THE TEXTS OF SELECTED ORATORIOS By HELEN MOORE THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1921 Digitized by the Internet Archive in 2016 https://archive.org/details/textsofselectedoOOmoor UNIVERSITY OF ILLINOIS V^\ 4 'S LU C/3 June .1.3., i9 2l.... ■ THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY HELEN MOORE ENTITLED THE . TEXTS . OF . SELECTED. ORATORIOS IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF.BACHELOR OF MUSIC IN MUSIC 4 r BIBLIOGRAPHY (1) Upton: Standard Oratorios (2) Spitta: Life of Bach (3) MacFarren: Analysis of Bach Oratorios (4) Nohl: Life of Joseph Haydn (5) Erb : Hymns and Church Music Groves: Dictionary of Music and Musicians American Encyclopedia of Music Episcopal Prayer and Hymn Book INDEX Page Introduction 1 Part I, Latin Hymns 2 Te Deum laudamus 2 Stabat Mater 4 Requiem 5 Dies Irae Domine Jesu Sanctus Agnus Dei Gloria in Excels is 7 Phos ilaron 8 Seven Last Words 8 Part II, Oratorios The Christmas Oratorio 8 The St. Matthew Passion 11 The Creation 12 The Seasons 14 The Messiah 17 Elijah 20 The Last Judgment 23 The Redemption 25 Paradise and the Peri 30 The Light of the World 32 The Prodigal Son 33 St. Peter 38 The Rose of Sharon 38 INTRODUCTION At concert performances of oratorio very little attention is either given voluntarily or attracted to the librettos which in many cases form a very important part of the whole performance. Some oratorios are noted for their poor librettos. However, this is not true of all, and it is one of the purposes of this investigation to point out those having literary merit. Oratorios of the earlier period in musical history which have lived down to the present are in most cases settings of Bibical texts either wholly or in part. This fact very easily proves the very great importance of suitable texts, and it is due to this fact that the writer believes the modern composers select a more carefully thought-out libretto as a medium of their musical thoughts. Oratorios earlier than Bach had scarcely any literary importance apart from the musical in many cases. But as the contrapuntal school reached its height and as the classic school merged into the romantic school libretti show very plainly the influence of prevailing tendencies toward more interesting verses and poems which have value in themselves . It is doubtless true that the beauty of song is greatly enhanced by the beauty of text and so an attempt will be made to point out by means of quo tatione, stories of libretti, authorship of the famous oratorios since and including Bach. Also some space will be devoted to the arranger’s part in preparing the libretto for the composer’s use. Hence the primary purpose of this discussion will deal with the texts of oratorios with special reference to ' , , . ' > ► -2 to literary worth and authorship. Secondly, to discuss certain traditional Latin poems of the liturgy of the Homan Catholic Church which have been the medium of many great masterpieces. These include the "Te Deum, " the ’’Requiem Mass, " the "Stabat Mater" and others. If the discussion of the origin, authorship and value of these libretti and poem3 stimulates the reader into an investigation of the music which has immortalized them, it is no less than a third and underlying purpose of this whole thesis. PART I Hot a few composers have taken texts for many of their masterpieces from the liturgy of the Roman Catholic Church, and many of these selections have become traditional, especially the "Te Deum," the "Requiem," and the "Stabat Mater." Composers of the past century and earlier wrote many more "Stabat Mater" and masses of these kinds than those of the twentieth century The Brahms "German Requiem" (also the Verdi "Manzona Requiem") is outstanding as one of the latest contributions of this kind to musical literature. First in order we will consider these Latin poems individually, telling their origin and authorship. "Te Deum laudamus" is one of the most popular of this group. It owes its origin to Nicetas, Bishop of Bemesiana in Dacia A. D. 400. In the regular church service, it has its place as a climax of the evening service but is frequently being used separately on special occasions as a song of praise or thanksgiving. The poem contains in its entirety three sections: . » - . . -3- (a) recounting the praise of Trinity from "We Praise Thee" (Te Deum Laudamus) to "the Comforter;" (b) the praise of Jesus Christ from "Thou Art the King" --onward ending with two verses of prayer, "We therefore praise Thee" and "Make them to be Numbered;" (c) a series of versicles and responses like the "sets" used elsewhere in the services of both Latin and English liturgy beginning with "Oh Lord, Save Thy People." These sections are often used separately with original music. 1 The following is a complete translation of the "Te Deum laudamus" from the prayer book of the English Lutheran Church published in 1839. "We praise Thee, 0 God; we acknowledge Thee to be Lord. All the earth doth worship Thee, the Father everlasting. To Thee all Angels cry aloud; the Heavens, and all powers therein, To Thee 2 Cherubin and Seraphin continually do cry, Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the majesty of Thy Glory. The glorious company of the Apostles praise Thee. The goodly fellowship of the Prophets praise Thee. The noble army of martyrs praise Thee. The holy church thrugh-out the world doth acknowledge Thee, The Father of an infinite majesty; Thine honourable, true and only Son, Also the Holy Ghost, the Comforter. Thou art the King of Glory, Oh Christ. ’*’* Grove’s Dictionary of Music and Musicians. \. t . , # . ' . ’ ■ r ; -4- Thou art the everlasting Son of the Father. When Thou tookst upon Thee to Deliver man, Thou didst not abhor the Virgin’s womb. When Thou hadst overcome the sharpness of death Thou didst open the Kingdom of Heav’n to all believers. Thou sittest at the right hand of God in the Glory of the Father . We believe that Thou shalt pray Thee help Thy Servants. We therefore pray Thee, help Thy servants whom thou hast redeemed. The "Stabat Mater" is a medieval poem of very uncertain origin, but more authorities agree on two more important names than any other of the supposed authors. These are Jacopone and Pope Innocent III, with the latter in the majority. At first the poem was not contained in the liturgy of the church, but, due to its popularity, it finally crept into the Roman Missal as a sequence in 1727 and gained its final place in the hymn-books later. The earliest setting of the "Stabat Mater" is by Josquin Despres (1450 (?)-152l) founded on a canto fermo . Better remembered are the two by Palestrina, one written for a double -quartet which is yearly sung at the Sistine Chapel on Thursday of Holy Week. Added to the list of composers are Pergolisi, Haj^dn, Rossini and Dvorak. 1 The poem is one of complete supplication and prayer beginning with: "Lord most holy’. Lord most mighty’. Righteous ever are Thy judgements. Hear and save us, for Thy mercies’ sake." 1# From Groves, "Dictionary of Music and Musicians." ( • t , , , « , , , , f - 5 - There is much which is lyrical in the poem as the following passage : "Through the darkness Thou will lead me, In my trouble Thou wilt heed me, And from danger set me free. Lord’ Thy mercy shall restore me, And the day-spring shed before me, All salvation comes from Thee’." Also : "Let Thy light so shine before us, And Thy mercy be upon us, Ev’n as in our trust in Thee." Of great majesty and dignity is this passage: "When Thou comest to the judgement, Lord, remember Thou Thy servants’. None else can deliver us. Save, and bring us to Thy Kingdom, there to worship with the faithful, and for ever dwell with Thee'." The "Requiem" is a solemn mass sung annually in commemoration of the "faithful departed" on All Soul's Day, November the second. It is also sung at funeral services and special occasions of great seriousness. It takes its name from the first word of the Introit, "Requiem aeternan" (grant them rest.) The "Requiem" is believed to be the joint production of St. Ambrose and St. Augustine, yet not all of its separate parts are by the same authors, since some have . : . - . t . - ■ . * , -6 authors of their own. In the revised missal of services, the "Requiem" is divided into five sections as follows: (1) "Requiem aeternan" which begins: "Grant them rest, grant them rest eternal, and light perpetual shine down upon them Give ear to my humble supplication, unto thee shall all flesh come at last." (2) "Dies Irae" by Thomas Celano was written about 1250 or 1300. Do Latin poem has been translated so often and, due to its popularity as a mass, many composers have used it. The character of this section of the "Reguiem Mass" is quite different than the preceding. Here the records of the "sacred dead" are scanned and no detail of its substance overlooked. The poem in part follows: "Day of anger, day of trouble, Time shall perish like a bubble. How each heart shall beat with terror When the judge comes, truth to mirror. Death with wonder, is enchained When man from his grasp, rejained Stands before the judge arrainged. Nothing longer shall be hidden Dot a trespass go unsmitten." In contrast: "Ah’, remember, Jesus blessed, Dor me Thy path was oppressed. : . . ...... , ' : . . , . : J -7 For my sake Thou sat'st down weary Thy cross bearing meek and cherry. From my sins Lord disenthrall me Ere to answer thou dost call me. Lo i I pray, a suppliant sighing, Dark remorse my heart aparying, Heed me at the hour of duing." This section is peculiarly medieval in its end rhyme and awkward construction. However, the stateliness of its lines cannot be overlooked. (3) "Domine Jesu" is quoted in its entirety. "Lord Christ Jesus, King of Glory, deliver Thou the souls of them that died in the faith of Jesus from panic everlasting, and the abyss unfathomed: from the mouth of the lion, lest of the jaws of the pit shall swallow them." (4) "Sanctus." "Holy, holy, Lord of God of Sabaoth Heaven and earth are full of the majesty of thy glory, Hosanna in the highest Blessed is he that comes in the name of the Lord most high." (5) "Agnus Dei." This section is a favorite for short masses . "Lamb of God (Agnus dei), oh Lamb of God, that dost cleanse awa y the world's transgressions; grant them Thy eternal rest." 1 There are other shorter Latin hymns which are popular also. One is the "Gloria in Excelsis" which was the morning- hymn of the early Christians. 1 Encyclopedia of Music . , , « ’ , , , . . - 8 - It is : "Hail! Gladdening Light of His pure Glory poured. Who is th' Immortal Lather, heavenly blest, Holiest of Holiest--Jesus Christ our Lord." The evening hymn "Phos ilaron" was preserved by St. Basil belonging to the first or second century. "How we are come to the sun's hours of rest The lights of evening round us shine. We hymn the Lather, Son and Holy Spirit Divine'." The "Seven Last Words," the 30 called last utterances of Christ, have furnished many fine pieces of music. In the Hebrew these are: "Eli, Eli, lama Sabachthani, lama Saba ch than i '. " In English--"My God, why hast Thou forsaken me." PART II "The Christmas Oratorio" by Johann Sebastian Bach. Although called an oratorio this great production is but a collection of sacred cantatas for the celebration of Christmas week. In North Germany the practice of celebrating Christmas begins December 25th and lasts until January 6th, the 26th and 27th, Nev/ Years and the Sunday after the feast of Epiphamy (or dispersion of the light among the Gentile), being particularly solemnized. Bach’s "Christmas Oratorio" is therefore divided into six parts, each part to be performed on a holy day. Part !• Lor the first day of the Christmas Lestival. Part II* Lor the second day of the Christmas Lestival. Part III* Lor the third day of the Christmas Lestival. : c, ’ . . ' ' , . -9 Part Iv. For the New Year’s Pay or the Feast of the Circumcision. Part V. For the Sunday after New Year's Pay. Part VI. For the Feast of Epihamy, The Bibical story, according to the Gospel of St, John, is given to the Tenor recitative, the "Evangelist . " The narrative is broken into by "reflective passages" which are in two classes, the chorals or popular hymns including such verses as have bearing on the text; and settings of original verses in the form of choruses, solos, trios, duets and other ensemble.'" 1 ' These verses were written by Christian Fredrich Heinrici born at Stolpo in 1700, who coelaborated with Bach on all the latter’s sacred writings under the name of "Picander . " Part I of " The Christmas Oratorio" deals with the Annunciation using frequent passages from St. Luke. The second part, introduced by a Pastoral Symphony giving the proper setting for the shepherds' watching over their flocks. Part III recounts the resolve of the shepherds to go to Bethlehem and their final discovery of the manger. Part IV, to be sung on New Year’s Pay ushers in a change to F major which is very appreciable especially when the oratorio is sung in succession. The feeling of ardent devotion is exhibited throughout from the naming of Jesus as sung by the Tenor recitative, to the introduction of the Wise Men. Part V takes up the story according to St. Matthew, telling of the Wise Men when they consult with Herod and the Hebrew authorities concerning the place of nativity. Comfort and thankfulness predominate in the last part as brought out in these verses: "With fear why are ye taken ^’Spitta. "Life of Bach." _ . ■ • , ,■ , . ■ . , . « . m • 4 . . - 10 - Why should the presense of the Lord in you such dread awaken? 0 greet with thankfulness the love He is revealing, He comes that He may bless our sinful race with perfect healing. " Also this part contains a beautiful little verse doubtless taken from one of Luther’s chorals. "Ah’, when shall we see salvation? Ah’, when come 3 our consolation? Peace, for surely this is He’. Jesus ah’ then come to me." The last cantata (Part VI ) gives the picture of the Wise Men offering gifts to the Savior and their worship at the manger. Apropos is a stirring verse given to the soloist. "Naught against the pow’r he wieldeth On our feeble arm prevail. Naught doth all our might avail. When His voice th’ Almighty shrev/s All the earth before Him yieldeth, Pall at one His mighty foes; Then no pride from ruin shieldeth." The last narrative (Tenor recitative) tells that the Wise Men avoid Herod and depart by another way home. Particularly outstanding is the good selection of chorals used. This is doubtless due to the old form in which the oratorio is cast. However, Bach’s unerring taste stands supremely high with master confidence and artistic dignity throughout the whole work. « - , . . - 11 - The St. Matthew Passion. In 1729 the text for the "St. Matthew Passion" was compiled jointly by Bach and Picander. Although the verses of Picander are very weak and uninteresting because he was less than an inferior poet, yet Bach was able to keep control over the poetic thought which served for a better purpose in the end. The story is divided into two parts according to the St. Matthew Gospel. The first part comprises the conspiracy of the High Priests and Scribes, the anointing of Jesus, the institution of the Lord's Supper, the prayer on the Mount of Clives and the Betrayal. This first part is lyrical in both music and verse. The second part includes the hearing before Caiaphas, Peter's denial, the Judgment of Pontius Pilate with the episode of the death of Judas, the progress to Golgotha, and finally the Crucifixion, death and burial. The dramatic element predominates in the second part including a little heavier accompaniment and more climactic choruses and but few solos. However, the whole oratorio is characterized by a sweetness which has selected only those parts from the last days of Christ's life which should inspire devotion, pity, and ardent worship instead of the gruesomeness of the earlier Passion texts. There is no attempt at making a drama, although the characters are sung by individual parts and the Tenor recitative chants the Bible verses. Altogether there are twenty-eight independent poems interspersed with the recitatives of Bible verse. Differing from the Passion oratorios of other, especially later, composers, Bach has used the "Seven Last Words" in the original, "Lama, * . . , . * . . . lama, sabachthani, " which gives a peculiar appeal all its own. The "Creation" by Franz Joseph Haydn. The text for the "Creation" was offered to Haydn by Solomon, a poet and connoisseur who urged many tasks upon Haydn. He resurrected the poem while Haydn was in England and urged on by the example of Handel to choral writing, Haydn, with profound reverence, undertook the composing of the music. The text is compiled by P. D. Lidley from Milton's "Paradise Lost" in a very free translation, v/ith many alterations. It is in three parts, the first telling of the creation of the earth, the second, the creation of living things and last, the praises of Adam and Eve. The characters are: Gabriel —Soprano Uriel — Tenor Raphael — Bass Adam- -Bass Eve — Scprano Part One begins with the first words of Genesis, sung by Raphael: "In the beginning God created the heavens and the earth .." Then following in a series of recitatives, choruses and solos is the story of the creation of waters, sky and earth finished by a lyrical verse sung by the angel Gabriel ( soprano ) : "With verdure clad the fields appearest, Delightful to the ravish'd sense; By flowers sweet and gay ■ . ' . • ' i-j . ... - : . r -13 Enhanced is the charming sight, Here fragrent herbs their odors shed, Here shoots the healing plant.” The climax of the first part comes at the end with the stirring chorus : "The heavens are telling the glory of God, The wonder of His love displays the firmament." Part Two relates the inhabitation of the earth with living things and gives the charge: "Be fruitful all, and multiply, Ye winged tribes, be multiplied, And sing on every tree; Multiply, ye funny tribes, And fill each wat’ry deep; Be fruitful, grow and multiply, And in your God and Lord rejoice." Another chorus not so dramatic as the one in Part One, finishes Part Two : "Achieved is the glorious work; Our song let be the praise of God. Glory to His name forever. He sole on high exalted reigns." Thankfulness and worship by Adam and Eve occupy the third part, "where hand in hand they go; their glowing looks express the thanks that swell their grateful hearts." They express their happiness in each other by Eve’s words: "0 thou for whom I am, my help, my shield, My all, thy will is lav/ to me: : f * ■ : ■ . . ' . ■ ; - 14 - So God our Lord ordains, and from obedience Grows my pride and happiness.” The oratorio closes with a triumphant chorus with which the quartet (Gabriel, Eve, Raphael and Adam) joins: "Sing the Lord, ye voices all Magnify His name through all creation, Celebrate His power and glory, Let His name resound on high. Praise the Lord. Utter thanks. Jehovah’s praise forever shall endure." Amen. "The Seasons "--by Eranz Joseph Haydn. This oratorio is Haydn’s last effort of a more pretentious character. The text is compiled by Ereiherr von Sweiten taking Thomson's "Seasons" as a basis. He persuaded Haydn to undertake the work and Haydn, who liked the libretto, was very willing to make the attempt. The librettist has chosen characters who form the solo quartet although the text requires no separate rendition. The personnel is: Simon (a farmer) — Base Jane (his daughter ) --Soprano Lucas (a young countryman) --Tenor Chorus of country people and hunters The oratorio is divided into four parts according to the seasons, otherwise no story is followed. Spring involves planting and nature's work. * , . , : - 15 - "With joy th’ impatient husbandman Forth drives his lusty team. To where the well us’d plough remains, How loosen’d from the frost." These descriptions end with the jublilation of the chorus: "God of light! God of life! Hail, mercy’s Lord." Finally Part One closes with a trio: "From whose abundant stores The earth with plenty flows, And whose Almighty love Makes glad the heart of man." Part Two describes the summer day beginning with the exuberance of morning, the heat of noon and the peace and quiet cf the evening. To the chorus is given the description of dawn rising to a climax at the appearance of day. "Behold on high he mounts, The sight no more his beams withstands." The farmer (bass) sings an aria of the activities of the morning. "How swarms the village o'er the mead, The rustic youth, the ruddy maid, The breathing harvest spread around Whose fragrence scents the air." Then : "Distressful nature fainting sinks’. Drooping foliage, thirsty pastures, faunts exhausted, Show the tyrant rage of heat; And panting, languish man and beast. . • -16 Outstreach’d upon the ground. Ho v/ wel corned the shady nooks.” In contrast follows the very pleasing and quieting aria for the soprano which remains the most famous selection of the whole oratorio . "0 how pleasing to the senses Comes the sweet and cooling breeze*. Beams the eye with joy expanded, As the stream of life pervades The invigorate! frame . Delight uplifts the heart And fancy s magic power O’er nature bears the soul On sweet enchanted wing. ” At last the evening comes with a quiet choral ending which finishes Part Three. "The evening bell again has tolled, The winking stars to sleep invite; The hour of sweet repose is near; To rest, to rest away. In the autumn comes the rewards of nature through the labor of man, the abundance of harvest and the praise and rewards of industry. "0 industry, how rich thy gifts’. The cottage where we dwell, Our clothing and our food, Health, plenty and content, Are blessing all by thee bestowed. - 17 - All Hail, 0 Industry! From thee springy every good. The "Seasons" never reached the level of the "Creation" first because of its pastoral nature and second because of its disconnected libretto. However, for the amateur chorus of the High School type, the "Seasons" has a place among the most suitable oratorios. The "Messiah"- by George Frederick Handel. The text of Handel's "Messiah," selected by Charles Jennens, is one of the most suitable oratorio libretti discussed in this thesis. Although it is entirely from the scriptures, it tells the story from the prophecies of the Messiah's coming to his birth, death and resurrection. The libretto proper is divided into three parts, (a) the prophecies, (b) His coming and (c) His death and resurrection. The oratorio opens with a short instrumental overture which is followed one after the other by prophecies of His coming. First the tenor sings that "Jerusalem's warfare is accomplished and that her iniquity is pardonned" also that "Every valley shall be exalted." The chorus offers: "And the glory of the Lord shall be revealed and all flesh shall see it together; for the mouth of the Lord has spoken it." However, the real prophecy is given to the alto soloist with the recitative, "Behold, a virgin shall conceive and bear a Son, ans shall call His name Emanuel" and the aria, taken from the Psalms "0 thou that tellest good tidings to Zion, get thee up into the high mountain" The bass adds a bit of gloomy, yet promising prophecy with "The people that walked in darkness have seen a great light; and they that dwell - 18 - in the land of the shadow of death, upon them hath the light shined." The chorus sings the happy words which finish this sequence: "For unto us a child is born, unto us a Son is given, and the government shall he upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace." There is a Pastoral Symphony which serves as a transition between the prophecies and the fulfillment . Up to now, the soprano has had no solos but the description of the shepherds in the fields and what happened on that night is divided into four recitatives ending with the chorus "Glory to God in the highest and peace on earth, good will towards men.’ 1 Again the soprano sings in co-operation with the alto their celebrated solos of comfort to those that "labor and are heavy laden" which are among the most impressive of sacred solos. Part One ends with the chorus "His yoke is easy and His burthen is light." Part Two introduces the tribulations and sorrows of the Savior’s life on earth. The alto has the first aria "He was despised and rejected; a man of sorrows and acquainted with grief," followed by a chorus, "Surely He hath borne our griefs and carried our sorrows! he was wounded for our transgressions. He was bruised for our iniquities," with a fugal ending on "And with His stripes we are healed." Then reference is made to the first spreading of the gospel, "The Lord gave the word; great was the company of preachers," and then, followed by the simple and beautiful soprano aria, "How beautiful are the feet of them that preach of peace, and bring glad tidings of good things." ' 10 iCi; - 19 - Curiously appropriate is the thunderous bass solo which breaks in upon the peace of the preceding solos and choruses. This is one of the finest bits of variety which a librettist can offer, expressing as it does the eternal question: "Why do the nations rage so furiously together, and why do the people imagine a vain thing? The kings of the earth rise up and the rulers take counsel together against the Lord, and against His Anointed." However, this fear is allayed by a dramatic tenor solo, "Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potters vessel" and the chorus rejoices in the famous Hallelujah chorus which closes the second part. The theme of the resurrection is opened immediately in the third and last part by the soprano solo: "I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth For now is Christ risen from the dead, the first fruits of them that sleep." The teaching of resurrection and life everlasting through Jesus Christ remains the theme throughout the remainder of this part. The bass aria describes the manner of resurrection: "The trumpet shall sound and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal put on immortality." The soprano inserts a bit of comfort easily understood: "If God be for us who can be against us? It is Christ that died, yea, rather that has risen again, who is at the right hand of God, who makes intercession for us." The "Messiah" closes with one of the most dramatic finales in oratorio the secret of which lies in the strength of thought contained in the text. "Worthy is the Lamb that was slain, and hath redeemed us by His own blood, to ■ "t c . ' - 20 - receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing" However Handel has placed his own genius into this finale by the fugal "Amen" chorus which completes the whole effect. "Elijah"- by Felix Mendelssohn-Bartholdy . The greatest of Mendelssohn’s oratorios "Elijah", is another whose text is from the Bible. The author of the English version which is used in this discussion has translated as "nearly in accordance with the scriptural texts as the music to which it is adapted will permit: the references are therefore to be considered rather as authorities than quotations." The text is divided into two long parts, the first including Elijah’s triumph over Baal and his prophets, the second, telling of his flight to the wilderness and subsequent departure to heaven. There had been a great drought over Israel which Elijah had decreed as a punishment of the people of Israel, "As God the Lord of Israel liveth, before whom I stand, there shall not be dew nor rain these years, but according to my word." Yet the people will not believe in the Lord. They answer, "He mocketh at us; His curse hath fallen down upon us; His watch will pursue us, till He destroy!" An angel speaks to Elijah telling him to drink at Cherith's brook where the Lord will strengthen him. At the brook, he meets a widow whose son has died, Elijah, in order to prove that the Lord is merciful and compassionate and also that he is a man of God, calls upon the Lord to revive the soul of the widow's dead son. The widow answers: "The Lord hath heard my prayer, the soul of my son reviveth. Now by this I know that thou art a man . -31- cf God, and that His word in thy mouth is the truth. What shall I render to the Lord for all His benefits to me?” Elijah answers: "Thou shalt love the Lord thy God with all thine heart, and with all thy soul, and with all thy might." Elijah is then called to bring witness before Ahab and the prophets of Baal that the Lord is the one God. He calls people before them and commands the priests of Baal to slay a bullock and lay it on the alter and "uplift your voices, and call the God ye worship; and I then will call on the Lord Jehovah; and the God who by fire shall answer, let him be God." The people call in loud voices many times, even cut themselves with lancets and knives as their custom in worship, but no fire came down. At last Elijah tired of their ranting cries out: "Draw near, all ye people: come to me’." "Lord God of Abraham, Isaac and Israeli this day let it be known that Thou art God; and I am Thy servant! 0 show to all this people that I have done these things according to Thy word! 0 hear me Lord, and answer me; and show this people that Thou art Lord God, and let their hearts again be turned! The fire descends and consumes the offering and the people cry, "Before Him on your faces fall! The Lord is God: 0 Israel hear! Our God is one Lord: and we will have no other gods before the Lord!" Then Elijah chides the people for not having believed. "Is not His word like a fire; and like a hammer that breaketh a rock into pieces? For God is angry with the wicked every day; and of the wicked turn out, the Lord will whet His sword; and He hath bent His bow, and made it ready." Obadiah pleads with Elijah that they have rain. "0 man of God, help thy people! Among the idols of the Gentiles, - 22 - are there any that can command the rain, or cause the heavens to give their showers? The Lord our God alone can do these things.” Elijah answers: "0 Lord, Thou hast overthrown thine enemies and destroyed. Look down on us from heaven, 0 Lord, regard the distress of Thy people; open the heavens and send us relief: Help thy servant now, 0 God.” He sends a youth three times to look for a cloud. At last: "Behold, a little cloud ariseth now from the waters; it is like a man's hand! The heavens are black with clouds and wind: the storm rusheth louder and louder." The people convinced burst into rapturous chorus: "Thanks be to God! He loveth the thirsty land! The waters gather; they rush along; they are lifting their voices! The stormy billows are high; their fury is mighty. But the Lord is above them and almighty." Part Two reiterating the first in its songs of praise and thankfulness, yet it al3o continues the story farther. The queen, not satisfied with the sudden turn of the people toward Jehovah, reminds them of the causes of their previous disbelief. "Have we not heard He hath prophesied against all Israel? Doth Ahab's power govern the kingdom of Israel while Elijah's power is greater than the king's?" The people answer each question with "We heard it with our ears," or "He shall perish." To further infuriate the people she cries: "Hath He not destroyed Baal's prophets? He also closed the heavens. He called down a famine on the land" and at last, "Go forth and sieze Elijah for he is worthy to die; slaughter him! do unto him as he hath done!" Elijah is warned by Obadiah that "the mighty gather against thee" and so seeks protection in the wilderness where his soul is persecuted with sorrow and remorse for the actions of his • ■ . -23- people. The angels comfort him with lovely songs of rest and promise, but Elijah answers all: ”0 Lord, I have labored in vain; I have spent my strength for naught I" But God caused a great storm and fire over the land which destroyed everything. The angels report to Elijah; "Go return upon thy way! For the Lord yet hath left Him seven thousand in Israel which have not bowed down to Baal: go, return!” He goes back to his people who praise him as the one man of God. ”And when the Lord would take him away to heaven, lo! there came a fiery chariot with fiery horses; and he went by a whirlwind to heaven.” The oratorio closes with three choruses of praise :- ”0 come every one that thirst eth. 0 come to the waters. Come unto Him, 0 hear and your souls shall live forever.” Lord, our creator, how excellant Thy name is in all nations. Thou fillest the heaven with Thy glory. Amen.” ”The Last Judgment , "-by Ludwig Spohr . It is told that after his return from a concert tour, Spohr received instructions from Bischiff, then the Precenter at the Church of Frankenhausen, informing him that the Governor of Erfurt had commanded him to arrange a musical festival in honor of the birthday of Napoleon. Obeying the order, Spohr took a text arranged by an unknown poet of Erfurt and began work on the music. Contrary to the impression which the title of the oratorio might convey, it contains very little of "eternal damnation" or even fearful descriptions; but sweetness, tenderness or grace might characterize the whole work. The text is divided into two parts, the first part contains choruses of praise and adoration and a little of the description of "The Last Judgment" and Part i ■ -24- Two confines itself to those portions of the apocalypse which describe the signs of the last day, concluding with the vision of a new heaven and earth* There is no particular story in the libretto for the whole oratori© dwells on the rewards of good faith and preaches the gospel of salvation thru the risen Lord, Jesus Christ. One of the opening choruses is rival to the famous chorus in the "Messiah" ; "Blessing and honor, power and glory be unto Him who sitteth upon the throne and unto the Lamb forever." Immediately following, the setting is given: "Day of wrath is near . Th' Almighty shall reveal His power. The reaper's song is silent in the field. And the shepard's voice in the mountains. The valley 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, 0 God, i3 uplifted. Thou shalt shake the earth and heavens. They shall shrivel as a scroll When Thou in wrath appearest." Then comes John's description of his vision of a great white throne around which shone a rainbow and from behind came thunder and voices crying day and night. "And lo! a throne was set in heaven, and on the throne One stood. And a rainbow was around about the throne; and the elders knelt before the throne clad in white raiment: and on their heads were crowns of gold: and from the throne came thunder ings, and voices crying day and night." Then . . -25- comes the description of Christ, the Savior. u And lol a mighty host of all nations and people stood before the throne and the Lamb. Of spotless white was every garment: in every hand a palm was borne.” For those pleading for comfort, whose conscience may be a little guilty, the soprano sings an aria of great promise: "Yes, every tear and every sorrow, the Lord shall wipe away from their eyes: nor sin, nor death, nor pain, nor sorrow shall there be known." Part Two deals with the second comingof Christ. The description is given to the bass recitative with a rumbling accompaniment expressive of tense excitement. The appeals come, just as in its actuality they will come. "Forsake me not in this dread hour, 0 God most merciful In Thee alone I trust." To those seeking repentence, the promise is given. "I will be your Father and ye shall be my people." The oratorio closes with a dramatic choral ending glorifying God with some of the most impressive verses in the Bible. "All nations worship before Thy throne for Thou alone art holy. Thine is the kingdom, the power and glory forever. Great and marvelous are Thy works, 0 Thou Almighty God." Amen. "The Redemption"- by Charles Francois Gounod. "The Redemption" is unique among the oratorios considered in this discussion in that Gounod is both author and composer. He wrote the words at Rome where he passed two months of the winter of 1867-68, and simply sketched the music. The oratorio, however, was not completed until fourteen years later for the Birmingham Festival in England. It is divided into a Prologue and three parts including "Calvary," the Resurrection and the Ascension, - ' - 36 - and lastly, the Pentecost. The tenor and bass soloist are given the role of narrator and appear as the only soloists until the soprano solos in the second part and a short soprano solo in the third part representing an angel. So, it is essentially a "choral” oratorio.^ The prologue relates the story of Adam in the garden. "Of the works of Thy hands, by Thy predestination was the father of man appointed to be head; And be placed in a land of abundance and beauty; Lived a pure, happy life, under guidance of duty;" The bass narrator then tells the story of man's disobedience of the divine command but utters no hope of forgiveness. " not by blood flowing often Could mankind ever hope the Lord's anger to soften." The tenor narrator has the tidings, however, a prophecy which expresses the whole theme of the Redemption. "In our flesh will come One, to be born and to die. To prevail over death, exalting man on high." And a celestial choir sings the "Promise of Redemption;" "The earth is my possession; I leave my heavenly home To atone for transgression: 0 my Father, lo, I come." Part One tells the story of the Crucifixion. "When the hour was at hand, the Lord with resignation Went forth up to the mount, as a sinner to die. For us He gave Himself as a willing oblation, 1# The translation of the text used in this discussion is by L Reverend F. Troutbecke . - 27 - That in His holy blood, Man, by a new creation. Might again be invested with grace from on high. And at last might attain to eternal salvat ion. " The march to Calvary, an orchestral interlude , contains also the description in solos and choruses of His patient climb carrying the burden of the cross, also Christs* words to the women of Israel : n Ye daughters of Israel, weep ye not for me, but weep ye for yourselves, and weep ye for your children The crucifixion contains a sympathetic description of the agonies including His forgiveness of the slayers. His commission to John, "Behold thy Mother l", the words of the impenitent and the penitent thieves, and the latter's forgiveness, "And the Lord was touched by the faith in pardon which he shewed, and turning to him spake thus: ‘In very truth say I to thee, today thou shalt be with me in Paradise. Following is an orchestral interlude expressive of the darkness which fell over the earth "at about the ninth hour." Jesus cries: "My God, why hast Thou forsaken me?" and then commends His spirit into God's hands. "Then He gave up the ghost , and all came to an end." Part Two from the Resurrection to the Ascension gives every detail of the story without a single verse of the scriptures. A prophetic choir at the beginning sings a beautiful verse on the theme of the Resurrection. "Savior of men, we know that because Thou art living We live: Thou to the dead resurrection art giving. Yea, all them that are sleeping from the grave Thou wilt bring, ' ? . - 38 - So that life restored, we shall see Thou art glorious. When as Death, over whom this day Thou art victorious. Has fled before the Lord and King.” The old story is told in song, of the women going to the sepulchre in the morning and their surprise at seeing the stone rolled away. They meet Jesus on their way to deliver the angel's message to the disciples and He says: "Blessed are ye women. All the things ye have done, all the tears ye have been shedding, signs of faithful love, have their reward in heaven. ..... .Depart quickly, and say to them that ye have this day seen the Lord." An individual stamp is given to this part of the oratorio in the story of the consternation of the high priests and scribes. This portion is not always included and adds quite a diversion to a part of the story which might easily become uninteresting. The soldiers of the watch greatly perplexed say: "Christ is risen again. Vainly we kept a close watch. Lo! the tomb open stands. This in truth is a sign. Jesus Christ, He whom some as a prophet regarded, the Just One, and was He more than a mortal?" The chorus chides these officers in an almost bantering manner. "How behold ye the guard, this your sleep-vanquished guard. Ah! Ye priests who conspired, ye yourselves in slumber. What time ye to the shameless betrayer did number. In return for his deed, that agreed on reward. To the crime were blind: yet does Justice record That through gold, which the hand of the traitor did cumber Forages on your heads shall contempt be outpoured." . . - 28 - The news is given to the disciples in two rather prosaic stanzas, sung by a trio: "The Lord, He is risen again. To our sight and to our hearing Have wondrous signs been appearing: He doth manhood yet return The Lord, H© is risen again. Him we saw, when home returning At the breaking of the day; Our hearts are within us burning. All grief and doubt passed away. The Lord, He is risen again.” The disciples gather together in the evening and Jesus visits them giving the great commission which they must assume as preachers and: "After this to a mountain He lead them forth, and then, lifting up His hands, as in blessing. He departed and ascended into Heaven j* Immediately following comes the chorus which is the most popular of its kind. The verses are of great stateliness but without any pompousness. "Unfold, ye port als everlast ing. With welcome to receive Him ascending on high. Behold the King of Glory 1 He mounts up through the sky. Back to the heavenly mansions hasting. Unfold, for lo, the King comes nigh.” But who is He, the King of Glory? He who Death overcame, the Lord in battle mighty. . - 30 - Of hosts He is the Lord; of angels and of powers. The King of Glory is the King of Saints. The last part (III), "The Pentecost" shows the disciples praying on the day of Pentecost when the Holy Ghost appeared before them and: "At once the Spirit came upon them, a holy rapture, their very souls possessing, both in flames and inspires them: these untaught, simple men, these hearts with terror chilled, like to heroes appear, in their zeal for the faith." The disciples so full of divine spirit are rightly given the last choruses to sing: "The Word is Flesh become; thus begin we the story: Full of grace, full of truth is He. In the womb of a Virgin did He veil the glory Of His eternal majesty. He is before the world, all light from Him we gather, God, holy, just, and true, is He; And like the Holy Ghost, is one with God, the Father In everlasting Trinity." "Paradise and the Peri"- by Robert Schumann. The text of Schumann's great choral work is taken from the second poem in Moore's "Lalla Rookh" which was given to him by a friend, Emil Flechsig, by whom it was translated and revised for use. The poem is not genuinely dramatic and because Schumann adapted it to dramatic music, it has not been as successful as other of Schumann's work. The narrator form is . ■ - 31 - used throughout, doubtless a suggestion from Bach's oratorio, but the narrative changes from one voice to another, differing from Bach. The cast is: Peri — Soprano Angel — Alto King of Gazua — Bass Youth-Tenor The Horseman — Baritone Maiden — Soprano The angel (alto) begins the narration introducing the little sprite Peri, who expelled stands at the gate of Paradise lamenting her exclusion. The angel sings: "One hope is thine, Thou nymph of a fair but unerring line. Within the book of Fate 'tie written, The Peri yet may be forgiven. Who to this gate eternal bringeth The gift that is most dear to heaven. Go, seek it now, redeem thy sin, 'Tis sv/eet to let the pardoned in!" The Peri goes forth to seek this gift, and brings successfully the last drop of a hero 's blood shed for liberty, and the last sigh of a love that has sacrificed life itself for the beloved one; but these gifts are rejected as insufficient; At length she brings the first tear of penitence shed by a softened sinner. This is aocepted as the gift most dear to Heaven, and the gates of Paradise are unbarred to the triumphant Peri. She has wandered to India for the hero's blood, to Allah's throne for £ ' v - 32 - the love’s sigh and to Syria for the repentant’s tear. The lyrical poem is beautiful and of especial literary value, but the oratorio is a severe treatment of a fanciful subject. "The Light of the World"- by Arthur Seymour Sullivan. The words of this lovely oratorio are selected from the scriptures by the composer with the purpose of portraying the life of Christ including the nativity, preaching, healing and prophesying of our Lord to the end at the triumphant entrance into Jerusalem. Thus it is full of praise and joyfulness. The prophecy from Isaiah, sung by the chorus, opens the oratorio. "There shall come forth a rod out of the stem of Jesse and a branch shall grow out of his roots, and the Spirit of the Lord shall rest upon Him and shall make Him of quick understanding in the fear of the Lord." The tenor in recitative announces the birth as he describes the shepherds in the fields and their subsequent approach to the manger. At the birthplace praises are offered to the new-born Babe by the shepherds and at times the voice of Mary, the Virgin, is heard. The next scene shows Christ later in the synagogue where He astonishes the scribes and learned men with His profound understanding. Scene Three depicts still another important happening, that of the raising of Lazarus from the dead. In this scene is the beautiful soprano solo sung by Martha: "Lord, if Thou hadst been here, my brother had not died." Jesus is warned that the Pharisees and priests are becoming jealous of His fast increasing power and are resolved on destruction. Jesus disregards the warning and enters Jerusalem amid the praises of his converts. Men, women and children all -35- welcome Him as King and Son of David. The children offer their praise in a chorus all their own. "Hosanna to the Son of David. Blessed is He that cometh in the name of the Lord. Hosanna in the highest. Blessed is the King of Israel than cometh in the name of the Lord. Peace in heaven, and glory in the highest." The scenes of Part Two are all laid in Jerusalem. The Overture portrays unrest and excitement caused by the presence of Christ in the city. However, He continues His preaching before crowds of listeners. There is a discourse concerning the parable of the sheep and goats and the people express their belief by "This is the Christ." The description of His last suffering and death is given by the chorus up to the last scene which is at the sepulchre. Here the disciples resolve to follow in their Master's footsteps, fighting "the good fight of faith." They glorify God for His marvelous gift sent down from heaven and for the triumphant close of their Master's life on earth. "The Prodigal Son"- by Arthur Seymour Sullivan. The story of this short oratorio is taken entirely from the scriptures, supplemented by other passages of a reflective nature. Sullivan himself in the preface of the oratorio gives the key-word which determines the treatment of this story. Luke XV: 10 begins the oratorio. "There is joy in the presence of the angels of God over one sinner that repenteth." A second chorus from the Psalms: "Like as a father pitieth his own children, even so is the Lord merciful . - 34 - to them that fear him." And again from Revelations: "They shall hunger no more neither thirst they anymore; and God shall wipe away all tears from their eyes." After the choral prelude expressive of the rewards of the faithful, the story of the Prodigal begins. He is weary of living under the protection of his father’s roof and is eager to see the world for himself. So he asks for his share as a son and starts out. He becomes associated with dissipation of all kinds and living becomes of the lowest. A verse from Isaiah is expressive of the condition into which this boy had fallen. "Come, let us eat and drink for tomorrow we die. Fetch wine and we will fill ourselves with the strong drink; and tomorrow shall be as day and much more abundant. Let us eat and drink." This is sung by the chorus with a tenor solo. Throughout this entire number is this rocking accompaniment figure: Then follows : "Woe unto them that rise up early in the morning that they may follow strong drink, that continue until night till wine inflame them." A contralto solo further adds to the feeling already gathered against such living. "Love not the world, nor the things of the world." (John i i ; 7 ) The story continues recounting the end which all such dissipation comes to. The Prodigal son is so far fallen that his ■ ■' -35- only food is the husks that the hogs throw aside. Forsaken and entirely alone, his only thought is home, for no other place is left. There, the servants have bread enough and even to spare. So the scriptures describe his return: "And he arose and came to his father, but when he was yet a great distance his father saw him, and had great compassion, and ran and fell on his neck and kissed him.” Luke XV:20. Here the chorus expresses the jubilation which is in the heart of the parent and the returned wanderer. First from the Psalms: ”0 that men would praise the Lord for His goodness and declare the wonders that He doeth for the children of me." The tenor adds another bit: "No chastening for the present seemeth to be joyous but grievous; nevertheless, afterward it yieldeth the peaceable fruit of peace,” An unaccompanied quartet makes the last appeal, this time to the listeners: "The Lord is nigh unto them that are of contrite heart and will save such as be of an humble spirit." The oratorio closes with a verse from Isaih LXiii: "Thou, 0 Lord art our Father and Redeemer. Thy name is everlasting." Hallelujah. Amen. "St. Peter"- by John Knowles Paine. The words of this oratorio are taken exclusively from the New Testament with the exception of three chorals. The text is arranged by the composer, telling the story of the Ascension and Pentecost, with Peter in the foreground. The oratorio is divided into two parts and four divisions: Part I) (a) The Divine Call )(b) The Denial and Repentance ' -37- the twenty-fifth chapter of Matthew, "Verily, I say unto you, that this night before the cock crows, thou shalt deny me thrice." Immediately following is the comforting tenor solo on the verses "Let not your heart be troubled, " and "Peace I leave with you" from John XV. The story of the denial is divided so that each character is given separate rendition. The role of St. Peter is taken by the Bass soloist. Following the denial itself, an orchestral interlude, "The Lament" ushers in a solo from the Psalms express irg Peter's bitter anguish, "0 God, my God, forsake me not! Turn Thou unto me and have mercy upon me, for I am disolate and afflicted. 0 Lord, Pardon mine iniquity, for it is great. 0 keep my soul anddeliver me," The chorus sings three great consolations, comforting Peter and those touched by the agony of his cries. One from Revelat ions, "He that overcometh shall receive a crown of life" and another from John, "The darkness is past, and true light now shineth. The last is given to the contralto soloist. Part Two opens with a chorus which forecasts a good deal of the story. "The Son of Man was delivered into the hands of sinful men; He was crucified, and the third day He arose again." Luke XXIV-7 The disciples are endowed with the commission to "Go ye and teach all nations and with the eleven Peter" went forth to preach, the Lord watching with them." The last division answers the world-wide question which is asked by the chorus, "What shall we do to be saved?", and Peter sings what might be called practically a sermonette - 38 - embodying the coming of the Lord: "When the wicked shall be oppressed" and "everyone that calleth on the name of the Lord shall be saved." He tells of the glorification of the Son of God by His death and resurrection and of His place at "the right hand of God." Again the chorus asks "What shall we do to be saved?" And at last comes the answer, "Repent ye, and be baptized." The chorus responds in a soft voluntary, "Beloved, let us love one another; for love is of God." The oratorio finishes with a passage from Revelations, "Great and marevllous are Thy works. Lord God Almighty." "The Rose of Sharon"- by Alexander C. MacKenzie. This oratorio nearly approaches the secular cantata; however, since the story is woven around a character of the Old Testament, King Solomon, the oratorio is placed in its proper category. The story is selected and written by Sir Joseph Bennett. The characters are: The Sulam it e— Soprano A woman — ’Contralto The Beloved — Tenor King Solomon-Bar it one An Elder — Bass The story is divided into three parts including the flight, capture and return of the "Sulam it e" or the "Rose of Sharon." Sulamite is happy with the love of the "Beloved." He owns rich fields and vineyards in the region of Sharon which he tends. One morning King Solomon rides through the village with his company and struck by the dusky but delicate beauty of the I I m - 39 - maiden, she is forced to join the king in his chariot amid the cheers and encouragement of the people. Part Two opens at the king's palace where the Sulamite amid queenly splendors since she is the king's favored. Her only consolation and comfort is singing the Twenty-third Psalm which is a beautiful and lyrical soprano solo. The women of the palace chide her for her loyalty to the "Beloved” and invite her to see the procession of the king with the Ark of the Covenant. This has no attraction for her and she mutters over and again "My Beloved is mine, and I am his." King Solomon enters and sings a beautiful ode to her charms offering her more riches and splendor but to no avail. Finally, weary of her, the king sends her home to the fields and pastures of her people. Part Three presents the welcome of Sulamite and the thanksgiving of the villagers although they were the ones who encouraged Sulamite to leave. She is reunited with her lover while she sings: "Set me as a seal upon thine heart, As a seal on thine arm." The chorus closes with a tribute to the constancy of love, "For the flame of love is as fire Even the fire of God. Many waters cannot quench it. Neither can floods drown it."