated music lovers, and add to their enjoyment +by a plain statement of the story of the cantata and a +popular analysis of its music, with brief pertinent selections from +its poetical text.</p> +<p>The book includes a comprehensive essay on the origin of the +cantata, and its development from rude beginnings; biographical +sketches of the composers; carefully prepared descriptions of +the plots and the music; and an appendix containing the names +and dates of composition of all the best known cantatas from the +earliest times.</p> +<p>This series of works on popular music has steadily grown in +favor since the appearance of the first volume on the Operas. +When the series is completed, as it will be next year by a volume +on the Standard Symphonies, it will be, as the New York +'Nation' has said, indispensable to every musical library.</p> +<hr /> +<p><i>Sold by all booksellers, or mailed, post-paid, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +</blockquote> +<span class="pgnum" id="pg_340">[340]</span> +<h3>BIOGRAPHIES OF MUSICIANS.</h3> +<div class="verse"> +<p class="t0"><b>LIFE OF LISZT</b>. With Portrait.</p> +<p class="t"><b>LIFE OF HAYDN</b>. With Portrait.</p> +<p class="t2"><b>LIFE OF MOZART</b>. With Portrait.</p> +<p class="t3"><b>LIFE OF WAGNER</b>. With Portrait.</p> +<p class="t4"><b>LIFE OF BEETHOVEN</b>. With Portrait.</p> +</div> +<p><i>From the German of Dr. Louis Nohl.</i></p> +<div class="verse"> +<p class="t0">In cloth, per volume $ .75</p> +<p class="t0">The same, in neat box, per set 3.75</p> +<p class="t0">In half calf, per set 12.00</p> +</div> +<blockquote> +<p>Of the "Life of Liszt," the <i>Herald</i> (Boston) says: "It is written +in great simplicity and perfect taste, and is wholly successful in +all that it undertakes to portray."</p> +<p>Of the "Life of Haydn," the <i>Gazette</i> (Boston) says: "No fuller +history of Haydn's career, the society in which he moved, and of +his personal life can be found than is given in this work."</p> +<p>Of the "Life of Mozart," the <i>Standard</i> says: "Mozart supplies +a fascinating subject for biographical treatment. He lives +in these pages somewhat as the world saw him, from his marvellous +boyhood till his untimely death."</p> +<p>Of the "Life of Wagner," the <i>American</i> (Baltimore) says: "It +gives in vigorous outlines those events of the life of the tone poet +which exercised the greatest influences upon his artistic career.... +It is a story of a strange life devoted to lofty aims."</p> +<p>Of the "Life of Beethoven," the <i>National Journal of Education</i> +says: "Beethoven was great and noble as a man, and his +artistic creations were in harmony with his great nature. The +story of his life, outlined in this volume, is of the deepest interest."</p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_341">[341]</span> +<p>MUSIC-STUDY IN GERMANY. By +<span class="sc">Amy Fay</span>. Eighth edition. 12mo, 352 pages. +Price, $1.25.</p> +<hr /> +<blockquote> +<p>"One of the brightest small books we have seen is Amy Fay's +'Music-Study in Germany.' These letters were written home +by a young lady who went to Germany to perfect her piano-playing. +They are full of simple, artless, yet sharp and intelligent +sayings concerning the ways and tastes of the fatherland.... +Her observation is close and accurate, and the sketches of +Tausig, Liszt, and other musical celebrities are capitally done."--<i>Christian +Advocate (New York).</i></p> +<p>"It is bright and entertaining, being filled with descriptions, +opinions, and facts in regard to the many distinguished musicians +and artists of the present day. A little insight into the +home life of the German people is presented to the reader, and +the atmosphere of art seems to give a brightness and worth to +the picture, which imparts pleasure with the interest it creates."--<i>Dwight's +Journal of Music.</i></p> +<p>"The intrinsic value of the work is great; its simplicity, its +minute details, its freedom from every kind of affectation, constitute +in themselves most admirable qualities. The remarkably +intimate and open picture we get of Liszt surpasses any picture +of him heretofore afforded. It is a charming picture, strong, +simple, gracious, noble, and sincere."--<i>Times (Chicago).</i></p> +<p>"In delicacy of touch, vivacity and ease of expression, and +general charm of style, these letters are models in their way. +The pictures which she gives of the various masters under +whom she studied have the value that all such representations +possess when they are drawn from life and with fidelity."--<i>Graphic +(New York).</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, post-paid, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +</div> +<div id="biblio2"> +<span class="pgnum" id="pg_342">[342]</span> +<h3>THE SURGEON'S STORIES</h3> +<p>By <span class="sc">Z. Topelius</span>, Professor of History, University of Finland. +Translated from the original Swedish, comprising--</p> +<div class="verse"> +<p class="t0"><span class="sc">Times of Gustaf Adolf</span>,</p> +<p class="t"><span class="sc">Times of Battle and Rest</span>,</p> +<p class="t2"><span class="sc">Times of Charles XII.</span>,</p> +<p class="t3"><span class="sc">Times of Frederick I.</span>,</p> +<p class="t4"><span class="sc">Times of Linnæus</span>,</p> +<p class="t5"><span class="sc">Times of Alchemy</span>.</p> +</div> +<div class="verse"> +<p class="t0">In cloth, per volume, 75 cents.</p> +<p class="t0">The same, in box, per set, $4.50.</p> +</div> +<hr /> +<blockquote> +<p>These stories have been everywhere received with the greatest favor. +They cover the most interesting and exciting periods of Swedish and +Finnish history. They combine history and romance, and the two are +woven together in so skilful and attractive a manner that the reader +of one volume is rarely satisfied until he has read all. Of their distinguished +author the <i>Saturday Review</i>, London, says, "He enjoys the +greatest celebrity among living Swedish writers;" and R. H. Stoddard +has styled them "the most important and certainly the most readable +series of foreign fiction that has been translated into English for many +years." They should stand on the shelves of every library, public and +private, beside the works of Sir Walter Scott.</p> +<p class="center"><b>The Graphic, New York, says:</b></p> +<p>"Topelius is evidently a great romancer,--a great romancer in the +manner of Walter Scott. At moments in his writing there is positive +inspiration, a truth and vivid reality that are startling."</p> +<p class="center"><b>The Sun, Philadelphia, says:</b></p> +<p>"We would much prefer teaching a youth Swedish history from the +novels of Topelius than from any book of strict historical narrative."</p> +<p class="center"><b>The Standard, Chicago, says:</b></p> +<p>"The series as a whole deserves a place with the very best fiction of +the present time. The scenery is new to most readers; the historical +period covered one of transcendent interest; the characters, the incidents, +the narrative style in each story are of the sort to carry the reader straight +through, from beginning to end, unwearied, and ready, as each volume +closes, to open the next in order."</p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, post-paid, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_343">[343]</span> +<p>FAMILIAR TALKS ON ENGLISH +LITERATURE. A Manual embracing the Great +Epochs of English Literature, from the English conquest +of Britain, 449, to the death of Walter Scott, 1832. By +<span class="sc">Abby Sage Richardson</span>, Fourth edition, revised. +Price $1.50.</p> +<hr /> +<blockquote> +<p class="center"><b>The Boston Transcript says:</b></p> +<p>"The work shows thorough study and excellent judgment, +and we can warmly recommend it to schools and private classes +for reading as an admirable text-book."</p> +<p class="center"><b>The New York Evening Mail says:</b></p> +<p>"What the author proposed to do was to convey to her readers +a clear idea of the variety, extent, and richness of English +literature.... She has done just what she intended to do, and +done it well."</p> +<p class="center"><b>The New York Nation says:</b></p> +<p>"It is refreshing to find a book designed for young readers +which seeks to give only what will accomplish the real aim of +the study; namely, to excite an interest in English literature, +cultivate a taste for what is best in it, and thus lay a foundation +on which they can build after reading."</p> +<p class="center"><b>Prof. Moses Coit Tyler says:</b></p> +<p>"I have had real satisfaction in looking over the book. There +are some opinions with which I do not agree; but the main thing +about the book is a good thing; namely, its hearty, wholesome +love of English literature, and the honest, unpretending, but +genial and conversational, manner in which that love is uttered. +It is a charming book to read, and it will breed in its readers the +appetite to read English literature for themselves."</p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, post-paid, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_344">[344]</span> +<p>TALES OF ANCIENT GREECE. +By the Rev. Sir <span class="sc">G. W. Cox, Bart.</span>, M.A., Trinity +College, Oxford.</p> +<p>12mo, cloth, price, $1.25.</p> +<hr /> +<blockquote> +<p>"Written apparently for young readers, it yet possesses a +charm of manner which will recommend it to all."--<i>The Examiner, +London.</i></p> +<p>"It is only when we take up such a book as this that we realize +how rich in interest is the mythology of Greece."--<i>Inquirer, +Philadelphia.</i></p> +<p>"Admirable in style, and level with a child's comprehension. +These versions might well find a place in every family."--<i>The +Nation, New York.</i></p> +<p>"The author invests these stories with a charm of narrative +entirely peculiar. The book is a rich one in every way."--<i>Standard, +Chicago.</i></p> +<p>"In Mr. Cox will be found yet another name to be enrolled +among those English writers who have vindicated for this country +an honorable rank in the investigation of Greek history."--<i>Edinburgh +Review.</i></p> +<p>"It is doubtful if these tales--antedating history in their +origin, and yet fresh with all the charms of youth to all who +read them for the first time--were ever before presented in so +chaste and popular form."--<i>Golden Rule, Boston.</i></p> +<p>"The grace with which these old tales of the mythology are +re-told makes them as enchanting to the young as familiar fairy +tales or the 'Arabian Nights.'... We do not know of a Christmas +book which promises more lasting pleasures."--<i>Publishers' +Weekly.</i></p> +<p>"Its exterior fits it to adorn the drawing-room table, while its +contents are adapted to the entertainment of the most cultivated +intelligence.... The book is a scholarly production, and a +welcome addition to a department of literature that is thus far +quite too scantily furnished."--<i>Tribune, Chicago.</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_345">[345]</span> +<p>SHORT HISTORY OF FRANCE, +FOR YOUNG PEOPLE. By Miss <span class="sc">E. S. Kirkland</span>, +author of "Six Little Cooks," "Dora's House-keeping," &c.</p> +<p>12mo, cloth, price, $1.25.</p> +<hr /> +<blockquote> +<p>"A very ably written sketch of French history, from the earliest +times to the foundation of the existing Republic."--<i>Cincinnati +Gazette.</i></p> +<p>"The narrative is not dry on a single page, and the little history +may be commended as the best of its kind that has yet +appeared."--<i>Bulletin, Philadelphia.</i></p> +<p>"A book both instructive and entertaining. It is not a dry +compendium of dates and facts, but a charmingly written history."--<i>Christian +Union, New York.</i></p> +<p>"After a careful examination of its contents, we are able to +conscientiously give it our heartiest commendation. We know no +elementary history of France that can at all be compared with +it."--<i>Living Church.</i></p> +<p>"A spirited and entertaining sketch of the French people and +nation,--one that will seize and hold the attention of all bright +boys and girls who have a chance to read it."--<i>Sunday Afternoon, +Springfield (Mass.).</i></p> +<p>"We find its descriptions universally good, that it is admirably +simple and direct in style, without waste of words or timidity of +opinion. The book represents a great deal of patient labor and +conscientious study."--<i>Courant, Hartford (Conn.).</i></p> +<p>"Miss Kirkland has composed her 'Short History of France' +in the way in which a history for young people ought to be written; +that is, she has aimed to present a consecutive and agreeable +story, from which the reader can not only learn the names of +kings and the succession of events, but can also receive a vivid +and permanent impression as to the characters, modes of life, +and the spirit of different periods."--<i>The Nation, New York.</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_346">[346]</span> +<h3>LAUREL-CROWNED TALES.</h3> +<p><span class="sc">Abdallah; or, The Four-Leaved Shamrock.</span> By <span class="sc">Edouard +Laboulaye</span>. Translated by <span class="sc">Mary L. Booth</span>.</p> +<p><span class="sc">Rasselas, Prince of Abyssinia.</span> By <span class="sc">Samuel Johnson</span>.</p> +<p><span class="sc">Raphael; or, Pages of the Book of Life at Twenty.</span> +From the French of <span class="sc">Alphonse de Lamartine</span>.</p> +<p><span class="sc">The Vicar of Wakefield.</span> By <span class="sc">Oliver Goldsmith</span>.</p> +<p><span class="sc">The Epicurean.</span> By <span class="sc">Thomas Moore</span>.</p> +<p><span class="sc">Picciola.</span> By <span class="sc">X. B. Saintine</span>.</p> +<p><span class="sc">An Iceland Fisherman.</span> By <span class="sc">Pierre Loti</span>.</p> +<p class="center"><i>Other volumes in preparation.</i></p> +<blockquote> +<p>Handsomely printed from new plates, on fine laid paper, 12mo, +cloth, with gilt tops, price per volume, $1.00.</p> +<p>In half calf or half morocco, $2.50.</p> +</blockquote> +<hr /> +<blockquote> +<p>In planning this series, the publishers have aimed at a form +which should combine an unpretentious elegance suited to the fastidious +book-lover with an inexpensiveness that must appeal to the +most moderate buyer.</p> +<p>It is the intent to admit to the series only such tales as have +for years or for generations commended themselves not only to +the fastidious and the critical, but also to the great multitude of +the refined reading public,--tales, in short, which combine purity +and classical beauty of style with perennial popularity.</p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_347">[347]</span> +<p>THE BOOK-LOVER. A Guide to the +Best Reading. By <span class="sc">James Baldwin</span>, Ph.D. +Sixth edition, 16mo, cloth, gilt top, 201 pages. Price, +$1.00.</p> +<p class="center">In half calf or half morocco, $2.75.</p> +<hr /> +<blockquote> +<p>Of this book, on the best in English Literature, which has +already been declared of the highest value by the testimony of +the best critics in this country, an edition of one thousand copies +has just been ordered for London, the home of English Literature,--a +compliment of which its scholarly western author may +justly be proud.</p> +<p>We know of no work of the kind which gives so much useful +information in so small a space.--<i>Evening Telegram, New +York.</i></p> +<p>Sound in theory and in a practical point of view. The courses +of reading laid down are made of good books, and in general, of +the best.--<i>Independent, New York.</i></p> +<p>Mr. Baldwin has written in this monograph a delightful eulogium +of books and their manifold influence, and has gained +therein two classes of readers,--the scholarly class, to which he +belongs, and the receptive class, which he has benefited.--<i>Evening +Mail and Express, New York.</i></p> +<p>If a man needs that the love of books be cultivated within him, +such a gem of a book as Dr. Baldwin's ought to do the work. +Perfect and inviting in all that a book ought outwardly to be, its +contents are such as to instruct the mind at the same time that +they answer the taste, and the reader who goes carefully through +its two hundred pages ought not only to love books in general +better than he ever did before, but to love them more wisely, +more intelligently, more discriminatingly, and with more profit +to his own soul.--<i>Literary World, Boston.</i></p></blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_348">[348]</span> +<p>WE TWO ALONE IN EUROPE. +By <span class="sc">Mary L. Ninde</span>. Illustrated from Original Designs.</p> +<p class="center">12mo, 348 pages, price, $1.50.</p> +<hr /> +<blockquote><p>The foreign travels which gave rise to this volume were of a +novel and perhaps unprecedented kind. Two young American +girls started for "the grand tour" with the father of one of them, +and he being compelled to return home from London they were +courageous enough to continue their journeyings alone. They +spent two years in travel,--going as far north as the North Cape +and south to the Nile, and including in their itinerary St. Petersburg +and Moscow. Miss Ninde's narrative is written in a fresh +and sprightly but unsensational style, which, with the unusual experiences +portrayed, renders the work quite unlike the ordinary +books of travel.</p> +<p>It is a narrative told so naturally and so vividly that the two +gentle travellers do not seem to be "alone," but to have taken at +least the reader along with them.... It is filled with so many +interesting glimpses of sights and scenes in many lands as to render +it thoroughly entertaining.--<i>The Congregationalist, Boston.</i></p> +<p>As the work of a bright American girl, the book is sure to command +wide attention. The volume is handsomely bound and +copiously illustrated with views drawn, if we mistake not, by the +author's own fair hands, so well do they accord with the vivacious +spirit of her narrative.--<i>Times, Troy, New York.</i></p> +<p>In these days when letters and books about travels in Europe +have become generally monotonous, to say the least, it is absolutely +refreshing to get hold of a bright, original book like "We Two +alone in Europe."... The book is especially interesting for +its fresh, bright observations on manners, customs, and objects +of interest as viewed through these young girls' eyes, and the +charming spice of adventure running through it.--<i>Home Journal, +Boston.</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_349">[349]</span> +<p>THE HUMBLER POETS. A Collection +of Newspaper and Periodical Verse. 1870 to +1885. By <span class="sc">Slason Thompson</span>. Crown 8vo, 459 pages, +cloth, gilt top. Price, $2.00.</p> +<p class="center">In half calf or half morocco, $4.00.</p> +<hr /> +<blockquote> +<p>The publishers have done well in issuing this volume in a +style of literary and artistic excellence, such as is given to the +works of the poets of name and fame, because the contents richly +entitle it to such distinction.--<i>Home Journal, Boston.</i></p> +<p>The high poetic character of these poems, as a whole, is surprising. +As a unit, the collection makes an impression which +even a genius of the highest order would not be adequate to produce.... +Measured by poetic richness, variety, and merit of +the selections contained, the collection is a rarely good one +flavored with the freshness and aroma of the present time.--<i>Independent, +New York.</i></p> +<p>Mr. Thompson winnowed out the chaff from the heap, and +has given us the golden grain in this volume. Many old newspaper +favorites will be recognized in this collection,--many of +those song-waifs which have been drifting up and down the +newspaper world for years, and which nobody owns but everybody +loves. We are glad for ourselves that some one has been +kind and tender-hearted enough to take in these fugitive children +of the Muses and give them a safe and permanent home. +The selection has been made with rare taste and discrimination, +and the result is a delightful volume.--<i>Observer, New York.</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_350">[350]</span> +<p>LIFE OF ABRAHAM LINCOLN, +By the Hon. <span class="sc">Isaac N. Arnold</span>. With Steel +Portrait. 8vo, cloth, 471 pages. Price, $1.50.</p> +<p class="center">In half calf or half morocco, $3.50.</p> +<hr /> +<blockquote> +<p>It is decidedly the best and most complete Life of Lincoln +that has yet appeared.--<i>Contemporary Review, London.</i></p> +<p>Mr. Arnold succeeded to a singular extent in assuming the +broad view and judicious voice of posterity and exhibiting the +greatest figure of our time in its true perspective.--<i>The Tribune, +New York.</i></p> +<p>It is the only Life of Lincoln thus far published that is likely +to live,--the only one that has any serious pretensions to depict +him with adequate veracity, completeness, and dignity.--<i>The +Sun, New York.</i></p> +<p>The author knew Mr. Lincoln long and intimately, and no one +was better fitted for the task of preparing his biography. He +has written with tenderness and fidelity, with keen discrimination, +and with graphic powers of description and analysis.--<i>The +Interior, Chicago.</i></p> +<p>Mr. Arnold's "Life of President Lincoln" is excellent in +almost every respect.... The author has painted a graphic and +life-like portrait of the remarkable man who was called to decide +on the destinies of his country at the crisis of its fate.--<i>The +Times, London.</i></p> +<p>The book is particularly rich in incidents connected with the +early career of Mr. Lincoln; and it is without exception the +most satisfactory record of his life that has yet been written. +Readers will also find that in its entirety it is a work of absorbing +and enduring interest that will enchain the attention more +effectually than any novel.--<i>Magazine of American History, +New York.</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_351">[351]</span> +<p>THE AZTECS. Their History, Manners, +and Customs. From the French of <span class="sc">Lucien +Biart</span>. Authorized translation by <span class="sc">J. L. Garner</span>.</p> +<p class="center">Illustrated, 8vo, 340 pages, price, $2.00.</p> +<hr /> +<blockquote> +<p>The author has travelled through the country of whose former +glories his book is a recital, and his studies and discoveries leaven +the book throughout. The volume is absorbingly interesting, +and is as attractive in style as it is in material.--<i>Saturday +Evening Gazette, Boston.</i></p> +<p>Nowhere has this subject been more fully and intelligently +treated than in this volume, now placed within reach of American +readers. The mythology of the Aztecs receives special attention, +and all that is known of their lives, their hopes, their fears, and +aspirations finds record here.--<i>The Tribune, Chicago.</i></p> +<p>The man who can rise from the study of Lucien Biart's invaluable +work, "The Aztecs," without feelings of amazement and +admiration for the history and the government, and for the arts +cultivated by these Romans of the New World is not to be +envied.--<i>The Advance, Chicago.</i></p> +<p>The twilight origin of the present race is graphically presented: +those strange people whose traces have almost vanished from off +the face of the earth again live before us. Their taxes and tributes, +their marriage ceremonies, their burial customs, laws, +medicines, food, poetry, and dances are described.... The +book is a very interesting one, and is brought out with copious +illustrations.--<i>The Traveller, Boston.</i></p> +<p>M. Biart is the most competent authority living on the subject +of the Aztecs. He spent many years in Mexico, studied +his subject carefully through all means of information, and wrote +his book from the view-point of a scientist. His style is very attractive, +and it has been very successfully translated. The general +reader, as well as all scholars, will be much taken with the +work.--<i>Chronicle Telegraph, Pittsburg.</i></p> +</blockquote> +<hr /> +<p><i>Sold by all booksellers, or mailed, on receipt of price, by</i></p> +<p class="rjust">A.C. McCLURG & CO., <span class="sc">Publishers</span>, +<br /><span class="sc">Cor. Wabash Ave. and Madison St., Chicago.</span></p> +<span class="pgnum" id="pg_352">[352]</span> +</div> +<div id="notes"> +<h3>Transcriber's Notes to the Electronic Edition</h3> +<ul> +<li>In the name "Dvorak", the caron over the "R" and the diacrit over the "V" have been omitted. +On the other hand, an accent has been consistently applied to the "a".</li> +<li>The publisher's catalog and ads were moved to the back of the book, and assigned +arbitrary page numbers. In the original, they were not numbered.</li> +<li>The (few) footnotes were moved to chapter ends; in the original +they were in page footers.</li> +</ul> +</div> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Standard Oratorios, by George P. 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