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+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: ISO-8859-1
+
+*** 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
+
+
+
+
+
+
+
+
+
+
+                                   THE
+                           Standard Oratorios
+
+             THEIR STORIES, THEIR MUSIC, AND THEIR COMPOSERS
+
+
+                              _A Handbook_
+
+                           BY GEORGE P. UPTON
+
+                                 CHICAGO
+                        A. C. McCLURG AND COMPANY
+                                  1893
+
+                                Copyright
+                        By A. C. McClurg and Co.
+                               A.D. 1886.
+
+
+
+
+                                PREFACE.
+
+
+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 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."
+
+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.
+
+                                                                G. P. U.
+
+Chicago, September, 1886.
+
+
+
+
+                                CONTENTS.
+
+
+                                                                   PAGE
+  PREFACE                                                             3
+  THE ORATORIO                                                        9
+  BACH                                                               31
+    Christmas Oratorio                                               33
+    The Saint Matthew Passion                                        39
+    The Magnificat in D                                              48
+  BEETHOVEN                                                          51
+    The Mount of Olives                                              53
+  BENNETT                                                            60
+    The Woman of Samaria                                             62
+  BERLIOZ                                                            68
+    The Requiem                                                      70
+  BRAHMS                                                             78
+    The German Requiem                                               80
+  COSTA                                                              82
+    Eli                                                              84
+  DVORÁK                                                             90
+    The Stabat Mater                                                 92
+  GOUNOD                                                             96
+    The Redemption                                                   98
+    Mors et Vita                                                    106
+  HANDEL                                                            114
+    Israel in Egypt                                                 117
+    Saul                                                            125
+    Samson                                                          132
+    The Messiah                                                     140
+    Judas Maccabæus                                                 149
+    The Dettingen Te Deum                                           155
+  HAYDN                                                             159
+    The Creation                                                    162
+    The Seasons                                                     170
+  LISZT                                                             177
+    Legend of the Holy Elizabeth                                    180
+    Christus                                                        186
+  MACFARREN                                                         191
+    St. John the Baptist                                            193
+  MACKENZIE                                                         198
+    The Rose of Sharon                                              199
+  MENDELSSOHN                                                       206
+    St. Paul                                                        208
+    Hymn of Praise                                                  213
+    Elijah                                                          218
+    Christus                                                        229
+  MOZART                                                            234
+    Requiem                                                         236
+  PAINE                                                             245
+    St. Peter                                                       246
+  ROSSINI                                                           251
+    Stabat Mater                                                    253
+  RUBINSTEIN                                                        258
+    Tower of Babel                                                  260
+    Paradise Lost                                                   264
+  SAINT-SAËNS                                                       267
+    Christmas Oratorio                                              269
+  SCHUMANN                                                          271
+    Paradise and the Peri                                           273
+  SPOHR                                                             280
+    Last Judgment                                                   283
+  SULLIVAN                                                          290
+    The Prodigal Son                                                292
+    The Light of the World                                          294
+  VERDI                                                             301
+    Manzoni Requiem                                                 303
+  SACRED MUSIC IN AMERICA                                           309
+  APPENDIX                                                          329
+
+
+
+
+                         THE STANDARD ORATORIOS.
+
+
+
+
+                              THE ORATORIO.
+
+
+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,[1] who, in his chapel, after sermons and other
+devotions, in order to allure young people to pious offices, and to
+detain 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 worldly friends are
+left behind, she will stay and drown with them, and he can
+
+      "Rowe forth away when thou liste,
+      And get thee another wif."
+
+Noah expostulates with her in vain, grows furiously indignant, and bids
+her
+
+      "Come in, wif, in twenty devill ways,
+      Or alles stand thee without."
+
+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:--
+
+      "In faith, moder, in ye shall,
+      Whither you will or noughte."
+
+            NOE.
+
+      "Well me wif into this boate."
+          [_She gives him a box on the ear._]
+      "Haue you that for thee note."
+
+            NOE.
+
+      "A le Mary this whote,
+      A childre methinks my boate remeues,
+      Our tarrying here heughly me grieues."
+          [_She is forced into the ark._]
+
+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 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:--
+
+  "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."
+
+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:--
+
+  "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 (_azione sacra_),
+  '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 _l'angelo che nunzia_, 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 _laudi_, 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 times a madrigal was sung between the acts, after the manner of a
+  chorus."
+
+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:--
+
+  "Pleasure, an imaginary character, with two companions, are to have
+  instruments in their hands, on which they are to play while they sing
+  and perform the ritornels.
+
+  "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.
+
+  "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."
+
+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."
+
+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." 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 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."
+
+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 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.
+
+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
+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 musical skill and invention which have been the despair
+of composers from that time to this.
+
+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 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.
+
+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 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.
+
+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 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.
+
+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 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,
+"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?
+
+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
+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.
+
+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
+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.
+
+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 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, 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.
+
+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.
+
+[1] Born at Florence in the year 1515, and famous as the founder of the
+  Congregation of the Fathers of the Oratory.
+
+
+
+
+                                  BACH.
+
+
+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 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 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."
+
+
+
+
+                         The Christmas Oratorio.
+
+
+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 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."
+
+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 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.
+
+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.
+
+  "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."
+
+The first and second parts close with chorales, but in the third the
+opening chorus is repeated at the close.
+
+  "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 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."
+
+Parts V. and VI., devoted to the history of the three kings, are in no
+respect inferior to the first three.
+
+  "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."
+
+Bitter, in his life of Bach, gives the following interesting sketch of
+the origin of some of the numbers contained in the work:--
+
+  "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 A.D. 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 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."
+
+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, "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:--
+
+  "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."
+
+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.
+
+The second part opens with one of the most delightful instances of Bach's
+orchestration, a pastoral 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."
+
+
+
+
+                       The Saint Matthew Passion.
+
+
+The passion-music of Bach's time, as we have already seen, was the
+complement of the mysteries 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.
+
+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.
+
+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 _dramatis personæ_ are
+Jesus, Judas, Peter, Pilate, the Apostles, and the People, or _Turbæ_,
+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 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,--
+
+  "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
+  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.'"
+
+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.
+
+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 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 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:--
+
+  "Ye lightnings, ye thunders, in clouds are ye vanished!
+  Burst open, O fierce flaming caverns of hell!
+  Ingulf them, destroy them in wrathfullest mood!
+  Oh, blast the betrayer, the murderous brood!"
+
+and the first part concludes with a chorale, "O Man, bewail thy great
+Sin!"
+
+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, 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,--
+
+  "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."
+
+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 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:--
+
+  "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. No chorus ever
+  sung is surer to enlist the singers' hearts."
+
+
+
+
+                          The Magnificat in D.
+
+
+The Magnificat in D--known as the "Great Magnificat," to distinguish it
+from the smaller--is considered one of the grandest illustrations of
+Bach's genius. It was composed for Christmas Day, 1723. Spitta says:--
+
+  "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.'"
+
+For the occasion of this festival he expanded the Biblical text into four
+vocal numbers; but in describing the work it is only necessary to give it
+as it is now generally sung.
+
+The work is written for a five-part chorus, with organ and orchestral
+accompaniment. After a concerted introduction, foreshadowing the general
+character of the music, it opens with the chorus, "Magnificat anima mea,"
+in fugal form, worked up with that wonderful power of construction for
+which Bach is so renowned among all composers. It is followed by an aria
+for second soprano ("Et exultavit spiritus meus: in Deo salutari meo"),
+which is in the same key and has the same general feeling as the opening
+chorus, that of Christmas rejoicing. It in turn is followed by an aria
+for first soprano ("Quia respexit humilitatem 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 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":--
+
+  "It is emphatically distinct from the rest of Bach's grand church
+  compositions by the compactness and concentrated power of the separate
+  numbers,--particularly of the choruses,--by the lavish use of the means
+  at command, and by its vividly emotional and yet not too agitating
+  variety. It stands at the entrance of a new path and a fresh period of
+  his productivity, at once full of significance in itself and of promise
+  for the future development of the perennial genius which could always
+  re-create itself from its own elements."
+
+
+
+
+                               BEETHOVEN.
+
+
+A general sketch of the life and musical accomplishments of Beethoven has
+already appeared in the companion to this work, "The Standard Operas." In
+this connection, however, it seems eminently fitting that some attention
+should be paid to the religious sentiments of the great composer and the
+sacred works which he produced. He was a formal member of the Roman
+Church, but at the same time an ardent admirer of some of the Protestant
+doctrines. His religious observances, however, were peculiarly his own.
+His creed had little in common with any of the ordinary forms of
+Christianity. A writer in "Macmillan's Magazine" some years ago very
+clearly defined his religious position in the statement that his faith
+rested on a pantheistic abstraction which he called "Love." He
+interpreted everything by the light of this sentiment, which took the
+form of an endless longing, sometimes deeply sad, at others rising to the
+highest exaltation. An illustration of this in its widest sense may be
+found in the choral part of the Ninth Symphony. He at times attempted to
+give verbal expression to this ecstatic faith which filled him, and at
+such times he reminds us of the Mystics. The following 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: "_Fine_, 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 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.
+
+
+
+
+                          The Mount of Olives.
+
+
+Beethoven wrote but one oratorio, "Christus am Oelberg" ("Christ on the
+Mount of Olives"). That he had others in contemplation, however, at
+different periods of his life is shown by his letters. In 1809 he wrote
+to Freiherr von Hammer-Purgstall, a famous Oriental scholar, appointing
+an interview for the discussion of the latter's poem on the subject of
+the deluge, with reference to its fitness for treatment as an oratorio.
+Again, in 1824, he writes to Vincenz Hauschka, of Vienna, that he has
+decided to write an oratorio on the text furnished by Bernard, the
+subject being "The Victory of the Cross." This work, however, owing to
+his extreme physical sufferings at that period, was never begun, and the
+world thereby has suffered a great musical loss; for, judging from his
+great 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.
+
+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
+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.
+
+The libretto of the work is unquestionably defective in the most salient
+qualities which should characterize the text of an oratorio, even to the
+degree of extravagance and sensationalism. It fails to reflect the
+sorrowful character of the scene it depicts, and the dramatic
+requirements which it imposes are often strained, and sometimes border on
+the grotesque. The theatrical style of the narrative was deplored by
+Beethoven himself at a subsequent period. Marx, one of the keenest of
+critics, says of the work:--
+
+  "The poet had no other aim but that of making verses for a composer;
+  the latter, no other motive than the ordinary creative impulse
+  prompting him to try his powers in a different and important sphere.
+  The result on both sides could not therefore be other than phrases,
+  although the better of the two proceeded from the composer, and that
+  composer was Beethoven. To conceal or palliate this would be derogatory
+  to the reverence which we all owe to Beethoven; he stands too high to
+  be in need of extenuation."
+
+This is Marx's judgment; and yet it must be said that the world for the
+most part has found more in the "Mount of Olives" than he has.
+
+The oratorio is written for three solo voices (Jesus, Peter, and a
+Seraph), chorus, and orchestra. The narrative opens with the agony in the
+garden, followed by the chant of a Seraph reciting the divine goodness
+and foretelling the salvation of the righteous. In the next scene Jesus
+learns his fate from the Seraph, yields himself to approaching death, and
+welcomes it. The Soldiers enter in pursuit, and a tumult ensues as the
+Apostles find themselves surrounded. Peter draws his sword and gives vent
+to his indignation; but is rebuked both by Jesus and the Seraph, and
+together they conjure him to be silent and endure whatever may happen.
+The Soldiers, discovering Jesus, rush upon him and bind him. The
+Disciples express their apprehension that they too will suffer; but Jesus
+uncomplainingly surrenders himself, and a chorus of rejoicing completes
+the work. From this brief sketch the artificial and distorted manner of
+treating the solemn subject will be evident.
+
+The score opens with an adagio introduction for instruments which is of a
+very dramatic character, and, unlike nearly all of the sacred music of
+that time, is noticeable for the absence of the fugue. Barbedette, the
+great French critic, pronounces it the _chef-d'oeuvre_ of introductions,
+and a masterpiece in the serious style. The first number is a recitative
+and aria for tenor, sung by Jesus ("All my Soul within me shudders"),
+which, notwithstanding the anomaly of such a scene in such surroundings,
+is simple and touching in expression. The Seraph follows with a scene and
+aria ("Praise the Redeemer's Goodness"), concluding with a brilliant and
+jubilant obligato with chorus ("O triumph, all ye Ransomed"). The next
+number is an elaborate duet between Jesus and the Seraph ("On me then
+fall Thy heavy Judgment"), which is still more anomalous than the scene
+and aria with which Jesus opens the work. In a short recitative 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 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.
+
+The English versions of the "Mount of Olives" differ materially from the
+German in the text. Numerous efforts have been made to avoid the
+incongruity of the original narrative, but with poor success. It was
+first produced in England in 1814 by Sir George Smart during the Lenten
+oratorios at Drury Lane, the English version of which was made by Arnold,
+at that time manager of the King's Theatre. Still later it was produced
+again, and the adapter compromised by using the third person, as
+"'Jehovah, Thou, O Father,' saith the Lord our Saviour." Two other
+versions were made by Thomas Oliphant and Mr. Bartholomew, but these were
+not successful. At last the aversion to the personal part of Jesus led to
+an entirely new text, called "Engedi," the words of which were written by
+Dr. Henry Hudson, of Dublin, and founded upon the persecution of David by
+Saul in the wilderness, as described in parts of chapters xxiii., xxiv.,
+and xxvi. of the first book of Samuel. The characters introduced are
+David, Abishai, and the Prophetess, the latter corresponding to the
+Seraph in the original. The compiler himself in his preface says:--
+
+  "So far as was possible, the author has availed himself of Scripture
+  language, and David's words have been taken (almost wholly) from the
+  Psalms generally attributed to him, though of course not in regular
+  order, as it has invariably throughout been the writer's first object
+  to select words adapting themselves to the original music in its
+  continually varying expression, which could not have been done had he
+  taken any one psalm as his text. How far the author has succeeded, he
+  must leave to others to determine."
+
+The 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.
+
+
+
+
+                                BENNETT.
+
+
+William Sterndale Bennett, one of the most gifted and individual of
+English composers, was born at Sheffield, April 13, 1816. His musical
+genius displayed itself early, and in his tenth year he was placed in the
+Royal Academy of Music, of which in his later years he became 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 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 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."
+
+
+
+
+                          The Woman of Samaria.
+
+
+"The Woman of Samaria," a short, one-part oratorio, styled by its
+composer a "sacred cantata," was first produced at the Birmingham
+Festival, Aug. 27, 1867; though one of his biographers affirms that as
+early as 1843 he was shown a chorus for six voices, treated antiphonally,
+which Bennett himself informed him was to be introduced in an oratorio he
+was then contemplating, and that this chorus, if not identical with
+"Therefore they shall come," in "The Woman of Samaria," is at least the
+foundation of it.
+
+The work is written for four solo voices, chorus, and orchestra. The
+soprano takes the part of the Woman of Samaria, the other parts being
+impersonal. The music for the contralto is mainly declamatory. Tha tenor
+has a single aria, while the 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.
+
+The story is taken from the fourth chapter of the Gospel according to
+Saint John, and follows literally the narrative of the journey of the
+Saviour into Samaria,--his rest at Jacob's well, his meeting with the
+woman who came thither to draw water, and the conversation which
+followed; the only interruptions being the reflections, not only by the
+chorus, but also by the contralto and tenor, these episodes being taken
+mostly from the Prophecies and Psalms.
+
+The oratorio opens with a brief instrumental introduction and chorale
+("Ye Christian People, now rejoice") for sopranos alone, the melody of
+which first appeared in the "Geistliche Lieder," issued at Wittenberg in
+1535. The words are a translation of the old hymn, "Nun freut euch,
+lieben Christen G'mein," to which the tune was formerly sung in Germany.
+The treatment of this chorale, by combining it with the instrumental
+movement in opposing rhythms, shows the powerful influence which the
+composer's close study of Bach had upon him. Its effect in introducing
+the scenes which follow reminds one of the grace before the feast. It
+dies away in slow and gentle numbers, and then follows the opening
+recitative of the oratorio proper ("Then cometh Jesus to a City of
+Samaria"), sung by the contralto, and leading up to an arioso chorus
+("Blessed be the Lord 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 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 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:--
+
+  "In justification of so bold a step as the introduction of a new
+  number, it is interesting to point out that the composer felt the Woman
+  of Samaria ought to sing a song of conversion in the portion of the
+  cantata in which the new air is placed. It is clear from the original
+  preface[2] that he thought of her as an impulsive woman who would
+  naturally be carried from worldliness into the opposite extreme of
+  religious devotion."
+
+The introduction of the air also gives more importance to the soprano
+part and relieves the succession of choral movements in the close of the
+work. The remaining numbers are the beautiful chorale, "Abide with me,
+fast falls the Eventide;" the chorus, "Now we believe," one of the most
+finished in the whole work; a short tenor solo ("His Salvation is nigh
+them that fear Him"),--the only one in the oratorio for that voice; the
+chorus, "I will call upon the Lord;" and the final imposing fugue,
+"Blessed be the Lord 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.
+
+[2] "With regard to the Woman of Samaria herself, it will be plainly seen
+  that the composer has treated her as a secular and worldly character,
+  though not without indications here and there of that strong intuitive
+  religious feeling which has never been denied to her. This feeling is
+  especially shown when she says: 'I know that Messias cometh; when He is
+  come He will tell us all things.' Also, towards the end of the
+  narrative, where she passionately exclaims to the Samaritans: 'Come,
+  see a man who told me all the things that ever I did: is not this the
+  Christ?'"--_Original Preface_.
+
+
+
+
+                                BERLIOZ.
+
+
+Hector Berlioz, one of the most renowned of modern French composers, and
+an acute critic and skilful conductor as well, was born, Dec. 11, 1803,
+at La 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 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
+_rôle_ 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, "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.
+
+
+
+
+                              The Requiem.
+
+
+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 of the picturesque, fantastic,
+and sublime, in a tone-poem dedicated to the dead.
+
+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:--
+
+  "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."
+
+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:
+
+  "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."
+
+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.
+
+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.
+
+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 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 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.
+
+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 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.
+
+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:--
+
+  "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.
+
+  "Now, listen attentively.
+
+  "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.
+
+  "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 _mêlée_. 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 _the_ one bar where the
+  conductor's motion is absolutely indispensable,--Habeneck _puts down
+  his baton, quietly takes out his snuffbox_, 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 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!
+
+  "The success of the 'Requiem' was complete, in spite of all the
+  conspiracies--cowardly, atrocious, officious, and official--which would
+  fain have hindered it."
+
+
+
+
+                                 BRAHMS.
+
+
+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:--
+
+  "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."
+
+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 on a theme of Haydn, for orchestra; the
+Tragic and Academic overtures; and several trios, quartets, quintets,
+sextets, concertos, and sonatas.
+
+
+
+
+                           The German Requiem.
+
+
+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.
+
+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
+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.
+
+
+
+
+                                 COSTA.
+
+
+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 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 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.
+
+
+
+
+                                  Eli.
+
+
+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, 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.
+
+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
+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?").
+
+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 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.
+
+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 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.
+
+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 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."
+
+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.
+
+
+
+
+                              ANTON DVORÁK.
+
+
+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. 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 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.
+
+
+
+
+                            The Stabat Mater.
+
+
+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, 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+The eighth number, "Fac ut portem," is a duet for soprano and tenor,
+responsive in character, and constructed on very simple phrases presented
+in varying forms both by the voices and orchestra.
+
+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.
+
+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:--
+
+  "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."
+
+
+
+
+                                 GOUNOD.
+
+
+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 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" 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.
+
+
+
+
+                             The Redemption.
+
+
+"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:--
+
+  "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 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."
+
+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.
+
+Gounod himself has prefaced the music with an admirably concise
+description of the text and its various subjects. Of its general contents
+he says:
+
+  "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."
+
+The divisions of the work are as follows:--
+
+  Prologue.--The Creation.
+  Part I.--Calvary.
+  Part II.--From the Resurrection to the Ascension.
+  Part III.--The Pentecost.
+
+The prologue comprises the Mosaic account of the creation and fall of
+man, involving the necessity 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 _leit motif_, 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."
+
+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 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 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").
+
+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 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 soprano
+obligato solo, accompanied by the full strength of chorus and orchestra,
+to the words:
+
+      "From thy love as a Father,
+      O Lord, teach us to gather
+      That life will conquer death.
+      They who seek things eternal
+      Shall rise to light supernal
+      On wings of lovely faith."
+
+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.
+
+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:--
+
+  "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.
+
+  "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.
+
+  "2. Quartet and Chorus. 'By faith salvation comes, and by peace
+  consolation.'
+
+  "3. Chorus. His power manifested by miracles.
+
+  "4. Quartet. 'O come to me, all ye that are sad and that weep.'
+
+  "5. Semi-Chorus. The Beatitudes.
+
+  "6. Repetition of the theme of No. 1, with the whole choir, the
+  orchestra, and the great organ.
+
+  "7. Final Coda. Glorification of the Most Holy Trinity throughout all
+  ages."
+
+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 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.
+
+
+
+
+                              Mors et Vita.
+
+
+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:--
+
+  "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 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."
+
+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 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."
+
+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.
+
+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
+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 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.
+
+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 second typical melodies, forming a consistent
+and stately finale to this part of the work.
+
+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 Rejected," consisting of baritone solos and chorus,
+closing the second part.
+
+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.
+
+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 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.
+
+
+
+
+                                 HANDEL.
+
+
+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, 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 _impresario_, 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 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 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.
+
+
+
+
+                            Israel in Egypt.
+
+
+"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 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.
+
+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:
+
+  "The manuscript does not contain any of the names of the personages.
+  Nevertheless, the handbook, which includes the extracts from Solomon
+  for 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."
+
+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."
+
+"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 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
+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:--
+
+  "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 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,[3] this is the execution, or revenge
+  chorus,--the chorus of the unflinching, inflexible, commissioned Angels
+  of the Sword."
+
+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 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.
+
+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 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 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."
+
+[3] The second chorus, "The Plague of the Water turned to Blood," and the
+  loathing of the Egyptians.
+
+
+
+
+                                  Saul.
+
+
+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
+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.
+
+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:--
+
+  "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_s._ The gallery will be opened at 4; the pit and boxes at 5.
+  To begin at 6."
+
+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 which time it has occupied an important place in the
+oratorio repertory.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+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."
+
+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 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."
+
+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.
+
+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 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."
+
+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.
+
+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 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.
+
+
+
+
+                                 Samson.
+
+
+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
+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;[4] 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:--
+
+  "By subscription. At the Theatre Royal in Covent Garden, to-morrow, the
+  18th inst., will be performed a new oratorio, called _Sampson_. 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_s._; upper
+  gallery, 3_s._ 6_d._"
+
+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:--
+
+  "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."
+
+The text, as we have said, was adapted from Milton by Hamilton, who says
+in his preface to the handbook, or libretto:--
+
+  "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[5] of Dryden's which no age nor nation
+  ever excelled."
+
+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 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.
+
+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 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:--
+
+      "To man God's universal law
+      Gave power to keep his wife in awe.
+      Thus shall his life be ne'er dismayed,
+      By female usurpation swayed."
+
+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
+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.
+
+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
+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, 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.
+
+[4] "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."--_Rockstro._
+
+[5] Alexander's Feast; or, the Power of Music.
+
+
+
+
+                              The Messiah.
+
+
+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.
+
+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, singularly enough, was not satisfied with the music which has
+satisfied the world. In a letter written at that time, he says:--
+
+  "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.'"
+
+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 induced to begin a second series February 17, a fortnight
+before the close of which appeared the following advertisement:--
+
+  "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, _Mr.
+  Handel's_ new Grand _Oratorio, called the Messiah_, in which the
+  Gentlemen of the Choirs of both Cathedrals will assist, with some
+  Concertos on the Organ by Mr. Handel."
+
+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:--
+
+  "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."
+
+Gentlemen were also requested to come without their swords. "In this
+way," it is said, "the stewards" 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."
+
+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:--
+
+  "Dante in his _Paradiso_ imagines nine circles, or choirs, of cherubs,
+  seraphs, patriarchs, prophets, martyrs, 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 _Te
+  Deum laudamus_, 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."
+
+He is equally enthusiastic over the chorus; and of Madame Mara's singing
+of the aria, "I know that my Redeemer liveth," he says:--
+
+  "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."
+
+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; 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.
+
+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 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.
+
+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 _a capella_ 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 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, 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.
+
+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 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.
+
+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.
+
+
+
+
+                            Judas Maccabæus.
+
+
+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:--
+
+  "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
+  respect and veneration, inscribed by His Royal Highness' most obedient
+  and most devoted servant the author."
+
+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.
+
+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:--
+
+  Part I.--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 their response.--The value of
+  liberty.--Preparations for war.--Pious trust in God, and heroic resolve
+  to conquer or die.
+
+  Part II.--Celebration of the victories gained over the armies of
+  Apollonius, the governor of Samaria and Seron, the Deputy Governor of
+  Coelesyria, 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.
+
+  Part III.--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.
+
+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, 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.
+
+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 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."
+
+The third part opens with the impressive prayer, "Father of Heaven, from
+Thy eternal Throne," 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 Lovely Peace"), and a
+Hallelujah in the composer's customary exultant style, close this very
+brilliant and dramatic oratorio.
+
+
+
+
+                         The Dettingen Te Deum.
+
+
+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.
+
+The Dettingen Te Deum has been universally considered as one of the
+masterpieces among 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:--
+
+  "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."
+
+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:--
+
+  "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."
+
+Burney further says, speaking of its performance at the great Handel
+Commemoration in Westminster Abbey in 1784:--
+
+  "As it was composed for a military triumph, the fourteen trumpets, two
+  pairs of common kettledrums, two 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."
+
+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, 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:--
+
+  "We therefore pray Thee, help Thy servants: Whom Thou hast redeemed
+      with Thy precious blood.
+  "Make them to be numbered with Thy Saints: in glory everlasting.
+  "O Lord, save Thy people: and bless Thine heritage.
+  "Govern them: and lift them up forever.
+  "Day by day: we magnify Thee:
+  "And we worship Thy Name! ever, world without end."
+
+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.
+
+
+
+
+                                 HAYDN.
+
+
+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, 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. 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 Europe, he was most deeply loved
+by his own countrymen, who still affectionately speak of him as "Papa"
+Haydn.
+
+
+
+
+                              The Creation.
+
+
+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:--
+
+  "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
+  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.'"
+
+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 _aves_, 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:
+
+  "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, 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."
+
+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.
+
+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." 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," 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.
+
+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 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.
+
+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 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.
+
+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:--
+
+  "On alighting from the Prince's carriage, he was received by
+  distinguished personages of the nobility and 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."
+
+He lived but a short time longer, but long enough to witness the success
+of his scholar, Beethoven, in the same year.
+
+
+
+
+                              The Seasons.
+
+
+"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 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.
+
+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:--
+
+  "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.'"
+
+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 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.
+
+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 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:--
+
+  "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.'"
+
+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 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.
+
+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
+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.
+
+
+
+
+                                 LISZT.
+
+
+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 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 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 "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.
+
+
+
+
+                    The Legend of the Holy Elizabeth.
+
+
+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 Marpurg by order of
+Pope Gregory IX. Her life was devoted to the relief of the poor and
+suffering.
+
+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 _rôles_ 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 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.
+
+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"), 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.
+
+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.
+
+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"), 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.
+
+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 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.
+
+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.
+
+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 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."
+
+
+
+
+                                Christus.
+
+
+"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 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."
+
+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 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.
+
+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:"--
+
+  "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. 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."
+
+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:--
+
+  "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."
+
+"The Entrance into Jerusalem," a graphic instrumental prelude, introduces
+a "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-soprano
+with chorus,--a splendidly constructed number, which closes the second
+part in a style full of beauty and majesty.
+
+The third part opens with the sorrowful scene, "Tristis est anima mea,"
+Christ's sad words in the walk to Gethsemane,--an unutterably pathetic
+solo, with an accompaniment which is a marvel of expressive
+instrumentation. The next number is the old Middle-Age hymn, "Stabat
+Mater dolorosa," in which Liszt has combined voices and instruments in a
+manner, particularly in the "Inflammatus," almost overpowering. Solos,
+duets, quartets, choruses, orchestra, and organ are all handled with
+consummate skill. It has been aptly characterized as having the
+dimensions of the "Last Judgment" in the Sistine Chapel. After the great
+hymn is ended, another begins. It is the old Easter song, "O Filii et
+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."
+
+
+
+
+                               MACFARREN.
+
+
+George Alexander Macfarren, one of the most prominent of modern English
+composers, was born in London, March 2, 1813. He began the study of music
+in 1827 under the tuition of Charles Lucas. Two year's later he entered
+the Royal Academy of Music, and in 1834 became one of its professors. The
+latter year dates the beginning of his career as a composer, his first
+work having been a symphony in F minor. During the next thirty years his
+important works were as follows: overture "Chevy Chase" (1836); "Devil's
+Opera," produced at the Lyceum (1838); "Emblematical Tribute on the
+Queen's Marriage" and an arrangement of Purcell's "Dido and 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 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. 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.
+
+
+
+
+                          St. John the Baptist.
+
+
+The oratorio "St. John the Baptist" was first produced at the Bristol
+Musical Festival in 1873. The libretto was written by Dr. E. G. Monk, and
+is divided into two parts,--the first styled "The Desert," and the second
+"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:--
+
+  "John is thus shown in his threefold capacity, as the herald of the
+  Kingdom of Heaven, as the uncompromising champion of righteousness, and
+  as the witness of truth even unto death. Nothing could be more simple
+  or more definite than this, and the discreetness it evinces is shown
+  also by the manner in which the characters are treated. John, of
+  course, is the central figure. He stands out clothed with all the 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."
+
+The overture, which is very dramatic in character, is followed by a
+powerful fugued chorus ("Behold! I will send My Messenger"), a part of
+which is set to organ accompaniment. The Narrator (contralto) recites the
+coming of the Prophet, in the orchestral prelude to which is a phrase
+borrowed from an old church melody which Mendelssohn also used in his
+Reformation Symphony, and which serves throughout the work as the motive
+for the Prophet, in the genuine Wagner style. Saint John is introduced in
+a rugged and 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.
+
+The second part opens in Herod's palace with the rebuke of the Monarch by
+the Prophet. In this scene, as well as in others, the composer draws a
+strong contrast in the music 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," and the
+chorus, "What went ye out into the Wilderness for to see?" The
+above-mentioned critic, who was present at its first performance, says of
+the work:--
+
+  "It is a strange thing that John the Baptist has not often attracted
+  the notice of musical composers in search of a subject. No more
+  remarkable personage, with one great exception, figures in Bible
+  history than he whom the Master described as 'more than a prophet.' His
+  striking appearance, stern asceticism, wrathful denunciation of
+  'wickedness in high places,' and tragic fate,--not to speak of his
+  relation to One whose shoes he professed himself unworthy to
+  loose,--throw his form into bold relief, and mark him as of heroic
+  proportions. Yet, save that he holds a subordinate place in a very
+  limited number of works, among which is Sir Julius Benedict's 'St.
+  Peter,' the great forerunner has been 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."
+
+
+
+
+                               MACKENZIE.
+
+
+Alexander C. Mackenzie, one of the very few successful Scotch composers,
+was born at Edinburgh in 1847. His father was a musician; and recognizing
+his son's talent, sent him to Germany at the age of ten. He began his
+studies with Ulrich Eduard Stein at Schwartzburg-Sonderhausen, and four
+years later entered the ducal orchestra as violinist. He remained there
+until 1862, when he went to England to study the violin with M. Sainton.
+In the same year he was elected king's scholar of the Royal Academy of
+Music. Three years later he returned to Edinburgh and established himself
+as a piano-teacher. The main work of his life, however, has been
+composition, and to this he has devoted himself with 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, op. 12; besides songs,
+part-songs, anthems, and pieces for the piano. This catalogue, however,
+does not include his two most important works,--a Scotch Rhapsody,
+introduced into this country by the Theodore Thomas orchestra, a
+composition of great merit, and the oratorio, "The Rose of Sharon," which
+has been received with extraordinary favor wherever it has been
+performed.
+
+
+
+
+                           The Rose of Sharon.
+
+
+"The Rose of Sharon," a dramatic oratorio founded on the Song of Solomon,
+the words selected from the Scriptures and arranged by Joseph Bennett,
+was first brought out at the Norwich Festival, England, Oct. 16, 1884,
+under the direction of the composer, and was subsequently performed in
+London by the Sacred Harmonic Society. Its first performance in Scotland
+took place at Glasgow, Dec. 8, 1885, under the auspices of the Glasgow
+Choral Union, Madame Albani, Miss Hilda Wilson, Mr. Edward Lloyd, and Mr.
+Watkins Mills being the 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 cheering. In
+speaking of the text, its  compiler says:--
+
+  "In adopting for the purposes of this oratorio a reading of the 'Song
+  of Songs' upon which Ewald and Renan substantially agree, the compiler
+  of the libretto favored no controversial opinion. He simply saw in the
+  ingenious commentaries of the learned Hebraists suggestions for a story
+  of unconquerable love, capable of expression in the language of the
+  Bible.
+
+  "For the arrangement of incident the compiler is alone responsible. In
+  some respects it departs widely from the original poem,--which opens,
+  for example, in Jerusalem,--and gives only in narrative the events that
+  occupy part one of the oratorio.
+
+  "In taking a story from a canonical book of Holy Scripture, the
+  compiler could not ignore its spiritual significance. He has,
+  therefore, introduced a prologue suggesting the parabolic character of
+  the drama, and an epilogue which points its moral."
+
+The characters are the Rose of Sharon, designated throughout the work as
+the Sulamite (soprano); a Woman (contralto); the Beloved (tenor); and
+Solomon (baritone); the chorus representing Officers of the Court,
+Princes, 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 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:
+
+      "We will open our mouth in a parable;
+      We will utter dark sayings of old,
+      Which we have heard and known,
+      Which our fathers have told us;
+      We will not hide them from our children,
+      That the generation to come may know them,
+      Who shall declare them to their children.
+
+  This is a great mystery; but we speak concerning Christ and his
+Church."
+
+The oratorio opens in the vineyard of Sulam as the Vine-dressers come
+forth to their labor. The orchestral part begins with the melody of the
+Vineyard Song ("We will take the Foxes"), and serves to introduce their
+chorus, a joyous pastoral ("Come, let us go forth into the Field"). As
+they disappear, the voice of the Beloved is heard singing a tender and
+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
+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.
+
+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 she still
+loyally declares: "My Beloved pastures his flocks among the lilies; lo!
+Solomon in all his glory is not arrayed like one of these."
+
+The third part, "Victory," opens with an orchestral prelude picturing the
+sleep of the Sulamite, with her women watching about her. The voice of
+the Beloved is heard without the chamber, "Open to me, my Sister, my
+Bride." It reaches her in a dream, and in fancy she replies to him,
+clothes herself, and searches for him in the streets; but when she
+accosts the watchmen, they are so rude that her fright awakes her. She is
+still a prisoner in the palace, and the Women about her announce the
+coming of Solomon. He pleads his cause in a 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."
+
+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 Heavens, and be joyful, O Earth"). A rapturous duet ensues
+between the Sulamite and the Beloved, and then all join in the spirited
+finale:--
+
+      "For the flame of Love is as fire,
+      Even the fire of God.
+      Many waters cannot quench it,
+      Neither can floods drown it.
+      Yea, Love is strong as death,
+      And unconquerable as the grave."
+
+
+
+
+                              MENDELSSOHN.
+
+
+Felix Mendelssohn Bartholdy, the son of a Berlin banker, was born at
+Hamburg, Feb. 3, 1809, and, unlike almost all other composers, was reared
+in the lap of luxury. Every advantage which wealth could procure he
+enjoyed, with the result that he became highly educated in the other arts
+as well as in music. His teachers in music were Zelter and Ludwig Berger,
+and he made such progress that in his ninth year he appeared in public as
+a pianist in Berlin, and afterwards in Paris. The first of his
+compositions to attract general notice were the overture to Shakspeare's
+"Midsummer Night's Dream" and the little opera "The Marriage of Camacho,"
+which were brought out in Berlin in 1827. After several concert tours, in
+which he met with great success, he resided for some time in 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 shortly afterwards went to Berlin as general
+director of church music. In 1843 he returned to his former post in
+Leipsic, and also took a position in the newly established Conservatory,
+where he spent the remainder of his days in company with his family, to
+whom he was closely attached. He has left a large and rich collection of
+musical works, which are favorites the world over. His three great
+oratorios are the "Hymn of Praise," catalogued as a symphony-cantata,
+"St. Paul," and "Elijah." The last is specially interesting, as it marked
+a new departure from the conventional forms of oratorio, and gave the
+widest scope to the dramatic elements,--to such a degree, in fact, that
+it might with propriety be styled a sacred opera. Besides these
+oratorios, his exquisite music to the "Midsummer Night's Dream," which is
+familiar the world over, and his stately dramatic music to "Antigone," he
+has left five symphonies, of which the "Scotch," the "Italian," and the
+"Reformation" are best known; four exquisite overtures, "Ruy Blas," "Calm
+Sea and Prosperous Voyage," "Hebrides," and "Melusina;" the very dramatic
+cantata, "The Walpurgis Night;" a long list of beautiful songs for one or
+more voices; the incidental music to Racine's "Athalia;" a very large
+collection of sacred music, such as psalms, hymns, anthems, and cantatas;
+several beautiful trios and other specimens of chamber-music; and the
+lovely "Songs without Words," which are to be found upon almost every
+piano, the beauty and freshness of which time has not impaired.
+Mendelssohn never wrote a grand opera, owing to his fastidiousness as to
+a libretto; though he finally obtained one from Geibel, on the subject of
+the "Loreley," which suited him. He had begun to write it, and had
+finished the finale to the first act, when death interrupted his work,
+Nov. 4, 1847. Mendelssohn was a man of remarkable beauty, and his
+character corresponded to his charm of person. He had a liberal
+education, was a man of broad culture, a clever artist, and a very
+skilful writer, as is shown by his volumes of letters from Italy and
+Switzerland. Possessed of these graces of mind and person, and having all
+the advantages that wealth could bestow, he lacked those incentives which
+in other composers have brought out the deepest, highest, and most
+majestic forms of musical expression. His music is a reflex of his life;
+grace, elegance, culture, and finish are its characteristics.
+
+
+
+
+                                St. Paul.
+
+
+"St. Paul," the first of Mendelssohn's oratorios, was begun in 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 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:--
+
+  "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."
+
+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.
+
+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 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 character, and rising to a powerful climax, closes
+the first part.
+
+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 Path."
+Two stately choruses ("See what Love hath the Father," and "Now only unto
+Him") close the work.
+
+
+
+
+                             Hymn of Praise.
+
+
+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:--
+
+  "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 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."
+
+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.
+
+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:--
+
+  "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 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."
+
+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. 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.
+
+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 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.
+
+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."
+
+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 _must_ speak.
+
+
+
+
+                                 Elijah.
+
+
+"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 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:--
+
+  "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 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."
+
+Mendelssohn himself on the day after the performance writes to his
+brother in Berlin:--
+
+  "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 _furore_, 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
+  occurred in the first part; there were some afterwards in the second
+  part, but even these were but trifling. A young English tenor[6] 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."
+
+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:--
+
+  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 maze of his creation, from the soft whispering to the mighty
+  raging of the elements.
+
+  Written in token of grateful remembrance by
+
+                                                                 Albert.
+
+  Buckingham Palace, April 24, 1847.
+
+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:--
+
+  "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."
+
+Again, on the 6th of December, he writes:--
+
+  "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."
+
+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, 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."
+
+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 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 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.
+
+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
+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 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 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.
+
+[6] Mr. Lockey was the tenor on this occasion; the part of Elijah was
+  sung by Standigl.
+
+
+
+
+                                Christus.
+
+
+"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 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.
+
+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:--
+
+  "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 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.'"
+
+Another extract from the same letter will show the keenness with which he
+analyzed his themes. He writes:--
+
+  "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."
+
+The project was never carried out; but the deep earnestness with which
+Mendelssohn considered it 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.
+
+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 with an effective chorale for male voices in the genuine Bach
+style:--
+
+  "He leaves his heavenly portals,
+  Endures the grief of mortals,
+    To raise our fallen race.
+  O love beyond expressing!
+  He gains for us a blessing,
+    He saves us by redeeming grace.
+
+  "When thou, O sun, art shrouded,
+  By night or tempest clouded,
+    Thy rays no longer dart;
+  Though earth be dark and dreary,
+  If, Jesus, thou art near me,
+    'Tis cloudless day within my heart."
+
+
+
+
+                                 MOZART.
+
+
+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 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 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.
+
+
+
+
+                              The Requiem.
+
+
+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 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.
+
+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 he
+returned he would begin the work; and the stranger went away satisfied.
+
+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:
+
+  "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 [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?'"
+
+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, 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:--
+
+  "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 _Urschriften_ (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 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."
+
+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.
+
+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
+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.
+
+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 acclinis"), in which all the voices join in magnificent
+harmony.
+
+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.
+
+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 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.
+
+
+
+
+                                 PAINE.
+
+
+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 "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.
+
+
+
+
+                               St. Peter.
+
+
+"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.
+
+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 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, 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.
+
+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 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").
+
+
+
+
+                                ROSSINI.
+
+
+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 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 _impresario_ 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 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."
+
+
+
+
+                              Stabat Mater.
+
+
+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 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.
+
+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 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.
+
+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 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,--
+
+  "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 Bartholdy,--an oratorio which the
+  adversaries of Rossini point to as a model of Christian style."
+
+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,--
+
+  "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."
+
+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.
+
+
+
+
+                               RUBINSTEIN.
+
+
+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. 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
+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.
+
+
+
+
+                           The Tower of Babel.
+
+
+"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 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.
+
+The _dramatis personæ_ 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 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.
+
+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 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."
+
+
+
+
+                             Paradise Lost.
+
+
+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 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.
+
+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
+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.
+
+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.
+
+
+
+
+                              SAINT-SAËNS.
+
+
+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 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 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.
+
+
+
+
+                           Christmas Oratorio.
+
+
+"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 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.
+
+
+
+
+                                SCHUMANN.
+
+
+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
+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 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.
+
+
+
+
+                         Paradise and the Peri.
+
+
+Schumann's secular oratorio, "Paradise and the Peri,"  was written in
+1843, and first performed at the Gewandhaus, Leipsic, December 4th of
+that 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.
+
+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,--
+
+  "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 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."
+
+Von Wasielewski also discusses the same point:
+
+  "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!"
+
+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.
+
+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 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
+
+            "her recreant race
+    Should e'er have lost that sacred place."
+
+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.
+
+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 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.
+
+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 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.
+
+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. 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.
+
+
+
+
+                                 SPOHR.
+
+
+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 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 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 of all
+living composers, on the strength of his "Flying Dutchman" alone. As a
+performer, he was one of the best of any period.
+
+
+
+
+                           The Last Judgment.
+
+
+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,--
+
+  "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 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."
+
+In this connection Spohr tells the following humorous story:--
+
+  "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."
+
+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 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."
+
+Thirteen years afterwards he wrote "Die letzten Dinge," now so well known
+as "The Last Judgment." He says in one of his letters,--
+
+  "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 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."
+
+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.
+
+The work opens with a very long overture of a grave and majestic
+character, in limits far beyond 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.
+
+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:--
+
+      "The day of wrath is near.
+      The Almighty shall reveal His power.
+      The reaper's song is silent in the field,
+      And the shepherd's voice on the mountain.
+      The valleys then shall shake with fear,
+      With dread the hills shall tremble.
+      It comes, the day of terror comes!
+      The awful morning dawns!
+      Thy mighty arm, O God, is uplifted.
+      Thou shalt shake the earth and heavens.
+      They shall shrivel as a scroll
+      When Thou in wrath appearest."
+
+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 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.
+
+
+
+
+                                SULLIVAN.
+
+
+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 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.
+
+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.
+
+
+
+
+                            The Prodigal Son.
+
+
+"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,--
+
+  "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.
+
+  "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 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."
+
+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, "Woe unto them." One of the gems of the work, a pretty
+alto song, "Love not the World," intervenes at this point. At its
+conclusion the narrative is resumed.
+
+After an effective prelude by orchestra, the soprano recitative relates
+the famine and the experiences of the Prodigal among the swine, leading
+up to a pretty aria ("O that thou hadst hearkened"). The tenor follows
+with an expressive aria ("How many hired Servants of my Father's"). The
+narrative again halts to give place to a very taking chorus ("The
+Sacrifices of 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.
+
+
+
+
+                         The Light of the World.
+
+
+Sir Arthur Sullivan's second oratorio, "The Light of the World," is laid
+out upon a much larger scale in every way than "The Prodigal Son."  It
+was written for the Birmingham Festival of 1873, was given for the first
+time on the 27th of August. The purpose of the work, as the composer
+explains in his preface, is to set forth the human aspects of the life of
+our Lord upon earth, by the use of some of the actual incidents in his
+career which bear witness to his attributes as preacher, healer, and
+prophet. "To give it dramatic force," he says,--
+
+  "The work has been laid out in scenes dealing respectively, in the
+  first part with the nativity, preaching, healing, and prophesying of
+  our Lord, ending with the triumphal entry into Jerusalem; and in the
+  second part, with the utterances which, containing the avowal of
+  himself as the Son of Man, excited to the utmost the wrath of his
+  enemies, and led the rulers to conspire for his betrayal and death; the
+  solemn recital by the chorus of his sufferings, and the belief in his
+  final reward; the grief of Mary Magdalene at the sepulchre; and the
+  consolation and triumph of the Disciples at the resurrection of their
+  Lord and Master."
+
+The first part has four scenes, "Bethlehem," "Nazareth," "Lazarus" (which
+might more appropriately have been 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 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.
+
+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 the Virgin's expression of
+thanks, the Shepherds join in the chorus, "The whole Earth is at rest,"
+which is peculiarly striking in its contrasts. A short recitative by the
+Angel, warning Mary to flee into Egypt, is followed by a very sombre
+chorus ("In Rama was there a Voice"). At its close, the tenor is heard in
+a tender aria ("Refrain thy Voice from weeping"), leading to a chorus
+full of spirited harmony, and rising to a very effective climax ("I will
+pour My Spirit"), which closes the scene.
+
+The "Nazareth" scene opens with a baritone solo ("The Spirit of the Lord
+is upon me"), in which Jesus declares himself in the synagogue as the
+object of the prophecy from Isaiah which he has been reading. The Jews
+answer in a very dramatic chorus ("Whence hath this Man his Wisdom?").
+Again Jesus interposes with the declaration, "A prophet is not without
+honor save in his own country;" whereupon the people break out in a still
+more dramatic chorus ("Is not this Jesus?"), set to a very effective
+accompaniment. For the third time Jesus declares himself, followed by the
+stirring, furious chorus, "Why hear ye him?" A tender and at times fervid
+solo ("Lord, who hath believed our Report?") leads to a very effective
+quintet ("Doubtless Thou art our Father"). After another brief baritone
+solo ("Blessed are they"), we come to the chorus, "He maketh the Sun to
+rise," which is one of the most beautifully written in the work, and
+closes the scene.
+
+The third scene, "Lazarus," begins with the description of the mournful
+journey to Bethany, the arrival among the kindred and friends, who are
+trying to comfort the bereaved sisters, and closes at the still unopened
+grave. It includes a duet between tenor and baritone, the former a
+Disciple, the latter Jesus, whose music is invariably sung by the
+baritone voice; a solo for alto ("Weep ye not for the Dead"), with a
+sombre orchestral prelude, and accompanied by a chorus in its close; a
+dialogue between Martha and Jesus ("Lord, if thou hadst been here"); a
+short but very beautiful chorus ("Behold how he loved him!"); the
+baritone solo, "Said I not unto thee;" and a final chorus of great power
+("The Grave cannot praise thee").
+
+The last scene of the first part, "The Way to Jerusalem," is very
+brilliant throughout, and is in cheerful contrast with the general
+sombreness of the preceding numbers. It opens with a brief dialogue
+between Jesus and a Disciple ("Master, get thee out, and depart hence"),
+which leads to a charming three-part chorus for children's voices
+("Hosanna to the Son of David"), with a prominent harp part in the
+accompaniment, and worked up to a fine climax. A brilliant soprano solo
+("Tell ye the Daughter of Zion") intervenes, followed by a short dialogue
+between Jesus and a Pharisee, which leads to the vigorous chorus of the
+Disciples, "Blessed be the Kingdom." After another baritone solo ("If
+thou hadst known, O Jerusalem") the children's hosanna is repeated,--this
+time with the power of the full chorus; and the first part comes to a
+close.
+
+The first part opens with a prelude of a few bars; but the second begins
+with a long overture, very effectively written, and intended, as the
+composer himself says, to indicate the angry feelings and dissensions
+caused by the Lord's presence in Jerusalem. At its close the baritone, in
+one of the most forcible solos 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 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.
+
+
+
+
+                                 VERDI.
+
+
+Giuseppe Verdi, the greatest of living Italian opera composers, was born
+at Roncale, Oct. 9, 1813. Like many another musician, he sprang from
+humble and rude beginnings, his parents having kept a small inn and
+notion store in the little Italian village. His musical talent displayed
+itself very early. In his tenth year he was appointed organist in the
+place of Baistrocchi, the master with whom he had been studying at
+Busseto. Through the generosity of his patron, M. Barezzi, he was sent to
+Milan, where he was refused admission to the Conservatory, on the ground
+that he showed "no special 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 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
+well that you are also a most distinguished musician and devoted to your
+art: ... but Piave and Mariani must have told you that at S. Agato we
+neither make nor talk about music, and you will run the risk of finding a
+piano not only out of tune, but very likely without strings." He has been
+overwhelmed with decorations and honors, but has studiously avoided
+public life and the turmoil of the world. In 1866 he was elected a member
+of the Italian Parliament from Busseto, but sent in his resignation
+shortly afterwards; and in 1875 was appointed senator by the King, but
+never took his seat. His fame is indissolubly connected with his music,
+and in the pursuit of that art he has become one of the most admired
+composers of his time.
+
+
+
+
+                          The Manzoni Requiem.
+
+
+The history of "The Manzoni Requiem" is of more than ordinary interest.
+Shortly after Rossini's death, in 1868, Verdi conceived the idea of a
+requiem in his memory, to be written by many hands, which should be
+performed in the cathedral of Bologna on each centenary of the composer's
+death, but upon no other occasion and at no other place. The project met
+with favor. The work was laid out in thirteen numbers and assigned to
+thirteen Italian composers, Verdi taking the "Libera me," which was to be
+the last number in the work. Each of the composers finished his task; but
+when the parts were joined in a complete requiem they were found to be so
+dissimilar in treatment, and the whole work so incoherent and lacking in
+symmetry and unity, that the scheme went no further. M. Mazzucato, of
+Milan, who had examined the work, was so impressed with the "Libera me"
+that he wrote to Verdi urging him to compose the entire requiem.
+
+About this time (1873) Alessandro Manzoni, the founder of the romantic
+school in Italian literature, died, and was universally mourned by his
+countrymen. The requiem which had been intended for Rossini was now
+written by Verdi for his friend, the great Italian patriot and poet, the
+immortal author of "I promessi Sposi," and the "Libera me" was
+transferred to it. It was performed for the first time at Milan, May 22,
+1874, the anniversary of Manzoni's death, with Teresa Stolz soprano,
+Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini 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.
+
+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,
+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).
+
+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.
+
+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 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.
+
+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 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.
+
+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 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.
+
+
+
+
+                        SACRED MUSIC IN AMERICA.
+
+
+The following sketch of the rise and progress of sacred music in America
+may prove of interest to the reader as a supplement to the history of the
+Oratorio and of the numerous 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.
+
+The psalmody of the Protestant church was first arranged and brought into
+use in the course of the sixteenth century, through the efforts of the
+reformers in Germany and particularly of Martin Luther, who was extremely
+fond of music, and wrote a quaint discourse on the art. In 1524 he
+published a collection of hymns which also comprised a few versified
+psalms. These were set to music in four parts, as he says "for no other
+reason than because of my desire that the young, who ought to be educated
+in music as well as in other good arts, might have something to take the
+place of worldly and amorous songs, and so learn something useful and
+practise something virtuous, as becometh the young. I would be glad to
+see all arts, and especially music, employed in the service of Him who
+created them." Zwingle, Cranmer, Calvin, and Knox were also zealous
+advocates of psalm-singing; and during the same century Tye, Tallis,
+Bird, and Gibbons did a great work for ecclesiastical music in England.
+
+At the time of the Reformation in England the Puritans proved themselves
+zealous musical reformers. They reduced singing to the severest
+simplicity. They had no sympathy with elaborate arrangements. Organs,
+choir-books, and choir-singers were objects of their special antipathy.
+One of these iconoclasts says: "This singing and saying of 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 music by "chanting choristers
+disguised, as are all the rest, in white surplices, some in corner caps
+and silly copes, imitating the fashion and manner of Antichrist the Pope,
+that man of sin and child of perdition, with his other rabble of
+miscreants and shavelings."
+
+Sternhold, who was groom of the robes to Henry VIII. and afterwards groom
+of the bed-chamber to Edward VI., was one of the most zealous of these
+reformers. In connection with Hopkins, a clergyman and schoolmaster, he
+versified a large number of the psalms and published them. They were
+printed at first without music, but in 1562 they appeared with the notes
+of the plain melody under the following 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 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."
+
+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. 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:--
+
+  "_First_, 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:
+
+  "Of the eight short Tunes used to four lines only, whose measure is to
+  eight syllables on the first line, and six on the next; and may be sung
+  to any Psalms of that measure.
+
+  Oxford Tune.     }
+  Litchfield Tune. } To Psalms Consolatory.
+  Low Dutch Tune.  }
+
+  York Tune.   }
+  Winsor Tune. } To Psalms of Prayer, Confessions, and Funerals.
+
+  Cambridge Short Tune to peculiar Psalms, as 21, 24, 33, 70, 86, first
+  metre, 114, 132.
+
+  "Those six short tunes, in tuning the first notes, will bear a cheerful
+  high pitch; in regard to their whole compass from the lowest note, the
+  highest is not above five or six notes.
+
+  St. David's Tune. }
+  Martyrs Tune.     } To Psalms of Praise and Thanksgiving.
+
+  "These two tunes are eight notes compass above the first note, and
+  therefore begin the first note low.
+
+  "Of five long tunes following:
+
+  "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.
+
+  "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.
+
+  "113 Psalm Tune, and 148 Psalm Tune.--These two tunes begin your first
+  note low, in regard the Tune ascends eight notes above it."
+
+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
+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:--
+
+  "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.
+
+  "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, 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."
+
+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:--
+
+  "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.
+
+  "Whether you do believe that singing in the worship of God ought to be
+  done skilfully?
+
+  "Whether you do believe that skilfulness in singing may ordinarily be
+  gained in the use of outward means by the blessing of God.
+
+  "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?
+
+  "Do you believe that it is Lawful and Laudable for us to change the
+  customary way of singing the psalms?
+
+  "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."
+
+Rev. Thomas Symmes, of Bradford, Mass., also issued a tract in which he
+contended for rule-singing. On this point he says:--
+
+  "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.
+
+  "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 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."
+
+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:"--
+
+  "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, 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."
+
+The essay closes with the following exhortation:
+
+  "Whatever our thoughts are as to the mode or vocal part, whether the
+  _old_ or the _new way_ (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.e._ 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."
+
+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 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.
+
+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:--
+
+  "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."
+
+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
+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:--
+
+    "Let tyrants shake their iron rod,
+      And slavery clank her galling chains;
+    We'll fear them not, we'll trust in God;
+      New England's God forever reigns.
+
+    "The foe comes on with haughty stride,
+      Our troops advance with martial noise;
+    Their veterans flee before our arms,
+      And generals yield to beardless boys."
+
+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:--
+
+    "We've met for a concert of modern invention;
+    To tickle the ear is our present intention;
+    The audience seated, expect to be treated
+    With a piece of the best.
+
+          "And since we all agree
+          To set the key on E,
+          The author's darling key
+          He prefers to the rest,
+          The bass take the lead,
+          And firmly proceed;
+          Let the tenor succeed," etc.
+
+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.'
+
+    'O, praise the Lord with one consent,
+      And in this grand design
+    Let Britain and the Colonies
+      Unanimously join.'
+
+Boston: New England. Printed by Edes and Gill."
+
+In the preface to this work he quaintly says:--
+
+  "_To all Musical Practitioners._
+
+  "Perhaps it may be expected by some, that I could say something
+  concerning rules for composition; to these I answer that _Nature is the
+  best Dictator_, 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 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 8vos or two 5ths
+  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 twice over by one Person, and would be deemed to be
+  dearly bought only at the expense of Breath requisite to perform it.
+
+  "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."
+
+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:--
+
+  "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 many pieces  were never worth my
+  printing or your inspection.
+
+  "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."
+
+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, 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.
+
+
+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 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.
+
+
+
+
+                                APPENDIX.
+
+
+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.
+
+  Allegri
+    Miserere (1630).
+  Arne
+    Abel (1755);
+    Judith (1764).
+  Bach
+    St. John Passion (1720);
+    Magnificat in D (1723);
+    St. Matthew Passion (1729);
+    Christmas Oratorio (1734).
+  Barnby
+    Rebekah (1870).
+  Beethoven
+    Mount of Olives (1799-1801);
+    Mass in C (1807);
+    Mass in D (1822).
+  Benedict
+    St. Cecilia (1866);
+    St. Peter (1870).
+  Bennett
+    Woman of Samaria (1867).
+  Berlioz
+    Grande Messe des Morts (1837);
+    L'Enfance du Christ (1854).
+  Brahms
+    German Requiem (1868).
+  Costa
+    Eli (1855);
+    Naaman (1864).
+  Cusins
+    Gideon (1871).
+  Crotch
+    Palestine (1812);
+    Captivity of Judah (1834).
+  David
+    Moses on Sinai (1846).
+  Dvorák
+    Stabat Mater (1875).
+  Goldschmidt
+    Ruth (1867).
+  Gounod
+    Messe Solenelle (1850);
+    Tobie (1870);
+    Redemption (1883);
+    Mors et Vita (1885).
+  Graun
+    The Death of Jesus (1755);
+    Prague Te Deum (1756).
+  Handel
+    First Passion Oratorio (1704);
+    La Resurrezione (1708);
+    Il trionfo del Tempo (1708);
+    Utrecht Te Deum (1713);
+    Second Passion Oratorio (1716);
+    Esther (1720);
+    Deborah (1733);
+    Athalia (1733);
+    Saul (1738);
+    Israel in Egypt (1738);
+    Messiah (1741);
+    Samson (1742);
+    Joseph (1743);
+    Dettingen Te Deum (1743);
+    Belshazzar (1744);
+    Occasional Oratorio (1745);
+    Judas Maccabæus (1746);
+    Alexander Balus (1747);
+    Joshua (1747);
+    Solomon (1748);
+    Susanna (1748);
+    Theodora (1749);
+    Jephtha (1751).
+  Haydn
+    Stabat Mater (1771);
+    Return of Tobias (1774);
+    Mariazeller Mass (1782);
+    Imperial Mass (1797);
+    The Creation (1796-98);
+    Te Deum (1800);
+    The Seasons (1800);
+    The Seven Words (1801).
+  Hiller
+    The Destruction of Jerusalem (1839).
+  Horsley
+    Gideon (1860).
+  Kiel
+    Requiem (1862);
+    Christus (1866).
+  Klein
+    Job (1820);
+    Jephthah (1828);
+    David (1830).
+  Lassus
+    Penitential Psalms (1565);
+    Vigiliæ Mortuorum (1565).
+  Leslie
+    Immanuel (1853);
+    Judith (1858).
+  Liszt
+    Graner Mass (1854);
+    Hungarian Coronation Mass (1856);
+    Legend of Saint Elizabeth (1864);
+    Christus (1866).
+  Macfarren
+    John the Baptist (1873);
+    The Resurrection (1876);
+    Joseph (1877).
+  Mackenzie
+    Rose of Sharon (1884).
+  Marx
+    Moses (1850).
+  Massenet
+    Mary Magdalen (1873);
+    Eve (1875);
+    The Virgin (1879).
+  Mendelssohn
+    Psalm cxv (1830);
+    Psalm xcv (1835);
+    St. Paul (1836);
+    Hymn of Praise (1840);
+    Elijah (1838-46);
+    Christus (1844-47);
+    Lauda Sion (1846).
+  Meyerbeer
+    God and Nature (1811).
+  Mozart
+    Coronation Mass (1779);
+    Mass in C (1780);
+    Mass in G (1785);
+    Mass in B (1791);
+    Ave Verum (1791);
+    Requiem (1791).
+  Neukomm
+    Mount Sinai (1830);
+    David (1834).
+  Ouseley
+    St. Polycarp (1854);
+    Hagar (1873).
+  Paine
+    St. Peter (1873).
+  Palestrina
+    Papæ Marcelli Mass (1563);
+    Stabat Mater (1589);
+    Requiem (1591).
+  Pergolesi
+    Stabat Mater (1736).
+  Pierson
+    Jerusalem (1852).
+  Randegger
+    Psalm cl (1872).
+  Reinthaler
+    Jephta (1856).
+  Rossini
+    Moses in Egypt (1818);
+    Stabat Mater (1832-41);
+    Messe Solenelle (1864).
+  Rubinstein
+    Tower of Babel (1870);
+    Paradise Lost (1876).
+  Schneider (Fr.)
+    The Judgement of the World (1819);
+    Paradise Lost (1824);
+    Pharaoh (1828);
+    Christ the Child (1829);
+    Gideon (1829);
+    Gethsemane and Golgotha (1838).
+  Schubert
+    Lazarus (1820).
+  Schumann
+    Paradise and the Peri (1843);
+    Advent Hymn (1848);
+    Mass and Requiem (1852).
+  Schutz
+    Passions' Music (1665).
+  Spohr
+    The Last Judgment (1812);
+    The Last Things (1826);
+    Calvary (1833);
+    Fall of Babylon (1840).
+  Stanford
+    The Three Holy Children (1885).
+  Sullivan
+    The Prodigal Son (1869);
+    Light of the World (1873);
+    Martyr of Antioch (1880).
+  Verdi
+    Manzoni Requiem (1874);
+    Pater Noster and Ave Maria (1880).
+  Vogler
+    Magnificat and Stabat Mater (1777).
+  Wagner
+    Das Liebesmahl der Apostel (1843).
+  Winter
+    Pilgrimage to Calvary (1792);
+    Stabat Mater (1805).
+
+
+
+
+                                 INDEX.
+
+
+  Ainsworth, Henry, 313.
+  Albrechtsberger, 239.
+  Allison, Richard, 312.
+  Appendix, 329.
+  Astorga, 253.
+  Athalia, 21.
+
+  Bach, 19-21, 24, 26, 30, 61, 65, 269, 275;
+    life of, 31.
+  Bailey, Daniel, 320.
+  Bailey, Thomas, 320.
+  Bay Psalm Book, 313, 314.
+  Beethoven, 23, 91, 161, 174, 218, 219, 235, 236, 282, 307;
+    life of, 51.
+  Belshazzar, 22.
+  Benedict, 205.
+  Bennett, Sterndale, 26, 200, 274, 290;
+    life of, 60.
+  Berlioz, 27, 30, 259;
+    life of, 68.
+  Billings, William, 321-326.
+  Blow, Dr., 30.
+  Bononcini, 17, 115.
+  Bradbury, 328.
+  Brahms, 27, 92, 272;
+    life of, 78.
+
+  Caldara, 17.
+  Carissimi, 15.
+  Cherubini, 27, 68, 71, 178.
+  Chopin, 258, 272.
+  Christmas Oratorio (Bach), 20, 33.
+  Christmas Oratorio (Saint-Saëns), 269.
+  Christus (Liszt), 186.
+  Christus (Mendelssohn), 25, 229.
+  Cimarosa, 23.
+  Colonna, 17, 27.
+  Costa, 82.
+  Cotton, John, 314.
+  Creation, 136, 162.
+  Croft, Dr., 30.
+
+  Damon, William, 311.
+  Das jüngste Gericht, 23, 283, 286.
+  Deborah, 21.
+  Der Tod Jesu, 20.
+  Des Heilands letzte Stunden, 24.
+  Dettingen Te Deum, 155.
+  Die Auferstehung Christi, 19.
+  Die Sieben Wörte Christi, 19.
+  Dutton, 327.
+  Dvorák, 253;
+    life of, 90.
+  Dyer, 328.
+
+  Eli, 84.
+  Elijah, 25, 218.
+  Eliot, John, 313, 318.
+  Emilio del Cavaliere, 14, 15.
+  Engedi, 58.
+  Esther, 21.
+
+  Fall of Babylon, 24.
+  Federici, 17.
+  Flagg, Josiah, 320.
+  French, Jacob, 327.
+  Fux, 22.
+
+  Gabrielli, 18.
+  German Requiem, 27, 80.
+  Gluck, 160.
+  Gould, Nathaniel D., 328.
+  Gounod, 15, 20, 26;
+    life of, 96.
+  Graun, 20, 30.
+  Grétry, 174.
+
+  Habeneck, 75, 76, 77.
+  Handel, 17, 18, 19, 20, 21, 22, 24, 26, 30;
+    life of, 114.
+  Handel and Haydn Society, 327.
+  Hasse, 22.
+  Hastings, Thomas, 328.
+  Haydn, 19, 22, 23, 26, 28, 80, 136, 253, 307;
+    life of, 159.
+  Heine, 256, 257.
+  Hiller, 26, 70, 222, 256, 273.
+  Himmel, 23.
+  Holden, Oliver, 326.
+  Holyoke, Samuel, 326.
+  Hubbard, John, 327.
+  Hymn of Praise, 25, 213.
+
+  Israel in Egypt, 21, 23, 117.
+  Italian oratorio composers, 15
+  Ives, 328.
+
+  Joachim, 78, 92.
+  Johnson, 328.
+  Joseph, 22.
+  Joshua, 22, 154.
+  Judas Maccabæus, 22, 149.
+
+  Keiser, Reinhard, 19, 20.
+
+  Kimball, Jacob, 326.
+
+  La Rappresentazione dell' Anima e del Corpo, 14.
+  Last Judgment, 23, 283.
+  Latimer, 310.
+  Law, Andrew, 326.
+  Legend of the Holy Elizabeth, 180.
+  Light of the World, 294.
+  Liszt, 78, 256, 258;
+    life of, 177.
+  Lyon, James, 320.
+
+  Macfarren, George A., 30;
+    life of, 199.
+  Mackenzie, 191.
+  Magnificat (Bach), 48.
+  Magnificats, 26, 30.
+  Martin Luther, 309.
+  Mason, Lowell, 328.
+  Massenet, 26.
+  Mattheson, 20.
+  Mazzocchi, 17.
+  Mendelssohn, 24, 25, 26, 30, 60, 256, 257;
+    life of, 206.
+  Messe des Morts, 27, 71.
+  Messiah, 21, 23, 25, 39, 140.
+  Meyerbeer, 83.
+  Mors et Vita, 26, 106.
+  Moscheles, 257, 271.
+  Mount of Olives, 23, 53.
+  Mozart, 30, 60, 282, 307;
+    life of, 234.
+  Mysteries and miracle-plays, 10, 11, 12.
+
+  Neukomm, 253.
+
+  Oratorio, its origin, 9;
+    in England, 21;
+    in Germany, 22;
+    oratorios of the present century, 23-26.
+
+  Paine, 26, 245.
+  Palestrina, 27, 28, 96, 253, 307.
+  Paradise and the Peri, 25, 273.
+  Paradise Lost, 26, 264.
+  Passion Music, 18, 19, 20.
+  Pistocchi, 17.
+  Playford's Psalms, 320.
+  Porpora, 22, 115, 160.
+  Prodigal Son, 292.
+  Protestant Psalmody, 309.
+  Psalmody in England, 310.
+  Puritan reforms, 310.
+
+  Ravenscroft Collection, 312.
+  Redemption, 26, 98.
+  Reed, Daniel, 327.
+  Reményí, 78.
+  Requiem (Manzoni), 27, 303.
+  Requiem (Mozart), 236.
+  Requiems, 26, 27.
+  Rheinthaler, 26.
+  Richter, Jean Paul, 273.
+  Root, George F., 328.
+  Rose of Sharon, 192.
+  Rossini, 222, 303, 307;
+    life of, 251.
+  Rubinstein, 26;
+    life of, 258.
+
+  Sacred dramas, 13, 14.
+  Sacred Music in America, 309.
+  Saint-Saëns, 26, 267.
+  Salieri, 23, 168, 177.
+  Samson, 22, 131.
+  Sarti, 30.
+  Saul, 21, 125.
+  Scarlatti, 16.
+  Schneider, 24.
+  Schubert, 23, 91, 273.
+  Schumann, 25, 60, 78, 79, 81;
+    life of, 271.
+  Schütz, 18.
+  Seasons, 22, 170.
+  Sebastiani, 19.
+  Shaw, Oliver, 327.
+  Spohr, 23, 26, 52, 91;
+    life of, 280.
+  St. John Passion, 20.
+  St. John the Baptist, 201.
+  St. Matthew Passion, 20, 24, 39.
+  St. Paul, 25, 208.
+  St. Peter, 26, 246.
+  Stabat Mater (Dvorák), 28, 92.
+  Stabat Mater (Rossini), 28, 253.
+  Stabat Maters, 27.
+  Stephani, 18.
+  Sternhold and Hopkins, 311, 313.
+  Stradella, 16, 17.
+  Sullivan, 30, 290.
+  Swan, Timothy, 327.
+  Symmes, Thomas, 317.
+
+  Tansur and Williams, 320.
+  Te Deums, 28, 29.
+  Telemann, 20.
+  Thalberg, 258.
+  The Bleeding and Dying Jesus, 19.
+  Theile, 19.
+  Theodora, 22.
+  Thomas, Theodore, 80, 99, 192, 246, 269, 291.
+  Tower of Babel, 26, 260.
+  Tufts, John, 319.
+
+  Verdi, 256;
+    life of, 301.
+  Victor Hugo, 69, 178.
+  Vittoria, 27.
+  Von Bülow, 179, 307.
+
+  Wagner, 65, 83, 179, 186, 268, 282.
+  Walter, Thomas, 320.
+  Weber, 281.
+  Weniawski, 259.
+  Winter, 23.
+  Woman of Samaria, 26, 62.
+  Woodbury, 328.
+
+  Zingarelli, 23.
+
+
+
+
+                       UPTON'S MUSICAL HANDBOOKS.
+
+
+                            UNIFORM IN STYLE.
+
+
+                                   I.
+
+The Standard Operas. Their Plots, their Music, and their Composers. A
+Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+                                   II.
+
+The Standard Oratorios. Their Stories, their Music, and their Composers.
+A Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+                                  III.
+
+The Standard Cantatas. Their Stories, their Music, and their Composers. A
+Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+                                   IV.
+
+The Standard Symphonies. Their History, their Music, and their Composers.
+A Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+THE STANDARD OPERAS. Their Plots, their Music, and their Composers. By
+George P. Upton, author of "Woman in Music," etc., etc.
+
+  12mo, flexible cloth, yellow edges    $1.50
+  The same, extra gilt, gilt edges      $2.00
+
+
+  "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."--_Boston Traveller._
+
+  "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."--_R. H. Stoddard, in "Evening Mail and
+  Express" (New York)._
+
+  "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."--_The Nation (New
+  York)._
+
+
+  _Sold by all booksellers, or mailed, post-paid, on receipt of price,
+  by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE STANDARD CANTATAS. Their Stories, their Music, and their Composers. A
+Handbook. By George P. Upton. 12mo, 367 pages, yellow edges, price,
+$1.50; extra gilt, gilt edges, $2.00.
+
+  In half calf, gilt top       $3.25
+  In half morocco, gilt edges   3.75
+  In tree calf, gilt edges      5.50
+
+
+  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.
+
+  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.
+
+  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.
+
+  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.
+
+
+  _Sold by all booksellers, or mailed, post-paid, on receipt of price,
+  by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+                        BIOGRAPHIES OF MUSICIANS.
+
+
+  LIFE OF LISZT. With Portrait.
+    LIFE OF HAYDN. With Portrait.
+      LIFE OF MOZART. With Portrait.
+        LIFE OF WAGNER. With Portrait.
+          LIFE OF BEETHOVEN. With Portrait.
+
+_From the German of Dr. Louis Nohl._
+
+  In cloth, per volume            $ .75
+  The same, in neat box, per set   3.75
+  In half calf, per set           12.00
+
+  Of the "Life of Liszt," the _Herald_ (Boston) says: "It is written in
+  great simplicity and perfect taste, and is wholly successful in all
+  that it undertakes to portray."
+
+  Of the "Life of Haydn," the _Gazette_ (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."
+
+  Of the "Life of Mozart," the _Standard_ 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."
+
+  Of the "Life of Wagner," the _American_ (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."
+
+  Of the "Life of Beethoven," the _National Journal of Education_ 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."
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+MUSIC-STUDY IN GERMANY. By Amy Fay. Eighth edition. 12mo, 352 pages.
+Price, $1.25.
+
+
+  "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."--_Christian Advocate (New York)._
+
+  "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."--_Dwight's Journal of Music._
+
+  "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."--_Times (Chicago)._
+
+  "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."--_Graphic (New York)._
+
+
+_Sold by all booksellers, or mailed, post-paid, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+                          THE SURGEON'S STORIES
+
+
+By Z. Topelius, Professor of History, University of Finland. Translated
+from the original Swedish, comprising--
+
+  Times of Gustaf Adolf,
+    Times of Battle and Rest,
+      Times of Charles XII.,
+        Times of Frederick I.,
+          Times of Linnæus,
+            Times of Alchemy.
+
+  In cloth, per volume, 75 cents.
+  The same, in box, per set, $4.50.
+
+
+  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 _Saturday Review_, 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.
+
+  The Graphic, New York, says:
+
+  "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."
+
+  The Sun, Philadelphia, says:
+
+  "We would much prefer teaching a youth Swedish history from the novels
+  of Topelius than from any book of strict historical narrative."
+
+  The Standard, Chicago, says:
+
+  "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."
+
+
+_Sold by all booksellers, or mailed, post-paid, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+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 Abby Sage Richardson, Fourth edition,
+revised. Price $1.50.
+
+
+  The Boston Transcript says:
+
+  "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."
+
+  The New York Evening Mail says:
+
+  "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."
+
+  The New York Nation says:
+
+  "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."
+
+  Prof. Moses Coit Tyler says:
+
+  "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."
+
+
+_Sold by all booksellers, or mailed, post-paid, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+TALES OF ANCIENT GREECE. By the Rev. Sir G. W. Cox, Bart., M.A., Trinity
+College, Oxford.
+
+12mo, cloth, price, $1.25.
+
+
+  "Written apparently for young readers, it yet possesses a charm of
+  manner which will recommend it to all."--_The Examiner, London._
+
+  "It is only when we take up such a book as this that we realize how
+  rich in interest is the mythology of Greece."--_Inquirer,
+  Philadelphia._
+
+  "Admirable in style, and level with a child's comprehension. These
+  versions might well find a place in every family."--_The Nation, New
+  York._
+
+  "The author invests these stories with a charm of narrative entirely
+  peculiar. The book is a rich one in every way."--_Standard, Chicago._
+
+  "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."--_Edinburgh Review._
+
+  "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."--_Golden Rule, Boston._
+
+  "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."--_Publishers' Weekly._
+
+  "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."--_Tribune, Chicago._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+SHORT HISTORY OF FRANCE, FOR YOUNG PEOPLE. By Miss E. S. Kirkland, author
+of "Six Little Cooks," "Dora's House-keeping," &c.
+
+12mo, cloth, price, $1.25.
+
+
+  "A very ably written sketch of French history, from the earliest times
+  to the foundation of the existing Republic."--_Cincinnati Gazette._
+
+  "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."--_Bulletin, Philadelphia._
+
+  "A book both instructive and entertaining. It is not a dry compendium
+  of dates and facts, but a charmingly written history."--_Christian
+  Union, New York._
+
+  "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."--_Living Church._
+
+  "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."--_Sunday Afternoon,
+  Springfield (Mass.)._
+
+  "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."--_Courant, Hartford (Conn.)._
+
+  "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."--_The
+  Nation, New York._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+                          LAUREL-CROWNED TALES.
+
+
+Abdallah; or, The Four-Leaved Shamrock. By Edouard Laboulaye. Translated
+by Mary L. Booth.
+
+Rasselas, Prince of Abyssinia. By Samuel Johnson.
+
+Raphael; or, Pages of the Book of Life at Twenty. From the French of
+Alphonse de Lamartine.
+
+The Vicar of Wakefield. By Oliver Goldsmith.
+
+The Epicurean. By Thomas Moore.
+
+Picciola.  By X. B. Saintine.
+
+An Iceland Fisherman. By Pierre Loti.
+
+                     _Other volumes in preparation._
+
+  Handsomely printed from new plates, on fine laid paper, 12mo, cloth,
+  with gilt tops, price per volume, $1.00.
+
+  In half calf or half morocco, $2.50.
+
+
+  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.
+
+  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.
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE BOOK-LOVER. A Guide to the Best Reading. By James Baldwin, Ph.D.
+Sixth edition, 16mo, cloth, gilt top, 201 pages. Price, $1.00.
+
+                  In half calf or half morocco, $2.75.
+
+
+  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.
+
+  We know of no work of the kind which gives so much useful information
+  in so small a space.--_Evening Telegram, New York._
+
+  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.--_Independent, New York._
+
+  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.--_Evening Mail and Express,
+  New York._
+
+  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.--_Literary
+  World, Boston._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+WE TWO ALONE IN EUROPE. By Mary L. Ninde. Illustrated from Original
+Designs.
+
+                     12mo, 348 pages, price, $1.50.
+
+
+  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.
+
+  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.--_The Congregationalist, Boston._
+
+  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.--_Times, Troy, New York._
+
+  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.--_Home Journal, Boston._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE HUMBLER POETS. A Collection of Newspaper and Periodical Verse. 1870
+to 1885. By Slason Thompson. Crown 8vo, 459 pages, cloth, gilt top.
+Price, $2.00.
+
+                  In half calf or half morocco, $4.00.
+
+
+  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.--_Home Journal, Boston._
+
+  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.--_Independent, New York._
+
+  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.--_Observer, New York._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+LIFE OF ABRAHAM LINCOLN, By the Hon. Isaac N. Arnold. With Steel
+Portrait. 8vo, cloth, 471 pages. Price, $1.50.
+
+                  In half calf or half morocco, $3.50.
+
+
+  It is decidedly the best and most complete Life of Lincoln that has yet
+  appeared.--_Contemporary Review, London._
+
+  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.--_The Tribune, New York._
+
+  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.--_The Sun, New York._
+
+  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.--_The Interior, Chicago._
+
+  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.--_The Times, London._
+
+  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.--_Magazine of American History, New York._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE AZTECS. Their History, Manners, and Customs. From the French of
+Lucien Biart. Authorized translation by J. L. Garner.
+
+               Illustrated, 8vo, 340 pages, price, $2.00.
+
+
+  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.--_Saturday Evening Gazette, Boston._
+
+  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.--_The Tribune, Chicago._
+
+  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.--_The Advance, Chicago._
+
+  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.--_The Traveller,
+  Boston._
+
+  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.--_Chronicle Telegraph,
+  Pittsburg._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+              Transcriber's Notes to the Electronic Edition
+
+
+    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".
+    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.
+    The (few) footnotes were moved to chapter ends; in the original they
+were in page footers.
+
+
+
+
+
+
+
+End of Project Gutenberg's The Standard Oratorios, by George P. Upton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE STANDARD ORATORIOS ***
+
+***** This file should be named 22793-8.txt or 22793-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/7/9/22793/
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+<title>The Project Gutenberg eBook of The Standard Oratorios: Their Stories, Their Music, and Their Composers by George P. Upton</title>
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+
+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
+
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+
+</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 /> &nbsp;
+<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">DVOR&Aacute;K</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 Maccab&aelig;us</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-SA&Euml;NS</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,
+'S&iacute; 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," "pi&ugrave; 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 Carit&agrave;."</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 Matth&aelig;um" 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 Sch&uuml;tz, 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 "turb&aelig;," or people. In
+Sch&uuml;tz'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 Sch&uuml;tz, 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 L&uuml;beck. 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 Maccab&aelig;us,"
+"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 Maccab&aelig;us" 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 j&uuml;ngste 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 D&uuml;sseldorf 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-Sa&euml;ns 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 &aelig;ternam
+<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 &aelig;ternam" and "Absolve
+Domine;" (4) the Sequence or Prose,--"Dies Ir&aelig;;"
+(5) Offertorium; (6) Sanctus; (7) Benedictus; (8)
+Agnus Dei; (9) Communio,--"Lux &aelig;terna." 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 medi&aelig;val
+<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 Pr&eacute;s; 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 Dvor&aacute;k'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 L&uuml;beck. In 1703 he was court musician
+in Weimar, and afterwards was engaged as organist
+in Arnstadt and M&uuml;hlhausen. In 1708 he was court
+organist, and in 1714 concert-master in Weimar.
+In 1718 he was chapel-master to the Prince von
+K&ouml;then, 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 "B&uuml;cheburger
+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, G&ouml;rner, 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 h&ouml;chsten N&ouml;then 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
+'Matth&auml;us-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 'Matth&auml;us-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 Medi&aelig;val 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 person&aelig;</i> are Jesus,
+Judas, Peter, Pilate, the Apostles, and the People,
+or <i>Turb&aelig;</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
+p&aelig;ans 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, &auml;tzet
+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 ancill&aelig; su&aelig;"), 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 misericordi&aelig; su&aelig;"),
+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 Sch&ouml;nbrunn, 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 Sch&ouml;nbrunn, 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'&oelig;uvre</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 "Na&iuml;ades"
+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
+C&ocirc;te St. Andr&eacute;, 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>r&ocirc;le</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 "&AElig;neid;"
+the symphony, "Harold in Italy;" the symphony,
+<span class="pgnum" id="pg_70">[70]</span>
+"Fun&egrave;bre 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 "K&uuml;nstlerleben:"
+"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 &aelig;ternam dona eis"); II., III.,
+IV., V., and VI., including different motives taken
+from the hymn, "Dies Ir&aelig;;" 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 &aelig;ternam," "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 Ir&aelig;" 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 Ir&aelig;" 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 Ir&aelig;" 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 tremend&aelig; 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 ("Qu&aelig;rens
+me") is an unaccompanied six-part chorus in
+imitative style, of very close harmony. The "Dies
+Ir&aelig;" 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 Ir&aelig;," with full chorus and all the
+orchestras. This finishes the "Dies Ir&aelig;" 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 &aelig;ternam," 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 Ir&aelig;' 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>m&ecirc;l&eacute;e</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 Rem&eacute;ny&iacute;, 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 Rem&eacute;ny&iacute; he went to
+D&uuml;sseldorf 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, Sch&auml;ffer, 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, Z&uuml;rich, 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
+cort&egrave;ge 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 &agrave; 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 W&uuml;rtemberg. 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 DVOR&Aacute;K.</h2>
+<p>Anton Dvor&aacute;k, the Bohemian composer
+who has risen so suddenly into
+prominence, was born at M&uuml;lhausen, near
+Prague, Sept. 8, 1841. His father combined
+the businesses of tavern-keeper and butcher,
+and young Dvor&aacute;k 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, Dvor&aacute;k 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 Dvor&aacute;k 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 caf&eacute;s 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 Dvor&aacute;k, 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 "K&ouml;nig und
+K&ouml;hler." 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
+Dvor&aacute;k'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>Dvor&aacute;k'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 pr&aelig;clara,"
+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 Fran&ccedil;ois 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 Pa&euml;r 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 &eacute;trang&egrave;res.
+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 S&eacute;minaire; 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 M&eacute;decin malgr&eacute;
+lui" (1858); "Faust," his greatest work, and one
+of the most successful of modern operas (1859);
+"Phil&eacute;mon et Baucis" (1860); "Reine de Saba"
+(1862); "Mireille" (1864); "La Colombe"
+(1866); "Rom&eacute;o 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 Orph&eacute;on,
+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 H&eacute;bert,
+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 Ir&aelig;" is the
+most important; this in turn subdivided in the conventional
+form. After an adagio prelude and the
+intonation of the "Requiem &aelig;ternam," 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 Ir&aelig;,"
+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 Ir&aelig;" 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 f&ecirc;te 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 Maccab&aelig;us"
+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 Maccab&aelig;us.</h3>
+<p>The oratorio of "Judas Maccab&aelig;us" 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 Maccab&aelig;us;
+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 Maccab&aelig;us 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 C&oelig;lesyria,
+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 p&aelig;an, "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 Jud&aelig;a, 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 Maccab&aelig;us,"
+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
+Mar&eacute;chal 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 f&ecirc;tes, 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 Tonk&uuml;nstler Societ&auml;t. 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 p&aelig;an, "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,
+Fr&auml;ulein 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 Gr&eacute;try'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 Abb&eacute; 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 B&uuml;low, 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>r&ocirc;les</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 R&uuml;chert'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 Fili&aelig;,"
+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 &AElig;neas" (1840); editions of "Belshazzar,"
+"Judas Maccab&aelig;us," 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 "Mach&aelig;rus," 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 cort&egrave;ge 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 D&uuml;sseldorf.
+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
+C&eacute;cile 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 D&uuml;sseldorf 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 F&uuml;rst 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 D&uuml;sseldorf.
+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 H&ouml;h' 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 D&uuml;sseldorf 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 sch&ouml;n 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); "Entf&uuml;hrung aus dem Serail" (1781);
+"Figaro's Hochzeit" ("The Marriage of Figaro"),
+(1785); "Don Giovanni" (1787); "Cosi fan tutti,"
+"Zauberfl&ouml;te" ("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?' S&uuml;ssmayer
+<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 S&uuml;ssmayer, 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.
+S&uuml;ssmayer, 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 Ir&aelig;," and "Domine,"
+and to the whole of the "Sanctus," "Benedictus,"
+and "Agnus Dei." The publication of S&uuml;ssmayer'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
+S&uuml;ssmayer 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 S&uuml;ssmayer 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
+S&uuml;ssmayer'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.' S&uuml;ssmayer
+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
+S&uuml;ssmayer a very clear idea of what he intended to
+write. We must either believe that he did this, or
+that S&uuml;ssmayer 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 &aelig;ternam 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
+&aelig;ternam," 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 Ir&aelig;," 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 tremend&aelig; 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 Ir&aelig;" 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
+"Qu&aelig;rens 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
+Abrah&aelig;," 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 &aelig;terna."  "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 Jud&aelig;a"), 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 Zora&iuml;de," "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, Dvor&aacute;k.
+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 Th&eacute;&acirc;tre 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 H&eacute;l&egrave;ne. 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 person&aelig;</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-SA&Euml;NS.</h2>
+<p>Charles Camille Saint-Sa&euml;ns,
+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 Prom&eacute;th&eacute;e" 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 "&Eacute;tienne 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," "Pha&eacute;thon,"
+"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 No&euml;l," "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 No&euml;l" 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>"No&euml;l," Saint-Sa&euml;ns' 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 f&uuml;r 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 "Phantasiest&uuml;cke" 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 D&uuml;sseldorf,
+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 &aelig;sthetic 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 Pr&uuml;fung," 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 j&uuml;ngste 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 "Freisch&uuml;tz."
+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
+D&uuml;sseldorf 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 T&ouml;ne" ("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 "Tannh&auml;user" 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
+j&uuml;ngste 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 j&uuml;ngste
+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 F&ouml;ppel, 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 j&uuml;ngste 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 "Athen&aelig;um,"
+gave him a secure footing. The cantata
+"Kenilworth," written for the Birmingham Festival,
+the music to the ballet "L'&Icirc;le enchant&eacute;e," 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); "A&iuml;da" (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 "A&iuml;da" 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 Ir&aelig;;" thus divided: "Dies Ir&aelig;" (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 tremend&aelig;" (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 &aelig;terna" (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 Ir&aelig;," 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 tremend&aelig; 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 &aelig;terna," 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 Ir&aelig;" is repeated, likewise the "Requiem
+<span class="pgnum" id="pg_307">[307]</span>
+&aelig;ternam" (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 "A&iuml;da." 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 B&uuml;low 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&nbsp;Tune.
+<br />Litchfield&nbsp;Tune.
+<br />Low&nbsp;Dutch&nbsp;Tune.</td>
+<td>}<br />} To Psalms Consolatory.<br />}</td>
+</tr></table>
+<table class="bq"><tr>
+<td>York&nbsp;Tune.
+<br />Winsor&nbsp;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.&nbsp;David's&nbsp;Tune.
+<br />Martyrs&nbsp;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">Dvor&aacute;k</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 Maccab&aelig;us (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>Vigili&aelig; 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>Pap&aelig; 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>&nbsp;</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>&nbsp;</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-Sa&euml;ns), <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>&nbsp;</dt>
+<dt>Damon, William, <a href="#pg_311">311</a>.</dt>
+<dt>Das j&uuml;ngste 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 W&ouml;rte Christi, <a href="#pg_19">19</a>.</dt>
+<dt>Dutton, <a href="#pg_327">327</a>.</dt>
+<dt>Dvor&aacute;k, <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>&nbsp;</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>&nbsp;</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>&nbsp;</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>Gr&eacute;try, <a href="#pg_174">174</a>.</dt>
+<dt>&nbsp;</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>&nbsp;</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>&nbsp;</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 Maccab&aelig;us, <a href="#pg_22">22</a>, <a href="#pg_149">149</a>.</dt>
+<dt>&nbsp;</dt>
+<dt>Keiser, Reinhard, <a href="#pg_19">19</a>, <a href="#pg_20">20</a>.</dt>
+<dt>&nbsp;</dt>
+<dt>Kimball, Jacob, <a href="#pg_326">326</a>.</dt>
+<dt>&nbsp;</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>&nbsp;</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>&nbsp;</dt>
+<dt>Neukomm, <a href="#pg_253">253</a>.</dt>
+<dt>&nbsp;</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>&nbsp;</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>&nbsp;</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>Rem&eacute;ny&iacute;, <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>&nbsp;</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-Sa&euml;ns, <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>Sch&uuml;tz, <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 (Dvor&aacute;k), <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>&nbsp;</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>&nbsp;</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 B&uuml;low, <a href="#pg_179">179</a>, <a href="#pg_307">307</a>.</dt>
+<dt>&nbsp;</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>&nbsp;</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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 Linn&aelig;us</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 &amp; 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 &amp; 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 &amp; 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," &amp;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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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. Upton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE STANDARD ORATORIOS ***
+
+***** This file should be named 22793-h.htm or 22793-h.zip *****
+This and all associated files of various formats will be found in:
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+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: ASCII
+
+*** 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
+
+
+
+
+
+
+
+
+
+
+                                   THE
+                           Standard Oratorios
+
+             THEIR STORIES, THEIR MUSIC, AND THEIR COMPOSERS
+
+
+                              _A Handbook_
+
+                           BY GEORGE P. UPTON
+
+                                 CHICAGO
+                        A. C. McCLURG AND COMPANY
+                                  1893
+
+                                Copyright
+                        By A. C. McClurg and Co.
+                               A.D. 1886.
+
+
+
+
+                                PREFACE.
+
+
+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 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."
+
+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.
+
+                                                                G. P. U.
+
+Chicago, September, 1886.
+
+
+
+
+                                CONTENTS.
+
+
+                                                                   PAGE
+  PREFACE                                                             3
+  THE ORATORIO                                                        9
+  BACH                                                               31
+    Christmas Oratorio                                               33
+    The Saint Matthew Passion                                        39
+    The Magnificat in D                                              48
+  BEETHOVEN                                                          51
+    The Mount of Olives                                              53
+  BENNETT                                                            60
+    The Woman of Samaria                                             62
+  BERLIOZ                                                            68
+    The Requiem                                                      70
+  BRAHMS                                                             78
+    The German Requiem                                               80
+  COSTA                                                              82
+    Eli                                                              84
+  DVORAK                                                             90
+    The Stabat Mater                                                 92
+  GOUNOD                                                             96
+    The Redemption                                                   98
+    Mors et Vita                                                    106
+  HANDEL                                                            114
+    Israel in Egypt                                                 117
+    Saul                                                            125
+    Samson                                                          132
+    The Messiah                                                     140
+    Judas Maccabaeus                                                 149
+    The Dettingen Te Deum                                           155
+  HAYDN                                                             159
+    The Creation                                                    162
+    The Seasons                                                     170
+  LISZT                                                             177
+    Legend of the Holy Elizabeth                                    180
+    Christus                                                        186
+  MACFARREN                                                         191
+    St. John the Baptist                                            193
+  MACKENZIE                                                         198
+    The Rose of Sharon                                              199
+  MENDELSSOHN                                                       206
+    St. Paul                                                        208
+    Hymn of Praise                                                  213
+    Elijah                                                          218
+    Christus                                                        229
+  MOZART                                                            234
+    Requiem                                                         236
+  PAINE                                                             245
+    St. Peter                                                       246
+  ROSSINI                                                           251
+    Stabat Mater                                                    253
+  RUBINSTEIN                                                        258
+    Tower of Babel                                                  260
+    Paradise Lost                                                   264
+  SAINT-SAENS                                                       267
+    Christmas Oratorio                                              269
+  SCHUMANN                                                          271
+    Paradise and the Peri                                           273
+  SPOHR                                                             280
+    Last Judgment                                                   283
+  SULLIVAN                                                          290
+    The Prodigal Son                                                292
+    The Light of the World                                          294
+  VERDI                                                             301
+    Manzoni Requiem                                                 303
+  SACRED MUSIC IN AMERICA                                           309
+  APPENDIX                                                          329
+
+
+
+
+                         THE STANDARD ORATORIOS.
+
+
+
+
+                              THE ORATORIO.
+
+
+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,[1] who, in his chapel, after sermons and other
+devotions, in order to allure young people to pious offices, and to
+detain 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 worldly friends are
+left behind, she will stay and drown with them, and he can
+
+      "Rowe forth away when thou liste,
+      And get thee another wif."
+
+Noah expostulates with her in vain, grows furiously indignant, and bids
+her
+
+      "Come in, wif, in twenty devill ways,
+      Or alles stand thee without."
+
+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:--
+
+      "In faith, moder, in ye shall,
+      Whither you will or noughte."
+
+            NOE.
+
+      "Well me wif into this boate."
+          [_She gives him a box on the ear._]
+      "Haue you that for thee note."
+
+            NOE.
+
+      "A le Mary this whote,
+      A childre methinks my boate remeues,
+      Our tarrying here heughly me grieues."
+          [_She is forced into the ark._]
+
+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 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:--
+
+  "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."
+
+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:--
+
+  "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 (_azione sacra_),
+  '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 _l'angelo che nunzia_, 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 _laudi_, 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 times a madrigal was sung between the acts, after the manner of a
+  chorus."
+
+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:--
+
+  "Pleasure, an imaginary character, with two companions, are to have
+  instruments in their hands, on which they are to play while they sing
+  and perform the ritornels.
+
+  "Il Corpo, the Body, when these words are uttered, 'Si che hormai alma
+  mia,' etc., may throw away some of his ornaments, as his gold collar,
+  feather from his hat, etc.
+
+  "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."
+
+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."
+
+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." 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 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," "piu 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 Carita."
+
+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 Matthaeum" 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
+Schuetz, 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 "turbae," or people. In Schuetz's music,
+however, the narrative is given to a chorus of evangelists, the
+accompaniment being performed 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 Schuetz, 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 Luebeck. From this time until 1704 there appears to be a gap in the
+sequence of works of this kind.
+
+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
+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 musical skill and invention which have been the despair
+of composers from that time to this.
+
+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 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 Maccabaeus," "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 Maccabaeus" still hold their place in
+the modern repertory, though the other oratorios mentioned contain many
+of his most effective numbers.
+
+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 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.
+
+The first really successful oratorio of the present century was "Das
+juengste 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 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.
+
+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 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 Duesseldorf 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,
+"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-Saens 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?
+
+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 aeternam
+dona eis, Domine." Its musical divisions are as follows: (1) Introit; (2)
+the Kyrie; (3) the Gradual and Tract,--"Requiem aeternam" and "Absolve
+Domine;" (4) the Sequence or Prose,--"Dies Irae;" (5) Offertorium; (6)
+Sanctus; (7) Benedictus; (8) Agnus Dei; (9) Communio,--"Lux aeterna." 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.
+
+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 mediaeval
+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 Pres; 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 Dvorak'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.
+
+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 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, 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.
+
+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.
+
+[1] Born at Florence in the year 1515, and famous as the founder of the
+  Congregation of the Fathers of the Oratory.
+
+
+
+
+                                  BACH.
+
+
+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 Luebeck. In 1703 he was court
+musician in Weimar, and afterwards was engaged as organist in Arnstadt
+and Muehlhausen. In 1708 he was court organist, and in 1714 concert-master
+in Weimar. In 1718 he was chapel-master to the Prince von Koethen, 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 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 "Buecheburger 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 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,
+Goerner, 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 hoechsten Noethen
+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."
+
+
+
+
+                         The Christmas Oratorio.
+
+
+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 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."
+
+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 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.
+
+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.
+
+  "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."
+
+The first and second parts close with chorales, but in the third the
+opening chorus is repeated at the close.
+
+  "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 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."
+
+Parts V. and VI., devoted to the history of the three kings, are in no
+respect inferior to the first three.
+
+  "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."
+
+Bitter, in his life of Bach, gives the following interesting sketch of
+the origin of some of the numbers contained in the work:--
+
+  "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 A.D. 1600 (by Hans Geo. Hassler to a secular tune),
+  and used by Bach five times to different words in the
+  'Matthaeus-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 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 'Matthaeus-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."
+
+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, "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:--
+
+  "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."
+
+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.
+
+The second part opens with one of the most delightful instances of Bach's
+orchestration, a pastoral 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."
+
+
+
+
+                       The Saint Matthew Passion.
+
+
+The passion-music of Bach's time, as we have already seen, was the
+complement of the mysteries of Mediaeval 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.
+
+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.
+
+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 _dramatis personae_ are
+Jesus, Judas, Peter, Pilate, the Apostles, and the People, or _Turbae_,
+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 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,--
+
+  "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
+  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.'"
+
+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 paeans of
+praise, not even a hallelujah at its close.
+
+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 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 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:--
+
+  "Ye lightnings, ye thunders, in clouds are ye vanished!
+  Burst open, O fierce flaming caverns of hell!
+  Ingulf them, destroy them in wrathfullest mood!
+  Oh, blast the betrayer, the murderous brood!"
+
+and the first part concludes with a chorale, "O Man, bewail thy great
+Sin!"
+
+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, 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,--
+
+  "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."
+
+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 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:--
+
+  "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. No chorus ever
+  sung is surer to enlist the singers' hearts."
+
+
+
+
+                          The Magnificat in D.
+
+
+The Magnificat in D--known as the "Great Magnificat," to distinguish it
+from the smaller--is considered one of the grandest illustrations of
+Bach's genius. It was composed for Christmas Day, 1723. Spitta says:--
+
+  "The performance of the cantata 'Christen, aetzet diesen Tag,' with its
+  attendant 'Sanctus,' took place during the morning service, and was
+  sung by the first choir in the Nikolaikirche. In the evening the
+  cantata was repeated by the same choir in the Thomaskirche; and after
+  the sermon the Hymn of the Virgin was sung, set in its Latin form, and
+  in an elaborate style. For this purpose Bach wrote his great
+  'Magnificat.'"
+
+For the occasion of this festival he expanded the Biblical text into four
+vocal numbers; but in describing the work it is only necessary to give it
+as it is now generally sung.
+
+The work is written for a five-part chorus, with organ and orchestral
+accompaniment. After a concerted introduction, foreshadowing the general
+character of the music, it opens with the chorus, "Magnificat anima mea,"
+in fugal form, worked up with that wonderful power of construction for
+which Bach is so renowned among all composers. It is followed by an aria
+for second soprano ("Et exultavit spiritus meus: in Deo salutari meo"),
+which is in the same key and has the same general feeling as the opening
+chorus, that of Christmas rejoicing. It in turn is followed by an aria
+for first soprano ("Quia respexit humilitatem ancillae suae"), of which
+Spitta says: "Scarcely ever has the idea of virgin purity, simplicity,
+and humble happiness found more perfect expression than in this German
+picture of the Madonna, translated as it were into musical language." It
+leads directly to the chorus which takes up the unfinished words of the
+soprano ("Omnes generationes"), each part overlaying the other as it
+enters, and closing in canon form in grave and colossal harmony. Its next
+number is an aria for 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 misericordiae suae"), arranged in chorale form, and
+very plaintive and even melancholy in style. Its mourning is soon lost,
+however, in the stupendous five-part fugue ("Sicut locutus est") which
+follows it and which leads to the triumphant "Gloria," closing the
+work,--a chorus of extraordinary majesty and power. Spitta, in his
+exhaustive analysis of Bach's music, says of this "Magnificat":--
+
+  "It is emphatically distinct from the rest of Bach's grand church
+  compositions by the compactness and concentrated power of the separate
+  numbers,--particularly of the choruses,--by the lavish use of the means
+  at command, and by its vividly emotional and yet not too agitating
+  variety. It stands at the entrance of a new path and a fresh period of
+  his productivity, at once full of significance in itself and of promise
+  for the future development of the perennial genius which could always
+  re-create itself from its own elements."
+
+
+
+
+                               BEETHOVEN.
+
+
+A general sketch of the life and musical accomplishments of Beethoven has
+already appeared in the companion to this work, "The Standard Operas." In
+this connection, however, it seems eminently fitting that some attention
+should be paid to the religious sentiments of the great composer and the
+sacred works which he produced. He was a formal member of the Roman
+Church, but at the same time an ardent admirer of some of the Protestant
+doctrines. His religious observances, however, were peculiarly his own.
+His creed had little in common with any of the ordinary forms of
+Christianity. A writer in "Macmillan's Magazine" some years ago very
+clearly defined his religious position in the statement that his faith
+rested on a pantheistic abstraction which he called "Love." He
+interpreted everything by the light of this sentiment, which took the
+form of an endless longing, sometimes deeply sad, at others rising to the
+highest exaltation. An illustration of this in its widest sense may be
+found in the choral part of the Ninth Symphony. He at times attempted to
+give verbal expression to this ecstatic faith which filled him, and at
+such times he reminds us of the Mystics. The following 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: "_Fine_, 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 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.
+
+
+
+
+                          The Mount of Olives.
+
+
+Beethoven wrote but one oratorio, "Christus am Oelberg" ("Christ on the
+Mount of Olives"). That he had others in contemplation, however, at
+different periods of his life is shown by his letters. In 1809 he wrote
+to Freiherr von Hammer-Purgstall, a famous Oriental scholar, appointing
+an interview for the discussion of the latter's poem on the subject of
+the deluge, with reference to its fitness for treatment as an oratorio.
+Again, in 1824, he writes to Vincenz Hauschka, of Vienna, that he has
+decided to write an oratorio on the text furnished by Bernard, the
+subject being "The Victory of the Cross." This work, however, owing to
+his extreme physical sufferings at that period, was never begun, and the
+world thereby has suffered a great musical loss; for, judging from his
+great 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.
+
+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 Schoenbrunn,
+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
+still retained a lively recollection, was, that he composed them in the
+thickest part of the wood in the park of Schoenbrunn, 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.
+
+The libretto of the work is unquestionably defective in the most salient
+qualities which should characterize the text of an oratorio, even to the
+degree of extravagance and sensationalism. It fails to reflect the
+sorrowful character of the scene it depicts, and the dramatic
+requirements which it imposes are often strained, and sometimes border on
+the grotesque. The theatrical style of the narrative was deplored by
+Beethoven himself at a subsequent period. Marx, one of the keenest of
+critics, says of the work:--
+
+  "The poet had no other aim but that of making verses for a composer;
+  the latter, no other motive than the ordinary creative impulse
+  prompting him to try his powers in a different and important sphere.
+  The result on both sides could not therefore be other than phrases,
+  although the better of the two proceeded from the composer, and that
+  composer was Beethoven. To conceal or palliate this would be derogatory
+  to the reverence which we all owe to Beethoven; he stands too high to
+  be in need of extenuation."
+
+This is Marx's judgment; and yet it must be said that the world for the
+most part has found more in the "Mount of Olives" than he has.
+
+The oratorio is written for three solo voices (Jesus, Peter, and a
+Seraph), chorus, and orchestra. The narrative opens with the agony in the
+garden, followed by the chant of a Seraph reciting the divine goodness
+and foretelling the salvation of the righteous. In the next scene Jesus
+learns his fate from the Seraph, yields himself to approaching death, and
+welcomes it. The Soldiers enter in pursuit, and a tumult ensues as the
+Apostles find themselves surrounded. Peter draws his sword and gives vent
+to his indignation; but is rebuked both by Jesus and the Seraph, and
+together they conjure him to be silent and endure whatever may happen.
+The Soldiers, discovering Jesus, rush upon him and bind him. The
+Disciples express their apprehension that they too will suffer; but Jesus
+uncomplainingly surrenders himself, and a chorus of rejoicing completes
+the work. From this brief sketch the artificial and distorted manner of
+treating the solemn subject will be evident.
+
+The score opens with an adagio introduction for instruments which is of a
+very dramatic character, and, unlike nearly all of the sacred music of
+that time, is noticeable for the absence of the fugue. Barbedette, the
+great French critic, pronounces it the _chef-d'oeuvre_ of introductions,
+and a masterpiece in the serious style. The first number is a recitative
+and aria for tenor, sung by Jesus ("All my Soul within me shudders"),
+which, notwithstanding the anomaly of such a scene in such surroundings,
+is simple and touching in expression. The Seraph follows with a scene and
+aria ("Praise the Redeemer's Goodness"), concluding with a brilliant and
+jubilant obligato with chorus ("O triumph, all ye Ransomed"). The next
+number is an elaborate duet between Jesus and the Seraph ("On me then
+fall Thy heavy Judgment"), which is still more anomalous than the scene
+and aria with which Jesus opens the work. In a short recitative 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 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.
+
+The English versions of the "Mount of Olives" differ materially from the
+German in the text. Numerous efforts have been made to avoid the
+incongruity of the original narrative, but with poor success. It was
+first produced in England in 1814 by Sir George Smart during the Lenten
+oratorios at Drury Lane, the English version of which was made by Arnold,
+at that time manager of the King's Theatre. Still later it was produced
+again, and the adapter compromised by using the third person, as
+"'Jehovah, Thou, O Father,' saith the Lord our Saviour." Two other
+versions were made by Thomas Oliphant and Mr. Bartholomew, but these were
+not successful. At last the aversion to the personal part of Jesus led to
+an entirely new text, called "Engedi," the words of which were written by
+Dr. Henry Hudson, of Dublin, and founded upon the persecution of David by
+Saul in the wilderness, as described in parts of chapters xxiii., xxiv.,
+and xxvi. of the first book of Samuel. The characters introduced are
+David, Abishai, and the Prophetess, the latter corresponding to the
+Seraph in the original. The compiler himself in his preface says:--
+
+  "So far as was possible, the author has availed himself of Scripture
+  language, and David's words have been taken (almost wholly) from the
+  Psalms generally attributed to him, though of course not in regular
+  order, as it has invariably throughout been the writer's first object
+  to select words adapting themselves to the original music in its
+  continually varying expression, which could not have been done had he
+  taken any one psalm as his text. How far the author has succeeded, he
+  must leave to others to determine."
+
+The 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.
+
+
+
+
+                                BENNETT.
+
+
+William Sterndale Bennett, one of the most gifted and individual of
+English composers, was born at Sheffield, April 13, 1816. His musical
+genius displayed itself early, and in his tenth year he was placed in the
+Royal Academy of Music, of which in his later years he became 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 "Naiades" overture, the success
+of which was so great that a prominent musical house in London offered to
+send him to Leipsic for a year. He went there, and soon won his way to
+the friendship of Schumann and Mendelssohn. With the latter he was on
+very intimate terms, which has led to the erroneous statement that he was
+his pupil. In 1840 he made a second visit to Leipsic, where he composed
+his Caprice in E, and "The Wood Nymphs" overture. In 1842 he returned to
+England, and for several years was busily engaged with chamber concerts.
+In 1849 he founded the Bach Society, arranged the "Matthew 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 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."
+
+
+
+
+                          The Woman of Samaria.
+
+
+"The Woman of Samaria," a short, one-part oratorio, styled by its
+composer a "sacred cantata," was first produced at the Birmingham
+Festival, Aug. 27, 1867; though one of his biographers affirms that as
+early as 1843 he was shown a chorus for six voices, treated antiphonally,
+which Bennett himself informed him was to be introduced in an oratorio he
+was then contemplating, and that this chorus, if not identical with
+"Therefore they shall come," in "The Woman of Samaria," is at least the
+foundation of it.
+
+The work is written for four solo voices, chorus, and orchestra. The
+soprano takes the part of the Woman of Samaria, the other parts being
+impersonal. The music for the contralto is mainly declamatory. Tha tenor
+has a single aria, while the 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.
+
+The story is taken from the fourth chapter of the Gospel according to
+Saint John, and follows literally the narrative of the journey of the
+Saviour into Samaria,--his rest at Jacob's well, his meeting with the
+woman who came thither to draw water, and the conversation which
+followed; the only interruptions being the reflections, not only by the
+chorus, but also by the contralto and tenor, these episodes being taken
+mostly from the Prophecies and Psalms.
+
+The oratorio opens with a brief instrumental introduction and chorale
+("Ye Christian People, now rejoice") for sopranos alone, the melody of
+which first appeared in the "Geistliche Lieder," issued at Wittenberg in
+1535. The words are a translation of the old hymn, "Nun freut euch,
+lieben Christen G'mein," to which the tune was formerly sung in Germany.
+The treatment of this chorale, by combining it with the instrumental
+movement in opposing rhythms, shows the powerful influence which the
+composer's close study of Bach had upon him. Its effect in introducing
+the scenes which follow reminds one of the grace before the feast. It
+dies away in slow and gentle numbers, and then follows the opening
+recitative of the oratorio proper ("Then cometh Jesus to a City of
+Samaria"), sung by the contralto, and leading up to an arioso chorus
+("Blessed be the Lord 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 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 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:--
+
+  "In justification of so bold a step as the introduction of a new
+  number, it is interesting to point out that the composer felt the Woman
+  of Samaria ought to sing a song of conversion in the portion of the
+  cantata in which the new air is placed. It is clear from the original
+  preface[2] that he thought of her as an impulsive woman who would
+  naturally be carried from worldliness into the opposite extreme of
+  religious devotion."
+
+The introduction of the air also gives more importance to the soprano
+part and relieves the succession of choral movements in the close of the
+work. The remaining numbers are the beautiful chorale, "Abide with me,
+fast falls the Eventide;" the chorus, "Now we believe," one of the most
+finished in the whole work; a short tenor solo ("His Salvation is nigh
+them that fear Him"),--the only one in the oratorio for that voice; the
+chorus, "I will call upon the Lord;" and the final imposing fugue,
+"Blessed be the Lord 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.
+
+[2] "With regard to the Woman of Samaria herself, it will be plainly seen
+  that the composer has treated her as a secular and worldly character,
+  though not without indications here and there of that strong intuitive
+  religious feeling which has never been denied to her. This feeling is
+  especially shown when she says: 'I know that Messias cometh; when He is
+  come He will tell us all things.' Also, towards the end of the
+  narrative, where she passionately exclaims to the Samaritans: 'Come,
+  see a man who told me all the things that ever I did: is not this the
+  Christ?'"--_Original Preface_.
+
+
+
+
+                                BERLIOZ.
+
+
+Hector Berlioz, one of the most renowned of modern French composers, and
+an acute critic and skilful conductor as well, was born, Dec. 11, 1803,
+at La Cote St. Andre, in France. His father was a physician, and intended
+him for the same profession. He reluctantly went to Paris and began the
+study of medicine; but music became his engrossing 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 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
+_role_ of Ophelia, at a time when Victor Hugo had revived an admiration
+for Shakspeare among the French. He married her, but did not live with
+her long, owing to her bad temper and ungovernable jealousy; though after
+the separation he honorably contributed to her support out of the
+pittance he was earning. Among his great works are the opera, "Benvenuto
+Cellini;" the symphony with chorus, "Romeo and Juliet;" "Beatrice and
+Benedict;" "Les Troyens," the text from Virgil's "AEneid;" the symphony,
+"Harold in Italy;" the symphony, "Funebre et Triomphale;" the "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.
+
+
+
+
+                              The Requiem.
+
+
+Ferdinand Hiller writes in his "Kuenstlerleben:" "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 of the picturesque, fantastic,
+and sublime, in a tone-poem dedicated to the dead.
+
+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:--
+
+  "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."
+
+The work embraced ten numbers: I. Requiem and Kyrie ("Requiem aeternam
+dona eis"); II., III., IV., V., and VI., including different motives
+taken from the hymn, "Dies Irae;" 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:
+
+  "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."
+
+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.
+
+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 aeternam," "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.
+
+The "Dies Irae" 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 one
+prominent critic expressed it, "terrible cataclysms." The first part of
+the "Dies Irae" 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 Irae" 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 tremendae
+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 on the
+words "Salve me." The next verse ("Quaerens me") is an unaccompanied
+six-part chorus in imitative style, of very close harmony. The "Dies Irae"
+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 Irae," with full chorus and all the orchestras.
+This finishes the "Dies Irae" section of the work.
+
+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 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 aeternam," 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.
+
+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:--
+
+  "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.
+
+  "Now, listen attentively.
+
+  "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 Irae' 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.
+
+  "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 _melee_. 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 _the_ one bar where the
+  conductor's motion is absolutely indispensable,--Habeneck _puts down
+  his baton, quietly takes out his snuffbox_, 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 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!
+
+  "The success of the 'Requiem' was complete, in spite of all the
+  conspiracies--cowardly, atrocious, officious, and official--which would
+  fain have hindered it."
+
+
+
+
+                                 BRAHMS.
+
+
+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 Remenyi, 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 Remenyi he went to Duesseldorf and visited Schumann. It was the
+latter who announced him to the world in such strong words as these:--
+
+  "In following with the greatest interest the paths of these elect
+  [Joachim, Naumann, Norman, Bargiel, Kirchner, Schaeffer, 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."
+
+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, Zuerich, 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 on a theme of Haydn, for orchestra; the
+Tragic and Academic overtures; and several trios, quartets, quintets,
+sextets, concertos, and sonatas.
+
+
+
+
+                           The German Requiem.
+
+
+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.
+
+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 cortege 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
+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.
+
+
+
+
+                                 COSTA.
+
+
+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 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 a 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 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
+Wuertemberg. 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.
+
+
+
+
+                                  Eli.
+
+
+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, 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.
+
+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
+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?").
+
+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 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.
+
+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 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.
+
+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 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."
+
+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.
+
+
+
+
+                              ANTON DVORAK.
+
+
+Anton Dvorak, the Bohemian composer who has risen so suddenly into
+prominence, was born at Muelhausen, near Prague, Sept. 8, 1841. His father
+combined the businesses of tavern-keeper and butcher, and young Dvorak
+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, Dvorak 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 Dvorak acquainted with the
+music of Mozart, Beethoven, and Mendelssohn. 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 cafes 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 Dvorak, 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 "Koenig und Koehler." The latter
+was rejected after an orchestral trial; but he continued his work,
+undaunted by 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 Dvorak'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.
+
+
+
+
+                            The Stabat Mater.
+
+
+Dvorak'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, 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+The seventh number, "Virgo, virgonum praeclara," for full chorus, is
+marked by great simplicity and tenderness, and will always be one of the
+most popular sections of the work.
+
+The eighth number, "Fac ut portem," is a duet for soprano and tenor,
+responsive in character, and constructed on very simple phrases presented
+in varying forms both by the voices and orchestra.
+
+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.
+
+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:--
+
+  "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."
+
+
+
+
+                                 GOUNOD.
+
+
+Charles Francois 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 Paer 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 etrangeres. He
+even contemplated taking orders, and attended a theological course for
+two years. In 1846 he became a pupil at the Seminaire; 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 Medecin malgre lui"
+(1858); "Faust," his greatest work, and one of the most successful of
+modern operas (1859); "Philemon et Baucis" (1860); "Reine de Saba"
+(1862); "Mireille" (1864); "La Colombe" (1866); "Romeo 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 Orpheon, 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" 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.
+
+
+
+
+                             The Redemption.
+
+
+"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:--
+
+  "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 Hebert,
+  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 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."
+
+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.
+
+Gounod himself has prefaced the music with an admirably concise
+description of the text and its various subjects. Of its general contents
+he says:
+
+  "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."
+
+The divisions of the work are as follows:--
+
+  Prologue.--The Creation.
+  Part I.--Calvary.
+  Part II.--From the Resurrection to the Ascension.
+  Part III.--The Pentecost.
+
+The prologue comprises the Mosaic account of the creation and fall of
+man, involving the necessity 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 _leit motif_, 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."
+
+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 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 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").
+
+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 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 soprano
+obligato solo, accompanied by the full strength of chorus and orchestra,
+to the words:
+
+      "From thy love as a Father,
+      O Lord, teach us to gather
+      That life will conquer death.
+      They who seek things eternal
+      Shall rise to light supernal
+      On wings of lovely faith."
+
+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.
+
+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:--
+
+  "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.
+
+  "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.
+
+  "2. Quartet and Chorus. 'By faith salvation comes, and by peace
+  consolation.'
+
+  "3. Chorus. His power manifested by miracles.
+
+  "4. Quartet. 'O come to me, all ye that are sad and that weep.'
+
+  "5. Semi-Chorus. The Beatitudes.
+
+  "6. Repetition of the theme of No. 1, with the whole choir, the
+  orchestra, and the great organ.
+
+  "7. Final Coda. Glorification of the Most Holy Trinity throughout all
+  ages."
+
+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 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.
+
+
+
+
+                              Mors et Vita.
+
+
+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:--
+
+  "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 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."
+
+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 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."
+
+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.
+
+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
+Life." The chorus repeats the declaration, and the Requiem Mass then
+begins, divided into various sections, of which the "Dies Irae" is the
+most important; this in turn subdivided in the conventional form. After
+an adagio prelude and the intonation of the "Requiem aeternam," 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 Irae," 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 very dramatic, closing with phrases for the solo
+voices expressive of submission and contrition. Up to this point the
+"Dies Irae" 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.
+
+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 second typical melodies, forming a consistent
+and stately finale to this part of the work.
+
+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 Rejected," consisting of baritone solos and chorus,
+closing the second part.
+
+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.
+
+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 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.
+
+
+
+
+                                 HANDEL.
+
+
+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, 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 fete 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 _impresario_, 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 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 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 Maccabaeus" 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.
+
+
+
+
+                            Israel in Egypt.
+
+
+"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 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.
+
+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:
+
+  "The manuscript does not contain any of the names of the personages.
+  Nevertheless, the handbook, which includes the extracts from Solomon
+  for 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."
+
+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."
+
+"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 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
+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:--
+
+  "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 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,[3] this is the execution, or revenge
+  chorus,--the chorus of the unflinching, inflexible, commissioned Angels
+  of the Sword."
+
+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 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.
+
+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 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 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."
+
+[3] The second chorus, "The Plague of the Water turned to Blood," and the
+  loathing of the Egyptians.
+
+
+
+
+                                  Saul.
+
+
+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
+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.
+
+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:--
+
+  "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_s._ The gallery will be opened at 4; the pit and boxes at 5.
+  To begin at 6."
+
+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 which time it has occupied an important place in the
+oratorio repertory.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+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."
+
+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 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."
+
+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.
+
+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 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."
+
+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.
+
+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 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.
+
+
+
+
+                                 Samson.
+
+
+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
+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;[4] 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:--
+
+  "By subscription. At the Theatre Royal in Covent Garden, to-morrow, the
+  18th inst., will be performed a new oratorio, called _Sampson_. 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_s._; upper
+  gallery, 3_s._ 6_d._"
+
+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:--
+
+  "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."
+
+The text, as we have said, was adapted from Milton by Hamilton, who says
+in his preface to the handbook, or libretto:--
+
+  "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[5] of Dryden's which no age nor nation
+  ever excelled."
+
+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 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.
+
+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 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:--
+
+      "To man God's universal law
+      Gave power to keep his wife in awe.
+      Thus shall his life be ne'er dismayed,
+      By female usurpation swayed."
+
+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
+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.
+
+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
+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, 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.
+
+[4] "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."--_Rockstro._
+
+[5] Alexander's Feast; or, the Power of Music.
+
+
+
+
+                              The Messiah.
+
+
+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.
+
+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, singularly enough, was not satisfied with the music which has
+satisfied the world. In a letter written at that time, he says:--
+
+  "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.'"
+
+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 induced to begin a second series February 17, a fortnight
+before the close of which appeared the following advertisement:--
+
+  "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, _Mr.
+  Handel's_ new Grand _Oratorio, called the Messiah_, in which the
+  Gentlemen of the Choirs of both Cathedrals will assist, with some
+  Concertos on the Organ by Mr. Handel."
+
+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:--
+
+  "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."
+
+Gentlemen were also requested to come without their swords. "In this
+way," it is said, "the stewards" 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."
+
+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:--
+
+  "Dante in his _Paradiso_ imagines nine circles, or choirs, of cherubs,
+  seraphs, patriarchs, prophets, martyrs, 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 _Te
+  Deum laudamus_, 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."
+
+He is equally enthusiastic over the chorus; and of Madame Mara's singing
+of the aria, "I know that my Redeemer liveth," he says:--
+
+  "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."
+
+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; 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.
+
+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 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.
+
+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 _a capella_ 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 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, 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.
+
+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 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.
+
+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.
+
+
+
+
+                            Judas Maccabaeus.
+
+
+The oratorio of "Judas Maccabaeus" 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:--
+
+  "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
+  respect and veneration, inscribed by His Royal Highness' most obedient
+  and most devoted servant the author."
+
+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.
+
+The characters represented are Judas Maccabaeus; 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:--
+
+  Part I.--Lamentations for the death of Mattathias (the father of Judas
+  Maccabaeus 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 their response.--The value of
+  liberty.--Preparations for war.--Pious trust in God, and heroic resolve
+  to conquer or die.
+
+  Part II.--Celebration of the victories gained over the armies of
+  Apollonius, the governor of Samaria and Seron, the Deputy Governor of
+  Coelesyria, 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.
+
+  Part III.--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.
+
+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, 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.
+
+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 before her part ends, the
+whole chorus takes it and joins in the paean, "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 Judaea, 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."
+
+The third part opens with the impressive prayer, "Father of Heaven, from
+Thy eternal Throne," 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 Maccabaeus," 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 Lovely Peace"), and a
+Hallelujah in the composer's customary exultant style, close this very
+brilliant and dramatic oratorio.
+
+
+
+
+                         The Dettingen Te Deum.
+
+
+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 Marechal 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.
+
+The Dettingen Te Deum has been universally considered as one of the
+masterpieces among 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:--
+
+  "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."
+
+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:--
+
+  "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."
+
+Burney further says, speaking of its performance at the great Handel
+Commemoration in Westminster Abbey in 1784:--
+
+  "As it was composed for a military triumph, the fourteen trumpets, two
+  pairs of common kettledrums, two 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."
+
+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, 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:--
+
+  "We therefore pray Thee, help Thy servants: Whom Thou hast redeemed
+      with Thy precious blood.
+  "Make them to be numbered with Thy Saints: in glory everlasting.
+  "O Lord, save Thy people: and bless Thine heritage.
+  "Govern them: and lift them up forever.
+  "Day by day: we magnify Thee:
+  "And we worship Thy Name! ever, world without end."
+
+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.
+
+
+
+
+                                 HAYDN.
+
+
+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, 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. 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 fetes, 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 Europe, he was most deeply loved
+by his own countrymen, who still affectionately speak of him as "Papa"
+Haydn.
+
+
+
+
+                              The Creation.
+
+
+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:--
+
+  "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
+  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.'"
+
+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 _aves_, 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:
+
+  "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, 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."
+
+The first public performance was given at the National Theatre, March 19,
+1799, Haydn's name-day, and the next by the Tonkuenstler Societaet. 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.
+
+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." 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," 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.
+
+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 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.
+
+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 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 paean, "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.
+
+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:--
+
+  "On alighting from the Prince's carriage, he was received by
+  distinguished personages of the nobility and 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,
+  Fraeulein 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."
+
+He lived but a short time longer, but long enough to witness the success
+of his scholar, Beethoven, in the same year.
+
+
+
+
+                              The Seasons.
+
+
+"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 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.
+
+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:--
+
+  "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.'"
+
+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 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.
+
+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 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:--
+
+  "He particularly disliked the croaking of the frogs, and realized how
+  much it lowered his art. Swieten showed him an old piece of Gretry'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.'"
+
+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 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.
+
+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
+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.
+
+
+
+
+                                 LISZT.
+
+
+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 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 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 Abbe 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 Buelow, 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 "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.
+
+
+
+
+                    The Legend of the Holy Elizabeth.
+
+
+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 Marpurg by order of
+Pope Gregory IX. Her life was devoted to the relief of the poor and
+suffering.
+
+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 _roles_ 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 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.
+
+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"), 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.
+
+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.
+
+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"), 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.
+
+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 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.
+
+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.
+
+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 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."
+
+
+
+
+                                Christus.
+
+
+"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
+Ruechert'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 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."
+
+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 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.
+
+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:"--
+
+  "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. 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."
+
+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:--
+
+  "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."
+
+"The Entrance into Jerusalem," a graphic instrumental prelude, introduces
+a "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-soprano
+with chorus,--a splendidly constructed number, which closes the second
+part in a style full of beauty and majesty.
+
+The third part opens with the sorrowful scene, "Tristis est anima mea,"
+Christ's sad words in the walk to Gethsemane,--an unutterably pathetic
+solo, with an accompaniment which is a marvel of expressive
+instrumentation. The next number is the old Middle-Age hymn, "Stabat
+Mater dolorosa," in which Liszt has combined voices and instruments in a
+manner, particularly in the "Inflammatus," almost overpowering. Solos,
+duets, quartets, choruses, orchestra, and organ are all handled with
+consummate skill. It has been aptly characterized as having the
+dimensions of the "Last Judgment" in the Sistine Chapel. After the great
+hymn is ended, another begins. It is the old Easter song, "O Filii et
+Filiae," written to be sung by boys with harmonium,--a joyous, sunny
+chorus, dispersing the gloom of the "Stabat Mater." The last scene, "The
+Resurrection," is a powerful and 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."
+
+
+
+
+                               MACFARREN.
+
+
+George Alexander Macfarren, one of the most prominent of modern English
+composers, was born in London, March 2, 1813. He began the study of music
+in 1827 under the tuition of Charles Lucas. Two year's later he entered
+the Royal Academy of Music, and in 1834 became one of its professors. The
+latter year dates the beginning of his career as a composer, his first
+work having been a symphony in F minor. During the next thirty years his
+important works were as follows: overture "Chevy Chase" (1836); "Devil's
+Opera," produced at the Lyceum (1838); "Emblematical Tribute on the
+Queen's Marriage" and an arrangement of Purcell's "Dido and AEneas"
+(1840); editions of "Belshazzar," "Judas Maccabaeus," and "Jephthah," for
+the Handel Society (1843); opera "Don Quixote" (1846); opera "Charles
+II." (1849); serenata "The Sleeper Awakened," and the cantata "Lenora"
+(1851); the cantata "May Day," for the Bradford Festival (1856); the
+cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque
+"Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops
+to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the
+last year his sight, which had been impaired for many years, failed. His
+blindness did not however diminish his activity. He still served as
+professor in the Royal Academy, and dictated compositions,--indeed some
+of his best works were composed during this time of affliction. In 1873
+appeared his oratorio, "St. John the Baptist," which met with an
+enthusiastic reception at the Bristol Festival of that year. In 1875 he
+was elected professor of music at Cambridge, to fill the vacancy
+occasioned by the death of Sterndale Bennett, and in the same year was
+also appointed 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. 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.
+
+
+
+
+                          St. John the Baptist.
+
+
+The oratorio "St. John the Baptist" was first produced at the Bristol
+Musical Festival in 1873. The libretto was written by Dr. E. G. Monk, and
+is divided into two parts,--the first styled "The Desert," and the second
+"Machaerus," to correspond with the localities where the action is
+supposed to take place. The incidents described are John's preaching to
+the people, the baptism of Christ, and the events which begin with
+Herod's feast and close with the execution of the Prophet. One of the
+best of the English critics, speaking of the libretto, says:--
+
+  "John is thus shown in his threefold capacity, as the herald of the
+  Kingdom of Heaven, as the uncompromising champion of righteousness, and
+  as the witness of truth even unto death. Nothing could be more simple
+  or more definite than this, and the discreetness it evinces is shown
+  also by the manner in which the characters are treated. John, of
+  course, is the central figure. He stands out clothed with all the 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."
+
+The overture, which is very dramatic in character, is followed by a
+powerful fugued chorus ("Behold! I will send My Messenger"), a part of
+which is set to organ accompaniment. The Narrator (contralto) recites the
+coming of the Prophet, in the orchestral prelude to which is a phrase
+borrowed from an old church melody which Mendelssohn also used in his
+Reformation Symphony, and which serves throughout the work as the motive
+for the Prophet, in the genuine Wagner style. Saint John is introduced in
+a rugged and 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.
+
+The second part opens in Herod's palace with the rebuke of the Monarch by
+the Prophet. In this scene, as well as in others, the composer draws a
+strong contrast in the music 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," and the
+chorus, "What went ye out into the Wilderness for to see?" The
+above-mentioned critic, who was present at its first performance, says of
+the work:--
+
+  "It is a strange thing that John the Baptist has not often attracted
+  the notice of musical composers in search of a subject. No more
+  remarkable personage, with one great exception, figures in Bible
+  history than he whom the Master described as 'more than a prophet.' His
+  striking appearance, stern asceticism, wrathful denunciation of
+  'wickedness in high places,' and tragic fate,--not to speak of his
+  relation to One whose shoes he professed himself unworthy to
+  loose,--throw his form into bold relief, and mark him as of heroic
+  proportions. Yet, save that he holds a subordinate place in a very
+  limited number of works, among which is Sir Julius Benedict's 'St.
+  Peter,' the great forerunner has been 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."
+
+
+
+
+                               MACKENZIE.
+
+
+Alexander C. Mackenzie, one of the very few successful Scotch composers,
+was born at Edinburgh in 1847. His father was a musician; and recognizing
+his son's talent, sent him to Germany at the age of ten. He began his
+studies with Ulrich Eduard Stein at Schwartzburg-Sonderhausen, and four
+years later entered the ducal orchestra as violinist. He remained there
+until 1862, when he went to England to study the violin with M. Sainton.
+In the same year he was elected king's scholar of the Royal Academy of
+Music. Three years later he returned to Edinburgh and established himself
+as a piano-teacher. The main work of his life, however, has been
+composition, and to this he has devoted himself with 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, op. 12; besides songs,
+part-songs, anthems, and pieces for the piano. This catalogue, however,
+does not include his two most important works,--a Scotch Rhapsody,
+introduced into this country by the Theodore Thomas orchestra, a
+composition of great merit, and the oratorio, "The Rose of Sharon," which
+has been received with extraordinary favor wherever it has been
+performed.
+
+
+
+
+                           The Rose of Sharon.
+
+
+"The Rose of Sharon," a dramatic oratorio founded on the Song of Solomon,
+the words selected from the Scriptures and arranged by Joseph Bennett,
+was first brought out at the Norwich Festival, England, Oct. 16, 1884,
+under the direction of the composer, and was subsequently performed in
+London by the Sacred Harmonic Society. Its first performance in Scotland
+took place at Glasgow, Dec. 8, 1885, under the auspices of the Glasgow
+Choral Union, Madame Albani, Miss Hilda Wilson, Mr. Edward Lloyd, and Mr.
+Watkins Mills being the 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 cheering. In
+speaking of the text, its  compiler says:--
+
+  "In adopting for the purposes of this oratorio a reading of the 'Song
+  of Songs' upon which Ewald and Renan substantially agree, the compiler
+  of the libretto favored no controversial opinion. He simply saw in the
+  ingenious commentaries of the learned Hebraists suggestions for a story
+  of unconquerable love, capable of expression in the language of the
+  Bible.
+
+  "For the arrangement of incident the compiler is alone responsible. In
+  some respects it departs widely from the original poem,--which opens,
+  for example, in Jerusalem,--and gives only in narrative the events that
+  occupy part one of the oratorio.
+
+  "In taking a story from a canonical book of Holy Scripture, the
+  compiler could not ignore its spiritual significance. He has,
+  therefore, introduced a prologue suggesting the parabolic character of
+  the drama, and an epilogue which points its moral."
+
+The characters are the Rose of Sharon, designated throughout the work as
+the Sulamite (soprano); a Woman (contralto); the Beloved (tenor); and
+Solomon (baritone); the chorus representing Officers of the Court,
+Princes, 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 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:
+
+      "We will open our mouth in a parable;
+      We will utter dark sayings of old,
+      Which we have heard and known,
+      Which our fathers have told us;
+      We will not hide them from our children,
+      That the generation to come may know them,
+      Who shall declare them to their children.
+
+  This is a great mystery; but we speak concerning Christ and his
+Church."
+
+The oratorio opens in the vineyard of Sulam as the Vine-dressers come
+forth to their labor. The orchestral part begins with the melody of the
+Vineyard Song ("We will take the Foxes"), and serves to introduce their
+chorus, a joyous pastoral ("Come, let us go forth into the Field"). As
+they disappear, the voice of the Beloved is heard singing a tender and
+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
+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 cortege music, accompanied by the chorus.
+
+The second part, "Temptation," introduces us to Solomon's palace, where
+the Sulamite is alone, pining for her lover. The scene opens with the
+psalm, "The Lord is my Shepherd," set to a simple, charming melody, full
+of the spirit of devotion, but entirely disconnected with the general
+texture of the work. As the touching strain comes to an end, the Women of
+the court enter, insidiously plead the cause of Solomon, tempt her with
+his luxuries, and seek to shame her love for the Beloved. "Kings'
+daughters shall be among thine honorable women; thy clothing shall be of
+wrought gold; thou shalt be brought unto the king in raiment of
+needlework, with gladness and rejoicing shalt thou be brought and enter
+into the king's palace," sings one of the Women; but the Sulamite remains
+loyal, and only answers: "My Beloved pastures his flocks among the
+lilies. My Beloved is mine, and I am his." The temptation is interrupted
+by the procession of the ark 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 she still
+loyally declares: "My Beloved pastures his flocks among the lilies; lo!
+Solomon in all his glory is not arrayed like one of these."
+
+The third part, "Victory," opens with an orchestral prelude picturing the
+sleep of the Sulamite, with her women watching about her. The voice of
+the Beloved is heard without the chamber, "Open to me, my Sister, my
+Bride." It reaches her in a dream, and in fancy she replies to him,
+clothes herself, and searches for him in the streets; but when she
+accosts the watchmen, they are so rude that her fright awakes her. She is
+still a prisoner in the palace, and the Women about her announce the
+coming of Solomon. He pleads his cause in a 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."
+
+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 Heavens, and be joyful, O Earth"). A rapturous duet ensues
+between the Sulamite and the Beloved, and then all join in the spirited
+finale:--
+
+      "For the flame of Love is as fire,
+      Even the fire of God.
+      Many waters cannot quench it,
+      Neither can floods drown it.
+      Yea, Love is strong as death,
+      And unconquerable as the grave."
+
+
+
+
+                              MENDELSSOHN.
+
+
+Felix Mendelssohn Bartholdy, the son of a Berlin banker, was born at
+Hamburg, Feb. 3, 1809, and, unlike almost all other composers, was reared
+in the lap of luxury. Every advantage which wealth could procure he
+enjoyed, with the result that he became highly educated in the other arts
+as well as in music. His teachers in music were Zelter and Ludwig Berger,
+and he made such progress that in his ninth year he appeared in public as
+a pianist in Berlin, and afterwards in Paris. The first of his
+compositions to attract general notice were the overture to Shakspeare's
+"Midsummer Night's Dream" and the little opera "The Marriage of Camacho,"
+which were brought out in Berlin in 1827. After several concert tours, in
+which he met with great success, he resided for some time in Duesseldorf.
+In 1835 he went to Leipsic as director of the famous Gewandhaus
+concerts,--which are still given in that city. Two years later he married
+Cecile Jeanrenaud, the beautiful daughter of a minister of the Reformed
+Church in Frankfort, and shortly afterwards went to Berlin as general
+director of church music. In 1843 he returned to his former post in
+Leipsic, and also took a position in the newly established Conservatory,
+where he spent the remainder of his days in company with his family, to
+whom he was closely attached. He has left a large and rich collection of
+musical works, which are favorites the world over. His three great
+oratorios are the "Hymn of Praise," catalogued as a symphony-cantata,
+"St. Paul," and "Elijah." The last is specially interesting, as it marked
+a new departure from the conventional forms of oratorio, and gave the
+widest scope to the dramatic elements,--to such a degree, in fact, that
+it might with propriety be styled a sacred opera. Besides these
+oratorios, his exquisite music to the "Midsummer Night's Dream," which is
+familiar the world over, and his stately dramatic music to "Antigone," he
+has left five symphonies, of which the "Scotch," the "Italian," and the
+"Reformation" are best known; four exquisite overtures, "Ruy Blas," "Calm
+Sea and Prosperous Voyage," "Hebrides," and "Melusina;" the very dramatic
+cantata, "The Walpurgis Night;" a long list of beautiful songs for one or
+more voices; the incidental music to Racine's "Athalia;" a very large
+collection of sacred music, such as psalms, hymns, anthems, and cantatas;
+several beautiful trios and other specimens of chamber-music; and the
+lovely "Songs without Words," which are to be found upon almost every
+piano, the beauty and freshness of which time has not impaired.
+Mendelssohn never wrote a grand opera, owing to his fastidiousness as to
+a libretto; though he finally obtained one from Geibel, on the subject of
+the "Loreley," which suited him. He had begun to write it, and had
+finished the finale to the first act, when death interrupted his work,
+Nov. 4, 1847. Mendelssohn was a man of remarkable beauty, and his
+character corresponded to his charm of person. He had a liberal
+education, was a man of broad culture, a clever artist, and a very
+skilful writer, as is shown by his volumes of letters from Italy and
+Switzerland. Possessed of these graces of mind and person, and having all
+the advantages that wealth could bestow, he lacked those incentives which
+in other composers have brought out the deepest, highest, and most
+majestic forms of musical expression. His music is a reflex of his life;
+grace, elegance, culture, and finish are its characteristics.
+
+
+
+
+                                St. Paul.
+
+
+"St. Paul," the first of Mendelssohn's oratorios, was begun in Duesseldorf
+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 Fuerst and Schubring, and the libretto as it now stands
+represents their joint 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:--
+
+  "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."
+
+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 Duesseldorf. 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.
+
+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 Hoeh' 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 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 character, and rising to a powerful climax, closes
+the first part.
+
+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 Path."
+Two stately choruses ("See what Love hath the Father," and "Now only unto
+Him") close the work.
+
+
+
+
+                             Hymn of Praise.
+
+
+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:--
+
+  "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 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."
+
+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.
+
+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:--
+
+  "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 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."
+
+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. 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.
+
+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 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.
+
+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."
+
+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 _must_ speak.
+
+
+
+
+                                 Elijah.
+
+
+"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 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:--
+
+  "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 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."
+
+Mendelssohn himself on the day after the performance writes to his
+brother in Berlin:--
+
+  "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 _furore_, 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
+  occurred in the first part; there were some afterwards in the second
+  part, but even these were but trifling. A young English tenor[6] 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."
+
+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:--
+
+  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 maze of his creation, from the soft whispering to the mighty
+  raging of the elements.
+
+  Written in token of grateful remembrance by
+
+                                                                 Albert.
+
+  Buckingham Palace, April 24, 1847.
+
+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:--
+
+  "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."
+
+Again, on the 6th of December, he writes:--
+
+  "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."
+
+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, 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."
+
+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 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 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.
+
+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
+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 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 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.
+
+[6] Mr. Lockey was the tenor on this occasion; the part of Elijah was
+  sung by Standigl.
+
+
+
+
+                                Christus.
+
+
+"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 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.
+
+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:--
+
+  "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 Duesseldorf Musical
+  Festival at Whitsuntide, and the prominent position the feast of Whit
+  Sunday would 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.'"
+
+Another extract from the same letter will show the keenness with which he
+analyzed his themes. He writes:--
+
+  "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."
+
+The project was never carried out; but the deep earnestness with which
+Mendelssohn considered it 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 schoen leuchtet der Morgenstern" ("How brightly shines the
+Morning Star!"), in plain, flowing harmony.
+
+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 with an effective chorale for male voices in the genuine Bach
+style:--
+
+  "He leaves his heavenly portals,
+  Endures the grief of mortals,
+    To raise our fallen race.
+  O love beyond expressing!
+  He gains for us a blessing,
+    He saves us by redeeming grace.
+
+  "When thou, O sun, art shrouded,
+  By night or tempest clouded,
+    Thy rays no longer dart;
+  Though earth be dark and dreary,
+  If, Jesus, thou art near me,
+    'Tis cloudless day within my heart."
+
+
+
+
+                                 MOZART.
+
+
+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 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); "Entfuehrung aus dem Serail" (1781); "Figaro's Hochzeit" ("The
+Marriage of Figaro"), (1785); "Don Giovanni" (1787); "Cosi fan tutti,"
+"Zauberfloete" ("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 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.
+
+
+
+
+                              The Requiem.
+
+
+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 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.
+
+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 he
+returned he would begin the work; and the stranger went away satisfied.
+
+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:
+
+  "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?' Suessmayer [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?'"
+
+Mozart's widow, after his death, fearing that she might have to refund
+the money advanced for the work, induced Suessmayer, 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. Suessmayer, 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 Irae," and "Domine," and
+to the whole of the "Sanctus," "Benedictus," and "Agnus Dei." The
+publication of Suessmayer'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
+Suessmayer participated in the completion of the work as it now stands.
+The bulk of the evidence, however, favors the theory that Suessmayer 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:--
+
+  "Some passages, though they may perhaps strengthen Suessmayer'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.' Suessmayer 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 _Urschriften_ (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
+  Suessmayer a very clear idea of what he intended to write. We must
+  either believe that he did this, or that Suessmayer was as great a
+  genius as he; for not one of Mozart's acknowledged masses will bear
+  comparison 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."
+
+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 aeternam 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 aeternam," 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.
+
+The next number is the "Dies Irae," 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
+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 tremendae 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.
+
+The "Dies Irae" 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 "Quaerens 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 acclinis"), in which all the voices join in magnificent
+harmony.
+
+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 Abrahae," 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.
+
+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 aeterna."  "Written under
+the 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.
+
+
+
+
+                                 PAINE.
+
+
+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 "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.
+
+
+
+
+                               St. Peter.
+
+
+"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.
+
+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 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, 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.
+
+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 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 Judaea"), 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").
+
+
+
+
+                                ROSSINI.
+
+
+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 written in fourteen days; in 1817, "La Cenerentola," "La Gazza
+Ladra," and "Armida;" and in 1819, "Ricciardo e Zoraide," "La Donna del
+Lago," and many others. From 1815 to 1822 Rossini was under the
+"management" of the _impresario_ 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 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."
+
+
+
+
+                              Stabat Mater.
+
+
+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, Dvorak. 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 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
+Theatre 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.
+
+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 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.
+
+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 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,--
+
+  "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 Bartholdy,--an oratorio which the
+  adversaries of Rossini point to as a model of Christian style."
+
+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,--
+
+  "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."
+
+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.
+
+
+
+
+                               RUBINSTEIN.
+
+
+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. 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 Helene. 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
+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.
+
+
+
+
+                           The Tower of Babel.
+
+
+"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 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.
+
+The _dramatis personae_ 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 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.
+
+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 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."
+
+
+
+
+                             Paradise Lost.
+
+
+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 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.
+
+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
+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.
+
+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.
+
+
+
+
+                              SAINT-SAENS.
+
+
+Charles Camille Saint-Saens, 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 Promethee" 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 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 "Etienne 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," "Phaethon," "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 Noel," "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 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 Noel" and of his transcriptions from Bach will show that he
+is a master of counterpoint and thematic treatment.
+
+
+
+
+                           Christmas Oratorio.
+
+
+"Noel," Saint-Saens' 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 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.
+
+
+
+
+                                SCHUMANN.
+
+
+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
+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 fuer 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 many favorite songs and piano compositions, among them
+the "Phantasiestuecke" 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 Duesseldorf, 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.
+
+
+
+
+                         Paradise and the Peri.
+
+
+Schumann's secular oratorio, "Paradise and the Peri,"  was written in
+1843, and first performed at the Gewandhaus, Leipsic, December 4th of
+that 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.
+
+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,--
+
+  "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 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."
+
+Von Wasielewski also discusses the same point:
+
+  "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 aesthetic considerations. How
+  easy, for example, it would have been to abolish the narrator, as
+  destructive of unity!"
+
+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.
+
+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 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
+
+            "her recreant race
+    Should e'er have lost that sacred place."
+
+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.
+
+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 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.
+
+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 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.
+
+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. 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.
+
+
+
+
+                                 SPOHR.
+
+
+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 Pruefung," also appeared about this
+time. In 1807 he made a very successful tour through Germany, and another
+in 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
+juengste 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 "Freischuetz." 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 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
+Duesseldorf 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
+Toene" ("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 "Tannhaeuser" 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 of all
+living composers, on the strength of his "Flying Dutchman" alone. As a
+performer, he was one of the best of any period.
+
+
+
+
+                           The Last Judgment.
+
+
+Spohr wrote two oratorios upon the same subject,--"Das juengste 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,--
+
+  "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 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."
+
+In this connection Spohr tells the following humorous story:--
+
+  "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."
+
+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 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."
+
+Thirteen years afterwards he wrote "Die letzten Dinge," now so well known
+as "The Last Judgment." He says in one of his letters,--
+
+  "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 juengste 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 unseen by the
+  auditory, which, amounting to nearly two thousand persons, observed a
+  solemn stillness. My two daughters, Messrs. Wild, Albert, and Foeppel,
+  together with an amateur, sang the soli, and the performance was
+  faultless. The effect was, I must myself say, extraordinary."
+
+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 juengste 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.
+
+The work opens with a very long overture of a grave and majestic
+character, in limits far beyond 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.
+
+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:--
+
+      "The day of wrath is near.
+      The Almighty shall reveal His power.
+      The reaper's song is silent in the field,
+      And the shepherd's voice on the mountain.
+      The valleys then shall shake with fear,
+      With dread the hills shall tremble.
+      It comes, the day of terror comes!
+      The awful morning dawns!
+      Thy mighty arm, O God, is uplifted.
+      Thou shalt shake the earth and heavens.
+      They shall shrivel as a scroll
+      When Thou in wrath appearest."
+
+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 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.
+
+
+
+
+                                SULLIVAN.
+
+
+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 of Chorley, at that time
+musical critic of the "Athenaeum," gave him a secure footing. The cantata
+"Kenilworth," written for the Birmingham Festival, the music to the
+ballet "L'Ile enchantee," 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.
+
+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.
+
+
+
+
+                            The Prodigal Son.
+
+
+"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,--
+
+  "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.
+
+  "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 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."
+
+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, "Woe unto them." One of the gems of the work, a pretty
+alto song, "Love not the World," intervenes at this point. At its
+conclusion the narrative is resumed.
+
+After an effective prelude by orchestra, the soprano recitative relates
+the famine and the experiences of the Prodigal among the swine, leading
+up to a pretty aria ("O that thou hadst hearkened"). The tenor follows
+with an expressive aria ("How many hired Servants of my Father's"). The
+narrative again halts to give place to a very taking chorus ("The
+Sacrifices of 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.
+
+
+
+
+                         The Light of the World.
+
+
+Sir Arthur Sullivan's second oratorio, "The Light of the World," is laid
+out upon a much larger scale in every way than "The Prodigal Son."  It
+was written for the Birmingham Festival of 1873, was given for the first
+time on the 27th of August. The purpose of the work, as the composer
+explains in his preface, is to set forth the human aspects of the life of
+our Lord upon earth, by the use of some of the actual incidents in his
+career which bear witness to his attributes as preacher, healer, and
+prophet. "To give it dramatic force," he says,--
+
+  "The work has been laid out in scenes dealing respectively, in the
+  first part with the nativity, preaching, healing, and prophesying of
+  our Lord, ending with the triumphal entry into Jerusalem; and in the
+  second part, with the utterances which, containing the avowal of
+  himself as the Son of Man, excited to the utmost the wrath of his
+  enemies, and led the rulers to conspire for his betrayal and death; the
+  solemn recital by the chorus of his sufferings, and the belief in his
+  final reward; the grief of Mary Magdalene at the sepulchre; and the
+  consolation and triumph of the Disciples at the resurrection of their
+  Lord and Master."
+
+The first part has four scenes, "Bethlehem," "Nazareth," "Lazarus" (which
+might more appropriately have been 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 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.
+
+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 the Virgin's expression of
+thanks, the Shepherds join in the chorus, "The whole Earth is at rest,"
+which is peculiarly striking in its contrasts. A short recitative by the
+Angel, warning Mary to flee into Egypt, is followed by a very sombre
+chorus ("In Rama was there a Voice"). At its close, the tenor is heard in
+a tender aria ("Refrain thy Voice from weeping"), leading to a chorus
+full of spirited harmony, and rising to a very effective climax ("I will
+pour My Spirit"), which closes the scene.
+
+The "Nazareth" scene opens with a baritone solo ("The Spirit of the Lord
+is upon me"), in which Jesus declares himself in the synagogue as the
+object of the prophecy from Isaiah which he has been reading. The Jews
+answer in a very dramatic chorus ("Whence hath this Man his Wisdom?").
+Again Jesus interposes with the declaration, "A prophet is not without
+honor save in his own country;" whereupon the people break out in a still
+more dramatic chorus ("Is not this Jesus?"), set to a very effective
+accompaniment. For the third time Jesus declares himself, followed by the
+stirring, furious chorus, "Why hear ye him?" A tender and at times fervid
+solo ("Lord, who hath believed our Report?") leads to a very effective
+quintet ("Doubtless Thou art our Father"). After another brief baritone
+solo ("Blessed are they"), we come to the chorus, "He maketh the Sun to
+rise," which is one of the most beautifully written in the work, and
+closes the scene.
+
+The third scene, "Lazarus," begins with the description of the mournful
+journey to Bethany, the arrival among the kindred and friends, who are
+trying to comfort the bereaved sisters, and closes at the still unopened
+grave. It includes a duet between tenor and baritone, the former a
+Disciple, the latter Jesus, whose music is invariably sung by the
+baritone voice; a solo for alto ("Weep ye not for the Dead"), with a
+sombre orchestral prelude, and accompanied by a chorus in its close; a
+dialogue between Martha and Jesus ("Lord, if thou hadst been here"); a
+short but very beautiful chorus ("Behold how he loved him!"); the
+baritone solo, "Said I not unto thee;" and a final chorus of great power
+("The Grave cannot praise thee").
+
+The last scene of the first part, "The Way to Jerusalem," is very
+brilliant throughout, and is in cheerful contrast with the general
+sombreness of the preceding numbers. It opens with a brief dialogue
+between Jesus and a Disciple ("Master, get thee out, and depart hence"),
+which leads to a charming three-part chorus for children's voices
+("Hosanna to the Son of David"), with a prominent harp part in the
+accompaniment, and worked up to a fine climax. A brilliant soprano solo
+("Tell ye the Daughter of Zion") intervenes, followed by a short dialogue
+between Jesus and a Pharisee, which leads to the vigorous chorus of the
+Disciples, "Blessed be the Kingdom." After another baritone solo ("If
+thou hadst known, O Jerusalem") the children's hosanna is repeated,--this
+time with the power of the full chorus; and the first part comes to a
+close.
+
+The first part opens with a prelude of a few bars; but the second begins
+with a long overture, very effectively written, and intended, as the
+composer himself says, to indicate the angry feelings and dissensions
+caused by the Lord's presence in Jerusalem. At its close the baritone, in
+one of the most forcible solos 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 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.
+
+
+
+
+                                 VERDI.
+
+
+Giuseppe Verdi, the greatest of living Italian opera composers, was born
+at Roncale, Oct. 9, 1813. Like many another musician, he sprang from
+humble and rude beginnings, his parents having kept a small inn and
+notion store in the little Italian village. His musical talent displayed
+itself very early. In his tenth year he was appointed organist in the
+place of Baistrocchi, the master with whom he had been studying at
+Busseto. Through the generosity of his patron, M. Barezzi, he was sent to
+Milan, where he was refused admission to the Conservatory, on the ground
+that he showed "no special 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 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); "Aida" (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 "Aida" 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
+well that you are also a most distinguished musician and devoted to your
+art: ... but Piave and Mariani must have told you that at S. Agato we
+neither make nor talk about music, and you will run the risk of finding a
+piano not only out of tune, but very likely without strings." He has been
+overwhelmed with decorations and honors, but has studiously avoided
+public life and the turmoil of the world. In 1866 he was elected a member
+of the Italian Parliament from Busseto, but sent in his resignation
+shortly afterwards; and in 1875 was appointed senator by the King, but
+never took his seat. His fame is indissolubly connected with his music,
+and in the pursuit of that art he has become one of the most admired
+composers of his time.
+
+
+
+
+                          The Manzoni Requiem.
+
+
+The history of "The Manzoni Requiem" is of more than ordinary interest.
+Shortly after Rossini's death, in 1868, Verdi conceived the idea of a
+requiem in his memory, to be written by many hands, which should be
+performed in the cathedral of Bologna on each centenary of the composer's
+death, but upon no other occasion and at no other place. The project met
+with favor. The work was laid out in thirteen numbers and assigned to
+thirteen Italian composers, Verdi taking the "Libera me," which was to be
+the last number in the work. Each of the composers finished his task; but
+when the parts were joined in a complete requiem they were found to be so
+dissimilar in treatment, and the whole work so incoherent and lacking in
+symmetry and unity, that the scheme went no further. M. Mazzucato, of
+Milan, who had examined the work, was so impressed with the "Libera me"
+that he wrote to Verdi urging him to compose the entire requiem.
+
+About this time (1873) Alessandro Manzoni, the founder of the romantic
+school in Italian literature, died, and was universally mourned by his
+countrymen. The requiem which had been intended for Rossini was now
+written by Verdi for his friend, the great Italian patriot and poet, the
+immortal author of "I promessi Sposi," and the "Libera me" was
+transferred to it. It was performed for the first time at Milan, May 22,
+1874, the anniversary of Manzoni's death, with Teresa Stolz soprano,
+Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini 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.
+
+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 Irae;" thus divided: "Dies Irae" (chorus); "Tuba Mirum" (chorus);
+"Liber scriptus" (chorus and fugue); "Quid sum miser" (trio for soprano,
+alto, and tenor); "Rex tremendae" (quartet and chorus); "Recordare" (duo
+for soprano and alto, and chorus); "Ingemisco" (solo for tenor);
+"Confutatis" (solo for 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
+aeterna" (trio for alto, tenor, and bass). 7. "Libera me" (solo for
+soprano, chorus, and final fugue).
+
+The "Requiem" opens, after a few measures of prelude, with the chorus
+chanting the appeal for rest sotto voce, the effect being carried as
+pianissimo as possible until the 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.
+
+The second part, the "Dies Irae," is in strong contrast with the first,
+and is more broadly and dramatically worked up, and with freer
+accompaniment. The opening chorus is one of startling power. The tenors
+and 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 waves. There are nine numbers in this part
+which have been already specified, the most effective of them being the
+adagio trio ("Quid sum miser") for soprano, alto, and tenor, upon which
+Verdi has lavished his melodious inspiration. The trio is continually
+interwoven with the chorus shouting fortissimo the "Rex tremendae
+majestatis," until it takes another form in the prayer, "Recordare," a
+duet for soprano and alto in Verdi's best operatic vein. A very effective
+tenor solo, "Ingemisco," followed by a very solemn and majestic 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.
+
+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 aeterna," 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 Irae" is repeated, likewise the "Requiem aeternam" (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.
+
+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 "Aida." 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
+Buelow very nearly hit the truth in saying that "The Manzoni Requiem" is
+an opera in ecclesiastical costume. The dramatic element is its strong
+feature, and the inexhaustible resources of the composer's invention
+strike the hearer as one of the chief characteristics. The first six
+parts seem to have included nearly all that can be done, and you wonder
+if the last part, the "Libera me," will not fall tamely; when to your
+surprise it proves to be the grand culmination of the work, and presents,
+with its solo and chorus and imposing fugue, an ensemble of effect, a
+richness of instrumentation, a severe and almost 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.
+
+
+
+
+                        SACRED MUSIC IN AMERICA.
+
+
+The following sketch of the rise and progress of sacred music in America
+may prove of interest to the reader as a supplement to the history of the
+Oratorio and of the numerous 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.
+
+The psalmody of the Protestant church was first arranged and brought into
+use in the course of the sixteenth century, through the efforts of the
+reformers in Germany and particularly of Martin Luther, who was extremely
+fond of music, and wrote a quaint discourse on the art. In 1524 he
+published a collection of hymns which also comprised a few versified
+psalms. These were set to music in four parts, as he says "for no other
+reason than because of my desire that the young, who ought to be educated
+in music as well as in other good arts, might have something to take the
+place of worldly and amorous songs, and so learn something useful and
+practise something virtuous, as becometh the young. I would be glad to
+see all arts, and especially music, employed in the service of Him who
+created them." Zwingle, Cranmer, Calvin, and Knox were also zealous
+advocates of psalm-singing; and during the same century Tye, Tallis,
+Bird, and Gibbons did a great work for ecclesiastical music in England.
+
+At the time of the Reformation in England the Puritans proved themselves
+zealous musical reformers. They reduced singing to the severest
+simplicity. They had no sympathy with elaborate arrangements. Organs,
+choir-books, and choir-singers were objects of their special antipathy.
+One of these iconoclasts says: "This singing and saying of 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 music by "chanting choristers
+disguised, as are all the rest, in white surplices, some in corner caps
+and silly copes, imitating the fashion and manner of Antichrist the Pope,
+that man of sin and child of perdition, with his other rabble of
+miscreants and shavelings."
+
+Sternhold, who was groom of the robes to Henry VIII. and afterwards groom
+of the bed-chamber to Edward VI., was one of the most zealous of these
+reformers. In connection with Hopkins, a clergyman and schoolmaster, he
+versified a large number of the psalms and published them. They were
+printed at first without music, but in 1562 they appeared with the notes
+of the plain melody under the following 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 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."
+
+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. 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:--
+
+  "_First_, 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:
+
+  "Of the eight short Tunes used to four lines only, whose measure is to
+  eight syllables on the first line, and six on the next; and may be sung
+  to any Psalms of that measure.
+
+  Oxford Tune.     }
+  Litchfield Tune. } To Psalms Consolatory.
+  Low Dutch Tune.  }
+
+  York Tune.   }
+  Winsor Tune. } To Psalms of Prayer, Confessions, and Funerals.
+
+  Cambridge Short Tune to peculiar Psalms, as 21, 24, 33, 70, 86, first
+  metre, 114, 132.
+
+  "Those six short tunes, in tuning the first notes, will bear a cheerful
+  high pitch; in regard to their whole compass from the lowest note, the
+  highest is not above five or six notes.
+
+  St. David's Tune. }
+  Martyrs Tune.     } To Psalms of Praise and Thanksgiving.
+
+  "These two tunes are eight notes compass above the first note, and
+  therefore begin the first note low.
+
+  "Of five long tunes following:
+
+  "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.
+
+  "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.
+
+  "113 Psalm Tune, and 148 Psalm Tune.--These two tunes begin your first
+  note low, in regard the Tune ascends eight notes above it."
+
+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
+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:--
+
+  "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.
+
+  "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, 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."
+
+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:--
+
+  "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.
+
+  "Whether you do believe that singing in the worship of God ought to be
+  done skilfully?
+
+  "Whether you do believe that skilfulness in singing may ordinarily be
+  gained in the use of outward means by the blessing of God.
+
+  "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?
+
+  "Do you believe that it is Lawful and Laudable for us to change the
+  customary way of singing the psalms?
+
+  "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."
+
+Rev. Thomas Symmes, of Bradford, Mass., also issued a tract in which he
+contended for rule-singing. On this point he says:--
+
+  "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.
+
+  "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 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."
+
+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:"--
+
+  "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, 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."
+
+The essay closes with the following exhortation:
+
+  "Whatever our thoughts are as to the mode or vocal part, whether the
+  _old_ or the _new way_ (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.e._ 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."
+
+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 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.
+
+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:--
+
+  "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."
+
+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
+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:--
+
+    "Let tyrants shake their iron rod,
+      And slavery clank her galling chains;
+    We'll fear them not, we'll trust in God;
+      New England's God forever reigns.
+
+    "The foe comes on with haughty stride,
+      Our troops advance with martial noise;
+    Their veterans flee before our arms,
+      And generals yield to beardless boys."
+
+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:--
+
+    "We've met for a concert of modern invention;
+    To tickle the ear is our present intention;
+    The audience seated, expect to be treated
+    With a piece of the best.
+
+          "And since we all agree
+          To set the key on E,
+          The author's darling key
+          He prefers to the rest,
+          The bass take the lead,
+          And firmly proceed;
+          Let the tenor succeed," etc.
+
+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.'
+
+    'O, praise the Lord with one consent,
+      And in this grand design
+    Let Britain and the Colonies
+      Unanimously join.'
+
+Boston: New England. Printed by Edes and Gill."
+
+In the preface to this work he quaintly says:--
+
+  "_To all Musical Practitioners._
+
+  "Perhaps it may be expected by some, that I could say something
+  concerning rules for composition; to these I answer that _Nature is the
+  best Dictator_, 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 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 8vos or two 5ths
+  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 twice over by one Person, and would be deemed to be
+  dearly bought only at the expense of Breath requisite to perform it.
+
+  "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."
+
+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:--
+
+  "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 many pieces  were never worth my
+  printing or your inspection.
+
+  "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."
+
+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, 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.
+
+
+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 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.
+
+
+
+
+                                APPENDIX.
+
+
+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.
+
+  Allegri
+    Miserere (1630).
+  Arne
+    Abel (1755);
+    Judith (1764).
+  Bach
+    St. John Passion (1720);
+    Magnificat in D (1723);
+    St. Matthew Passion (1729);
+    Christmas Oratorio (1734).
+  Barnby
+    Rebekah (1870).
+  Beethoven
+    Mount of Olives (1799-1801);
+    Mass in C (1807);
+    Mass in D (1822).
+  Benedict
+    St. Cecilia (1866);
+    St. Peter (1870).
+  Bennett
+    Woman of Samaria (1867).
+  Berlioz
+    Grande Messe des Morts (1837);
+    L'Enfance du Christ (1854).
+  Brahms
+    German Requiem (1868).
+  Costa
+    Eli (1855);
+    Naaman (1864).
+  Cusins
+    Gideon (1871).
+  Crotch
+    Palestine (1812);
+    Captivity of Judah (1834).
+  David
+    Moses on Sinai (1846).
+  Dvorak
+    Stabat Mater (1875).
+  Goldschmidt
+    Ruth (1867).
+  Gounod
+    Messe Solenelle (1850);
+    Tobie (1870);
+    Redemption (1883);
+    Mors et Vita (1885).
+  Graun
+    The Death of Jesus (1755);
+    Prague Te Deum (1756).
+  Handel
+    First Passion Oratorio (1704);
+    La Resurrezione (1708);
+    Il trionfo del Tempo (1708);
+    Utrecht Te Deum (1713);
+    Second Passion Oratorio (1716);
+    Esther (1720);
+    Deborah (1733);
+    Athalia (1733);
+    Saul (1738);
+    Israel in Egypt (1738);
+    Messiah (1741);
+    Samson (1742);
+    Joseph (1743);
+    Dettingen Te Deum (1743);
+    Belshazzar (1744);
+    Occasional Oratorio (1745);
+    Judas Maccabaeus (1746);
+    Alexander Balus (1747);
+    Joshua (1747);
+    Solomon (1748);
+    Susanna (1748);
+    Theodora (1749);
+    Jephtha (1751).
+  Haydn
+    Stabat Mater (1771);
+    Return of Tobias (1774);
+    Mariazeller Mass (1782);
+    Imperial Mass (1797);
+    The Creation (1796-98);
+    Te Deum (1800);
+    The Seasons (1800);
+    The Seven Words (1801).
+  Hiller
+    The Destruction of Jerusalem (1839).
+  Horsley
+    Gideon (1860).
+  Kiel
+    Requiem (1862);
+    Christus (1866).
+  Klein
+    Job (1820);
+    Jephthah (1828);
+    David (1830).
+  Lassus
+    Penitential Psalms (1565);
+    Vigiliae Mortuorum (1565).
+  Leslie
+    Immanuel (1853);
+    Judith (1858).
+  Liszt
+    Graner Mass (1854);
+    Hungarian Coronation Mass (1856);
+    Legend of Saint Elizabeth (1864);
+    Christus (1866).
+  Macfarren
+    John the Baptist (1873);
+    The Resurrection (1876);
+    Joseph (1877).
+  Mackenzie
+    Rose of Sharon (1884).
+  Marx
+    Moses (1850).
+  Massenet
+    Mary Magdalen (1873);
+    Eve (1875);
+    The Virgin (1879).
+  Mendelssohn
+    Psalm cxv (1830);
+    Psalm xcv (1835);
+    St. Paul (1836);
+    Hymn of Praise (1840);
+    Elijah (1838-46);
+    Christus (1844-47);
+    Lauda Sion (1846).
+  Meyerbeer
+    God and Nature (1811).
+  Mozart
+    Coronation Mass (1779);
+    Mass in C (1780);
+    Mass in G (1785);
+    Mass in B (1791);
+    Ave Verum (1791);
+    Requiem (1791).
+  Neukomm
+    Mount Sinai (1830);
+    David (1834).
+  Ouseley
+    St. Polycarp (1854);
+    Hagar (1873).
+  Paine
+    St. Peter (1873).
+  Palestrina
+    Papae Marcelli Mass (1563);
+    Stabat Mater (1589);
+    Requiem (1591).
+  Pergolesi
+    Stabat Mater (1736).
+  Pierson
+    Jerusalem (1852).
+  Randegger
+    Psalm cl (1872).
+  Reinthaler
+    Jephta (1856).
+  Rossini
+    Moses in Egypt (1818);
+    Stabat Mater (1832-41);
+    Messe Solenelle (1864).
+  Rubinstein
+    Tower of Babel (1870);
+    Paradise Lost (1876).
+  Schneider (Fr.)
+    The Judgement of the World (1819);
+    Paradise Lost (1824);
+    Pharaoh (1828);
+    Christ the Child (1829);
+    Gideon (1829);
+    Gethsemane and Golgotha (1838).
+  Schubert
+    Lazarus (1820).
+  Schumann
+    Paradise and the Peri (1843);
+    Advent Hymn (1848);
+    Mass and Requiem (1852).
+  Schutz
+    Passions' Music (1665).
+  Spohr
+    The Last Judgment (1812);
+    The Last Things (1826);
+    Calvary (1833);
+    Fall of Babylon (1840).
+  Stanford
+    The Three Holy Children (1885).
+  Sullivan
+    The Prodigal Son (1869);
+    Light of the World (1873);
+    Martyr of Antioch (1880).
+  Verdi
+    Manzoni Requiem (1874);
+    Pater Noster and Ave Maria (1880).
+  Vogler
+    Magnificat and Stabat Mater (1777).
+  Wagner
+    Das Liebesmahl der Apostel (1843).
+  Winter
+    Pilgrimage to Calvary (1792);
+    Stabat Mater (1805).
+
+
+
+
+                                 INDEX.
+
+
+  Ainsworth, Henry, 313.
+  Albrechtsberger, 239.
+  Allison, Richard, 312.
+  Appendix, 329.
+  Astorga, 253.
+  Athalia, 21.
+
+  Bach, 19-21, 24, 26, 30, 61, 65, 269, 275;
+    life of, 31.
+  Bailey, Daniel, 320.
+  Bailey, Thomas, 320.
+  Bay Psalm Book, 313, 314.
+  Beethoven, 23, 91, 161, 174, 218, 219, 235, 236, 282, 307;
+    life of, 51.
+  Belshazzar, 22.
+  Benedict, 205.
+  Bennett, Sterndale, 26, 200, 274, 290;
+    life of, 60.
+  Berlioz, 27, 30, 259;
+    life of, 68.
+  Billings, William, 321-326.
+  Blow, Dr., 30.
+  Bononcini, 17, 115.
+  Bradbury, 328.
+  Brahms, 27, 92, 272;
+    life of, 78.
+
+  Caldara, 17.
+  Carissimi, 15.
+  Cherubini, 27, 68, 71, 178.
+  Chopin, 258, 272.
+  Christmas Oratorio (Bach), 20, 33.
+  Christmas Oratorio (Saint-Saens), 269.
+  Christus (Liszt), 186.
+  Christus (Mendelssohn), 25, 229.
+  Cimarosa, 23.
+  Colonna, 17, 27.
+  Costa, 82.
+  Cotton, John, 314.
+  Creation, 136, 162.
+  Croft, Dr., 30.
+
+  Damon, William, 311.
+  Das juengste Gericht, 23, 283, 286.
+  Deborah, 21.
+  Der Tod Jesu, 20.
+  Des Heilands letzte Stunden, 24.
+  Dettingen Te Deum, 155.
+  Die Auferstehung Christi, 19.
+  Die Sieben Woerte Christi, 19.
+  Dutton, 327.
+  Dvorak, 253;
+    life of, 90.
+  Dyer, 328.
+
+  Eli, 84.
+  Elijah, 25, 218.
+  Eliot, John, 313, 318.
+  Emilio del Cavaliere, 14, 15.
+  Engedi, 58.
+  Esther, 21.
+
+  Fall of Babylon, 24.
+  Federici, 17.
+  Flagg, Josiah, 320.
+  French, Jacob, 327.
+  Fux, 22.
+
+  Gabrielli, 18.
+  German Requiem, 27, 80.
+  Gluck, 160.
+  Gould, Nathaniel D., 328.
+  Gounod, 15, 20, 26;
+    life of, 96.
+  Graun, 20, 30.
+  Gretry, 174.
+
+  Habeneck, 75, 76, 77.
+  Handel, 17, 18, 19, 20, 21, 22, 24, 26, 30;
+    life of, 114.
+  Handel and Haydn Society, 327.
+  Hasse, 22.
+  Hastings, Thomas, 328.
+  Haydn, 19, 22, 23, 26, 28, 80, 136, 253, 307;
+    life of, 159.
+  Heine, 256, 257.
+  Hiller, 26, 70, 222, 256, 273.
+  Himmel, 23.
+  Holden, Oliver, 326.
+  Holyoke, Samuel, 326.
+  Hubbard, John, 327.
+  Hymn of Praise, 25, 213.
+
+  Israel in Egypt, 21, 23, 117.
+  Italian oratorio composers, 15
+  Ives, 328.
+
+  Joachim, 78, 92.
+  Johnson, 328.
+  Joseph, 22.
+  Joshua, 22, 154.
+  Judas Maccabaeus, 22, 149.
+
+  Keiser, Reinhard, 19, 20.
+
+  Kimball, Jacob, 326.
+
+  La Rappresentazione dell' Anima e del Corpo, 14.
+  Last Judgment, 23, 283.
+  Latimer, 310.
+  Law, Andrew, 326.
+  Legend of the Holy Elizabeth, 180.
+  Light of the World, 294.
+  Liszt, 78, 256, 258;
+    life of, 177.
+  Lyon, James, 320.
+
+  Macfarren, George A., 30;
+    life of, 199.
+  Mackenzie, 191.
+  Magnificat (Bach), 48.
+  Magnificats, 26, 30.
+  Martin Luther, 309.
+  Mason, Lowell, 328.
+  Massenet, 26.
+  Mattheson, 20.
+  Mazzocchi, 17.
+  Mendelssohn, 24, 25, 26, 30, 60, 256, 257;
+    life of, 206.
+  Messe des Morts, 27, 71.
+  Messiah, 21, 23, 25, 39, 140.
+  Meyerbeer, 83.
+  Mors et Vita, 26, 106.
+  Moscheles, 257, 271.
+  Mount of Olives, 23, 53.
+  Mozart, 30, 60, 282, 307;
+    life of, 234.
+  Mysteries and miracle-plays, 10, 11, 12.
+
+  Neukomm, 253.
+
+  Oratorio, its origin, 9;
+    in England, 21;
+    in Germany, 22;
+    oratorios of the present century, 23-26.
+
+  Paine, 26, 245.
+  Palestrina, 27, 28, 96, 253, 307.
+  Paradise and the Peri, 25, 273.
+  Paradise Lost, 26, 264.
+  Passion Music, 18, 19, 20.
+  Pistocchi, 17.
+  Playford's Psalms, 320.
+  Porpora, 22, 115, 160.
+  Prodigal Son, 292.
+  Protestant Psalmody, 309.
+  Psalmody in England, 310.
+  Puritan reforms, 310.
+
+  Ravenscroft Collection, 312.
+  Redemption, 26, 98.
+  Reed, Daniel, 327.
+  Remenyi, 78.
+  Requiem (Manzoni), 27, 303.
+  Requiem (Mozart), 236.
+  Requiems, 26, 27.
+  Rheinthaler, 26.
+  Richter, Jean Paul, 273.
+  Root, George F., 328.
+  Rose of Sharon, 192.
+  Rossini, 222, 303, 307;
+    life of, 251.
+  Rubinstein, 26;
+    life of, 258.
+
+  Sacred dramas, 13, 14.
+  Sacred Music in America, 309.
+  Saint-Saens, 26, 267.
+  Salieri, 23, 168, 177.
+  Samson, 22, 131.
+  Sarti, 30.
+  Saul, 21, 125.
+  Scarlatti, 16.
+  Schneider, 24.
+  Schubert, 23, 91, 273.
+  Schumann, 25, 60, 78, 79, 81;
+    life of, 271.
+  Schuetz, 18.
+  Seasons, 22, 170.
+  Sebastiani, 19.
+  Shaw, Oliver, 327.
+  Spohr, 23, 26, 52, 91;
+    life of, 280.
+  St. John Passion, 20.
+  St. John the Baptist, 201.
+  St. Matthew Passion, 20, 24, 39.
+  St. Paul, 25, 208.
+  St. Peter, 26, 246.
+  Stabat Mater (Dvorak), 28, 92.
+  Stabat Mater (Rossini), 28, 253.
+  Stabat Maters, 27.
+  Stephani, 18.
+  Sternhold and Hopkins, 311, 313.
+  Stradella, 16, 17.
+  Sullivan, 30, 290.
+  Swan, Timothy, 327.
+  Symmes, Thomas, 317.
+
+  Tansur and Williams, 320.
+  Te Deums, 28, 29.
+  Telemann, 20.
+  Thalberg, 258.
+  The Bleeding and Dying Jesus, 19.
+  Theile, 19.
+  Theodora, 22.
+  Thomas, Theodore, 80, 99, 192, 246, 269, 291.
+  Tower of Babel, 26, 260.
+  Tufts, John, 319.
+
+  Verdi, 256;
+    life of, 301.
+  Victor Hugo, 69, 178.
+  Vittoria, 27.
+  Von Buelow, 179, 307.
+
+  Wagner, 65, 83, 179, 186, 268, 282.
+  Walter, Thomas, 320.
+  Weber, 281.
+  Weniawski, 259.
+  Winter, 23.
+  Woman of Samaria, 26, 62.
+  Woodbury, 328.
+
+  Zingarelli, 23.
+
+
+
+
+                       UPTON'S MUSICAL HANDBOOKS.
+
+
+                            UNIFORM IN STYLE.
+
+
+                                   I.
+
+The Standard Operas. Their Plots, their Music, and their Composers. A
+Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+                                   II.
+
+The Standard Oratorios. Their Stories, their Music, and their Composers.
+A Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+                                  III.
+
+The Standard Cantatas. Their Stories, their Music, and their Composers. A
+Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+                                   IV.
+
+The Standard Symphonies. Their History, their Music, and their Composers.
+A Handbook. 12mo, yellow edges, $1.50; extra gilt, gilt edges, $2.00.
+
+
+THE STANDARD OPERAS. Their Plots, their Music, and their Composers. By
+George P. Upton, author of "Woman in Music," etc., etc.
+
+  12mo, flexible cloth, yellow edges    $1.50
+  The same, extra gilt, gilt edges      $2.00
+
+
+  "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."--_Boston Traveller._
+
+  "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."--_R. H. Stoddard, in "Evening Mail and
+  Express" (New York)._
+
+  "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."--_The Nation (New
+  York)._
+
+
+  _Sold by all booksellers, or mailed, post-paid, on receipt of price,
+  by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE STANDARD CANTATAS. Their Stories, their Music, and their Composers. A
+Handbook. By George P. Upton. 12mo, 367 pages, yellow edges, price,
+$1.50; extra gilt, gilt edges, $2.00.
+
+  In half calf, gilt top       $3.25
+  In half morocco, gilt edges   3.75
+  In tree calf, gilt edges      5.50
+
+
+  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.
+
+  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.
+
+  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.
+
+  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.
+
+
+  _Sold by all booksellers, or mailed, post-paid, on receipt of price,
+  by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+                        BIOGRAPHIES OF MUSICIANS.
+
+
+  LIFE OF LISZT. With Portrait.
+    LIFE OF HAYDN. With Portrait.
+      LIFE OF MOZART. With Portrait.
+        LIFE OF WAGNER. With Portrait.
+          LIFE OF BEETHOVEN. With Portrait.
+
+_From the German of Dr. Louis Nohl._
+
+  In cloth, per volume            $ .75
+  The same, in neat box, per set   3.75
+  In half calf, per set           12.00
+
+  Of the "Life of Liszt," the _Herald_ (Boston) says: "It is written in
+  great simplicity and perfect taste, and is wholly successful in all
+  that it undertakes to portray."
+
+  Of the "Life of Haydn," the _Gazette_ (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."
+
+  Of the "Life of Mozart," the _Standard_ 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."
+
+  Of the "Life of Wagner," the _American_ (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."
+
+  Of the "Life of Beethoven," the _National Journal of Education_ 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."
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+MUSIC-STUDY IN GERMANY. By Amy Fay. Eighth edition. 12mo, 352 pages.
+Price, $1.25.
+
+
+  "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."--_Christian Advocate (New York)._
+
+  "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."--_Dwight's Journal of Music._
+
+  "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."--_Times (Chicago)._
+
+  "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."--_Graphic (New York)._
+
+
+_Sold by all booksellers, or mailed, post-paid, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+                          THE SURGEON'S STORIES
+
+
+By Z. Topelius, Professor of History, University of Finland. Translated
+from the original Swedish, comprising--
+
+  Times of Gustaf Adolf,
+    Times of Battle and Rest,
+      Times of Charles XII.,
+        Times of Frederick I.,
+          Times of Linnaeus,
+            Times of Alchemy.
+
+  In cloth, per volume, 75 cents.
+  The same, in box, per set, $4.50.
+
+
+  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 _Saturday Review_, 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.
+
+  The Graphic, New York, says:
+
+  "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."
+
+  The Sun, Philadelphia, says:
+
+  "We would much prefer teaching a youth Swedish history from the novels
+  of Topelius than from any book of strict historical narrative."
+
+  The Standard, Chicago, says:
+
+  "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."
+
+
+_Sold by all booksellers, or mailed, post-paid, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+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 Abby Sage Richardson, Fourth edition,
+revised. Price $1.50.
+
+
+  The Boston Transcript says:
+
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+  warmly recommend it to schools and private classes for reading as an
+  admirable text-book."
+
+  The New York Evening Mail says:
+
+  "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."
+
+  The New York Nation says:
+
+  "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
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+  reading."
+
+  Prof. Moses Coit Tyler says:
+
+  "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
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+  English literature for themselves."
+
+
+_Sold by all booksellers, or mailed, post-paid, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+TALES OF ANCIENT GREECE. By the Rev. Sir G. W. Cox, Bart., M.A., Trinity
+College, Oxford.
+
+12mo, cloth, price, $1.25.
+
+
+  "Written apparently for young readers, it yet possesses a charm of
+  manner which will recommend it to all."--_The Examiner, London._
+
+  "It is only when we take up such a book as this that we realize how
+  rich in interest is the mythology of Greece."--_Inquirer,
+  Philadelphia._
+
+  "Admirable in style, and level with a child's comprehension. These
+  versions might well find a place in every family."--_The Nation, New
+  York._
+
+  "The author invests these stories with a charm of narrative entirely
+  peculiar. The book is a rich one in every way."--_Standard, Chicago._
+
+  "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."--_Edinburgh Review._
+
+  "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."--_Golden Rule, Boston._
+
+  "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
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+
+  "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."--_Tribune, Chicago._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+SHORT HISTORY OF FRANCE, FOR YOUNG PEOPLE. By Miss E. S. Kirkland, author
+of "Six Little Cooks," "Dora's House-keeping," &c.
+
+12mo, cloth, price, $1.25.
+
+
+  "A very ably written sketch of French history, from the earliest times
+  to the foundation of the existing Republic."--_Cincinnati Gazette._
+
+  "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."--_Bulletin, Philadelphia._
+
+  "A book both instructive and entertaining. It is not a dry compendium
+  of dates and facts, but a charmingly written history."--_Christian
+  Union, New York._
+
+  "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."--_Living Church._
+
+  "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."--_Sunday Afternoon,
+  Springfield (Mass.)._
+
+  "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."--_Courant, Hartford (Conn.)._
+
+  "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."--_The
+  Nation, New York._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+                          LAUREL-CROWNED TALES.
+
+
+Abdallah; or, The Four-Leaved Shamrock. By Edouard Laboulaye. Translated
+by Mary L. Booth.
+
+Rasselas, Prince of Abyssinia. By Samuel Johnson.
+
+Raphael; or, Pages of the Book of Life at Twenty. From the French of
+Alphonse de Lamartine.
+
+The Vicar of Wakefield. By Oliver Goldsmith.
+
+The Epicurean. By Thomas Moore.
+
+Picciola.  By X. B. Saintine.
+
+An Iceland Fisherman. By Pierre Loti.
+
+                     _Other volumes in preparation._
+
+  Handsomely printed from new plates, on fine laid paper, 12mo, cloth,
+  with gilt tops, price per volume, $1.00.
+
+  In half calf or half morocco, $2.50.
+
+
+  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.
+
+  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.
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE BOOK-LOVER. A Guide to the Best Reading. By James Baldwin, Ph.D.
+Sixth edition, 16mo, cloth, gilt top, 201 pages. Price, $1.00.
+
+                  In half calf or half morocco, $2.75.
+
+
+  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.
+
+  We know of no work of the kind which gives so much useful information
+  in so small a space.--_Evening Telegram, New York._
+
+  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.--_Independent, New York._
+
+  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.--_Evening Mail and Express,
+  New York._
+
+  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.--_Literary
+  World, Boston._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+WE TWO ALONE IN EUROPE. By Mary L. Ninde. Illustrated from Original
+Designs.
+
+                     12mo, 348 pages, price, $1.50.
+
+
+  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.
+
+  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.--_The Congregationalist, Boston._
+
+  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.--_Times, Troy, New York._
+
+  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.--_Home Journal, Boston._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE HUMBLER POETS. A Collection of Newspaper and Periodical Verse. 1870
+to 1885. By Slason Thompson. Crown 8vo, 459 pages, cloth, gilt top.
+Price, $2.00.
+
+                  In half calf or half morocco, $4.00.
+
+
+  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.--_Home Journal, Boston._
+
+  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.--_Independent, New York._
+
+  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.--_Observer, New York._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+LIFE OF ABRAHAM LINCOLN, By the Hon. Isaac N. Arnold. With Steel
+Portrait. 8vo, cloth, 471 pages. Price, $1.50.
+
+                  In half calf or half morocco, $3.50.
+
+
+  It is decidedly the best and most complete Life of Lincoln that has yet
+  appeared.--_Contemporary Review, London._
+
+  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.--_The Tribune, New York._
+
+  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.--_The Sun, New York._
+
+  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.--_The Interior, Chicago._
+
+  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.--_The Times, London._
+
+  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.--_Magazine of American History, New York._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+THE AZTECS. Their History, Manners, and Customs. From the French of
+Lucien Biart. Authorized translation by J. L. Garner.
+
+               Illustrated, 8vo, 340 pages, price, $2.00.
+
+
+  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.--_Saturday Evening Gazette, Boston._
+
+  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.--_The Tribune, Chicago._
+
+  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.--_The Advance, Chicago._
+
+  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.--_The Traveller,
+  Boston._
+
+  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.--_Chronicle Telegraph,
+  Pittsburg._
+
+
+_Sold by all booksellers, or mailed, on receipt of price, by_
+
+                                         A.C. McCLURG & CO., Publishers,
+                              Cor. Wabash Ave. and Madison St., Chicago.
+
+
+
+
+              Transcriber's Notes to the Electronic Edition
+
+
+    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".
+    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.
+    The (few) footnotes were moved to chapter ends; in the original they
+were in page footers.
+
+
+
+
+
+
+
+End of Project Gutenberg's The Standard Oratorios, by George P. Upton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE STANDARD ORATORIOS ***
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