The Standard Oratorios Part 7

"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 gla.s.s 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 ill.u.s.trates 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 G.o.d, 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 ba.s.s ("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 G.o.d"), 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 G.o.d"), 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 G.o.d"), 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 h.e.l.l"),--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 G.o.d wors.h.i.+p 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 ma.s.sive aria for ba.s.s ("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 G.o.d 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 ba.s.s 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 ba.s.sos 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 n.o.blest 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 c.u.mberland 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 c.u.mberland, this faint portraiture of a truly wise, valiant, and virtuous commander as the possessor of the like n.o.ble 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 G.o.d, 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 wors.h.i.+p the G.o.d 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 (ba.s.s) 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 repet.i.tions of the opening phrase lead to a chorale in broad, impressive harmony, with which is interwoven equally vigorous repet.i.tions of the phrase, "We wors.h.i.+p G.o.d 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 G.o.d"), a florid aria with trumpet solo for Judas ("With Honor let Desert be crowned"), the chorus, "To our Great G.o.d," 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 rehea.r.s.ed 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 a.s.sembled 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-ba.s.s 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 ba.s.s. After a brief instrumental prelude, the work opens with the triumphant, jubilant chorus with trumpets and drums, "We praise Thee, O G.o.d," 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 wors.h.i.+p 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 ba.s.s, 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 ba.s.s 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 ba.s.s 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 ba.s.s ("Thou sittest at the Right Hand of G.o.d"), 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 wors.h.i.+p Thy Name! ever, world without end."

In this group of choruses the art of fugue and counterpoint is splendidly ill.u.s.trated, but never to the sacrifice of brilliant effect, which is also heightened by the trumpets in the accompaniments. An impressive ba.s.s 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 n.o.bility 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 princ.i.p.al 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 n.o.bility 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 G.o.d 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: