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 "StandardOperas;" and with this purpose in view the compiler has followed asclosely as possible the same method in the arrangement and presentationof his scheme. The main object has been to present to the reader acomprehensive sketch of the oratorios which may be called "standard, "outlining the sacred stories which they tell, and briefly indicating andsketching their principal numbers, accompanied in each case with a shortbiography of the composer and such historical matter connected with thevarious works as is of special interest. The compiler has also includedin his scheme a sketch of the origin and development of the Oratorio asillustrated in its three principal evolutionary stages, together withdescriptions of several works which are not oratorios in the strictsense, but at the same time are sacred compositions written upon a largescale and usually performed by oratorio societies, such as Bach's"Passion Music" and "Magnificat, " Berlioz's, Mozart's, and Verdi'sRequiems, 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 forthe general public rather than for musicians, and as far as practicable, technical terms have been avoided. Description, not criticism, has beenthe purpose of the volume, and the various works are described as fullyas the necessarily brief space allotted to each would allow. The utmostpains have been taken to secure historical and chronological accuracy, inasmuch as these details are nearly always matters of controversy. Thefavor which has been so generously accorded to the "Standard Operas"leads the compiler to believe that the "Standard Oratorios" will also bewelcomed by those who enjoy the sacred music of the great masters, andthat it will prove a valuable addition to other works of musicalreference. 

 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 ortext in a style more or less dramatic. Its various parts are assigned tothe four solo voices and to single or double chorus, with accompanimentof full orchestra, sometimes amplified by the organ. Like the opera, ithas its recitative, linking together and leading up to the variousnumbers. The origin of the word is to be found in the "oratory, " or placeof prayer, where these compositions were first performed. Crescimbeni, one of the earliest musical writers, says: "The oratorio had its originfrom San Filippo Neri, [1] who, in his chapel, after sermons and otherdevotions, in order to allure young people to pious offices, and todetain them from earthly pleasures, had hymns, psalms, and such likeprayers sung by one or more voices. " In tracing its evolutionary stages, its root will be found in the moralities, mysteries, and miracle-plays ofthe thirteenth and fourteenth centuries, which were instituted for thepurpose of impressing Biblical events in symbolical form upon the earlyconverts to the Christian Church. These representations were entirelydramatic in character, and their subjects, though always sacred, wereoften grotesquely treated, and sometimes verged on buffoonery. Among theactors, God, Christ, Satan, Mary, and the angels nearly always appeared;later, the various virtues and vices were personified. Therepresentations were usually given in the streets or in fields, andsometimes on the water. The highest dignitaries of the Church did notdisdain to act in these plays, nor did their promoters hesitate at timesto reduce the exhibition to the level of a Punch-and-Judy show by theintroduction of puppets cleverly manipulated. The earliest of thesemiracle-plays in England were performed by the various London Companies. The Tanners, for instance, produced the Fall of Lucifer. The Drapersplayed the Creation, in which Adam and Eve appeared in their originalcostume, --apparently without giving offence. The Water-Drawers naturallychose the Deluge. In the scene describing the embarkation of Noah'sfamily, the patriarch has a great deal of trouble with his wife, who isdetermined not to go aboard. She declares that if her worldly friends areleft 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 bidsher

 "Come in, wif, in twenty devill ways, Or alles stand thee without. "

Her friends the gossips entreat her to remain with them, and have acarousal over a "pottel full of malmsey;" but at last Shem makes a virtueof 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. Inthese exhibitions, Balaam, superbly habited and wearing an enormous pairof spurs, rode a wooden ass, in which the speaker was concealed. The assand the devil were favorite characters. The former sometimes appeared inmonkish garb and brayed responses to the intonations of the priests, while the latter, arrayed in fantastic costumes, seems to have been theprototype of clown in the pantomime. As late as 1783 the buffoonery ofthis kind of exhibition continued. An English traveller, describing amystery 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, graduallywore away when the Church assumed the monopoly of them and forbadesecular performances. Among the earlier works Burney cites thefollowing:--

 "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 dramatizationand performance of Biblical stories, such as "The Good Samaritan, " "TheProdigal Son, " and "Tobias and the Angels, " accompanied with musicwritten by his friend Giovanni Animuccia, that the term "Oratorio" cameto be accepted as the distinctive title of these sacred musical dramas. His productions were very crudely and hastily arranged, his only purposehaving been to render his service attractive. After his death, however, in 1595, his work was continued by Emilio del Cavaliere, a Romancomposer, who produced the first real oratorio which had as yet appeared. It was entitled "La Rappresentazione dell' Anima e del Corpo" ("The Souland the Body"), and was first performed in February, 1600, in the oratoryof the Church of Santa Maria della Vallicella at Rome. Burney assigns toit the credit of being "the first sacred drama or oratorio in whichrecitative was used. " The characters were Time, Human Life, the World, Pleasure, the Intellect, the Soul, the Body, and two youths who were torecite the prologue. The orchestra was composed of a double lyre, aharpsichord, a large or double guitar, and two flutes. The composer hasleft some curious instructions for the performance of his work; amongthem 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 thecomposer has also left detailed instructions for its guidance. During theritornels the four principal dancers accompanied them in "a balletenlivened with capers, " and at the close of the performance stanzas weresung, alternating with dances to be executed "sedately andreverentially. "

Emilio del Cavaliere was followed by a long line of Italian oratoriocomposers 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 perfectedthe recitative and invested the music with more importance, giving itsomething like equal rank with the dramatic character of the composition. It was during his time that the personage known as "Historicus" wasintroduced, who continued the action with explanatory passages betweenthe numbers, --a modern illustration of which may be found in the"Narrator, " as used by Gounod in his "Redemption. " Carissimi employedthis expedient, and made it very effective. It is also claimed that hewas the first to introduce the cantata as a form of church music, and theaccompaniment of violins in motet performances. His most famous oratoriosare "Jephte, " "Abraham et Isaac, " "Le Jugement Dernier, " and "JudiciumSalomonis. " Of the first named, Hawkins says: "It consists of recitative, airs, and chorus; and for sweetness of melody, artful modulation, andoriginal harmony, is justly esteemed one of the finest efforts of musicalskill and genius that the world knows of. " Stradella, whose romantichistory is familiar to every one, is chiefly remembered by his attachmentfor Hortensia, the vengeance of the Venetian lover which followed them solong, and the song which saved the composer's life from the assassins. This song was from his own oratorio, "St. John the Baptist, " firstperformed in the Church of St. John Lateran at Rome. Burney, who examinedthe score, says: "The recitative is in general excellent, and there isscarce a movement among the airs in which genius, skill, and study do notappear. " He also observes that this oratorio is the first work in whichthe proper sharps and flats are generally placed at the clef. Scarlatti, born in 1659, was a composer of great originality, as well asversatility. He has left, in addition to his numerous operas andcantatas, several oratorios, the most famous of which are "I Dolori diMaria sempre Vergine, " "Il Sagrifizio d' Abramo, " "Il Martirio di SantaTeodosia, " and "La Concezzione della beata Vergine. " He gave to theoratorio more breadth, boldness, and dignity of style, improved the formof the aria, made the accompanied recitative more dramatic, and developedthe treatment of several instruments, among them the trumpet, whose realbeauty and effect he was the first to bring out. Mazzocchi is chieflyknown by his oratorio, "Querimonia, " produced in Rome in 1631, which issaid to have drawn tears from all who heard it. Federici wrote twooratorios, "Santa Cristina, " and "Santa Caterina de Sienna, " in both ofwhich "interstitial" accompaniment is used for the first time; that is, the violins, instead of accompanying the voice, repeat portions of themelody in short symphonies. Pistocchi was one of the most prominentstage-singers of his time, and established a school of singing atBologna. His most famous oratorio is entitled "Maria Vergine addolerata, "and is without overture or chorus. Burney notes that in the close of thiswork degrees of diminution of sound, such as "piano, " "più piano, " and"pianissimo, " are used for the first time. Caldara wrote a large numberof oratorios, mostly adapted to the poetry of Zeno and Metastasio, whichare said to have been delightful productions. Colonna, who was acontemporary of Stradella, but not so famous, has left one oratorio, "St. Basil, " which is highly praised. Bononcini also, who afterwards became arival of Handel in England, wrote several oratorios before he went tothat country, the best of which is entitled "San Girolamo della Carità. "

The conclusion of this period brings us to the second stage in theevolution of the oratorio; namely, the passion-music, which may beregarded as the connecting link between the earlier form as developed bythe Italian composers of the sixteenth and seventeenth centuries, and theoratorio as it appeared after it had felt the mighty influence of Handel. The passion-music was the direct outgrowth of the passion-play. Itportrayed the passion of Christ. Its earliest forms are found in the"Passio secundum Matthæum" by Stephani, a Nuremberg composer whoflourished in the sixteenth century; in a hymn-book published in 1573 byKeuchental; and in Selenica's hymn-book, which appeared in 1587. HeinrichSchütz, however, was the first to establish the passion-music in genuineoratorio form. He was born in 1585, and died in 1672. The pupil of anItalian master, the famous Gabrielli of Venice, he retained the Italianforms, but added to them his native German force and solidity. His mostprominent work, "Die Auferstehung Christi, " first performed at Dresden in1623, where he was chapel-master to the Elector George I. , is regarded asthe foundation of the German oratorio. The passion-music was usuallyassigned to three priests, one of whom recited or intoned the part ofJesus, 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, theaccompaniment being performed by four viole di gamba and organ. There isalso a wide departure from all his predecessors in the entire absence ofdramatic action. His first work was followed by another, entitled "Diesieben Worte Christi" ("The Seven Words of Christ"), --a subject whichHaydn subsequently treated with powerful effect, --and four differentcompositions on the passion of our Lord. In these works are to be foundthe real germs of the modern oratorio; they were preparing the way forHandel and Bach. Johann Sebastiani succeeded Schütz, and in 1672published a passion-music, in which the narrative appears in recitativeform and solidly harmonized chorales are used, --with this peculiarity, that only the treble was sung, the other voices being taken by thestrings. In 1673 still another passion, written by Theile, was producedat Lübeck. From this time until 1704 there appears to be a gap in thesequence of works of this kind. 

In the latter year, however, two more were produced, which made asensation all over Germany, "The Bleeding and Dying Jesus, " by ReinhardKeiser, and the "Passion nach Cap. 19 S. Johannis" by Handel. In theformer, cantatas were substituted for the narrative and chorales, one ofthe numbers being in the nature of a love-song, --an innovation upon theestablished forms which brought down upon the composer the indignation ofthe critics both in the pulpit and out of it. The passion-music of Handelwas but a weak prelude to the colossal works which were to follow fromhis pen. Between 1705 and 1718 several other passions appeared, writtenby Keiser, Handel, Telemann, and Mattheson, preparing the way for the twocomposers who above all others were destined to develop the chorale andmake it not only the foundation, but the all-pervading idea of theirpassions; they were Carl Heinrich Graun and Johann Sebastian Bach. Theformer's greatest work, "Der Tod Jesu, " was produced in Berlin in 1755, and was a revelation in the matter of chorale treatment. Nothing whichhad preceded it could equal it in musical skill or artistic handling. Butthere was one coming greater than Graun, the father of modern music, Johann Sebastian Bach. "If all the music written since Bach's time shouldbe lost, " says Gounod, "it could be reconstructed on the foundationswhich he laid. " Besides his "Christmas Oratorio, " Bach wrote five passionoratorios, two of which, the "St. John" and "St. Matthew, " have beenpublished and are still performed. Of these two, the "St. Matthew" wasconceived on the grander scale. In this sublime masterpiece, the earlyoratorio reached its highest form in Germany. It contains a narrationdelivered by an evangelist, solo parts for the principal characters, arias, choruses, double choruses, and chorales, the congregation joiningin the latter, in which the composer not only reveals an astonishingdramatic power in the expression of sentiment and the adaptation of hismusic to the feeling and situation of the characters, but also a depthand accuracy of musical skill and invention which have been the despairof composers from that time to this. 

With Bach, the passion-music accomplished its purpose, and we now enterupon the third and last stage of the evolution of oratorio. It is a newform, and the change leads us to a new country. We have examined thesacred dramas, with their musical setting, in Italy, and thepassion-music in Germany; and now comes the oratorio in England, --theoratorio as we know it and hear it to-day. Handel was its greatoriginator. He began his English career as an operatic writer; but hesoon tired of setting music to the trivial subjects so common in opera, which, as he himself declared, were not suited to a composer advancing inyears. There were other inducements, however, which led him to turn tothe oratorio, and among them one of the most powerful unquestionably washis disgust with the cabals which were organized against him by Italianrivals. "Esther" was his first English oratorio, and it made a greatsuccess. It was followed by "Deborah" and "Athalia. " His vigorousdramatic power and close musical scholarship were never more apparentthan in these works. They aroused such an enthusiasm that from this timeforth (1737) he devoted himself exclusively to this species ofcomposition. He wrote in all seventeen English oratorios. In 1739 heproduced "Saul, " one of the most dramatic of his sacred works, and thecolossal "Israel in Egypt. " In 1741 he began "The Messiah, " the mostsublime of all his oratorios and one of the profoundest works of humangenius in music. It still holds its place upon the stage as one of thegrandest expressions of human aspiration and divine truth, and noChristmas 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 themequalled "The Messiah, " in which his genius reached its climax. Of thoselast named, only "Samson" and "Judas Maccabæus" still hold their place inthe modern repertory, though the other oratorios mentioned contain manyof 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 notleft an impression upon the world. Handel died in 1759. It was not until1798 that a successor appeared worthy to wear his mantle. That successorwas Joseph Haydn, whose greatest work, "The Creation, " rivals "TheMessiah" in its popularity. He was in his seventieth year when heproduced it, as well as his delightful work, "The Seasons;" but "Papa"Haydn, as his countrymen love to call him, preserved the freshness ofyouth to the very last. The melodies of his old age are as delicious asthose of his youth. Both these oratorios are exquisite pictures ofnature, as well as of human and divine love. They were inspired byHandel's oratorios (which he heard for the first time when he visitedLondon 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 ofinstrumentation, as he had shown years before in the string quartet, ofwhich he was the creator, and in his almost innumerable symphonies, --hebeing the originator of the modern symphony. He had had the advantage ofa magnificent orchestra while in service at Prince Esterhazy's, and theresults are seen in the orchestral resources which he employs in hisoratorios. During this period several Italian oratorios by Salieri, Zingarelli, and Cimarosa appeared, as well as oratorios in the same styleby the German composers Himmel and Winter. In 1803 Beethoven wrote hisonly oratorio, "Christ on the Mount of Olives. " This production has notattained to the popularity of his instrumental works or of his singleopera, "Fidelio, " in part because it is not in pure oratorio form, and inpart because of its wretched libretto. Schubert, contemporary withBeethoven, also undertook an oratorio on the subject of "Lazarus;" but itwas never completed, and the fragment even was not heard until 1863. 

The first really successful oratorio of the present century was "Dasjüngste Gericht" ("The Last Judgment"), by Spohr, which was producedunder his own supervision at Erfurt in 1812. This oratorio, however, thework of his earlier years, was but the prelude to his masterpiece, "Dieletzten Dinge" ("The Last Things"), which is now commonly known as "TheLast Judgment, " and was first performed at Cassel in 1826. Nine yearslater he brought out "Des Heiland's letzte Stunden" ("The Saviour's LastHours, " now known as "Calvary"), and still later, "The Fall of Babylon, "which he produced for the first time in England in 1843; but neither ofthese are constructed upon the grand proportions which characterize "Dieletzten Dinge, " or so well illustrate the profound musical knowledge ofthe great violinist. Contemporary with Spohr was Schneider, an unusuallyprolific writer, who produced no less than sixteen oratorios in a periodof twenty-eight years, in addition to a large number of operas. Thoughhis oratorios were very popular at the time, but one of them hassurvived, the "Weltgericht, " written in 1819. Among other contemporarieswere Lindpaintner, whose "Abraham" was very successful, --though thiscomposer is now remembered only by his orchestral pieces, --and Klein, whobrought out two oratorios, "Jephthah" (1828) and "David" (1830), whichwere greatly admired, though they are now almost unknown. 

Spohr had easily held his place in the first rank of the oratoriocomposers of his time, but was eclipsed when Mendelssohn appeared, aswere all his contemporaries. This gifted composer had studied Handel andBach very closely. In 1829 he brought out the latter's "St. Matthew"passion-music after it had lain concealed for an entire century. Hearoused enthusiasm for the two old masters both in Germany and England. His "St. Paul, " first produced at Düsseldorf in 1836, was greeted withacclamations of enthusiasm, and still holds its place in the popularregard. Ten years later his greatest work, "Elijah, " was performed inEngland. Though widely different in form and treatment from "TheMessiah, " it shares equally with that work in the enjoyment of popularfavor. Its numbers are almost as familiar as household words, throughconstant repetition not only upon the oratorio stage, but in theconcert-room and choir-loft. In the presentation of the personalitiesconcerned in the progress of the work, in descriptive power, in theportrayal of emotion and passion, and in genuine lyrical force, "Elijah"has many of the attributes of opera, and some critics have not hesitatedto call it a sacred opera. Indeed, there can be no question that withcostume, scenery, and the aids of general stage-setting, its effect wouldbe greatly enhanced. Mendelssohn began still a third oratorio, "Christus, " but did not live to complete it. His "Lobgesang" ("Hymn ofPraise"), a symphony-cantata, is usually given as an oratorio, though itis not in the genuine oratorio form. Contemporary with him and since hisdeath numerous oratorios have been written, more or less inspired by hiswork; but "Elijah" and "St. Paul" still remain unsurpassed. RobertSchumann gave the world a delightful oratorio with a secular subject, "Paradise and the Peri. " Numerous English composers have producedmeritorious works, among them Sterndale Bennett, whose "Woman of Samaria"is thoroughly devotional. In Germany, Hiller, Rheinthaler, and othershave made successful essays in this form of musical art. In France, Massenet and Saint-Saëns have written short one-part oratorios, andGounod has constructed two, "The Redemption" and "Mors et Vita, " upon theold classical form, so far as division is concerned, and is now at workupon 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 certainlylarger in design than the cantata, and are entitled to be calledoratorios. In our own country, Professor Paine, of Harvard University, has written one oratorio, "St. Peter, " which commands attention for itsscholarly work and musical treatment. Mendelssohn and Spohr, however, represent the nineteenth century of oratorio as Haydn, Handel, and Bachdid 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 brieflyto the Requiem, Te Deum, Stabat Mater, and Magnificat, sinceillustrations of these musical forms appear in the body of the work. "Requiem" is the name given to the "Missa pro Defunctis" ("Mass for theDead"), and comes from the first word of the Introit, "Requiem æternamdona eis, Domine. " Its musical divisions are as follows: (1) Introit; (2)the Kyrie; (3) the Gradual and Tract, --"Requiem æternam" and "AbsolveDomine;" (4) the Sequence or Prose, --"Dies Iræ;" (5) Offertorium; (6)Sanctus; (7) Benedictus; (8) Agnus Dei; (9) Communio, --"Lux æterna. " Themost famous requiems are Palestrina's, written for five voices, but leftincomplete (1595); Vittoria's, for six voices, written for the funeral ofthe Empress Marie, widow of Maximilian II. (1605); Colonna's, for eightvoices (1684); Mozart's great masterpiece (1791); Cherubini's in C minor, written for the anniversary of the death of Louis XVI. , 1793, and asecond for three male voices (1836); Berlioz's "Messe des Morts;" Verdi's"Manzoni Requiem, " and Brahms' "German Requiem. " Though an integral partof the Roman service, appointed for a special day in commemoration of thedead, the Requiem is also employed for the anniversaries of distinguishedpersons who have passed away, as well as for funeral occasions. 

The Stabat Mater, or Lamentation of the Blessed Virgin Mary, thewell-known Latin hymn on the Crucifixion, is one of the most familiarnumbers in the Roman Missal. It is appointed to be sung at High Mass onthe Friday in Passion Week, and also on the third Sunday in September. OnThursday in Holy Week it is also sung in the Sistine Chapel as anOffertorium. The poem was written by the monk Jacobus de Benedictis inthe thirteenth century, and is regarded as one of the finest of mediævalsacred lyrics. Grove says of it: "Several readings are extant; the onemost frequently set to music being that which immediately preceded itslast revision in the Roman Office-Books. There are also at least fourdistinct versions of its plain-chant melody, apart from minor differencesattributable to local usage. " It has always been a favorite hymn with thecomposers. The most famous settings are those of Josquin des Prés; two byPalestrina, --the first, which is the most effective, for a double choirof eight voices, and the second for a triple choir of twelve voices; thatby Pergolesi for soprano and contralto; Haydn's, which is in hispeculiarly 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 isone of the Bohemian composer's finest efforts. Few hymns have been sovariously treated, and, it may be added, few in the Roman service aremore 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 ofTriers, named Nicetius, or Nicettus, about the year 500, which was almosta century after the death both of Saint Ambrose and Saint Augustine. "Bingham, in his "Antiquities of the Church, " says: "The Benedictines, whopublished the works of Saint Ambrose, judge him not to have been theauthor of it; and Dr. Cave, though at one time he was of a differentjudgment, and Bishop Stillingfleet, concur in the opinion that the TeDeum was not the composition of Saint Ambrose, or of him and SaintAugustine jointly. " Hawkins also says: "The zeal of Saint Ambrose topromote psalm-singing is in nothing more conspicuous than in hisendeavors to reduce it into form and method; as a proof whereof, it issaid that he, jointly with Saint Augustine, upon occasion of theconversion 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 itto be sung in his church at Milan. But this has been discovered to be amistake. This, however, is certain, --that he instituted that method ofsinging known by the name of the Cantus Ambrosianus, or Ambrosian Chant, a name, for aught that now appears, not applicable to any determinedseries of notes, but invented to express in general a method of singingagreeable 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 "AmbrosianHymn. " The original melody is very ancient, but not so old as the hymnitself. It is thoroughly familiar in the Roman Church, though the numberof settings for Church use is almost endless. The early composersharmonized it in various forms. It has also borne a conspicuous part onfestival occasions. The most celebrated Te Deums of this character, arranged for solos, chorus, organ, and orchestra, are those of Sarti, tocommemorate Prince Potemkin's victory at Otchakous; of Graun, tocelebrate the battle of Prague; of Berlioz, for two choirs; of Purcell, for St. Cecilia's Day; of Dr. Blow and Dr. Croft, with accompaniments oftwo violins, two trumpets, and bass; and the magnificent Utrecht andDettingen Te Deums of Handel. Among those by contemporary writers areMacfarren's, written in 1884, and Sullivan's, commemorating the recoveryof the Prince of Wales. 

The Magnificat, or Song of the Virgin, is part of the vesper service ofthe Church, and has been treated by all the old Church composers ofprominence both in plain chant and in polyphonic form. In the Englishcathedral service it is often richly harmonized, and Bach, Mozart, Handel, Mendelssohn and others have set it in oratorio style withcomplete 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 andcontrapuntists, was born at Eisenach, March 21, 1685, and was the mostillustrious member of a long line of musicians, the Bach family havingbeen famous almost from time immemorial for its skill in music. He firststudied the piano with his brother, Johann Christoph, and the organ withReinecke in Hamburg, and Buxtehude in Lübeck. In 1703 he was courtmusician in Weimar, and afterwards was engaged as organist in Arnstadtand Mühlhausen. In 1708 he was court organist, and in 1714 concert-masterin Weimar. In 1718 he was chapel-master to the Prince von Köthen, and in1723 was appointed music-director and cantor at the St. Thomas School inLeipsic, --a position which he held during the remainder of his life. Hehas left for the admiration of posterity an almost endless list of vocaland instrumental works, including chorales, motets, magnificats, masses, fugues, and fantasies, especially for organ and piano, the "ChristmasOratorio, " and several settings of the passion, of which the most famousare the "St. John" and "St. Matthew, " the latter of which Mendelssohnintroduced to the world in 1829, after it had slumbered an entirecentury. His most famous instrumental work is the "Well-temperedClavichord, "--a collection of forty-eight fugues and preludes, which waswritten for his second wife, Anna Magdalena Bach, to whom also hededicated a large number of piano pieces and songs. His first wife washis cousin, Maria Barbara Bach, the youngest daughter of Johann MichaelBach, a composer of no common ability. By these two wives he hadtwenty-one children, of whom the most celebrated were Carl PhillippEmanuel, born in 1714, known as the "Berlin Bach;" Johann ChristophFriedrich, born in 1732, the "Bücheburger Bach;" and Johann Christian, born in 1735, who became famous as the "London Bach. " Large as the familywas, it is now extinct. Bach was industrious, simple, honest, andGod-fearing, like all his family. He was an incessant and laboriouswriter from necessity, as his compensation was hardly sufficient tomaintain his large family, and nearly all his music was prepared for theservice of the church by contract. The prominent characteristics of hiswork are profound knowledge, the clearest statements of form, strength oflogical sequences, imposing breadth, and deep religious sentiment. He wasa favorite of Frederick the Great, who upon one occasion made all hiscourtiers stand on one side and do homage to the illustrious composer. "There is but one Bach, " said the monarch. With all Bach's amiablequalities, it is said that he had a hasty temper. While playing one day, Görner, the organist at St. Thomas, struck a false chord; whereupon Bachflew 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 atLeipsic; but no cross or stone marks the spot where he lies. His lastcomposition was the beautiful chorale, "Wenn wir in höchsten Nöthensein, " freely translated, "When my last hour is close at hand, " as it waswritten in his last illness. The only record of his death is contained inthe official register: "A man, aged 67, M. Johann Sebastian Bach, musicaldirector and singing-master at the St. Thomas School, was carried to hisgrave in the hearse, July 30, 1750. "

 The Christmas Oratorio. 

The "Christmas Oratorio" was written by Bach in 1734, the subject beingtaken from texts in Luke and Matthew pertaining to the nativity. It isnot, as its name would suggest, a work to be performed at a singlehearing, but a composition divided into six parts of divine service, arranged for the three days of Christmas, New Year's Day, New Year'sSunday, and the Epiphany, each part being a complete cantata for eachday, and all linked together by chorales which give it a unity of subjectand design. Like Wagner's "Ring der Nibelungen, " it was given ininstalments, each part separate and complete in itself, and yet combiningto illustrate a given subject in its entirety. It is not an oratorio inthe modern sense; but the justification of its appellation as such is tobe found in Bach's own title, "Oratorium Tempore Navitatis Christi. "

As the entire six parts are very rarely given, a general review of theircharacter will better suit the reader's purpose than a detailed review ofeach. When it has been performed in this country, only the first twoparts have been given; while in England, though it has been presentedentire, the performance is usually confined to the first three, whichcontain a complete story. The entire vocal score embraces no less thansixty-four numbers, --which in itself constitutes a sufficient reason forabridgment. In the first three parts the connecting narratives, recitedby the evangelist, are assigned to tenor and bass, and declare the eventsassociated with the birth of our Lord, --the journey to Bethlehem, thebirth in the manger, the joy of Mary, and the thanksgiving over theadvent of the Lord, --the choral parts being sung by the shepherds. Thefourth part, that for New Year's Day, relates the naming of Jesus, andfollows his career in a grand expression of faith and hope. The fifthpart illustrates the visit of the three kings, the anxiety of Herod whenhe hears of the advent of the Lord, and the assurances given him to allayhis fears. In the sixth section the visitors depart to frustrate Herod'sdesigns, and choruses of rejoicing over the final triumph of the Lordclose the work. In his voluminous life of Bach, Spitta makes anexhaustive analysis of the various parts, an abridgment of which will beof interest in this connection. 

The only variation from the particular character of each section is to befound in the introduction of the first chorale in Part I. At the close ofPart 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 theopening 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 norespect 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 ofthe 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 specialnotice for the purposes of the oratorio-goer. The first part opens with abrilliant prelude, introduced by the drum, which Bach, like Beethoven, sometimes treated as a solo instrument. It preludes the narrative biddingZion prepare to meet her Lord, --a simple, touching melody, followed bythe chorale, "How shall I fitly meet Thee and give Thee welcome due, " setto the old passion-hymn, "O Haupt, voll Blut und Wunden, "--a solemn andeven mournful melody, which at first appears incongruous in the midst ofso much jubilation. It is the same melody which Bach frequently uses indifferent harmonic forms in his "St. Matthew Passion. " It is introducedhere 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 factthat the object of the divine advent on earth was the passion of ourLord. At the close of the work the same chorale appears, but it hasanother meaning. It is there an exultant expression of Christ's victoryover sin and death. As the chorale dies away, the narrative is resumed, leading up to another chorale, "For us to earth he cometh poor, " combinedwith an orchestral symphony and bass recitative. The next number is abass aria with trumpet accompaniment, "Lord Almighty, King all glorious, "and is followed by a chorale set to the words of Martin Luther'sChristmas hymn, which also occurs in other parts of the work, differentlyharmonized to suit the nature of the situation, with which the first partcloses. 

The second part opens with one of the most delightful instances of Bach'sorchestration, a pastoral symphony, with which the Thomas orchestra havemade audiences familiar in this country. Like the symphony of the samestyle in Handel's "Messiah, " it is simple, graceful, and idyllic incharacter, and pictures the shepherds watching their flocks by night onthe plains of Bethlehem. At its conclusion the evangelist resumes hisnarrative, followed by the chorale: "Break forth, O beauteous, heavenlyLight, " preluding the announcement of the angel, "Behold, I bring youGood Tidings. " It is followed by the bass recitative, "What God toAbraham revealed, He to the Shepherds doth accord to see fulfilled, " anda brilliant aria for tenor, "Haste, ye Shepherds, haste to meet Him. " Theevangelist gives them the sign, followed by the chorale which closed thefirst part, in another form, "Within yon Gloomy Manger lies. " The bassrecitative, "O haste ye then, " preludes the exquisite cradle-song foralto, "Sleep, my Beloved, and take Thy Repose, "--a number which canhardly be excelled in the sweetness and purity of its melody or in theexquisiteness of its instrumentation. This lovely song brings us to theclose, which is an exultant shout from the multitude of the heavenlyhost, singing, "Glory to God in the highest. "

 The Saint Matthew Passion. 

The passion-music of Bach's time, as we have already seen, was thecomplement of the mysteries of Mediæval days. It portrays the sufferingsof Christ, and was performed at church festivals, the congregation takingpart in the singing of the chorales, which were mostly familiar religiousfolk-songs. It was a revival of the sacred drama in musical form, and theimmediate precursor of the modern oratorio. Bach wrote fivepassions, --the "St. John, " probably written in 1723, and first performedin 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;" ofwhich the latter is incomparably the greatest. 

Macfarren, in his sketch of the "Matthew Passion, " says that the idea ofthis form of composition was first suggested to Bach by Solomon Deyling, who filled an important church position in Leipsic when the composer wentthere to assume his duties as cantor of the St. Thomas School, hispurpose being to introduce into the Reformed Church a service whichshould be a counter attraction to the Mass as performed in the RomanChurch. It was produced for the first time at the afternoon service onGood Friday, 1729, but was not heard again until the young Mendelssohnrevived it in Berlin, March 12, 1829. It was frequently repeated inGermany and aroused extraordinary enthusiasm, and still keeps its placein the festival oratorio repertory, the necessary additionalaccompaniments having been furnished by Robert Franz. 

The passion is written in two parts, between which the sermon intervenedin old times. It includes portions of chapters xxvi. And xxvii. Of theGospel according to Saint Matthew, the remainder of the text beingcomposed of hymns furnished to Bach by Christian Friedrich Henrici, whowrote under the pseudonym of "Picander, " and, it is said, was assisted inthe compilation by the composer himself. The _dramatis personæ_ areJesus, 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, " asPicander calls them. They are sometimes given by the chorus, andsometimes by single voices. The chorales are selected from those whichwere in common use in the Lutheran Church, and were familiar therefore tothe congregations which sang the melody, the harmony being sustained bythe chorus and instruments. The Gospel text is in recitative formthroughout, the part of the evangelist, or narrator, being assigned to atenor voice, while those of the persons incidentally introduced are givento other singers. In the dialogue, wherever the words of Jesus occur, theaccompaniment is furnished by a string quartette, which serves todistinguish them from the others, and invests them with a peculiargentleness and grace. The incidental choruses, sung by the People and theApostles, are short and vivacious in character, many of them being inmadrigal form. The chorales, fifteen in number, as has already been said, were taken from the Lutheran service. One of them, which Bach alsoliberally used in his "Christmas Oratorio, " beginning, "Acknowledge me, my Keeper, " appears five times in the progress of the work, forming thekeynote of the church sentiment, and differently harmonized on eachoccasion. Another, "O Blessed Jesus, " is twice used, --once where theSaviour announces that he will be crucified after the Feast of thePassover, when the whole congregation sings it, and again in the scene atGethsemane, sung by select choirs. The whole work is written for doublechorus, the two choruses singing the harmony of the chorales, accompaniedby the instruments, while the congregation sing the tune in unison. Theydisplay to the utmost the breadth, richness, ingenuity, and power of Bachin this form of writing. The reflective portions of the work, the textwritten by Picander, are composed of arias introduced by recitative, withthe first part repeated in the close; of arias accompanied by chorus; andof single choruses constructed in the most massive manner. Speaking ofthe 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 chorushas its own orchestra and its own organ accompaniment. The doubleorchestra is composed of oboes, flutes, and stringed instruments. Drumsand brass instruments are not used, the sentiment of the work, in Bach'sestimation, not being fitted for them, sweetness and expressiveness oftone rather than power being required. As Spitta says, sorrow is thecharacteristic of the work. It has no choruses of rejoicing, no pæans ofpraise, not even a hallelujah at its close. 

The first part opens with a reflection sung by double chorus, "Come, yeDaughters, weep for Anguish, " the first exhorting believers to weep overthe sinful world, the second responding with brief interrogations, and atlast taking part in the sorrowful strains of the first. Interwoven withthese is an independent instrumental melody, the whole crowned with amagnificent chorale sung by the sopranos, "O Lamb of God all blameless!"followed by still another, "Say, sweetest Jesus, " which reappears inother parts of the work variously harmonized. The double chorus andchorales form the introduction, and are followed by recitative and achorale, "Thou dear Redeemer, " and a pathetic aria for contralto, "Griefand Pain, " relating the incident of the woman anointing the feet ofJesus. The next number is an aria for soprano, "Only bleed, Thou dearestHeart, " which follows the acceptance by Judas of the thirty pieces ofsilver, 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 acharacter of sweetness and gentleness, though its coloring is sad. As thedisciples ask, "Lord, is it I?" another chorale is sung, "'Tis I! my Sinsbetray me. " Recitative of very impressive character, conveying the divineinjunctions, leads up to a graceful and tender aria for soprano, "Neverwill my Heart refuse Thee, " one of the simplest and clearest, and yet oneof the richest and most expressive, melodies ever conceived. Afterfurther recitative and the chorale, "I will stay here beside Thee, " weare introduced to the scene in the Garden of Gethsemane, which ischaracterized by a number of extraordinary beauty and strength in itsconstruction. It is introduced by a short instrumental prelude, Zion, represented by the tenor voice, and the Believers by the chorus, comingin after a few bars and alternating with extraordinary vocal effect. Itcalls for the highest dramatic power, and in its musical development is aweb of wonderful harmonies such as we may look for only in the works ofthe mighty master of counterpoint. It fitly prepares the way for the twogreat movements which close the first part, an aria for soprano and alto, "Alas! my Jesus now is taken, " and a double chorus, "Ye Lightnings, yeThunders!" The two solo voices join in a lament of a most touchingnature, accompanied by the chorus exclaiming in short, hurried phrases, "Let Him go! Hold! Bind Him not!" until at last the double chorus burstsin 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 greatSin!"

The second part, originally sung after the sermon, opens with an aria forcontralto, full of the deepest feeling, "Alas! now is my Jesus gone, " andone of the most beautiful numbers in the oratorio, wherein Zion, or theChurch, mourns her great loss. The trial scene before Caiaphas and thethreefold denial of Peter follow, leading up to the beautiful aria foralto, with violin obligato, "Oh, pardon me, my God!" Macfarren, in hisadmirable 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 sopranorecitative in response to Pilate's question, "He hath done only good toall, " the aria for soprano, "From love unbounded, " the powerful contraltorecitative, "Look down, O God, " the chorale, "O Head all bruised andwounded!" the contralto aria with chorus, "Look where Jesus beckoningstands, " and the peaceful, soothing recitative for bass, "At Eventide, cool Hour of Rest, " are the principal numbers that occur as we approachthe last sad but beautiful double chorus of the Apostles, "Around ThyTomb here sit we weeping, "--a close as peaceful as the setting of thesun; for the tomb is but the couch on which Jesus is reposing, and themusic dies away in a slumber-song of most exalted beauty. This briefsketch could not better close than with the beautiful description whichMr. Dwight gives of this scene in the notes which he prepared when thework was performed at the Triennial Festival of the Handel and HaydnSociety 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 itfrom the smaller--is considered one of the grandest illustrations ofBach'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 fourvocal numbers; but in describing the work it is only necessary to give itas it is now generally sung. 

The work is written for a five-part chorus, with organ and orchestralaccompaniment. After a concerted introduction, foreshadowing the generalcharacter of the music, it opens with the chorus, "Magnificat anima mea, "in fugal form, worked up with that wonderful power of construction forwhich Bach is so renowned among all composers. It is followed by an ariafor second soprano ("Et exultavit spiritus meus: in Deo salutari meo"), which is in the same key and has the same general feeling as the openingchorus, that of Christmas rejoicing. It in turn is followed by an ariafor first soprano ("Quia respexit humilitatem ancillæ suæ"), of whichSpitta says: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this Germanpicture of the Madonna, translated as it were into musical language. " Itleads directly to the chorus which takes up the unfinished words of thesoprano ("Omnes generationes"), each part overlaying the other as itenters, and closing in canon form in grave and colossal harmony. Its nextnumber is an aria for bass ("Quia fecit mihi magna"), of a simple andjoyous character. It is followed by a melodious duet for alto and tenor("Et misericordia"), with violin and flute accompaniment, setting forththe mercy of God, in contrast with which the powerful and energeticchorus ("Fecit potentiam") which succeeds it, is very striking in itseffect. Two beautiful arias for tenor ("Deposuit potentes de sede") andalto ("Esurientes implevit bonis") follow, the latter being exquisitelytender in its expression, and lead to the terzetto ("Suscepit Israelpuerum suum: recordatus misericordiæ suæ"), arranged in chorale form, andvery plaintive and even melancholy in style. Its mourning is soon lost, however, in the stupendous five-part fugue ("Sicut locutus est") whichfollows it and which leads to the triumphant "Gloria, " closing thework, --a chorus of extraordinary majesty and power. Spitta, in hisexhaustive 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 hasalready appeared in the companion to this work, "The Standard Operas. " Inthis connection, however, it seems eminently fitting that some attentionshould be paid to the religious sentiments of the great composer and thesacred works which he produced. He was a formal member of the RomanChurch, but at the same time an ardent admirer of some of the Protestantdoctrines. His religious observances, however, were peculiarly his own. His creed had little in common with any of the ordinary forms ofChristianity. A writer in "Macmillan's Magazine" some years ago veryclearly defined his religious position in the statement that his faithrested on a pantheistic abstraction which he called "Love. " Heinterpreted everything by the light of this sentiment, which took theform of an endless longing, sometimes deeply sad, at others rising to thehighest exaltation. An illustration of this in its widest sense may befound in the choral part of the Ninth Symphony. He at times attempted togive verbal expression to this ecstatic faith which filled him, and atsuch times he reminds us of the Mystics. The following passages, which hetook from the inscription on the temple of the Egyptian goddess Neith atSais, and called his creed, explain this: "I am that which is. I am allthat 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 hiscriticism of the words which Moscheles appended to his arrangement of"Fidelio. " The latter wrote at the close of his work: "_Fine_, with God'shelp. " Beethoven added: "O man! help thyself. " That he was deeplyreligious by nature, however, is constantly shown in his letters. Wandering alone at evening among the mountains, he sketched a hymn to thewords, "God alone is our Lord. " In the extraordinary letter which hewrote to his brothers, Carl and Johann, he says: "God looks into myheart. He searches it, and knows that love for man and feelings ofbenevolence have their abode there. " In a letter to Bettina von Arnim, hewrites: "If I am spared for some years to come, I will thank theOmniscient, the Omnipotent, for the boon, as I do for all other weal andwoe. " 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 ArchdukeRudolph, written in 1817, he gives no uncertain expression to his divinetrust. He says: "My confidence is placed in Providence, who willvouchsafe to hear my prayer, and one day set me free from all mytroubles; for I have served him faithfully from my childhood, and donegood whenever it was in my power. So my trust is in him alone, and I feelthat the Almighty will not allow me to be utterly crushed by all mymanifold trials. " Even in a business letter he says: "I assure you on myhonor--which, next to God, is what I prize most--that I authorized no oneto accept commissions from me. " His letters indeed abound in referencesto his constant reliance upon a higher Power. The oratorio, "Christ onthe Mount of Olives, " six sacred songs set to poems of Gellert, the Massin C written for Prince Esterhazy, and the Grand Mass in D written forthe Archduke Rudolph, one of the grandest and most impressive works inthe entire realm of sacred music, attest the depth and fervency of hisreligious nature. 

 The Mount of Olives. 

Beethoven wrote but one oratorio, "Christus am Oelberg" ("Christ on theMount of Olives"). That he had others in contemplation, however, atdifferent periods of his life is shown by his letters. In 1809 he wroteto Freiherr von Hammer-Purgstall, a famous Oriental scholar, appointingan interview for the discussion of the latter's poem on the subject ofthe deluge, with reference to its fitness for treatment as an oratorio. Again, in 1824, he writes to Vincenz Hauschka, of Vienna, that he hasdecided to write an oratorio on the text furnished by Bernard, thesubject being "The Victory of the Cross. " This work, however, owing tohis extreme physical sufferings at that period, was never begun, and theworld thereby has suffered a great musical loss; for, judging from hisgreat Mass in D, no one can doubt how majestic and impressive the"Victory of the Cross" would have been, as compared with the "Mount ofOlives, " written in his earlier period, and before any of hismasterpieces had appeared. 

The "Mount of Olives" was begun in 1800, and finished during thefollowing year. Beethoven never remained in Vienna during the summer. Thediscomforts of the city and his intense love for Nature urged him outinto the pleasantly wooded suburbs of the city, where he could live andwork in seclusion. Upon this occasion he selected the little village ofHetzendorf, adjoining the gardens of the imperial palace of Schönbrunn, where the Elector, his old patron, was living in retirement. Trees werehis 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 hisfavorite tree, at whose base he composed the larger part of the oratorio, as well as his opera "Fidelio. " Schindler says: "A circumstance connectedwith both these great works, and of which Beethoven many years afterwardsstill retained a lively recollection, was, that he composed them in thethickest part of the wood in the park of Schönbrunn, seated between thetwo stems of an oak, which shot out from the main trunk at the height ofabout two feet from the ground. This remarkable tree, in that part of thepark to the left of the Gloriett, I found with Beethoven in 1823, and thesight 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 textwas 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 theprogramme also included the Symphony in D (second) and the Piano Concertoin C minor, the latter executed by himself. The oratorio was receivedwith enthusiasm, and was repeated three times during that year. 

The libretto of the work is unquestionably defective in the most salientqualities which should characterize the text of an oratorio, even to thedegree of extravagance and sensationalism. It fails to reflect thesorrowful character of the scene it depicts, and the dramaticrequirements which it imposes are often strained, and sometimes border onthe grotesque. The theatrical style of the narrative was deplored byBeethoven himself at a subsequent period. Marx, one of the keenest ofcritics, 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 themost part has found more in the "Mount of Olives" than he has. 

The oratorio is written for three solo voices (Jesus, Peter, and aSeraph), chorus, and orchestra. The narrative opens with the agony in thegarden, followed by the chant of a Seraph reciting the divine goodnessand foretelling the salvation of the righteous. In the next scene Jesuslearns his fate from the Seraph, yields himself to approaching death, andwelcomes it. The Soldiers enter in pursuit, and a tumult ensues as theApostles find themselves surrounded. Peter draws his sword and gives ventto his indignation; but is rebuked both by Jesus and the Seraph, andtogether they conjure him to be silent and endure whatever may happen. The Soldiers, discovering Jesus, rush upon him and bind him. TheDisciples express their apprehension that they too will suffer; but Jesusuncomplainingly surrenders himself, and a chorus of rejoicing completesthe work. From this brief sketch the artificial and distorted manner oftreating the solemn subject will be evident. 

The score opens with an adagio introduction for instruments which is of avery dramatic character, and, unlike nearly all of the sacred music ofthat time, is noticeable for the absence of the fugue. Barbedette, thegreat French critic, pronounces it the _chef-d'oeuvre_ of introductions, and a masterpiece in the serious style. The first number is a recitativeand 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 andaria ("Praise the Redeemer's Goodness"), concluding with a brilliant andjubilant obligato with chorus ("O triumph, all ye Ransomed"). The nextnumber is an elaborate duet between Jesus and the Seraph ("On me thenfall Thy heavy Judgment"), which is still more anomalous than the sceneand aria with which Jesus opens the work. In a short recitative passage, Jesus welcomes death; and then ensues one of the most powerful numbers inthe work, the chorus of Soldiers in march time ("We surely here shallfind Him"), interspersed with the cries of the People demanding hisdeath, and the lamentations of the Apostles. At the conclusion of thetumult a dialogue ensues between Jesus and Peter ("Not unchastised shallthis audacious Band"), which leads up to the crowning anomaly of thework, a trio between Jesus, Peter, and the Seraph, with chorus ("O, Sonsof Men, with Gladness"). The closing number, a chorus of angels("Hallelujah, God's Almighty Son"), is introduced with a short butmassive symphony leading to a jubilant burst of Hallelujah, which finallyresolves itself into a glorious fugue, accompanied with all that wealthof instrumentation of which Beethoven was the consummate master. In allsacred music it is difficult to find a choral number which can surpass itin majesty or power. 

The English versions of the "Mount of Olives" differ materially from theGerman in the text. Numerous efforts have been made to avoid theincongruity of the original narrative, but with poor success. It wasfirst produced in England in 1814 by Sir George Smart during the Lentenoratorios 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 producedagain, and the adapter compromised by using the third person, as"'Jehovah, Thou, O Father, ' saith the Lord our Saviour. " Two otherversions were made by Thomas Oliphant and Mr. Bartholomew, but these werenot successful. At last the aversion to the personal part of Jesus led toan entirely new text, called "Engedi, " the words of which were written byDr. Henry Hudson, of Dublin, and founded upon the persecution of David bySaul in the wilderness, as described in parts of chapters xxiii. , xxiv. , and xxvi. Of the first book of Samuel. The characters introduced areDavid, Abishai, and the Prophetess, the latter corresponding to theSeraph 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 themusic, which was written for an entirely different one, is not adapted toit. The latest version is that of the Rev. J. Troutbeck, prepared for theLeeds festivals, in which the Saviour is again introduced. 

 BENNETT. 

William Sterndale Bennett, one of the most gifted and individual ofEnglish composers, was born at Sheffield, April 13, 1816. His musicalgenius displayed itself early, and in his tenth year he was placed in theRoyal 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 pupilof Mozart. The first composition which gained him distinction was theConcerto in D minor, written in 1832, which was followed by the Capriccioin D minor. During the next three years he produced the overture to"Parisina, " the F minor Concerto, and the "Naïades" overture, the successof which was so great that a prominent musical house in London offered tosend him to Leipsic for a year. He went there, and soon won his way tothe friendship of Schumann and Mendelssohn. With the latter he was onvery intimate terms, which has led to the erroneous statement that he washis pupil. In 1840 he made a second visit to Leipsic, where he composedhis Caprice in E, and "The Wood Nymphs" overture. In 1842 he returned toEngland, and for several years was busily engaged with chamber concerts. In 1849 he founded the Bach Society, arranged the "Matthew Passion" musicof that composer, as well as the "Christmas Oratorio, " and brought outthe former work in 1854. The previous year he was offered thedistinguished honor of the conductorship of the Gewandhaus concerts atLeipsic, but did not accept. In 1856 he was appointed conductor of thePhilharmonic Society, and filled the position for ten years, resigning itto take the head of the Royal Academy of Music. In the same year he waselected musical professor at Cambridge, where he received the degree ofDoctor of Music and other honors. In 1858 his beautiful cantata, "The MayQueen, " was produced at the Leeds Festival, and in 1862 the "Paradise andthe Peri" overture, written for the Philharmonic Society. In 1867 hisoratorio, or, as he modestly terms it, "sacred cantata, " "The Woman ofSamaria, " was produced with great success at the Birmingham Festival. In1870 he was honored with a degree by the University of Oxford, and a yearlater received the empty distinction of knighthood. His last publicappearance was at a festival in Brighton in 1874, where he conducted his"Woman of Samaria. " He died Feb. 1, 1875, and was buried in WestminsterAbbey with distinguished honors. His musical ability was as widelyrecognized in Germany as in England, --indeed his profound musicalscholarship and mastery of problems in composition were more appreciatedthere. Mr. Statham, in an admirable sketch, pronounces him a bornpianist, and says that his wonderful knowledge of the capabilities of thepiano, and his love for it, developed into favoritism in some of hisconcerted music. A friend of the composer, recalling some reminiscencesof 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 truereligious devotion, but that it does not contain a single note ofpassion. His only sacred music is the short oratorio, "The Woman ofSamaria, " and four anthems: "Now, my God, let, I beseech Thee, " "Remembernow 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 condescendedto write a single note for popular effect, nor can a bar of his music bequoted which in style and aim does not belong to what is highest inmusical art. "

 The Woman of Samaria. 

"The Woman of Samaria, " a short, one-part oratorio, styled by itscomposer a "sacred cantata, " was first produced at the BirminghamFestival, Aug. 27, 1867; though one of his biographers affirms that asearly as 1843 he was shown a chorus for six voices, treated antiphonally, which Bennett himself informed him was to be introduced in an oratorio hewas then contemplating, and that this chorus, if not identical with"Therefore they shall come, " in "The Woman of Samaria, " is at least thefoundation of it. 

The work is written for four solo voices, chorus, and orchestra. Thesoprano takes the part of the Woman of Samaria, the other parts beingimpersonal. The music for the contralto is mainly declamatory. Tha tenorhas a single aria, while the bass, with one exception, has the part ofNarrator, the words of our Saviour being attributed to him and invariablyintroduced in the third personal form, --which is a striking proof of thedevotional spirit of the composer, as in all other instances, after theannouncement by the Narrator, the Woman sings her own words. The chorus, as in the passion-music of Bach, has the reflective numbers and moralizeson the various situations as they occur, except in one number, "Now webelieve, " where it declaims the words as a part of the narrative itself. The text for chorus is selected from appropriate parts of the Scriptureswhich are in keeping with the events forming the groundwork of itsreflections. 

The story is taken from the fourth chapter of the Gospel according toSaint John, and follows literally the narrative of the journey of theSaviour into Samaria, --his rest at Jacob's well, his meeting with thewoman who came thither to draw water, and the conversation whichfollowed; the only interruptions being the reflections, not only by thechorus, but also by the contralto and tenor, these episodes being takenmostly 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 ofwhich first appeared in the "Geistliche Lieder, " issued at Wittenberg in1535. 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 instrumentalmovement in opposing rhythms, shows the powerful influence which thecomposer's close study of Bach had upon him. Its effect in introducingthe scenes which follow reminds one of the grace before the feast. Itdies away in slow and gentle numbers, and then follows the openingrecitative of the oratorio proper ("Then cometh Jesus to a City ofSamaria"), sung by the contralto, and leading up to an arioso chorus("Blessed be the Lord God of Israel"), the words taken from the Gospel ofSaint Luke. The next number is a very graceful and artistic combination, opening with recitative for contralto, bass, and soprano, leading to anadagio solo for bass ("If thou knewest the Gift of God"), and ending witha closely harmonious chorus in the same rhythm ("For with Thee is theWell of Life"), the words from the Psalms. The dialogue between Jesus andthe Woman is then resumed, leading to a solo by the latter ("Art Thougreater than our Father Jacob?"). The question is sung and repeated indeclamatory tones constantly increasing in power and expressive ofdefiance. Bennett was a bitter opponent of Wagner; but in the unvocal anddeclamatory character of this solo, and in the dramatic force he hasgiven to it, to the sacrifice of melody, he certainly ventured somedistance in the Wagnerian direction. The next number, the reply of Jesus("Whosoever drinketh"), sung, as usual, by the bass voice, is in strikingcontrast with the question. Instead of full orchestra, it has theaccompaniment of the strings and first and second horns only, remindingone of Bach's method of accompanying the part assigned to Jesus in hisSt. Matthew Passion. This number is followed by a spirited fortissimochorus ("Therefore with Joy shall ye draw Water"), sung to the fullstrength of voice and orchestra. After the dialogue in which Jesusacquaints the Woman with the incidents of her past life, the contraltovoice has an exquisite solo ("O Lord, Thou hast searched me out"), fullof tenderness and expression, in which the opening phrase is repeated inthe finale and gains intensity by a change of harmony. The dialogue, inwhich the divine character of Jesus becomes apparent to the Woman, isresumed, and leads to a beautifully constructed chorus in six parts("Therefore they shall come and sing"), followed by an impressive anddeeply devotional quartet for the principals, unaccompanied ("God is aSpirit"), --to which an additional interest is lent from the fact that itwas sung in Westminster Abbey upon the occasion of the composer'sfuneral. A few bars of recitative lead to a chorus in close, solidharmony ("Who is the Image of the Invisible God"), with organaccompaniment only, which in turn, after a few more bars of recitativefor contralto and soprano, is followed by the chorus ("Come, O Israel"), sung pianissimo and accompanied by entire orchestra. The next number, asthe oratorio is now performed, is one which has been introduced. It is asoprano aria, "I will love Thee, O Lord, " which was found among thecomposer's manuscripts after his death. The preface to the revisededition 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 sopranopart and relieves the succession of choral movements in the close of thework. The remaining numbers are the beautiful chorale, "Abide with me, fast falls the Eventide;" the chorus, "Now we believe, " one of the mostfinished in the whole work; a short tenor solo ("His Salvation is nighthem that fear Him"), --the only one in the oratorio for that voice; thechorus, "I will call upon the Lord;" and the final imposing fugue, "Blessed be the Lord God of Israel. " The last number is a fitting closeto 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, andan 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 intendedhim for the same profession. He reluctantly went to Paris and began thestudy of medicine; but music became his engrossing passion, and medicinewas abandoned. He entered the Conservatory as a pupil of Lesueur, andsoon showed himself superior to all his masters, except Cherubini, --whicharoused a strong opposition to him and his compositions. It was onlyafter repeated trials that he took the first prize, with his cantata, "Sardanapale, " which entitled him to go to Italy for three years. On hisreturn to Paris he encountered renewed antipathy. His music was not wellreceived, and he was obliged to support himself by conducting at concertsand writing articles for the press. As a final resort he organized aconcert tour through Germany and Russia, the details of which arecontained in his extremely interesting Autobiography. At these concertshis own music was the staple of the programmes, and it met with greatsuccess, though not always played by the best of orchestras, and notalways well by the best, as his own testimony shows; for his compositionsare very exacting, and call for every resource known to the modernorchestra. The Germans were quick in appreciating his music, but it wasnot until after his death that his ability was conceded in France. In1839 he was appointed librarian of the Conservatory, and in 1856 was madea member of the French Academy. These were the only honors he received, though he long sought to obtain a professorship in the Conservatory. Aromantic but sad incident in his life was his violent passion for MissSmithson, an Irish actress, whom he saw upon the Paris stage in the_rôle_ of Ophelia, at a time when Victor Hugo had revived an admirationfor Shakspeare among the French. He married her, but did not live withher long, owing to her bad temper and ungovernable jealousy; though afterthe separation he honorably contributed to her support out of thepittance he was earning. Among his great works are the opera, "BenvenutoCellini;" the symphony with chorus, "Romeo and Juliet;" "Beatrice andBenedict;" "Les Troyens, " the text from Virgil's "Æneid;" the symphony, "Harold in Italy;" the symphony, "Funèbre et Triomphale;" the "Damnationof Faust;" a double chorused "Te Deum;" the "Symphony Fantastique;" the"Requiem;" and the sacred trilogy, "L'Enfance du Christ. " Berlioz standsamong all other composers as the foremost representative of "programmemusic, " and has left explicit and very detailed explanations of themeaning of his works, so that the hearer may listen intelligently byseeing the external objects his music is intended to picture. In theknowledge of individual instruments and the grouping of them for effect, in warmth of imagination and brilliancy of color, and in his daringcombinations and fantastic moods, which are sometimes carried to the veryverge of eccentricity, he is a colossus among modern musicians. He diedin Paris, March 8, 1869. 

 The Requiem. 

Ferdinand Hiller writes in his "Künstlerleben:" "Hector Berlioz does notbelong 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 appearancewill remain unforgotten. " The Requiem ("Messe des Morts") exemplifiesHiller's words. It is colossal, phenomenal, and altogether unique. It isnot sacred, for it never came from the heart. It is not solemn, though itis 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 theInterior, to write a requiem commemorating the victims of the JulyRevolution; but the work was not given to the public until 1837, when itwas sung at the Invalides in memory of General Damremont and the soldierskilled at the siege of Constantina. It was subsequently asserted byBerlioz that Cherubini had conspired with others in the Conservatory toprevent its performance and to secure that of his own, by virtue of theprecedence which his position gave him. The charge, however, must havebeen a mere fancy on his part, as he had already written a letter toCherubini, 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 æternamdona eis"); II. , III. , IV. , V. , and VI. , including different motivestaken from the hymn, "Dies Iræ;" VII. "Offertorium;" VIII. "Hostias etPreces;" IX. "Sanctus;" X. "Agnus Dei. " It will be observed that thecomposer has not followed the formal sequences of the Mass, and that hehas not only omitted some of the parts, but has also frequently takenlicense 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 alreadyquoted, 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 thatit 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 nothave done with a free hand had he been bound down to the set forms of theMass. 

After a brief but majestic instrumental introduction, the voices enterupon the "Requiem, "--a beautiful and solemn strain. The movement is builtupon three melodies set to the words, "Requiem æternam, " "Tu decetHymnus, " and the "Kyrie, " the accompaniment of which is very descriptiveand characteristic. The "Kyrie" is specially impressive, the chant of thesopranos being answered by the tenors and basses in unison, and the wholeclosing with a dirge-like movement by the orchestra. 

The "Dies Iræ" is the most spirited as well as impressive number of thework. It is intensely dramatic in its effects, indeed it might be calledtheatrical. Berlioz seems to have fairly exhausted the resources ofinstruments to produce the feeling of awful sublimity and overwhelmingpower, even to the verge of the most daring eccentricity and, as oneprominent critic expressed it, "terrible cataclysms. " The first part ofthe "Dies Iræ" will always be remarkable for the orchestral arrangement. After the climax of the motive, "Quantus tremor est futurus, " there is apause which is significant by its very silence; it is the hush before thestorm. Suddenly from either angle of the stage or hall, in addition tothe principal orchestra in front, four smaller bands of trombones, trumpets, and tubas crash in with overwhelming power in the announcementof the terrors of the day of judgment. The effect is like that of pealupon peal of thunder. At its culmination the bass voices enter in unisonupon 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 simplycyclopean; words cannot describe its overwhelming power. It is a reliefwhen the storm has passed over, and we come to the next verse ("Quid summiser"), 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 oftone, and is marked in the score to be sung with "an expression ofhumility and awe. " It leads to the andante number ("Rex tremendæmajestatis"), which is sung fortissimo throughout, and accompanied withanother tremendous outburst of harmonious thunder in crashing chords, which continues up to the last eight bars, when the voices drop suddenlyfrom the furious fortissimo to an almost inaudible pianissimo on thewords "Salve me. " The next verse ("Quærens me") is an unaccompaniedsix-part chorus in imitative style, of very close harmony. The "Dies Iræ"ends with the "Lachrymosa, " the longest and most interesting number inthe work. It is thoroughly melodic, and is peculiarly strengthened by apathetic and sentimental accompaniment, which, taken in connection withthe choral part against which it is set, presents an almost inexhaustiblevariety of rhythms and an originality of technical effects which areastonishing. Its general character is broad and solemn, and it closeswith 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 toa simple phrase of two notes, A alternating with B flat, which is nevervaried throughout the somewhat long movement. It never becomesmonotonous, however, so rich and varied is the instrumentation. The"Hostias et Preces, "--sustained by the tenors and basses, a very solemnand majestic movement, --displays another of Berlioz's eccentricities, theaccompaniment at the close of the first phrase being furnished by threeflutes and eight tenor trombones, which one enemy of the composer saysrepresents the distance from the sublime to the ridiculous. The"Sanctus, " a tenor solo with responses by the sopranos and altos, is fullof poetical, almost sensuous beauty, and is the most popular number inthe work. It closes with a fugue on the words "Hosanna in Excelsis. " Thefinal number is the "Agnus Dei, " a chorus for male voices, in which thecomposer once more employs the peculiar combination of flutes and tenortrombones. In this number he also returns to the music of the openingnumber, "Requiem æternam, " and closes it with an "Amen" softly dyingaway. Thus ends the Requiem, --a work which will always be the subject ofcritical dispute, owing to its numerous innovations on existing musicalforms and the daring manner in which the composer has treated it. 

The following sketch of the first performance of the Requiem, taken fromBerlioz's Autobiography, will be found interesting in this connection. Itis necessary to preface it with the statement that the director of theBeaux-Arts had insisted that Habeneck should conduct the work. As Berliozhad quarrelled with the old conductor, and had not been on speaking termswith him for three years, he at first refused; but subsequentlyconsented, 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, wasborn at Hamburg, May 7, 1833. His father was a double-bass player in theorchestra in that city, and devoted his son at a very early age to hisown profession. His first piano teacher was Cossell; but to EduardMarxsen, the Royal Music Director, he owes his real success as acomposer. Brahms remained in Hamburg until 1853, when he went upon aconcert-tour with Reményí, the eccentric and somewhat sensationalHungarian, who has been a familiar figure upon the Americanconcert-stage. He remained with him, however, but a very short time, forin October of that year they parted company. Brahms had attracted thenotice of Liszt and Joachim; and it may have been through their advicethat the musical partnership was dissolved. In any event, soon afterleaving Reményí he went to Düsseldorf and visited Schumann. It was thelatter 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 atWeimar, he settled down as chorus-conductor and music-teacher at thecourt of Lippe-Detmold, where he remained a few years. During this periodhe devoted himself assiduously to composition. After leaving Detmold, hesuccessively resided in Hamburg, Zürich, and Baden-Baden, though most ofhis time has been spent in Vienna, where he has directed the Singakademieand the concerts of the Gesellschaft der Musikfreunde. Schumann'sprophecy has been made good; Brahms is to-day one of the most eminent ofliving musicians. Among his most famous compositions are a Funeral Hymnfor chorus and wind-band; the "German Requiem;" "Triumphlied, " fordouble-chorus and orchestra; "Schicksallied, " for chorus and orchestra;five symphonies; variations on a theme of Haydn, for orchestra; theTragic 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, norin any sense a religious service. The poem is full of consolation for themourner, of assurances of joy hereafter, of warnings against the pompsand vanities of the world, and closes with the victory of the saints overdeath and the grave. It might with more propriety be called "a sacredcantata. " The work has seven numbers, --two baritone solos and chorus, soprano solo and chorus, and four separate choruses. It was firstperformed at Bremen on Good Friday, 1868, and in 1873 was first heard inEngland. 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 beautifullywritten, and is particularly noticeable for the richness of itsaccompaniment. In the Funeral March, which follows, a very graphicresemblance to the measured tread of the cortège is accomplished by theuse of triple time. In this, as well as in numerous other instances, thecomposer cuts loose from ordinary methods, and in pure classical form andby the use of legitimate musical processes achieves what others seek toeffect by sensuous or purely imitative music. The third number ("Lord, make me to know the Measure of my Days on Earth") opens with a baritonesolo, followed by two choral fugues, which are solidly constructed, though they are extremely difficult to sing, and call for a chorus ofunusual discipline and intelligence. The fourth, for chorus ("How lovelyis Thy Dwelling-place, O Lord of Hosts"), is in striking contrast withits predecessor, being a slow movement, and very melodious in style. Thefifth ("Ye now are sorrowful, grieve not"), for soprano solo and chorus, shows the composer's unusual power as a song-writer, as well as hismelodious attractiveness when melody answers his purpose. In the nextnumber, set for chorus with baritone solo responses ("Here on Earth wehave no continuing Place, we seek now a heavenly one"), the character ofthe music changes again, and the resurrection of the dead is pictured infugal passages of tremendous power and difficulty. After the storm comesthe calm again in the finale ("Blessed are the Faithful who in the Lordare sleeping"), which contains a reminiscence of the opening number, andcloses the work in a gentle, but deeply serious strain. It was the"German Requiem" which first made Brahms famous; it confirmed all thatSchumann had said of him. Its great difficulties require an extraordinarychorus and orchestra; but when these can be had, the power and beauty ofthe 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, hewas placed in the Royal Academy of Music. Before his twenty-first year hehad composed several works, among them a mass for four voices, a "DixitDominus, " three symphonies, an oratorio, "La Passione, " the ballet musicto "Kenilworth, " and the operas, "Il Delitto punito, " "Il Sospettofunesto, " "Il carcere d' Ildegonda, " and "Malvina, "--the last for the SanCarlo at Naples. In 1829 he was sent to England by his master Zingarellito conduct one of the latter's compositions at Birmingham; and thatcountry thereafter became his home. The next year he was engaged at theKing's Theatre, now known as Her Majesty's, as piano-master, and twoyears later became the musical director. He was the first to bring theband to its proper place, though he had to make a hard fight against theballet, which at that time threatened to absorb both singers andorchestra, 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 beautifulquartet, "Ecco quel fiero istante, " and the operas "Malek Adhel" forParis in 1837, and "Don Carlos" for London in 1844. He remained at HerMajesty's Theatre for fifteen years, during which time he did a greatwork for singers and band, and reduced the ballet to its proper rank. In1846 he left his position and went to the new Italian opera at CoventGarden, where he remained for a quarter of a century, absolute in hismusical supremacy and free to deal with all works as he pleased, amongthem those of Meyerbeer, at that time the most prominent composer in theoperatic world; for Wagner as yet was scarcely known. It is to Costa thatMeyerbeer owes his English reputation. In the same year (1846) he tookthe direction of the Philharmonic orchestra, and two years later that ofthe Sacred Harmonic Society, which he held until his death, and asconductor of which he also directed the Handel festivals. In 1849 he wasengaged for the Birmingham festivals, and also conducted them until hisdeath. In 1854 he resigned his position with the Philharmonic, and hissuccessor, for a brief time only, was Richard Wagner. His oratorio, "Eli, " was composed for the Birmingham Festival of 1855, and his secondoratorio, "Naaman, " for the same festival in 1864. In 1869 he wasknighted, and shortly afterwards, when his "Eli" was produced atStuttgart, it won for him the royal order of Frederick from the King ofWürtemberg. He also had decorations from the sovereigns of Germany, Turkey, Italy, and the Netherlands, in recognition of his musicalaccomplishments. In 1871 he returned again to Her Majesty's Opera in thecapacity of "director of the music, composer, and conductor;" but a fewyears ago he again dissolved his connection with it, and devoted himselfentirely to the private management and public direction of the SacredHarmonic Society, with which he was identified for over thirty years. Hedied in April, 1884. 

 Eli. 

The oratorio of "Eli, " the text taken from the first book of Samuel, andadapted by William Bartholomew, was first performed at the BirminghamFestival, Aug. 29, 1855, under Costa's own direction, with MesdamesViardot and Novello and Messrs. Sims Reeves and Carl Formes in theprincipal parts. The characters are Eli, Elkanah, Hannah, Samuel, the Manof God, Saph the Philistine warrior, Hophni and Phinehas the sons of Eli, and the Priests and Philistines as chorus. The story is not veryconsistent in its outlines, and is fragmentary withal, the narrative ofthe child Samuel being the central theme, around which are grouped thetribulations of Elkanah and Hannah, the service of Eli the priest, therevels 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 incharacter. Indeed, the whole overture is mostly pianissimo. In strikingcontrast follows the opening recitative for bass ("Blow ye the Trumpet"), which is the signal for those instruments, and introduces the firstchorus ("Let us go to pray before the Lord"), beginning with a softstaccato which gradually works up to a jubilant climax on the words "Makea joyful Noise. " A tenor solo for Elkanah is interwoven with the chorus, which closes with broad, flowing harmony. The next number, a bass airwith chorus ("Let the People praise Thee"), is somewhat peculiar in itsconstruction. It begins with the air, which is slow and tender, and atthe close the chorus takes it in canon form. Then Eli intonesbenedictions in chorale style, and the chorus responds with "Amens" infull harmony at the end of each, making a very impressive effect. It isfollowed by a very elaborate chorus ("Blessed be the Lord"), closing witha fugue on the word "Amen, " which is very clear and well worked up. Thenext number is the sorrowful prayer of the barren and grieving Hannah("Turn Thee unto me"), which is very expressive in its mournfulsupplication, and splendidly contrasted with her joyous song after thebirth 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 byElkanah and Hannah, leading to a beautiful duet between them ("Whereforeis thy Soul cast down?"). 

The character of the music now changes as we enter upon a longdrinking-chorus, with solos by the two revellers, Hophni and Phinehas("For everything there is a Season"). The change from the seriousness ofthe preceding numbers is very abrupt, and the music of the chorus isdecidedly of the conventional Italian drinking-song character. Eliappears and rebukes them, and after a cantabile aria ("Thou shouldst markIniquities"), a short chorus of Levites, for tenors and basses, ensues, introducing a simple, but well-sustained chorale for full chorus ("Howmighty is Thy Name"). At this point the "Man of God" appears, rebukingthe Levites for their polluted offerings. His denunciations are declaimedin strong, spirited phrases, accompanied by the chorus of the people("They have profaned it"), beginning in unison. The scene now changes tothe camp of the Philistines, where Saph, their man of war, shouts out hisangry and boisterous defiance in his solo ("Philistines, hark, theTrumpet sounding"). It is followed by a choral response from thePhilistines ("Speed us on to fight"), which is in the same robust andstirring style, though the general effect is theatrical and somewhatcommonplace. Combined with it is a choral response by the priests ofDagon, of an Oriental character. After this clash of sound follows an airof a sombre style by Eli ("Hear my Prayer, O Lord"), the introduction andaccompaniment of which are very striking. The "Man of God" once moreappears, announcing the approaching death of Eli's sons to a weird, sepulchral accompaniment of the reeds and trombones, and leading up to avery effective duet between them ("Lord, cause Thy Face to shine upon ThyServant"). Another chorale ensues ("O make a joyful Noise"), and after abrief recitative Hannah has a most exultant song, overflowing with loveand gratitude at the birth of Samuel ("I will extol Thee, O Lord"). Thefirst part closes with a brief recitative between Hannah and Eli, preluding a fugued chorus ("Hosanna in the highest"), built up on twomotives and one of the most elaborate numbers in the oratorio. 

The second part opens with a chaste and lovely melody, the morning prayerof the child Samuel ("Lord, from my Bed again I rise"), followed withsome pretty recitative between the child and his parents, and anunaccompanied quartet, set to the same choral theme that was heard in theorgan prelude to the overture. The next number is the long and showyinstrumental march of the Israelites, followed by two very strikingchoruses, --the first ("Hold not Thy Peace and be not still, O God") ofwhich appeals for divine help against the enemy, and the second, anallegro ("O God, make them like a Wheel"), leads into a fugue ("Sopersecute them"), which is very energetic in character, and closes withthe martial hymn, "God and King of Jacob's Nation, " sung to the melody ofthe preceding march. 

The oratorio abounds in contrasts, and here occurs another, the eveningprayer of Samuel ("This Night I lift my Heart to Thee"), --a pure, quietmelody, gradually dying away as he drops asleep, and followed by an angelchorus for female voices with harp accompaniment ("No Evil shall befallthee"), the effect of which is very beautiful, especially in thedecrescendo at the close. A messenger suddenly arrives, announcing thedefeat of Israel by the Philistines, upon which the chorus bursts outwith one of the most telling numbers, both in the voice parts and thedescriptiveness of the accompaniment ("Woe unto us, we are spoiled!"). Some very dramatic recitative between Samuel and Eli follows, after whichthe Levites join in the chorus, "Bless ye the Lord, " opening with thetenors and closing in four parts, with the call of Eli intervening("Watchmen, what of the Night?"). A long recitative by Samuel ("The Lordsaid"), 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 recitativeannouncing more defeats of Israel, the capture of the ark, the death ofEli and his sons, and an appeal by Samuel to blow the trumpet, calling asolemn assembly to implore the pity of the Lord, --prepare the way for thefinal 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 andHaydn Society, Feb. 15, 1857, under the direction of Carl Zerrahn, withMr. 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 thecontralto part of Samuel. Writing of that performance, Mr. Dwight, thecareful and discriminating critic, summed up the work as follows: "As awhole, 'Eli' is a noble and impressive oratorio. The composition islearned and musician-like, and generally appropriate, tasteful, dignified, often beautiful, and occasionally grand. It is by no means awork of genius, but it is a work of high musical culture, and indicates amind imbued with the best traditions and familiar with the best mastersof the art, and a masterly command of all the modern musical resources, except the 'faculty divine, '"--which, we may be permitted to say, is notincluded in "modern musical resources. " The characterization of theoratorio, however, is thoroughly pertinent and complete. It is somewhatremarkable that a work so excellent and having so many elements ofpopularity should not be given more frequently in this country. 

 ANTON DVORÁK. 

Anton Dvorák, the Bohemian composer who has risen so suddenly intoprominence, was born at Mülhausen, near Prague, Sept. 8, 1841. His fathercombined the businesses of tavern-keeper and butcher, and young Dvorákassisted him in waiting upon customers, as well as in the slaughteringbusiness. As the laws of Bohemia stipulate that music shall be a part ofcommon-school education, Dvorák learned the rudiments in the villageschool, and also received violin instruction. At the age of thirteen hewent to work for an uncle who resided in a village where the schoolmasterwas a proficient musician. The latter, recognizing his ability, gave himlessons on the organ, and allowed him to copy music. Piano-lessonsfollowed, and he had soon grounded himself quite thoroughly incounterpoint. At the age of sixteen he was admitted to the organ-schoolat Prague, of which Joseph Pitsch was the principal. Pitsch died shortlyafter, and was succeeded by Kreyci, who made Dvorák acquainted with themusic of Mozart, Beethoven, and Mendelssohn. The first orchestral workwhich he heard was Beethoven's "Ninth Symphony, " during its rehearsalunder Spohr's direction. In 1860, being then in his nineteenth year, heobtained an engagement, with the meagre salary of $125 a year, asviolinist in a band that played at cafés and dances. Two years later hesecured a position in the Bohemian Opera-House at Prague, then under thedirection of Mayer, where he remained until 1871, in which year he leftthe theatre and devoted himself to teaching, with the prospect of earning$250 a year. These were hard days for the young musician; but while hewas thus struggling for a bare subsistence he continued writingcompositions, though he had no prospect of selling them or of having themplayed. One writer remarks on this point: "It is far from difficult tocompare him in this respect with that marvellous embodiment of patienceand enthusiasm, Franz Schubert; only, more fortunate than the Viennesemaster, the Bohemian has lived to receive his reward. Between these twomen another point of resemblance appears. Neither can be charged withpushing or intriguing himself into prominence. Schubert had plenty ofartistic ambition, but of personal ambition none; while the quality he soentirely lacked cannot be accredited to Dvorák, who spent the best partof his life in the enjoyment of merely local fame. " About this time hewrote his "Patriotic Hymn" and the opera "König und Köhler. " The latterwas rejected after an orchestral trial; but he continued his work, undaunted by failure. Shortly after this he received the appointment oforganist at the Adelbert Church, Prague, and fortune began to smile uponhim. His symphony in F was laid before the Minister of Instruction inVienna, and upon the recommendation of Herbeck secured him a grant of$200. When Brahms replaced Herbeck on the committee which reported uponartists' stipends, he fully recognized Dvorák's ability, and not onlyencouraged him, but also brought him before the world by securing him apublisher and commending him to Joachim, who still further advanced hisinterests by securing performances of his works in Germany and England. Since that time he has risen rapidly, and is now recognized as one of themost promising of living composers. Among his works which have beenproduced during the past few years are the "Stabat Mater, " the cantata"The Spectre Bride, " three operas in the Czechist dialect, threeorchestral symphonies, several Slavonic rhapsodies, overtures, violin andpiano concertos, an exceedingly beautiful sextet, and numerous songs. 

 The Stabat Mater. 

Dvorák's "Stabat Mater" was written in 1875. It was sent to the AustrianMinister of Instruction, but was not deemed worthy of the grant of $200which the composer had expected. Its merit was subsequently recognized byBrahms and Joachim, and the latter secured a hearing of it in London in1883. It immediately made its composer famous. The Philharmonic Societyinvited him to London, and the work was given with great success at theAlbert Hall, and later at the Worcester and Hereford festivals. It was inEngland indeed that his celebrity was established, and for that countryall his new works are now written. 

The "Stabat Mater" is written for soli, chorus, and orchestra, andcomprises ten numbers. The first is the quartet and chorus, "Stabat Materdolorosa, " and carries the old Latin hymn as far as the "Quis est homo. "After an orchestral introduction which gives out the principal motives onwhich the number is based, the vocal quartet begins. The materials ofwhich it is composed are very simple, but they are worked up with greattechnical skill. The general effect is tragic rather than pathetic, as ifthe composer were contemplating not so much the grief of the VirginMother at the foot of the Cross as the awful nature of the tragedy itselfand its far-reaching consequences. 

The second number is the quartet "Quis est homo. " After a shortintroduction, the theme is taken by the alto, followed by the tenor andbass, and lastly by the soprano, the general structure growing moreelaborate at each entrance. After the second subject is introduced asplendid climax is reached, and in the coda the voices whisper the words"vidit suum" to an accompaniment of wind instruments in sustained andimpressive chords. 

The third number, "Eia Mater, " is built up on an exceedingly briefmotive, which is augmented with surprising power in choral form. It is awork of scholarly skill, and yet is full of charm and grace, and willalways commend itself even to the untutored hearer by its tenderness andpathetic 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, andhas a fine contrast between the solo and the chorus, which at itsentrance is assigned to the female voices only, with organ accompaniment. 

The fifth number is the chorus "Tui nati vulnerati, " which is remarkablefor 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 bythe tenor, repeated in three-part harmony by male voices, theaccompaniment being independent in form; the subject then returns, firstfor solo, and then for male voices, in varying harmonies. After a briefvocal episode the subject reappears in still different form, and, followed by the episode worked up at length in a coda, brings the numberto its close. 

The seventh number, "Virgo, virgonum præclara, " for full chorus, ismarked by great simplicity and tenderness, and will always be one of themost 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 presentedin varying forms both by the voices and orchestra. 

The ninth number, "Inflammatus et accensus, " is one of the most masterlyin the whole work. It is an alto solo composed of two subjects, the firstvery majestic, and the second pathetic in character, forming a contrastof great power and beauty. 

The tenth and closing number, "Quando corpus morietur, " for quartet andchorus, is constructed substantially upon the same themes which appearedin the "Stabat Mater, " and closes with an "Amen" of a massive character, exhibiting astonishing contrapuntal skill. One of the best Englishcritics 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 hasbeen made world-wide by the extraordinary success of his opera "Faust, "and yet more than almost any other operatic composer of modern times hehas devoted himself to sacred music. His earlier studies were pursued inParis at the Conservatory, under the tuition of Paër and Lesueur, and in1839 the receipt of the Grand Prix gave him the coveted opportunity to goto Italy. In the atmosphere of Rome religious influences made a strongimpression upon him. He devoted himself assiduously to the study ofPalestrina, and among his first important compositions were a massperformed 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 overhim, and he became organist and conductor at the Missions étrangères. Heeven contemplated taking orders, and attended a theological course fortwo years. In 1846 he became a pupil at the Séminaire; but at last hegave up his priestly intentions and devoted himself wholly to musicalcomposition, though he has been, if not a devotee, a religious enthusiastall 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, --thefirst of his compositions that was ever produced in England. It wascordially received, and he was universally recognized as a promisingmusician. For many years succeeding this event he devoted himself mainlyto secular music, and opera after opera rapidly came from hispen, --"Sappho" (1851); "Nonne Sanglante" (1854); "Le Médecin malgré lui"(1858); "Faust, " his greatest work, and one of the most successful ofmodern 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 theattention he gave to opera and to much other secular music, he foundample time for the composition of sacred works. In 1852, while in Paris, he became conductor of the Orphéon, and for the pupils of thatinstitution he composed two masses. He has also written a great number ofpieces 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, "TheRedemption, " performed at Birmingham in 1882, and "Mors et Vita, " broughtout at the same place in 1885. The composer is now engaged upon thescheme of a new oratorio, the career of Joan of Arc being its subject. Itmay be said in closing this sketch, which has been mainly confined to aconsideration of his sacred compositions, as his operatic career has beenfully treated in "Standard Operas, " that in 1873 he wrote the incidentalmusic to Jules Barbier's tragedy, "Jeanne d'Arc, " which may have inspiredhis determination to write an oratorio on the same subject. 

 The Redemption. 

"The Redemption, a Sacred Trilogy, " is the title which Gounod gave tothis work, and on its opening page he wrote: "The work of my life. " In anote 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 theproduction was a memorable one. It was first heard in this country in thewinter of 1883-84 under Mr. Theodore Thomas's direction, and was one ofthe prominent works in his series of festivals in the latter year. 

Gounod himself has prefaced the music with an admirably concisedescription of the text and its various subjects. Of its general contentshe 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 ofman, involving the necessity of divine mediation, the promise ofredemption, and the annunciation of the mystery of the incarnation of theHoly Virgin. After a brief instrumental introduction, descriptive ofchaos, the tenor Narrator announces the completion of creation inrecitative, followed by a similar declamation from the bass Narratorannouncing the fall of man, the tenor Narrator answering with theannouncement of the Redeemer's advent ("But of the Spotless Lamb"), inwhich we have for the first time a genuine Wagnerian _leit motif_, whichruns through the music of the oratorio whenever allusion is made to thedivine atonement. This typical melody is heard nine times, --three timesin the prologue, twice in the scene of the crucifixion, once in ourSaviour's promise to the thieves on the cross, once in his appearance tothe holy women, and twice in the ascension. It is first given out as aviolin solo, and at the close of the tenor recitative is repeated by allthe 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 thetypical melody is introduced in responsive form between flute andclarinet. To the first, the angelic message of the annunciation, Gounodhas affixed the title, "Ave, gratia plena;" and to the second, the replyof Mary, "Fiat mihi secundum verbum tuum. "

The first part includes the march to Calvary, which is divided into sixseparate numbers, yet so connected as to make a single musicalseries, --the crucifixion, Mary at the foot of the cross, the dyingthieves, the death of Jesus, and the confession of his divinity by thecenturion. It opens with the story of the condemnation of the Man ofSorrows by Pilate, told by the bass Narrator, the words of Jesus himself, however, being used invariably in the first person, and sung by thebaritone voice, as when he says, "If my Deeds have been evil, "immediately following the bass recitative. After another monologue by theNarrator, ensues the march to the cross, --an instrumental number which isbrilliant in its color effects and somewhat barbaric in tone. Without anybreak, the sopranos enter with the words, "Forth the Royal Banners go, "set to a melody from the Roman Catholic liturgy; after which the march isresumed. The bass Narrator tells the story of the women who followedlamenting, 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 RoyalBanners go"). The tenor Narrator recites the preparation for thecrucifixion, accompanied by very descriptive music, and followed by astormy chorus of the People ("Ha! thou that didst declare"), and themocking cries of the priests ("Can he now save himself?"), sung by a malechorus. In a pathetic monologue Jesus appeals for their pardon, whichleads to an elaborate concerted number for chorus or quartet, called "TheReproaches. " A conversation ensues between Jesus and Mary, followed bythe quartet, "Beside the Cross remaining, " in canon form, preluding thechorale, "While my Watch I am keeping, " at first sung by Mary, and thentaken up by the full chorus, accompanied by organ, trombones, andtrumpets. The next scene is that between Jesus and the two Thieves, whichalso leads to a chorale ("Lord Jesus, thou to all bringest Light andSalvation"). This number contains the last touch of brightness in thefirst part. Immediately the bass Narrator announces the approach of theawful tragedy. The gathering darkness is pictured by a vivid passage forstrings and clarinet, succeeded by the agonizing cries of the Saviour. The bass Narrator declares the consummation of the tragedy, and then withthe tenor Narrator describes the throes of Nature ("And then the Air wasfilled with a Murmur unwonted"), the rending of the veil of the Temple, the breaking of the rocks, the earthquake, and the visions of the saintlyapparitions. The last number is the conviction of the centurion, followedby a short chorale ("For us the Christ is made a Victim availing"). 

The second part includes the announcement of the doctrine of theresurrection by the mystic chorus, the appearance of the Angel to theHoly Women at the sepulchre, that of Jesus to them while on the way toGalilee, the consternation of the Sanhedrim when it is learned that thetomb is empty, the meeting of the Holy Women and the Apostles, theappearance of Jesus to the latter, and his final ascension. It opens witha chorus for the mystic choir ("Saviour of Men"), followed by a shortpastorale 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 ofthe Angel interwoven with the harp and conveyed in the beautiful aria, "Why seek ye the Living among the Dead?" Jesus at last reveals himself tothe Women with the words, "All hail! Blessed are ye Women, " accompaniedby the typical melody, of which mention has already been made. The threeWomen disappear on the way to convey his message to the Disciples, andthe scene changes to the Sanhedrim, where, in a tumultuous and agitatedchorus for male voices ("Christ is risen again"), the story of the emptytomb is told by the Watchers. The bass Narrator relates the amazement ofthe priests and elders, and their plot to bribe the guard, leading to thechorus for male voices ("Say ye that in the Night his Disciples have comeand stolen him away"), at the close of which ensues a full, massivechorus ("Now, behold ye the Guard, this, your Sleep-vanquished Guard"), closing with the denunciation in unison ("For Ages on your Heads shallContempt be outpoured"). The tenor and bass Narrators in duet tell of thesorrow of the Disciples, which prepares the way for a lovely trio forfirst and second soprano and alto ("The Lord he has risen again"). Thenext number is one of the most effective in the whole work, --a sopranoobligato 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 withthe full power of the accompanying forces. Then follows a dialoguebetween the Saviour and his Apostles, in which he gives them theirmission 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 ofGlory?" The answer comes in a stately unison by the terrestrial chorus, "He who Death overcame. " Again the question is asked, and again it isanswered; whereupon the two choirs are massed in the jubilant chorus, "Unfold! for lo the King comes nigh!" the full orchestra and organsounding the Redemption melody, and the whole closing with a fanfare oftrumpets. 

The third part includes the prophecy of the millennium, the descent ofthe Holy Ghost to the Apostles, the Pentecostal manifestations, and theHymn of the Apostles. The latter is so important that the composer's ownanalysis 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 witha brief chorus ("Lovely appear over the Mountains"), followed by asoprano solo, the only distinct number of that kind in the work, set tothe words, "Over the barren Wastes shall Flowers have possession, " at itsclose 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 ("ByFaith Salvation comes, and by Peace, Consolation"). The chorus respondsantiphonally, and again the solo voices are heard in a lovely quartet("He has said to all the Unhappy"), followed by a small choir of thirtyvoices ("Blessed are the poor in Spirit"), at the end of which all thevoices are massed on the Apostles' Hymn, which closes in fugal form onthe words, "He like the Holy Ghost is one with the Father, an everlastingTrinity, " 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 firstperformed at the Birmingham Festival, Aug. 26, 1885, under the directionof Herr Hans Richter, the principal parts being sung by Mesdames Albaniand Patey and Messrs. Santley and Lloyd. Its companion oratorio, "TheRedemption, " was dedicated to Queen Victoria, and itself to His HolinessPope 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 ofrepresentative themes, an illustration of which was also noted in "TheRedemption. " The first one, consisting of four notes, presenting asequence of three major seconds, is intended to express "the terrorinspired by the sense of the inflexibility of justice and, inconsequence, by that of the anguish of punishment. Its sternness givesexpression both to the sentences of divine justice and the sufferings ofthe condemned, and is found in combination throughout the whole work, with melodic forms which express sentiments altogether different, as inthe 'Sanctus' and the 'Pie Jesu' in the 'Requiem, ' which forms the firstpart. " It is first heard in the opening chorus, and for the last time inthe quartet of the third part. The second melodic form, expressive ofsorrow and tears, by the change of a single note and the use of the majorkey is made to express consolation and joy. "The third, " says Gounod, "bymeans of threefold superposition, results in the interval of an augmentedfifth, and announces the awakening of the dead at the terrifying call ofthe angelic trumpets, of which Saint Paul speaks in one of his epistlesto the Corinthians. "

The oratorio is divided into a prologue and three parts, the Latin textbeing used throughout. The first part is entitled "Mors, " and opens withthe prologue, which is brief, followed by the "Requiem, " interspersedwith texts of a reflective character commenting upon the sentiment. Thesecond part is entitled "Judicium" ("Judgment"), and includes (1) TheSleep of the Dead; (2) The Trumpets at the Last Judgment; (3) TheResurrection of the Dead; (4) The Judge; (5) The Judgment of the Elect;(6) The Judgment of the Rejected. The third part is entitled "Vita, " andincludes the vision of Saint John, the text being taken from theApocalypse; the work closing with an "Hosanna in Excelsis, " exulting inthe 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 thewords, "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 thepercussion instruments, --the motive which typifies death both of the bodyand of the unredeemed soul. Immediately after follows the baritone voice, that of Jesus, in the familiar words, "I am the Resurrection and theLife. " The chorus repeats the declaration, and the Requiem Mass thenbegins, divided into various sections, of which the "Dies Iræ" is themost important; this in turn subdivided in the conventional form. Afteran adagio prelude and the intonation of the "Requiem æternam, " aninterpolated text occurs ("From the Morning Watch till the Evening"), setas a double chorus without accompaniment, in the genuine Church style ofthe old masters. It leads directly to the "Dies Iræ, " in which the deathmotive already referred to frequently occurs. It is laid out in duets, quartets, and arias, with and without chorus, very much in the same tempoand of the same character of melody. The verse, "Ah! what shall we thenbe pleading?" for quartet and chorus, is remarkable for its attractivemelody. It is followed by a soprano solo and chorus ("Happy are we, withsuch a Saviour") of a reflective character, which gives out still anothervery tuneful melody. The hymn is then resumed with the verse, "Faint andworn, thou yet hast sought us, " for duet and chorus, which is of the samegeneral character. The next verse, "Lord, for Anguish hear us moaning, "for quartet and chorus, is very effective and elaborate in itsconstruction, particularly as compared with that immediately following("With the Faithful deign to place us"), a tenor solo of a quaint andpastoral character. The next number for chorus ("While the wicked areconfounded") affords still another striking contrast, being in thegrandiose style and very dramatic, closing with phrases for the solovoices expressive of submission and contrition. Up to this point the"Dies Iræ" has been monotonous in its sameness of general style; but thenext verse ("Day of Weeping, Day of Mourning") is a beautiful andthoroughly original number of very striking effect. It leads directly tothe offertory ("O Lord Jesus Christ, King of Glory"), which is composedof a chorus for eight parts, a soprano solo ("But, Lord, do thou bringthem evermore"), a chorus ("Which once to Abraham"), and a second chorus("Sacrifice of Prayer and Praise"). The soprano solo is a delightfulmelody, sung to a delicate accompaniment of the strings, with occasionalchords on the harp, and based upon the beautiful second typical motive, which the composer styles "The Motive of Happiness. " The chorus, "Whichonce to Abraham, " is set in fugue form, which is the conventional styleamong composers with this number; but, as in "The Redemption, " wheneverGounod employs the fugue form, he drops it as soon as the four voiceshave 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 isfollowed by the quartet, "Mighty Saviour, Jesus blest, " which is deeplyreligious in character; the lovely soprano solo and chorus, "Agnus Dei;"and the chorus, "Lord, forever let Light Eternal. " The first part isrounded off with an epilogue, an interlude for full orchestra and organ, based upon the first and second typical melodies, forming a consistentand stately finale to this part of the work. 

The second part is peculiar for the prominence which the composer assignsto the orchestra. It opens with a well-sustained, gentle adagio movement, entitled "The Sleep of the Dead, " which at times is somewhat harshlyinterrupted by the third typical melody, announcing the awakening of thedead at the terrifying call of the angelic trumpets. This is speciallynoticeable in that part of the prelude called "The Trumpet of the LastJudgment, " in which the trombones, trumpets, and tubas are employed withextraordinary effect. Still a third phrase of the prelude occurs, --"TheResurrection of the Dead, "--which is smooth and flowing in its style, andpeculiarly rich in harmony. A brief recitative by baritone ("But when theSon of Man") intervenes, immediately followed by another instrumentalnumber, entitled "Judex" ("The Judge"), --one of the most effective piecesof orchestration in the oratorio, based upon the motive which indicatesthe tempering of justice with mercy, given out by the strings in unison. It preludes a short chorus ("Sitting upon the Throne"), the previousmelody still continuing in the orchestra. The "Judgment of the Elect"follows, pronounced by the baritone voice in recitative, and leadingdirectly to the soprano solo, "The Righteous shall enter into Gloryeternal, "--the most exquisite solo number in the work, --followed by aneffective chorale ("In Remembrance everlasting"). Then follows "TheJudgment of the Rejected, " consisting of baritone solos and chorus, closing the second part. 

The third part celebrates the delights of the celestial city as picturedin the apocalyptic vision of Saint John, and is in marked contrast to thegloom and sombreness of the Requiem music, as well as the terrors of theJudgment. It is bright, jubilant, and exultant throughout. The title ofthe prelude is "New Heaven, New Earth. " The baritone intones therecitative ("And I saw the New Heaven"), which is followed by anotherdelightful sketch for the orchestra ("Celestial Jerusalem"), --a mostvivid and graphic picture of the subject it describes. The remainingprominent numbers are the "Sanctus" chorus, the celestial chorus ("I amAlpha and Omega"), and the final chorus ("Hosanna in Excelsis"), whichcloses this remarkable work. 

The weakest part of the oratorio is the "Requiem, " which suffers from themonotony of its divisions, especially when compared with the treatment ofrequiems by the great composers who have made them a special study. Ascompared with the "Redemption, " however, it is more interesting, becauseit is more melodious and less cumbered with recitative. It is alsopeculiarly noticeable for the free manner in which the composer uses theorchestra, and the skill with which the typical melodies are employed, ascompared with which the solitary "Redemption" motive seems weak and thin. Both works are full of genuine religious sentiment, and taken togethercover almost the entire scope of human aspiration so far as it relates tothe other world. No composer has conceived a broader scheme for oratorio. Though Gounod does not always reach the sublime and majestic heights ofthe old masters in sacred music, yet the feeling manifested in theseworks is never anything but religious; the hearer is always surrounded byan 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 avery early age, only to encounter parental opposition. His fatherintended him to be a lawyer; but Nature had her way, and in spite ofdomestic antagonism triumphed. The Duke of Saxe-Weissenfels recognizedhis ability and overcame the father's determination. Handel began hisstudies with Zachau, organist of the Halle cathedral. After the death ofhis father, in 1697, he went to Hamburg, and for a time played in theorchestra of the German opera. It was during his residence in that citythat he wrote his first opera, "Almira" (1705). In the following year hewent to Italy, where he remained several months under the patronage ofthe Grand Duke of Florence. During the next two years he visited Venice, Rome, and Naples, and wrote several operas and minor oratorios. In 1709he returned to Germany, and the Elector of Hanover, subsequently GeorgeI. Of England, offered him the position of Capellmeister, which heaccepted upon the condition that he might visit England, having receivedmany invitations from that country. The next year he arrived in Londonand brought out his opera of "Rinaldo, " which proved a great success. Atthe end of six months he was obliged to return to his position inHanover; but his English success made him impatient of the dulness of thecourt. In 1712 he was in London again, little dreaming that the Electorwould soon follow him as king. Incensed with him for leaving Hanover, theKing at first refused to receive him; but some music which Handelcomposed for an aquatic fête in his honor brought about the royalreconciliation. In 1718 he accepted the position of chapel-master to theDuke of Chandos, for whom he wrote the famous Chandos Te Deum andAnthems, the serenata "Acis and Galatea, " and "Esther, " his first Englishoratorio. In 1720 he was engaged as director of Italian opera by thesociety of noblemen known as the Royal Academy of Music, and from thattime until 1740 his career was entirely of an operatic character. Operaafter opera came from his pen. Some were successful, others failed. Atfirst composer, then director, he finally became _impresario_, only tofind himself confronted with bitter rivalry, especially at the hands ofBuononcini and Porpora. Cabals were instituted against him. Unable tocontend with them alone, he formed a partnership with Heidegger, proprietor of the King's Theatre, in 1729. It was broken in 1734, and hetook the management of Covent Garden. The Italian conspiracies againsthim broke out afresh. He failed in his undertaking, and became abankrupt. In eight years he had lost $51, 000 in Italian opera. Slandersof all sorts were circulated against him, and his works were no longerwell 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 hisreturn to London he brought out some new works, but they were notfavorably received. A few friends who had remained faithful to himpersuaded him to give a benefit concert, which was a great success. Itinspired him with fresh courage; but he did not again return to theoperatic world. Thenceforward he devoted himself to oratorio, in which hemade his name famous for all time. He himself said: "Sacred music is bestsuited to a man descending in the vale of years. " "Saul" and the colossal"Israel in Egypt, " written in 1740, head the list of his wonderfuloratorios. In 1741 he was invited to visit Ireland. He went there inNovember, and many of his works were produced during the winter andreceived 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; buteven in the midst of his oratorio work his rivals did not cease theirconspiracies against him, and in 1744 he was once more a bankrupt. Forover 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 thecomposition of the last-named work that he was attacked with the illnesswhich finally proved fatal. He died April 14, 1759, and was buried inWestminster Abbey. During the last few days of his life he was heard toexpress the wish that he "might breathe his last on Good Friday, in hopesof meeting his good God, his sweet Lord and Saviour, on the day of hisresurrection. " The wish was granted him; for it was on Good Friday thathe passed away, leaving behind him a name and fame that will be cherishedso long as music retains its power over the human heart. 

 Israel in Egypt. 

"Israel in Egypt, " the fifth of the nineteen oratorios which Handelcomposed in England, was written in 1738. The Exodus, which is now thesecond part, was written between the 1st and the 11th of October, and wassuperscribed, "Moses' Song, Exodus, Chap. Xv. , begun Oct. 1, 1738;" andat the close was written, "Fine, Oct. 11, 1738. " It is evident from thisthat the work was at first written as a cantata, but that Handel onreflection decided that the plagues of Egypt would not only be a goodsubject, but would also prove a logical historical introduction to thesecond part. Four days later he began the first part, and finished it onthe 1st of November, --the composition of the whole of this colossal workthus occupying but twenty-seven days. It was first performed as "Israelin Egypt, " April 4, 1739, at the King's Theatre, of which Handel was thenmanager. It was given the second time April 11, "with alterations andadditions, " the alterations having been made in order to admit of theintroduction of songs. The third performance took place April 17, uponwhich occasion the "Funeral Anthem, " which he had written for QueenCaroline, was used as a first part and entitled, "Lamentations of theIsraelites for the Death of Joseph. " During the lifetime of Handel theoratorio was only performed nine times, for in spite of its excellence, it was a failure. For many years after his death it was produced inmutilated form; but in 1849 the Sacred Harmonic Society of London gave itas it was originally written and as we know it now, without the FuneralAnthem or any of the songs which had been introduced. 

The text of the oratorio is supposed to have been written by Handelhimself, though the words are taken literally from the Bible. Schoelchersays:

 "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 burdensimposed upon them by their Egyptian taskmasters, and then in rapidsuccession follow the plagues, --the water of the Nile turned to blood, the reptiles swarming even into the king's chambers, the pestilencescourging man and beast, the insect-cloud heralding the locusts, thepelting 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 Seaand the escape from bondage, closing the first part. The second partopens with the triumphant song of Moses and the Children of Israelrejoicing over the destruction of Pharaoh's host, and closes with theexultant strain of Miriam the prophetess, "Sing ye to the Lord, for Hehath triumphed gloriously; the Horse and his Rider hath He thrown intothe Sea. "

"Israel in Egypt" is essentially a choral oratorio. It comprises no lessthan twenty-eight massive double choruses, linked together by a few barsof recitative, with five arias and three duets interspersed among them. Unlike Handel's other oratorios, there is no overture or even prelude tothe work. Six bars of recitative for tenor ("Now there arose a new Kingover Egypt which knew not Joseph") suffice to introduce it, and leaddirectly to the first double chorus ("And the Children of Israelsighed"), the theme of which is first given out by the altos of one choirwith impressive pathos. The chorus works up to a climax of great force onthe phrase, "And their Cry came up unto God, " the two choruses developingwith consummate power the two principal subjects, --first, the cry forrelief, and second, the burden of oppression; and closing with the phraseabove mentioned, upon which they unite in simple but majestic harmony. Then follow eight more bars of recitative for tenor, and the long seriesof descriptive choruses begins, in which Handel employs the imitativepower of music in the boldest manner. The first is the plague of thewater turned to blood, "They loathed to drink of the River, "--a singlechorus in fugue form, based upon a theme which is closely suggestive ofthe sickening sensations of the Egyptians, and increases in loathsomenessto the close, as the theme is variously treated. The next number is anaria for mezzo soprano voice ("Their Land brought forth Frogs"), the airitself serious and dignified, but the accompaniment imitative throughoutof the hopping of these lively animals. It is followed by the plague ofinsects, whose afflictions are described by the double chorus. The tenorsand basses in powerful unison declare, "He spake the Word, " and the replycomes at once from the sopranos and altos, "And there came all Manner ofFlies, " set to a shrill, buzzing, whirring accompaniment, which increasesin volume and energy as the locusts appear, but bound together solidlywith the phrase of the tenors and basses frequently repeated, andpresenting a sonorous background to this fancy of the composer in insectimitation. From this remarkable chorus we pass to another still moreremarkable, the familiar Hailstone Chorus ("He gave them Hailstones forRain"), which, like the former, is closely imitative. Before the twochoirs 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 alongupon the ground, " and the music fairly quivering and crackling with thewrath of the elements. But the storm passes, the gloom deepens, and weare lost in that vague, uncertain combination of tones where voices andinstruments seem to be groping about, comprised in the marvellouslyexpressive chorus, "He sent a Thick Darkness over all the Land. " From theoppression of this choral gloom we emerge, only to encounter a chorus ofsavage, 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 inpastoral style ("But as for His People, He led them forth like Sheep"), slow, tender, serene, and lovely in its movement, and grateful to the earboth in its quiet opening and animated, happy close, after the terrorswhich have preceded it. The following chorus ("Egypt was glad"), usuallyomitted in performance, is a fugue, both strange and intricate, which itis claimed Handel appropriated from an Italian canzonet by Kerl. The nexttwo numbers are really one. The two choruses intone the words, "Herebuked the Red Sea, " in a majestic manner, accompanied by a few massivechords, and then pass to the glorious march of the Israelites, "He ledthem through the Deep, "--a very elaborate and complicated number, butstrong, forcible, and harmonious throughout, and held together by thestately opening theme with which the basses ascend. It is succeeded byanother graphic chorus ("But the Waters overwhelmed their Enemies"), inwhich the roll and dash of the billows closing over Pharaoh's hosts areclosely imitated by the instruments, and through which in the close isheard the victorious shout of the Israelites, "There was not one of themleft. " Two more short choruses, --the first, "And Israel saw that GreatWork, " 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, waswritten first, --opens with a brief but forcible orchestral prelude, leading directly to the declaration by the chorus, "Moses and theChildren of Israel sang this Song, " which, taken together with theinstrumental prelude, serves as a stately introduction to the stupendousfugued chorus which follows ("I will sing unto the Lord, for He hathtriumphed gloriously; the Horse and his Rider hath He thrown into theSea"). It is followed by a duet for two sopranos ("The Lord is myStrength and my Song") in the minor key, --an intricate but melodiousnumber, usually omitted. Once more the chorus resumes with a briefannouncement, "He is my God, " followed by a fugued movement in the oldchurch style ("And I will exalt Him"). Next follows the great duet fortwo basses, "The Lord is a Man of War, "--a piece of superb declamatoryeffect, full of vigor and stately assertion. The triumphant announcementin its closing measures, "His chosen Captains also are drowned in the RedSea, " 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 ThineExcellency, " a brief but powerful bit; "Thou sendest forth Thy Wrath;"and the single chorus, "And with the Blast of Thy Nostrils, " in the lasttwo of which Handel again returns to the imitative style with wonderfuleffect, especially in the declaration of the basses, "The Floods stoodupright as an Heap, and the Depths were congealed. " The only tenor ariain the oratorio follows these choruses, a bravura song, "The Enemy said, I will pursue, " and this is followed by the only soprano aria, "Thoudidst blow with the Wind. " Two short double choruses ("Who is like untoThee, O Lord, " and "The Earth swallowed them") lead to the duet forcontralto and tenor, "Thou in Thy Mercy, " which is in the minor, and verypathetic in character. It is followed by the massive and extremelydifficult chorus, "The People shall hear and be afraid. " Once more, afterthis majestic display, comes the solo voice, this time the contralto, ina simple, lovely song, "Thou shalt bring them in. " A short double chorus("The Lord shall reign for ever and ever"), a few bars of recitativereferring to the escape of Israel, the choral outburst once morerepeated, and then the solo voice declaring, "Miriam the prophetess tooka timbrel in her hand, and all the women went out after her with timbrelsand with dances; and Miriam answered them, " lead to the final song oftriumph, --that grand, jubilant, overpowering expression of victory which, beginning with the exultant strain of Miriam, "Sing ye to the Lord, forHe hath triumphed gloriously, " is amplified by voice upon voice in thegreat eight-part choir, and by instrument upon instrument, until itbecomes a tempest of harmony, interwoven with the triumph of Miriam's cryand the exultation of the great host over the enemy's discomfiture, andclosing with the combined power of voices and instruments in harmoniousaccord as they once more repeat Miriam's words, "The Horse and his Riderhath 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, saysSchoelcher, on the 3d of July, and finished it on the 27th of September;thus occupying eighty-six days. This, however, is evidently an error, asRockstro says: "The score, written in a thick quarto volume, on paperquite different from that used for the operas, is dated at the beginningof the first chorus, July 23, 1738. " The next date is August 28, at theend of the second part, and the last, at the end of the work, September27, --which would give two months and four days as the time in which itwas written. But even this period, short as it is, seems brief whencompared with that devoted to the composition of "Israel in Egypt, " whichHandel began four days after "Saul" was completed, and finished intwenty-seven days. 

It has already been said, in the analysis of the last named-work, that inJanuary, 1739, Handel took the King's Theatre in the Haymarket, hispurpose being to give oratorios twice a week. "Saul" was the first of theseries; and in this connection the following advertisement, whichSchoelcher reprints from the London "Daily Post" of Jan. 3, 1739, will beof 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 aconspicuous part in the oratorio itself, not only in amplifying theaccompaniment, but also in solo work. In 1740 it was performed by theAcademy of Ancient Music in London, and in 1742 in Dublin. Selectionswere also given from it in the great Handel Commemoration at WestminsterAbbey in 1784, and in 1840 it was revived by the Sacred Harmonic Societyof London, since which time it has occupied an important place in theoratorio repertory. 

The story closely follows the Biblical narrative of the relations betweenDavid and Saul. The words have been attributed both to Jennens andMarell; but the balance of evidence favors the former, --a poet who livedat 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 asolo instrument), the third an allegro, and the fourth a minuetto. It isan exceedingly graceful and delicate prelude, and makes a fittingintroduction to the dramatic story which follows. The charactersintroduced are Saul, king of Israel; Jonathan, his son; Abner, captain ofthe host; David; the apparition of Samuel; Doeg, a messenger; anAmalekite; Abiathar, Merab, and Michal, daughters of Saul; the Witch ofEndor; and the Israelites. The very dramatic character of the narrativeadmirably adapts it to its division into acts and scenes. 

The first act is triumphant in its tone and expressive of the exultationof the Israelites at their victory over the Philistines. The second givesa story of the passions, --Saul's jealousy of David, the love of Michal, and the ardent friendship between David and Jonathan. The last act issombre in its character, opening with the weird incantations of theWitch, 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 Goliahand 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 Infantraised by Thy Command"), describing the meeting of David and Goliah; atrio, in which the Giant is pictured as the "monster atheist, " stridingalong 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 anaria by Michal, Saul's daughter, who reveals her love for David ("Ogodlike Youth!"). Abner presents David to Saul, and a dialogue ensuesbetween them, in which the conqueror announces his origin and Saul pleadswith him to remain, offering the hand of his daughter Merab as aninducement. David (whose part is sung by a contralto) replies in abeautiful aria, in which he attributes his success to the help of theLord alone. In the next four numbers the friendship of Jonathan and Davidis cemented, which is followed by a three-verse hymn ("While yet thy Tideof Blood runs high"), of a very stately character, sung by the HighPriest. In a few bars of recitative Saul betroths his daughter Merab toDavid; but the girl replies in a very powerful aria ("My Soul rejects theThought with Scorn"), in which she declares her intention of frustratingthe scheme to unite a plebeian with the royal line. It is followed by aplaintive but vigorous aria ("See with what a scornful Air"), sung byMichal, who again gives expression to her love for David. 

The next scene is entitled "Before an Israelitish City, " and is prefacedwith a short symphony of a jubilant character. A brief recitativeintroduces the maidens of the land singing and dancing in praise of thevictor, leading up to one of Handel's finest choruses, "Welcome, welcome, Mighty King, "--a fresh, vigorous semi-chorus accompanied by thecarillons, in which Saul's jealousy is aroused by the superiority ofprowess attributed to David. It is followed by a furious aria, "With RageI shall burst, his Praises to hear. " Jonathan laments the imprudence ofthe women in making comparisons, and Michal suggests to David that it isan old malady which may be assuaged by music, and in the aria, "Fell Rageand black Despair passest, " expresses her belief that the monarch can becured 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 Bosomwarmed"), gives vent to his fury and hurls his javelin at David. Thelatter escapes; and in furious recitative Saul charges his son to destroyhim. The next number is an aria for Merab ("Capricious Man, in Humorlost"), lamenting Saul's temper; and Jonathan follows with a verydramatic recitative and aria, in which he refuses to obey his father'sbehest. The High Priest appeals to Heaven ("O Lord, whose Providence") toprotect 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 powerfullydescriptive chorus ("Envy, Eldest-born of Hell!"). In a noble song ("Butsooner Jordan's Stream, I swear") Jonathan assures David he will neverinjure him. In a colloquy between them, David is informed that Saul hasbestowed the hand of the haughty Merab on Adriel, and Jonathan pleads thecause of the lovely Michal. Saul approaches, and David retires. Saulinquires of Jonathan whether he has obeyed his commands, and in a simple, sweet, and flowing melody ("Sin not, O King, against the Youth") he seemsto overcome the wrath of the monarch, who dissembles and welcomes David, bidding him to repel the insults of the Philistines, and offering him hisdaughter Michal as a proof of his sincerity. 

In the second scene Michal declares her love for David, and they join ina rapturous duet ("O fairest of ten thousand fair"), which is followed bya chorus in simple harmony ("Is there a Man who all his Ways"). A longsymphony follows, preparing the way for the attempt on David's life. After an agitated duet with Michal ("At Persecution I can laugh"), Davidmakes his escape just as Doeg, the messenger, enters with instructions tobring 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 anexultant aria, "No, let the Guilty tremble, " and even Merab, won over byDavid's qualities, pleads for him in a beautiful aria, "Author of peace. "Another symphony intervenes, preluding the celebration of the feast ofthe new moon in the palace, to which David has been invited. Jonathanagain interposes with an effort to save David's life, whereupon Saul, ina fresh outburst of indignation, hurls his javelin at his son, and thechorus bursts out in horror, "Oh, fatal Consequence of Rage. "

The third act opens with the intensely dramatic scene with the Witch ofEndor, the interview being preluded by the powerful recitative, "Wretchthat I am!" The second scene is laid in the Witch's abode, where theincantation is practised that brings up the Apparition of Samuel. Thewhole scene is very dramatic, and the instrumentation powerful, althoughthe effect, vigorous as it is, is made simply by oboes, bassoons, andstrings, instead of by the brass instruments which other composers employso vigorously in similar scenes. This scene closes with an elegyforeboding the coming tragedy. 

The third scene opens with the interview between David and the Amalekitewho brings the tidings of the death of Saul and Jonathan. It is followedby that magnificent dirge, the "Dead March, " whose simple yet solemn andmajestic strains are familiar to every one. The trumpets and tromboneswith their sonorous pomp and the wailing oboes and clarinets make aninstrumental pageant which is the very apotheosis of grief. The effect ofthe march is all the more remarkable when it is considered that, incontradistinction to all other dirges, it is written in the major key. The chorus, "Mourn, Israel, mourn thy Beauty lost, " and the three ariasof lament sung by David, which follow, are all characterized by feelingsof 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 anaria of exquisite tenderness ("In sweetest Harmony they lived"), at theclose of which he joins with the chorus in an obligato of sorrowfulgrandeur ("O fatal Day, how low the Mighty lie!"). In an exultant strainAbner bids the "Men of Judah weep no more, " and the animated martialchorus, "Gird on thy Sword, thou Man of Might, " closes this greatdramatic oratorio. 

 Samson. 

The oratorio of "Samson" was written in 1741, and begun immediately afterthe completion of "The Messiah, " which was finished September 14 of thatyear. The last chorus was dated October 29; but in the following yearHandel added to it "Let the bright Seraphim" and the chorus, "Let theircelestial Concerts. " The text was compiled by Newburgh Hamilton fromMilton's "Samson Agonistes, " "Hymn on the Nativity, " and "Lines on aSolemn 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 whomit was written, and the trumpet obligato was played by Valentine Snow, avirtuoso of that period. The performance of "Samson" was thus announcedin 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 aletter 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 saysin 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, hisfather; Delilah, his wife; Harapha, a giant of Gath; Israelitish woman;priests of Dagon; virgins attendant upon Delilah; Israelites, friends ofSamson; Israelitish virgins; and Philistines. After a brilliant overture, closing, like that to "Saul, " with a minuet movement, the scene opensbefore the prison in Gaza, with Samson blind and in chains. His openingrecitative, setting forth his release from toil on account of the feastto Dagon, introduces a brilliant and effective chorus by the priests withtrumpets ("Awake the Trumpet's lofty Sound"), after which a Philistinewoman in a bright, playful melody invites the men of Gaza to bring "Themerry Pipe and pleasing String;" whereupon the trumpet chorus isrepeated. After the tenor aria ("Loud is the Thunder's awful Voice"), thechorus recurs again, showing Handel's evident partiality for it. ThePhilistine Woman has another solo ("Then free from Sorrow"), whereupon ina pathetic song ("Torments, alas!") Samson bewails his piteous condition. His friend Micah appears, and in the aria, "O Mirror of our fickleState, " condoles with him. In answer to his question, "Which shall wefirst bewail, thy Bondage, or lost Sight?" Samson replies in a short, butexquisitely tender aria, "Total Eclipse: no Sun, no Moon, all dark amidstthe Blaze of Noon, "--a song which brought tears to the eyes of the blindHandel himself when he listened to it long afterwards. The next chorus("O first-created Beam") is of more than ordinary interest, as it treatsthe same subject which Haydn afterwards used in "The Creation. " It beginsin a soft and quiet manner, in ordinary time, develops into a strongallegro on the words, "Let there be Light, " and closes with a spiritedfugue on the words, "To Thy dark Servant Life by Light afford. " Adialogue follows between Manoah and Micah, leading up to an intricatebravura aria for bass ("Thy glorious Deeds inspired my Tongue"), closingwith an exquisite slow movement in broad contrast to its first part. Though comforted by his friends, Samson breaks out in furiousdenunciation of his enemies in the powerfully dramatic aria, "Why doesthe God of Israel sleep?" It is followed up in the same spirit by thechorus, "Then shall they know, "--a fugue on two vigorous subjects, thefirst given out by the altos, and the second by the tenors. Samson'swrath subsides in the recitative, "My genial Spirits droop, " and thefirst act closes with the beautifully constructed chorus, "Then roundabout the starry Throne, " in which his friends console him with the joyshe 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 torepose 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 itleads ("To Dust his Glory they would tread"), with which the prayer isinterwoven in obligato form. From this point, as Delilah appears, themusic is full of bright color, and loses it sombre tone. In a shortrecitative, she excuses her misdeed, and then breaks out in an aria ofsensuous sweetness, "With plaintive Notes and am'rous Moan, thus coos theTurtle left alone. " Its bewitching grace, however, makes littleimpression upon Samson, who replies with the aria, "Your Charms to Ruinled 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 ofVirgins add their entreaties. A last effort is made in the tasteful andelegant aria, "To fleeting Pleasures make your Court;" but when that alsofails, Delilah reveals her true self. Samson rebukes her "warblingcharms, " her "trains and wiles, " and counts "this prison-house the houseof 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 afugued chorus which is treated in a spirited manner, and in which we maywell 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 hadhe met him before he was blind, he would have left him dead on the fieldof death, "where thou wrought'st wonders with an ass' jaw. " His firstnumber ("Honor and Arms scorn such a Foe") is one of the most spiritedand dashing bass solos ever written. Samson replies with the majesticaria, "My Strength is from the living God. " The two solos reach theirclimax in the energetic duet between the giants, "Go, baffled Coward, go. " Micah then suggests to Harapha that he shall call upon Dagon todissolve "those magic spells that gave our hero strength, " as a test ofhis power. The recitative is followed by an impressive six-part chorus("Hear, Jacob's God") in the true church style. Its smooth, quiet flow ofharmony is refreshing as compared with the tumult of the giants' musicwhich precedes, and the sensuousness of the chorus ("To Song and Dance wegive the Day") which follows it. The act closes with the massive doublechorus ("Fixed in His everlasting Seat") in which the Israelites andPhilistines celebrate the attributes of their respective deities andinvoke their protection, and in which also the composer brings out withoverwhelming effect the majesty and grandeur of God as compared with thenothingness of Dagon. 

The third act opens with a dialogue in which Harapha brings the messageto Samson that he must repair to the feast of Dagon to delight thePhilistines with some of his feats of strength. Upon Samson's refusal, Harapha sings the threatening aria, "Presuming Slave!" The Israelitesinvoke the protection of God in the spirited chorus, "With Thunderarmed, " closing with a prayer which changes to wild and supplicatingentreaty. Samson at last yields in a tender, pathetic aria ("Thus whenthe Sun"), which seems to anticipate his fate. In a song of solemnparting ("The Holy One of Israel be thy Guide"), accompanied by thechorus ("To Fame immortal go"), his friends bid him farewell. Thefestivities begin, and in an exultant chorus ("Great Dagon has subduedour Foe") the Philistines are heard exulting over Samson's discomfiture. Micah and Manoah, hearing the sounds, are filled with anxiety, and thelatter expresses his solicitude in the tender aria, "How willing mypaternal Love. " But the scene suddenly changes. In a short, crashingpresto the coming destruction is anticipated. The trembling Israelitesexpress their alarm in the chorus, "Hear us, our God, " and appeal toHeaven for protection. A Messenger rushes upon the scene and announcesthat Samson is dead and has involved the destruction of his enemies inthe general calamity. Micah gives expression to his grief in the touchingaria, "Ye Sons of Israel, now lament, " followed by the Israelites in asorrowful wail, "Weep, Israel, weep. " A funeral march, in the major key, intervenes, full of tender expression of sorrow, --for which, after thefirst two representations Handel substituted the Dead March from "Saul;"and both marches are now printed in the scores for general use. As atfirst written, the oratorio closed with the effective chorus and solo, "Bring the Laurels;" but, as has been already said, a year afterwardsHandel made a different ending. Manoah calls upon the people to ceasetheir lamentation, and the funeral pageant is followed by the magnificenttrumpet aria, "Let the bright Seraphim, "--a song worthy only of thegreatest artists, both with voice and instrument, --and the equallymagnificent chorus, "Let their celestial Concerts, " which closes thegreat 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, andreflects the noblest aspirations and most exalted devotion of mankind. Among all his oratorios it retains its original freshness, vigor, andbeauty in the highest degree, in that it appeals to the loftiestsentiment and to universal religious devotion, and is based upon the mostharmonious, symmetrical, and enduring forms of the art. 

It was begun on the 22d day of August, 1741. The first part was concludedAugust 28, the second, September 6, the third, September 12, and theinstrumentation, September 14. It is an illustration of Handel's almostsuperhuman capacity for work, that at the age of fifty-six he should havewritten his masterpiece in twenty-three days. The text was taken from theliteral words of Scripture, and the libretto arranged by Charles Jennens, who, singularly enough, was not satisfied with the music which hassatisfied 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, " Handelhad been harassed by cabals set on foot by rival opera-managers inLondon, who, by importing Italian singers, drew off the patronage of thenobility, and ultimately succeeded in reducing him to the condition of aninsolvent debtor. While in this wretched plight an invitation came to himfrom the Duke of Devonshire, then Lord Lieutenant of Ireland, to visitDublin. He eagerly accepted it, and in the correspondence which passedbetween them promised to contribute a portion of whatever might accruefrom his music to charitable institutions, and also agreed to give anoratorio "for the benefit and enlargement of poor distressed prisonersfor debt in the several marshalseas of the city of Dublin. " He leftLondon early in November, arriving in that city, after many delays, onthe 18th. On the 23d of December he began a series of six musicalentertainments, which was completed February 10. His success was so greatthat he was induced to begin a second series February 17, a fortnightbefore 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 "amost Grand, Polite, and Crowded Audience, " as we are informed by"Faulkner's Journal. " The same paper, referring to the first publicperformance, 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 thisway, " it is said, "the stewards" were able to seat seven hundred personsin the room instead of six hundred. The principal parts in theperformance were assigned to Signora Avolio, Mrs. Cibber, and Messrs. Church and Ralph Roseingrane; and Mrs. Cibber's delivery of the aria "Hewas despised" is said to have been so touching that Dr. Delany, thecompanion of Swift, exclaimed, as she closed: "Woman, for this be all thysins forgiven. "

The "Messiah" was performed thirty-four times during the composer's life, but never upon a scale commensurate with its merits until the HandelCommemoration at Westminster Abbey in 1784, when the largest choir andband that had ever assembled before, with the renowned Madame Mara at thehead of the soloists, first gave the "Messiah" to the world in accordancewith the grand ideal of the composer. The orchestra was composed asfollows: 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 upas follows: Sopranos, 60, of whom 45 were choir-boys; counter-tenors(altos), 40; tenors, 83; basses, 84: making the entire number of singers267. Of the performance of the band upon this occasion, Burney quaintlysays:--

 "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 singingof 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 thelonging of the world for the Messiah, prophesies his coming, andannounces his birth; the second part is devoted to the sufferings, death, and exaltation of Christ, and develops the spread and ultimate triumph ofthe Gospel; while the third is occupied with the declaration of thehighest truths of doctrine, --faith in the existence of God, the surety ofimmortal life, the resurrection, and the attainment of an eternity ofhappiness. 

The first part opens with an overture, or rather orchestral prelude, ofmajestic chords, leading to a short fugue, developed with severesimplicity and preparing the way for the accompanied recitative, "Comfortye 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 theLord shall be revealed, "--the three numbers in reality forming one. Theprophecy is announced, only to be followed by the human apprehension inthe 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 constructednumber, "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 chorusin the same tempo. The next aria ("The People that walked in Darkness"), with its curious but characteristic modulations, leads to one of the mostgraphic fugued choruses in the whole work ("For unto us a Child isborn"), elegantly interwoven with the violin parts, and emphasized withsublime announcements of the names of the Messiah in full harmony andwith the strongest choral power. The grand burst of sound dies away, there is a significant pause, and then follows a short but exquisitePastoral Symphony for the strings, which with the four succeeding bits ofrecitative tells the message of the Angels to the Shepherds on the plainsof Bethlehem. Suddenly follows the chorus of the heavenly hosts ("Gloryto God"), which is remarkably expressive, and affords sharp contrasts inthe successive clear responses to the fugue. The difficult but verybrilliant aria for soprano, "Rejoice greatly, " the lovely aria, "He shallfeed His Flock, " originally written entire for soprano, in which Handelreturns again to the pastoral style, and a short chorus ("His Yoke iseasy"), close the first part. 

The second part is the most impressive portion of the work. It beginswith a majestic and solemn chorus ("Behold the Lamb of God"), which isfollowed by the aria for alto, "He was despised, "--one of the mostpathetic and deeply expressive songs ever written, in which the verykey-note of sorrow is struck. Two choruses--"Surely He hath borne ourGriefs, " rather intricate in harmony, and "With His Stripes we arehealed, " a fugued chorus written _a capella_ upon an admirablesubject--lead to the spirited and thoroughly interesting chorus, "All welike Sheep have gone astray, " closing with an adagio of great beauty("And the Lord hath laid on Him the Iniquity of us all"). This isfollowed by several short numbers, --a choral fugue ("He trusted in God"), the accompanied recitative ("Thy Rebuke hath broken His Heart"), a shortbut very pathetic aria for tenor ("Behold and see if there be anySorrow"), and an aria for soprano ("But Thou didst not leave His Soul inHell"), --all of which are remarkable instances of the musical expressionof sorrow and pity. These numbers lead to a triumphal shout in the chorusand semi-choruses, "Lift up your Heads, O ye Gates, " which reach a climaxof magnificent power and strongly contrasted effects. After the chorus, "Let all the Angels of God worship Him, " a fugue constructed upon twosubjects, the aria, "Thou art gone up on high, " and the chorus, "The Lordgave the Word, " we reach another pastoral aria of great beauty, "Howbeautiful are the Feet. " This is followed by a powerfully descriptivechorus ("Their Sound is gone out into all Lands"), a massive aria forbass ("Why do the Nations"), the chorus, "Let us break their Bondsasunder, " and the aria, "Thou shalt break them, " leading directly to thegreat Hallelujah Chorus, which is the triumph of the work and its realclimax. It opens with exultant shouts of "Hallelujah. " Then ensue threesimple phrases, the middle one in plain counterpoint, which form thegroundwork for the "Hallelujah. " These phrases, seemingly growing out ofeach other, and reiterated with constantly increasing power, interweavingwith and sustaining the "Hallelujah" with wonderful harmonic effects, make up a chorus that has never been excelled, not only in musicalskill, but also in grandeur and sublimity. After listening to itsperformance, one can understand Handel's words: "I did think I did seeall heaven before me, and the great God himself. " This number closes thesecond part. It is worthy of note in this connection that when theoratorio was first performed at Covent Garden, London, in 1743, the wholeaudience, with the King at its head, arose during the singing of the"Hallelujah" and remained standing until it was finished, --a custom whichis still observed, not only in England, but also in this country. 

If the oratorio had closed at this point it would not have disturbed theunities; but Handel carried it into a third part with undiminishedinterest, opening it with that sublime confession of faith, "I know thatmy Redeemer liveth, "--an aria which will never be lost. It is followed bytwo quartets in plain counterpoint with choral responses, "Since by Mancame Death, " and "For as in Adam all die, " in which the effects ofcontrast are very forcibly brought out. The last important aria in thework ("The Trumpet shall sound"), for bass with trumpet obligato, willalways be admired for its beauty and stirring effect. The oratorio closeswith three choruses, all in the same key and of the same generalsentiment, --"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 fullharmony on the words "for ever and ever" several times reiterated; andthe final, "Amen" chorus, which is treated in the severest style, and inwhich the composer evidently gave free rein to his genius, not beinghampered with the trammels of words. 

Other oratorios may be compared one with another; the "Messiah" standsalone, a majestic monument to the memory of the composer, an imperishablerecord of the noblest sentiments of human nature and the highestaspirations of man. 

 Judas Maccabæus. 

The oratorio of "Judas Maccabæus" was written in thirty-two days, betweenJuly 9 and Aug. 11, 1746, upon the commission of Frederic, Prince ofWales, to celebrate the return of the Duke of Cumberland from Scotlandafter the decisive victory of Culloden, April 16, 1746. The words werewritten by the Rev. Thomas Morell, D. D. , a learned Greek scholar of thattime, the plot being taken from the narrative of the exploits of theJewish deliverer contained in the first book of Maccabees and in thetwelfth 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 wellshown in Schoelcher's pithy comment: "This is addressed to a man whopitilessly murdered as many prisoners after the battle as his courage hadslain enemies during the combat. " It is but just to the composer, however, to say that the great success of this oratorio had little to dowith the political causes which led to its composition. It was firstperformed at Covent Garden, April 1, 1747, and was repeated six timesthat year. Handel himself conducted it thirty-eight times with evergrowing popularity, to which the Jews contributed greatly, as itglorified an episode in their national history. 

The characters represented are Judas Maccabæus; Simon, his brother; anIsraelitish Messenger; and Israelitish Men and Women. The story may begathered from the following summary of the plot as prepared for theBirmingham 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 thedeath of the father of Judas in the sorrowful chorus, "Mourn, yeafflicted Children, " which, after a duet for soprano and tenor, isfollowed by still another chorus in a similar strain ("For ZionLamentation make"), but much more impressive, and rising to a morepowerful climax. After a brief and simple soprano solo ("Pious Orgies"), the chorus sings the prayer, "O Father, whose Almighty Power, " closingwith a characteristic fugue on the words, "And grant a Leader. " After ashort recitative, Simon (bass) breaks out in the heroic and sonorousaria, "Arm, arm, ye brave, " which has always retained its popularity, notwithstanding its antique bravura. It is followed by the chorus in thebrief, but stirring number, "We come in bright array. " Five arias, aduet, and two choruses, nearly all of which are now omitted inperformances, being of the same general character, and mainly apostrophesto liberty, lead to the great chorus closing the first part, "Hear us, OLord. " It is intricate in its construction, but when properly sungresolves itself into one of the most vigorous and impressive chorusesHandel has written. 

The second part opens with the Israelites celebrating the return of Judasfrom the victories over Apollonius and Seron. An instrumental prelude, picturing the scenes of battle, leads directly to the great chorus, thebest in the work, "Fallen is the Foe. " The triumphant declaration is madeover and over with constantly increasing energy, finally leading to abrilliant fugue on the words, "Where warlike Judas wields his righteousSword;" but interwoven with it are still heard those notes of victory, "Fallen is the Foe, " and the response, "So fall Thy Foes. " TheIsraelitish Man sings a vigorous tribute to Judas ("So rapid thy Courseis"). The triumphant strain, "Zion now her Head shall raise, " is taken bytwo voices, closing with the soprano alone; but before her part ends, thewhole chorus takes it and joins in the pæan, "Tune your Harps, " and thedouble number ends in broad, flowing harmony. In a florid number ("Frommighty Kings he took the Spoil") the Israelitish Woman once more singsJudas's praise. The two voices unite in a welcome ("Hail Judæa, happyLand"), and finally the whole chorus join in a simple but jubilantacclaim to the same words. The rejoicings soon change to expressions ofalarm and apprehension as a Messenger enters and announces that Gorgiashas been sent by Antiochus to attack the Israelites, and is already nearat hand. They join in a chorus expressive of deep despondency ("Oh, wretched Israel"); but Simon, in a spirited aria ("The Lord workethWonders"), bids them put their trust in Heaven, and Judas rouses theircourage with the martial trumpet song, "Sound an Alarm, " which, thoughvery brief, is full of vigor and fire. After the departure of Judas tomeet the foe, Simon, the Israelitish Man, and the Israelitish Womanfollow each other in denunciation of the idolatries which have beenpractised by the heathen among them, and close with the splendid chorus, "We never will bow down to the rude Stock or sculptured Stone, " in whichvigorous repetitions of the opening phrase lead to a chorale in broad, impressive harmony, with which is interwoven equally vigorous repetitionsof the phrase, "We worship God alone. "

The third part opens with the impressive prayer, "Father of Heaven, fromThy eternal Throne, " sung by the Priest. As the fire ascends from thealtar, the sanctuary having been purified of its heathen defilement, theIsraelites look upon it as an omen of victory and take courage. AMessenger enters with tidings of Judas's triumph over all their enemies. The Israelitish Maidens and Youths go out to meet him, singing theexultant march chorus, "See the Conquering Hero comes, " which is familiarto every one by its common use on all occasions, from Handel's time tothis, where tribute has been paid to martial success and heroes have beenwelcomed. It is the universal accompaniment of victory, as the Dead Marchin "Saul" is of the pageantry of death. It is very simple in itsconstruction, like many others of Handel's most effective numbers. It isfirst 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 theform of an instrumental march. The chorus did not originally belong to"Judas Maccabæus, " but to "Joshua, " in which oratorio it is addressed toOthniel when he returns from the capture of Debir. Handel frequently madetransfers of that kind, and this was a permanent one; for the celebratedchorus is now unalterably identified with the work in which he placed it, and in which also the setting is still more imposing. A very elaboratechorus ("Sing unto God"), a florid aria with trumpet solo for Judas("With Honor let Desert be crowned"), the chorus, "To our Great God, " apastoral duet with exquisite accompaniment ("O Lovely Peace"), and aHallelujah in the composer's customary exultant style, close this verybrilliant and dramatic oratorio. 

 The Dettingen Te Deum. 

On the 27th of June, 1743, the British army and its allies, under thecommand of King George II. And Lord Stair, won a victory at Dettingen, inBavaria, over the French army, commanded by the Maréchal de Noailles andthe 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 ofpublic thanksgiving was appointed, and Handel, who was at that time"Composer of Musick to the Chapel Royal, " was commissioned to write a TeDeum and an anthem for the occasion. The original score, a large foliovolume in the Royal Collection, is headed "Angefangen Juli 17, 1743. "There is no date at the end; but as the beginning of the Dettingen Anthemis dated July 30, it is probable that the Te Deum was finished betweenthe 17th and 30th. Both works were publicly rehearsed at the ChapelRoyal, Whitehall, on the 18th and 25th of the ensuing November, andformed part of the thanksgiving services on the 27th at the Chapel Royalof St. James, in the presence of the King and royal family. 

The Dettingen Te Deum has been universally considered as one of themasterpieces among Handel's later works. Never was a victory moreenthusiastically commemorated in music. It is not a Te Deum in the strictsense, 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 hymnof St. Ambrose to music five different times in thirty years, and alwayswith new beauty and fresh color, though it is somewhat remarkable that hegave each time a plaintive character to the verse, "To Thee all angelscry 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 HandelCommemoration 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 abrilliant, martial character, the solos being divided between the alto, baritone, and bass. After a brief instrumental prelude, the work openswith the triumphant, jubilant chorus with trumpets and drums, "We praiseThee, O God, " written for five parts, the sopranos being divided intofirsts and seconds, containing also a short alto solo leading to aclosing fugue. The second number ("All the Earth doth worship Thee") isalso an alto solo with five-part chorus of the same general character. Itis followed by a semi-chorus in three parts ("To Thee all Angels cryaloud"), plaintive in style, as has already been observed, and leading tothe full chorus ("To Thee Cherubim and Seraphim"), which is majestic inits movement and rich in harmony. The fifth number is a quartet andchorus ("The glorious Company of the Apostles praise Thee"), dominated bythe bass, with responses from the other parts, and followed by a shortfull chorus ("Thine adorable, true, and only Son"). The seventh number isa stirring bass solo with trumpets ("Thou art the King of Glory"), leading without break into a stately choral enunciation of the samewords. The eighth is a slow and plaintive bass solo, usually sung by atenor ("When Thou tookest upon Thee to deliver Man"), followed by a graveand impressive chorus ("When Thou hadst overcome the Sharpness ofDeath"). The next number is a trio for alto, tenor, and bass ("Thousittest at the Right Hand of God"), closing with a beautiful adagioeffect. A fanfare of trumpets introduces the next four numbers, allchoruses, 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 splendidlyillustrated, but never to the sacrifice of brilliant effect, which isalso heightened by the trumpets in the accompaniments. An impressive basssolo ("Vouchsafe, O Lord") intervenes, and then the trumpets sound thestately symphony to the final chorus, "O Lord, in Thee have I trusted. "It begins with a long alto solo with delicate oboe accompaniment thatmakes the effect very impressive when voices and instruments take up thephrase in a magnificent outburst of power and rich harmony, and carry itto the close. 

 HAYDN. 

Joseph Haydn, the creator of the symphony and the stringed quartet, wasborn 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 withCount Harrach. Both the parents were fond of music, and both sang, thefather accompanying himself upon the harp, which he played by ear. Thechild displayed a voice so beautiful that in his sixth year he wasallowed to study music, and was also given a place in the villagechurch-choir. Reutter, the capellmeister of St. Stephen's, Vienna, havingheard him, was so impressed with the beauty of his voice that he offeredhim a position as chorister. Haydn eagerly accepted it, as it gave himopportunities for study. While in the service of St. Stephen's he hadlessons on the violin and piano, as well as in composition. When hisvoice broke, and his singing was of no further value, he was thrown uponthe tender mercies of the world. Fortune favored him, however. Heobtained a few pupils, and gave himself up to composition. He made theacquaintance of Metastasio, Porpora, and Gluck. His trios began toattract attention, and he soon found himself rising into prominence. In1759, through the influence of a wealthy friend and amateur, he wasappointed to the post of musical director and composer in the service ofCount Morzin, and about this time wrote his first symphony. When theCount dismissed his band, Prince Paul Anton Esterhazy received him as hissecond capellmeister, under Werner. When the latter died, in 1766, Haydntook his place as sole director. His patron, meanwhile, had died, and wassucceeded by his brother Nicolaus, between whom and Haydn there was theutmost good feeling. Up to this time Haydn had written thirty symphonies, a large number of trios, quartets, and several vocal pieces. Hisconnection with the Prince lasted until 1790, and was only terminated bythe latter's death. But during this period of twenty-eight years hismusical activity was unceasing; and as he had an orchestra of his own, and his patron was ardently devoted to music, the incentive tocomposition was never lacking. Anton succeeded Nicolaus, and was generousenough to increase Haydn's pension; but he dismissed the entire chapel, and the composer took up his abode in Vienna. He was hardly establishedbefore he received a flattering proposition from Salomon, the manager, togo to England. He had already had many pressing invitations from others, but could not accept them, owing to his engagement at Esterhazy. Now thathe was free, he decided to make the journey. On New Year's Day, 1791, hearrived in London. Success greeted him at once. He became universallypopular. Musicians and musical societies paid him devoted attention. Hegave a series of symphony concerts which aroused the greatest enthusiasm. He was treated with distinguished courtesy by the royal family. Oxfordgave him the honorary degree of Doctor of Music. The nobility entertainedhim sumptuously. After a year of continuous fêtes, he returned toGermany, where he remained two years, during a portion of which timeBeethoven was his pupil. In 1794 he made his second journey to England, where his former successes were repeated, and fresh honors were showeredupon him. In 1804 he was notified by Prince Esterhazy that he was aboutto reorganize his chapel, and wished him for its conductor again. Haydnaccordingly returned to his old position, where he remained during therest of his life. He was already an old man, but it was during thisperiod that his most remarkable works were produced, among them theAustrian National Hymn ("Gott erhalte Franz den Kaiser"), the "SevenWords, " the "Creation, " the "Seasons, " and many of his best trios andquartets. He died May 31, 1809, a few days after the occupation of Viennaby the French, and among the mourners at his funeral were many Frenchofficers. Funeral services were held in all the principal Europeancities. Honored and respected all over Europe, he was most deeply lovedby 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 hislife. It was begun in 1796, and finished in 1798. When urged to bring itto a conclusion more rapidly, he replied, "I spend much time over it, because I intend it to last a long time. " Shortly before his finaldeparture from London, Salomon, his manager, brought him a poem for musicwhich had been compiled by Lydley from Milton's "Paradise Lost, " for useby Handel, though the latter had not availed himself of it. Haydn took itwith him to Vienna, and submitted it to the Baron van Swieten, theEmperor's librarian, who was not only a very learned scholar, but alsosomething of a musician and composer. The Baron suggested that he shouldmake an oratorio of it, and to encourage him, not only translated thetext into German, but added a number of arias, duets, and choruses, particularly those of the descriptive kind. Several of the nobility alsoguaranteed the expenses of preparation and performance. His friendGriesinger 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 whencomposing 'The Creation. ' I knelt down every day and prayed God tostrengthen me for the work. " That he sought this inspiration in his oldage more than once, we may infer from another remark to Griesinger: "Whencomposition does not get on well, I go to my chamber, and with rosary inhand say a few _aves_, and then the ideas return. " It was first performedin private at the Schwartzenberg Palace, April 29, 1798; and Bombet, thecelebrated 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 the9th of March he conducted it at the palace of Ofen before the ArchdukePalatine Joseph of Hungary. Its success was immediate, and rivalled thatof "The Messiah. " It was performed all over Europe, and societies wereorganized for the express purpose of producing it. In London rivalperformances of it were given at Covent Garden and the King's Theatreduring the year 1800. 

The oratorio opens with an overture representing chaos. Its effect is atfirst dull and indefinite, its utterances inarticulate, and its notesdestitute of perceptible melody. It is Nature in her chaotic state, struggling into definite form. Gradually instrument after instrumentmakes an effort to extricate itself, and as the clarinets and flutesstruggle out of the confusion, the feeling of order begins to make itselfapparent. The resolutions indicate harmony. At last the wonderfuldiscordances settle, leaving a misty effect that vividly illustrates "theSpirit of God moving upon the face of the waters. " Then, at the fiat ofthe Creator, "Let there be Light, " the whole orchestra and chorus burstforth in the sonorous response, "And there was Light. " A brief passage byUriel (tenor) describes the division of light from darkness, and the endof chaos, introducing a fugued chorus, in which the rage of Satan and hishellish spirits, as they are precipitated into the abyss, is describedwith 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, theraging of the storms, the flashing lightning and rolling thunders, theshowers of rain and hail, and the gently falling snow, to anaccompaniment which is closely imitative in character. The work of thesecond day forms the theme of "The Marvellous Work, " for soprano obligatowith chorus, --a number characterized by great joyousness and spirit. Thisleads to the number, "Rolling in foaming Billows, " in which the music isemployed to represent the effect of water, from the roaring billows ofthe "boisterous seas, " and the rivers flowing in "serpent error, " to "thelimpid brook, " whose murmuring ripple is set to one of the sweetest andmost delicious of melodies. This leads the way to the well-known aria, "With Verdure clad, " of which Haydn himself was very fond, and which herecast three times before he was satisfied with it. It is followed by afugued chorus ("Awake the Harp"), in which the Angels praise the Creator. We next pass to the creation of the planets. The instrumental prelude isa wonderful bit of constantly developing color, which increases "insplendor bright, " until the sun appears. It is followed by the rising ofthe moon, to an accompaniment as tender as its own radiance; and as thestars appear, "the Sons of God" announce the fourth day, and the firstpart closes with the great chorus, "The Heavens are telling, " in whichthe entire force of band and singers is employed in full, broad harmonyand sonorous chords, leading to a cadence of magnificent power. 

The second part opens with the aria, "On mighty Pens, " describing in amajestic manner the flight of the eagle, and then blithely passes to thegayety of the lark, the tenderness of the cooing doves, and theplaintiveness of the nightingale, in which the singing of the birds isimitated as closely as the resources of music will allow. A beautifulterzetto describes with inimitable grace the gently sloping hills coveredwith their verdure, the leaping of the fountain into the light, and theflights of birds, and a bass solo in sonorous manner takes up theswimming fish, closing with "the upheaval of Leviathan from the deep, "who disports himself among the double-basses. This leads to a powerfulchorus, "The Lord is great. " The next number describes the creation ofvarious animals; and perhaps nothing that art contains can vie with it invaried and vivid description. It begins with the lion, whose deep roar isheard among the wind-instruments. The alertness of the "flexible tiger"is shown in rapid flights by the strings. A presto ingeniously representsthe quick movements of the stag. The horse is accompanied by music whichprances and neighs. A quiet pastoral movement, in strong contrast withthe preceding abrupt transitions, pictures the cattle seeking their food"on fields and meadows green. " A flutter of sounds describes the swarmsof insects in the air, and from this we pass to a long, undulating threadof harmony, representing "the sinuous trace" of the worm. Thismasterpiece of imitative music is contained in a single recitative. Apowerful and dignified aria, sung by Raphael ("Now Heaven in fullestGlory shone"), introduces the creation of man, which is completed in anexquisitely beautiful aria ("In Native Worth ") by Uriel, the second partof which is full of tender beauty in its description of the creation ofEve, and closes with a picture of the happiness of the newly createdpair. A brief recitative ("And God saw everything that He had made")leads to the chorus, "Achieved is the glorious Work, "--a fugue of greatpower, superbly accompanied. It is interrupted by a trio ("On Thee eachliving Soul awaits"), but soon returns with still greater power andgrandeur, closing with a Gloria and Hallelujah of magnificentproportions. 

The third part opens with a symphonic introduction descriptive of thefirst morning of creation, in which the flutes and horns, combined withthe strings, are used with exquisite effect. In a brief recitative ("Inrosy Mantle appears") Uriel pictures the joy of Adam and Eve, and bidsthem sing the praise of God with the angelic choir, which forms the themeof the succeeding duet and chorus ("By Thee with Bliss"); to which theanswering choir replies with a gentle and distant effect, as if from thecelestial heights, "Forever blessed be His Power. " Again Adam and Eve insuccessive solos, finally uniting, join with the choir in extolling thegoodness of God; and as they close, all take up the beautiful andmajestic pæan, "Hail, bounteous Lord! Almighty, hail!" As the angelicshout dies away, a tender, loving dialogue ensues between Adam and Eve, leading to the beautiful duet, "Graceful Consort, " which is not only themost delightful number in the work, but in freshness, sweetness, andtenderness stands almost unsurpassed among compositions of its kind. After a short bit of recitative by Uriel ("O happy Pair"), the chorusenters 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 ofmatchless beauty, in which the principal voices in solo parts are set offagainst 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 thedirection 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 successof his scholar, Beethoven, in the same year. 

 The Seasons. 

"The Seasons, " written two years after "The Creation, " was Haydn's lastoratorio. The music was composed between April, 1798, and April, 1801. Itis not an oratorio in the strict sense of the term, as it partakes of theform and qualities, not only of the oratorio, but also of the opera andcantata. The words were compiled by Baron van Swieten from Thomson'swell-known poem of "The Seasons, " but it was a long time before he couldpersuade Haydn to undertake the task of composing an oratorio on thesubject. His old age and infirmities made him averse to the work. He wasgreatly annoyed by the text, and still more so by its compiler, whoinsisted upon changes in the music which Haydn testily declined to make. He was frequently irritated over the many imitative passages, and it wasto relieve his own feelings and vary the monotony of the sentiment thathe introduced the rollicking bacchanal chorus in the third part. Heexpressed his feelings to a friend in the remark: "My head was so full ofthe nonsensical stuff that it all went topsy-turvy, and I thereforecalled the closing fugue the 'drunken fugue. '" Notwithstanding his manyobjections, when once he started, he worked hard, --so hard, indeed, thatthis continuous labor induced brain-fever and intense suffering, and henever entirely rallied from its effects. A weakness followed, whichconstantly increased. To one friend he remarked: "The 'Seasons' havebrought this trouble upon me. I ought not to have written it. I haveoverdone;" and to another: "I have done; my head is no longer what itwas. Formerly ideas came to me unsought: I am now obliged to seek forthem; and for this I feel I am not formed. " It is a sad picture, that ofthe old composer sitting down to work in his seventieth year, distrustfulof his own powers, with an uncongenial text before him; but noindications of age or weakness are to be found in this music, which fromits first note to the last is fresh, original, bright, and graceful, --atreasure-house of ideas to which subsequent composers have gone timeafter time when they would write of Nature or attempt to picture hermoods. 

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. Onthe 29th of May Haydn himself conducted it in public at the Redoutensaal, for his own benefit. Though some of the critics disparaged it, andBeethoven was not overpleased with it, it met with a great popularsuccess, and Haydn himself was delighted with the work that had cost himso much trouble. Bombet, the French critic, who was present at the firstperformance, 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, andWinter, --and the characters introduced are Simon, a farmer; Jane, hisdaughter; Lucas, a young countryman and shepherd; and a chorus of CountryPeople and Hunters. A vivacious overture, expressing the passage fromwinter to spring, and recitatives by Simon, Lucas, and Jane, who in turnexpress their delight at the close of the one season and the approach ofthe other, lead to the opening chorus ("Come, gentle Spring, etherealMildness, come"), --a fresh and animated number, which is familiar toevery one. Simon trolls out a pastoral aria ("With Joy the impatientHusbandman"), full of the very spirit of quiet, peace, and happiness, --aquaint melody which will inevitably recall to opera-goers the "Zitti, Zitti" from Rossini's "Barber of Seville, " the essential differencebetween the two pieces being that in the latter the time is greatlyaccelerated. This aria is followed by a trio and chorus ("Be propitious, bounteous Heaven"), a free fugue, in which all beseech a blessing uponthe sowing of the seed. The next number is a duet for Jane and Lucas, with chorus ("Spring her lovely Charms unfolding"), which is fairlypermeated with the delicate suggestions of opening buds and the delightsof 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 thefirst part. 

After a brief adagio prelude, the second part, "Summer, " opens with acharming aria by Simon ("From out the Fold the Shepherd drives"), whichgives us a delightful picture of the shepherd driving his flock along theverdant hillside, then leaning upon his staff to watch the rising sun. Asit appears, it is welcomed by trio and chorus with the exultant shout, "Hail, O glorious Sun!" As noon approaches, the music fairly becomesradiant. A series of recitatives and arias follow, bringing out in avivid and picturesque manner the oppressive, exhaustive heat and thelonging for rest and shade, leading at last to an ominous silence as theclouds begin to gather and the sky darkens. A short recitative preparesthe way. A crash of thunder is heard upon the drums: it is the prelude tothe storm-chorus ("Hark! the deep tremendous Voice"), which has been themodel for nearly all the storm-descriptions written since Haydn's time. It is worked up to a tremendous climax of tumult and terror, of pouringrain, flashing lightning, and pealing thunder. At last the tempest diesaway, and in the trio and chorus, "Now cease the Conflicts, " night comeson, with its song of the quail, --which Beethoven subsequently utilized inhis Pastoral Symphony, --the chirp of the crickets, the croaking of thefrogs, the distant chime of the evening bells, and the invocation tosleep. 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 terzettoand chorus ("Thus Nature ever kind rewards"), an invocation to virtue andindustry, and a quaintly sentimental duet ("Ye gay and painted Fair"). The next number, an aria by Simon ("Behold along the dewy Grass"), --whichgives us a picture of the hunter and his dog pursuing a bird, --preparesthe way for the great hunting chorus ("Hark! the Mountains resound"), oneof the most graphic and stirring choruses of this description everwritten. The whole scene, --the vales and forests resounding with themusic of the horns, the finding of the quarry, the flying stagoutstripping the wind, the pack at fault, but starting in again as theyfind the scent, the tally-ho of the hunters, the noble animal at bay, hisdeath, and the shouts of the crowd, --are all pictured with a freshnessand genuine out-door feeling which seem almost incredible consideringHaydn's age. This remarkable number is separated from its naturalcompanion, the bacchanalian chorus, by a recitative extolling the wealthof the vintage. This chorus ("Joyful the Liquor flows") is in twoparts, --first a hymn in praise of wine, sung by the tippling revellers, and second, a dance tempo, full of life and beauty, with imitations ofthe bagpipe and rustic fiddles, the melody being a favorite Austriandance-air. With this rollicking combination, for the two movements areinterwoven, the third part closes. 

A slow orchestral prelude, "expressing the thick fogs at the approach ofwinter, " introduces the closing part. In recitative Simon describes theon-coming of the dreary season, and Jane reiterates the sentiment in thecavatina, "Light and Life dejected languish. " In Lucas's recitative wesee the snow covering the fields, and in his following aria, "TheTraveller stands perplexed, " a graphic tone-picture of the wanderer lostin the snow is presented. At last he espies the friendly light in thecottage. "Melodious voices greet his ears, " and as he enters he beholdsthe friendly circle, the old father telling over his stories of the past, the mother plying the distaff, the girls spinning, and the young peoplemaking the night merry with jest and sport. At last they join in acharacteristic imitative chorus ("Let the Wheel move gayly"). After thespinning they gather about the fire, and Jane sings a charming love-story("A wealthy Lord who long had loved"), accompanied by chorus. Simonimproves the occasion to moralize on the sentiment of the seasons in thearia, "In this, O vain, misguided Man, " impressing upon us the lessonthat "Nought but Truth remains;" and with a general appeal to Heaven forguidance through life, this quaint and peaceful pastoral poem in musicdraws to its close. It was the last important work of the aged Haydn, butit has all the charm and freshness of youth. 

 LISZT. 

Franz Liszt, the most eminent pianist of his time, who also obtainedworld-wide celebrity as a composer and orchestral conductor, was born atRaiding, Hungary, Oct. 22, 1811. His father was an accomplished amateur, and played the piano and violoncello with more than ordinary skill. Hewas In his ninth year Liszt played for the first noblemen encouraged himto continue his studies, and guaranteed him sufficient to defray theexpenses of six years' tuition. He went to Vienna at once and studied thepiano with Czerny, besides taking lessons in composition from Salieri andRandhartinger. It was while in that city that his first composition, avariation on a waltz of Diabelli, appeared. In 1823 he went to Paris, hoping to secure admission to the Conservatory; but Cherubini refused iton account of his foreign origin, though Cherubini himself was aforeigner. Nothing daunted, young Liszt continued his studies with Reichaand Paer, and two years afterwards brought out a one-act opera entitled"Don Sancho, " which met with a very cordial reception. The slight he hadreceived from Cherubini aroused popular sympathy for him. His wonderfulplaying attracted universal attention and gained him admission into themost brilliant Parisian salons. He soon became known as the"wonder-child, " and was a favorite with every one, especially with theladies. For two or three years he made artistic tours through France, Switzerland, and England, accompanied by his father, and everywhere metwith the most brilliant success. In 1827 the father died, leaving himalone in the world; but good fortune was on his side. During his stay inParis he had made the friendship of Victor Hugo, George Sand, Lamartine, and other great lights in literature and music, and their influenceprepared the way for his permanent success. Notwithstanding that he wasin many senses a Bohemian and a man of the world, he had a strongreligious tendency. For a time he became deeply interested in thedoctrines of Saint-Simon; but his adherence to that system did not lastlong. He speedily returned to the Roman Church, and some years afterwardswent to Rome, at the suggestion of the Pontiff took orders, and sethimself about the work of reforming the church music, --a task, however, which he soon abandoned; too many obstacles stood in his way. He expectedto 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 inGermany again, where he resided until the close of his life. From 1839 to1847 he travelled from one city to another, arousing the mostextraordinary enthusiasm; his progress was one continued ovation. In 1849he went to Weimar and accepted the post of conductor at the CourtTheatre. He made Weimar the musical centre of Europe. It was there thathis greatest compositions were written, that the school of the music ofthe future was founded, and that Wagner's operas first gained anunprejudiced hearing; and it is from Weimar that his distinguishedpupils, like Von Bülow, Tausig, Bendel, Bronsart, Klindworth, Winterberger, Reubke, and many others date their success. In 1859 heresigned his position, and after that time resided at Rome, Pesth, andWeimar, working for the best interests of his beloved art, andencouraging young musicians to reach the highest standards. Few men ofthis century have had such a powerful influence upon music, or have doneso much to elevate and purify it. His most important works were the"Divina Commedia" and "Faust" symphonies, the twelve symphonic poems, thesix Hungarian rhapsodies, the "Graner Mass, " the "Hungarian CoronationMass, " and the oratorios "Christus" and "The Legend of the HolyElizabeth. " Besides these he wrote a large number of orchestral pieces, songs, and cantatas, and a rich and varied collection of pianofortesolos, 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, andfirst produced Aug. 15, 1865, upon the occasion of the twenty-fifthanniversary of the Conservatory of Pesth-Ofen. The text is by OttoRoquette, and was inspired by Moritz von Schwind's frescos at theWartburg representing scenes in the life of the saint. A brief allusionto her history will still further elucidate the story which Liszt hastreated so powerfully. She was the daughter of King Andreas II. OfHungary, and was born in 1207. At the age of four she was betrothed toLudwig, son of the Landgrave Hermann of Thuringia, whom she married in1220. After his death, in 1227, she was driven from the Wartburg andforced to give up the regency by her cruel and ambitious mother-in-law. After long wanderings and many privations she retired to Bamberg, whereher uncle, the bishop, dwelt; but shortly afterwards her rights wererestored to her. She renounced them in favor of her son, Hermann II. , anddied in 1231. Four years later she was canonized at Marpurg by order ofPope Gregory IX. Her life was devoted to the relief of the poor andsuffering. 

The characters introduced in the oratorio are Saint Elizabeth, LandgraveLudwig, Landgrave Hermann, Landgravine Sophie, a Hungarian Magnate, theSeneschal, and the Emperor Frederick II. The last three _rôles_ areusually assigned to Ludwig, thus reducing the number of solo-singers tofour. The work is laid out in two parts, each having three scenescorresponding in subjects with Von Schwind's six frescos. The firstdescribes the arrival of Elizabeth at the Wartburg, and the welcome shereceives. In the second she is married, and her husband, Ludwig, hassucceeded to the throne. His devotion to knight-errantry leads him fromhome. During his absence a famine breaks out, and Elizabeth in herdevotion to the sufferers impoverishes herself and incurs the wrath ofher mother-in-law, the Landgravine Sophie. While carrying a basket ofbread and wine one day to the victims of the scourge, she is met by herhusband, who has unexpectedly returned. Amazed at the absence of herattendants, he questions her, and she excuses herself with the plea thatshe has been gathering flowers. Doubting the truth of her statement, hesnatches the basket from her. She confesses her falsehood; but uponexamining the basket it is found to be full of roses. The Lord hasperformed a miracle. Overcome with remorse for doubting her, Ludwig begsher forgiveness, and the two join in prayer that the Lord may continueHis goodness to them. The third scene opens at Schmalkald, on the bordersof Thuringia, where Ludwig has assembled his knights and nobles who areto accompany him to the Holy Land. They declare their allegiance toLudwig as their leader, and he calls upon them also to swear fealty tohis wife. After a sad farewell Ludwig rides away at the head of hisCrusaders. The fourth scene opens with the news of Ludwig's death. TheLandgravine claims the castle as her inheritance, compels Elizabeth toabandon 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, andnotwithstanding her own troubles and sufferings still ministering toothers in like affliction. This scene closes with her death, and in thelast we have the ceremonies of her canonization at Marpurg. 

The first scene opens with a long orchestral introduction, working up toa powerful climax, and based mainly upon a theme from the old churchservice, which is Elizabeth's motive, and is frequently heard throughoutthe work. An animated prelude which follows it introduces the openingchorus ("Welcome the Bride"). A brief solo by Landgrave Hermann("Welcome, my little Daughter") and another of a national character bythe Hungarian Magnate attending the bride intervene, and again the chorusbreak out in noisy welcome. After a dignified solo by Hermann and a briefdialogue between Ludwig and Elizabeth, a light, graceful allegrettoensues, leading up to a children's chorus ("Merriest Games with theewould we play"), which is delightfully fresh and joyous in its character. At its close the chorus of welcome resumes, and the scene ends with aritornelle of a plaintive kind, foreboding the sorrow which is fastapproaching. 

The second scene, after a short prelude, opens with Ludwig's hunting-song("From the Mists of the Valleys"), which is written in the conventionalstyle of songs of this class, although it has two distinct movements instrong contrast. As he meets Elizabeth, a dialogue ensues, including thescene of the rose miracle, leading up to a brief chorus ("The Lord hasdone a Wonder"), and followed by an impressive duet in church style ("Himwe worship and praise this Day"). The scene closes with an ensemble, aduet with full choral harmony, worked up with constantly increasing powerand set to an accompaniment full of rich color and brilliant effect. 

The third scene opens with the song of the Crusaders, an impetuous andbrilliant chorus ("In Palestine, the Holy Land"), the accompaniment towhich is an independent march movement. The stately rhythm is followed bya solo by the Landgrave, bidding farewell to Elizabeth and appealing tohis subjects to be loyal to her. The chorus replies in a short number, based upon the Hungarian melody which has already been heard. Elizabethfollows with a tender but passionate appeal to her husband ("Oh, tarry!oh, shorten not the Hour"), leading to a solo ("With Grief my Spiritwrestles"), which is full of the pain of parting. A long dialogue followsbetween them, interrupted here and there by the strains of the Crusaders, in which finally the whole chorus join with great power in a martial butsorrowful style. As it comes to a close, the orchestra breaks out intothe Crusaders' march, --a brilliant picture of the knightly pageant, thetime gradually accelerating as well as the force, until it reaches atremendous climax. The trio of the march is based upon a religious melodywhich was sung in the time of the Crusaders; but the remainder followsthe Gregorian intonation. The chorus once more resumes its shout ofjubilee, and the brilliant scene comes to an end. So vividly colored isthis music that one can well fancy the sorrowful Elizabeth as she standsgazing at the band of knights, with Ludwig at their head, slowly ridingaway, pennons fluttering in the breeze, and lances and mail glittering inthe sunlight. 

In the fourth scene a slow and mournful movement, followed by an allegroominous and agitated in style, introduces the Landgravine Sophie, theevil genius of the Wartburg. The tidings of the death of Ludwig havecome, and with fierce declamation she orders Elizabeth away from thecastle. The latter replies in an aria ("O Day of Mourning, Day ofSorrow") marked by sorrowful lamentation. Sophie again hurls herimprecations, and a very dramatic dialogue ensues, which takes the trioform as the reluctant Seneschal consents to enforce the cruel order. Oncemore Elizabeth tenderly appeals to her in the aria, "Thou too art aMother. " Sophie impatiently and fiercely exclaims, "No longer tarry!" Thescene comes to an end with Elizabeth's lament as she goes out into thestorm, which is vividly described in an orchestral movement, interspersedwith 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 oftenderness and pathos, in which she recalls the dream ofchildhood, --closing with an orchestral movement of the same generalcharacter. It is followed by the full chorus ("Here 'neath the Roof ofWant"), which after a few bars is taken by the sopranos and altosseparately, closing with chorus again and soprano solo ("Elizabeth, thouholy one"). The death-scene follows ("This is no earthly Night"). Herlast words, "Unto mine End Thy Love has led me, " are set to music full ofpathos, and as she expires, the instrumentation dies away in peaceful, tranquil strains. A semi-chorus, which can also be sung by three solovoices ("The Pain is over"), closes the sad scene, the ritornelle at theend being made still more effective by the harps, which give it acelestial character. 

The last scene opens with an interlude which gathers up all the motivesof the oratorio, --the Pilgrim's Song, the Crusaders' March, the ChurchSong, and the Hungarian Air, and weaves them into a rich and variedtexture for full orchestra, bells, and drums, forming the funeral song ofthe sainted Elizabeth, --the same effect, and produced in the same manner, which Wagner subsequently used with such magnificent power in the dirgeof Siegfried. It is followed by a solo from the Emperor, "I see assembledround the Throne, "--a slow and dignified air, leading to the greatensemble closing the work, and descriptive of the canonization ofElizabeth. It begins as an antiphonal chorus ("Mid Tears and SolemnMourning"), the female chorus answering the male and closing in unison. Once more the Crusaders' March is heard in the orchestra as the knightssing, "O Thou whose Life-blood streamed. " The church choir sings thechorale, "Decorata novo flore, " the Hungarian and German bishops intonetheir benedictions, and then all join in the powerful and broadlyharmonious hymn, "Tu pro nobis Mater pia, " closing with a sonorous andmajestic "Amen. "

 Christus. 

"Christus, oratorio, with texts from the Holy Scriptures and the CatholicLiturgy, " as Liszt entitles his work, was finished in 1866. At the outsetthe composer selected the "Hymn of Praise" and "Pater Noster" fromRüchert's "Evangelical Harmony;" and upon these and one or two otherdetached numbers for a background, he built up a series of religiousevents connected with the offices of the Church according to the Vulgateand its Liturgy. These events are laid out in three divisions, --"TheChristmas Oratorio, " "After Epiphany, " and "The Passion andResurrection;" the separate parts of which are as follows: (1) TheIntroduction. (2) Pastoral and Vision of the Angels. (3) Stabat Materspeciosa. (4) Song of the Shepherds in the Manger. (5) The Anointing ofthe three Kings. (6) Hymn of Praise. (7) Pater Noster. (8) TheEstablishment or Foundation of the Christian Church. (9) The Storm on theLake. (10) The Entry into Jerusalem. (11) Tristis est anima mea. (12)Stabat Mater dolorosa. (13) Easter Hymn. (14) Resurrection of Christ. Themotive 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 themerepresentative of a text from Isaiah, "Resound, ye Heavens above, " manytimes repeated, and leading to a pastoral which prepares the way for theangelic announcement to the shepherds. This announcement is made in thesimple collect music by a soprano solo, and replied to by a femalechorus, first accompanied by string quartet, and then by full orchestra, and leading to the full chorus, "Gloria in excelsis, " a series of mightyshouts, closing with a stately Hallelujah and a return of the orchestrato the pastoral movement. The next division is the old Latin hymn, "Stabat Mater speciosa, " the Virgin at the cradle of our Lord, --asix-part chorus in church style, accompanied by the organ, with solovariations interspersed through it, and characterized by a lofty feelingof devotion, especially in the "Inflammatus" and the majestic final"Amen. " The remaining numbers of the first part are entirelyinstrumental, including the "Shepherd's Song at the Manger, " a pastoralfull of beautiful effects, and "the Three Holy Kings, " a march which ismajestic in its style and broad in its rhythm, and full of characteristiccolor. The two numbers close the part in a brilliant and jubilant manner. 

The second part opens with the "Seligkeiten" ("Hymn of Praise"), a granddeclamatory solo for baritone, accompanied by a six-part chorus, which, like the next number, was written by Liszt in his younger days andutilized in its present setting. The hymn is accompanied by organthroughout, and is followed by the "Pater Noster, " also with organ, --afervent, almost passionate, offering of prayer by the precentors andcongregation, closing with a mighty "Amen. " In the next number--thefounding of the Church ("Tu es Petrus"), beginning with male chorus--theorchestra resumes its work. The voices move on in stately manner untilthe words, "Simon, son of Jona, lovest thou me?" are reached, when thefull chorus comes in with imposing effect. Of this number, Nohl says inhis 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 amarvellous picture of the storm upon the lake, which Nohl alsocharacterizes 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, introducesa "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-sopranowith chorus, --a splendidly constructed number, which closes the secondpart 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 patheticsolo, with an accompaniment which is a marvel of expressiveinstrumentation. The next number is the old Middle-Age hymn, "StabatMater dolorosa, " in which Liszt has combined voices and instruments in amanner, particularly in the "Inflammatus, " almost overpowering. Solos, duets, quartets, choruses, orchestra, and organ are all handled withconsummate skill. It has been aptly characterized as having thedimensions of the "Last Judgment" in the Sistine Chapel. After the greathymn is ended, another begins. It is the old Easter song, "O Filii etFiliæ, " written to be sung by boys with harmonium, --a joyous, sunnychorus, dispersing the gloom of the "Stabat Mater. " The last scene, "TheResurrection, " 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. "Itis, " says Nohl, "a cycle of scenes such as only the victorious mastery ofthe subject by inward perception can give, and such as only the artistcan draw who dominates all the conditions apart like a king, and hasreconciled his soul with the absolute truth and power of the Eternal. "

 MACFARREN. 

George Alexander Macfarren, one of the most prominent of modern Englishcomposers, was born in London, March 2, 1813. He began the study of musicin 1827 under the tuition of Charles Lucas. Two year's later he enteredthe Royal Academy of Music, and in 1834 became one of its professors. Thelatter year dates the beginning of his career as a composer, his firstwork having been a symphony in F minor. During the next thirty years hisimportant works were as follows: overture "Chevy Chase" (1836); "Devil'sOpera, " produced at the Lyceum (1838); "Emblematical Tribute on theQueen's Marriage" and an arrangement of Purcell's "Dido and Æneas"(1840); editions of "Belshazzar, " "Judas Maccabæus, " and "Jephthah, " forthe Handel Society (1843); opera "Don Quixote" (1846); opera "CharlesII. " (1849); serenata "The Sleeper Awakened, " and the cantata "Lenora"(1851); the cantata "May Day, " for the Bradford Festival (1856); thecantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque"Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoopsto Conquer, " "The Soldier's Legacy, " and "Helvellyn" (1864). About thelast year his sight, which had been impaired for many years, failed. Hisblindness did not however diminish his activity. He still served asprofessor in the Royal Academy, and dictated compositions, --indeed someof his best works were composed during this time of affliction. In 1873appeared his oratorio, "St. John the Baptist, " which met with anenthusiastic reception at the Bristol Festival of that year. In 1875 hewas elected professor of music at Cambridge, to fill the vacancyoccasioned by the death of Sterndale Bennett, and in the same year wasalso appointed principal of the Royal Academy of Music. In 1876 hisoratorio "The Resurrection" was performed at the Birmingham Festival, andin 1877 the oratorio "Joseph" at Leeds, besides the cantata "The Lady ofthe Lake" at Glasgow. Grove catalogues his other compositions as follows:a cathedral service, anthems, chants, psalm-tunes, and introits for theHoly Days and Seasons of the English Church (1866); "Songs in aCornfield" (1868); "Shakspeare Songs for Four Voices" (1860-64); songsfrom 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 forviolin and orchestra; and sonatas for pianoforte alone, and incombination with other instruments. As lecturer, writer, and critic, SirGeorge Macfarren also holds a high place, among his important works being"Rudiments of Harmony" (1860), and six Lectures on Harmony (1867); alsoAnalyses of Oratorios for the Sacred Harmonic Society (1853-57), and oforchestral works for the Philharmonic Society (1869-71), besides numerousarticles in the musical dictionaries. 

 St. John the Baptist. 

The oratorio "St. John the Baptist" was first produced at the BristolMusical Festival in 1873. The libretto was written by Dr. E. G. Monk, andis divided into two parts, --the first styled "The Desert, " and the second"Machærus, " to correspond with the localities where the action issupposed to take place. The incidents described are John's preaching tothe people, the baptism of Christ, and the events which begin withHerod's feast and close with the execution of the Prophet. One of thebest 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 apowerful fugued chorus ("Behold! I will send My Messenger"), a part ofwhich is set to organ accompaniment. The Narrator (contralto) recites thecoming of the Prophet, in the orchestral prelude to which is a phraseborrowed from an old church melody which Mendelssohn also used in hisReformation Symphony, and which serves throughout the work as the motivefor the Prophet, in the genuine Wagner style. Saint John is introduced ina rugged and massive baritone solo ("Repent ye, the Kingdom of Heaven isat hand"), accompanied by very descriptive instrumentation. A dramaticscene ensues, composed of inquiries as to the Prophet's mission by thePeople, a short chorus by the latter ("What shall we do then?") which isvery melodic in style, and the resumption of the dialogue form, set to avery skilful accompaniment. This scene is followed by a characteristicaria for the Prophet, "I indeed baptize you with Water. " The story isonce 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, withexquisite accompaniment by the violins and harps. A song for the Narrator("In the Beginning was the Word") follows, and leads to the chorus, whichcloses the first part, the words taken from the first verse of Psalmciv. , and the melody borrowed from the familiar old tune "Hanover, " whichthe composer has worked up with great skill and effect. 

The second part opens in Herod's palace with the rebuke of the Monarch bythe Prophet. In this scene, as well as in others, the composer draws astrong contrast in the music assigned to the two, the one being strongand stern, the other sensuous, in style. In the duet, where Herodconfesses the error of his ways, the voices unite in a genuine religiousstrain. The Narrator is once more introduced, and describes the feastgiven by the Monarch to the Galilee estates, followed by a jubilantchorus of Nobles ("O King, live forever!"), set to a brilliantaccompaniment, calling for the most ample orchestral resources. The nextnumber is a chorus for male voices ("Lo! the Daughter of Herodias comethin, she danceth!"), set to a dance rhythm with tambourines, the themesbeing bits of Oriental melodies skilfully treated. We then have thebanquet-scene, the admiration of the Nobles for Salome's beauty, Herod'soath, and Salome's joy expressed in a showy song ("I rejoice in myyouth"). Then follows the dramatic scene of Salome's request, --aconcerted number of great force in its treatment. Herod sings a mournfularia ("Alas! my Daughter, thou hast brought us very low"). The Narratorexplains how the King was compelled to keep his word, and is followed bythe Nobles in a stirring chorus ("Lo! the Wrath of the King is as aMessenger of Death"). The scene now changes to the dungeon, where theProphet sings his farewell song ("A Man can receive nothing"), accompanied by orchestra and organ. The final tragedy is told by theNarrator, and the work closes with two reflective numbers, --the beautifulunaccompanied quartet, "Blessed are they which are persecuted, " and thechorus, "What went ye out into the Wilderness for to see?" Theabove-mentioned critic, who was present at its first performance, says ofthe 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 recognizinghis son's talent, sent him to Germany at the age of ten. He began hisstudies with Ulrich Eduard Stein at Schwartzburg-Sonderhausen, and fouryears later entered the ducal orchestra as violinist. He remained thereuntil 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 ofMusic. Three years later he returned to Edinburgh and established himselfas a piano-teacher. The main work of his life, however, has beencomposition, and to this he has devoted himself with assiduity andremarkable success. Grove catalogues among his works: "Cervantes, anoverture for orchestra;" a scherzo for ditto; overture to a comedy; astring 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, acomposition of great merit, and the oratorio, "The Rose of Sharon, " whichhas been received with extraordinary favor wherever it has beenperformed. 

 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 inLondon by the Sacred Harmonic Society. Its first performance in Scotlandtook place at Glasgow, Dec. 8, 1885, under the auspices of the GlasgowChoral Union, Madame Albani, Miss Hilda Wilson, Mr. Edward Lloyd, and Mr. Watkins Mills being the principal vocalists. One notice of thisperformance says: "The enthusiastic reception of the work on thisoccasion was beyond all description; the composer was recalled after eachpart with cheers that must have made his heart leap with delight. " At thefirst performance at Norwich he was showered with flowers by the chorus, while the whole audience rose and greeted him with prolonged cheering. Inspeaking 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 asthe Sulamite (soprano); a Woman (contralto); the Beloved (tenor); andSolomon (baritone); the chorus representing Officers of the Court, Princes, Nobles, Villagers, Elders, and Soldiers. The story, brieflytold, is one of the power of love. The Beloved and Solomon are both inlove with the Sulamite, and the king tears her from the former to be thefavorite among the women of the harem. Amid all the splendors of thepalace and the luxuries heaped upon her by her passionate admirer sheremains true to the Beloved, is ultimately restored to him, and returnsto the vineyards of Sulam. The work is divided as follows: Prologue; PartI. Separation; II. Temptation; III. Victory; IV. Reunion; V. Epilogue. The motto of the oratorio is "Love is strong as death, and unconquerableas the grave. " This motto has its musical theme as well as each of thethree principal characters, and they are invariably used with great skilland effect. The Woman acts the part of Narrator, and after a brieforchestral prelude she is heard declaring the meaning and spiritualsignificance 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 hisChurch. "

The oratorio opens in the vineyard of Sulam as the Vine-dressers comeforth to their labor. The orchestral part begins with the melody of theVineyard Song ("We will take the Foxes"), and serves to introduce theirchorus, a joyous pastoral ("Come, let us go forth into the Field"). Asthey disappear, the voice of the Beloved is heard singing a tender andpassionate appeal beneath the Sulamite's lattice ("Rise up, rise up, myLove") as he urges her to join him, "For lo! the winter is past; the rainis over and gone. " Her reply follows from within her chamber, full oflove and adoration, and closing with the Vineyard Song ("We will take theFoxes, the little Foxes that ravage the Vines"). She descends from herchamber and joins the Beloved, and their voices unite in a delightfulduet ("Come, Beloved, into the Garden of Nuts"). Once more the chorus ofthe Vine-dressers is heard, and at its close, after an intermezzodescriptive of the joys of a spring morning, the scene changes toLebanon. A short alto solo announces the coming of Solomon, and thepastoral music is followed by a brilliant and stately processional march, accompanied by chorus ("God save the King!"). Solomon beholds theSulamite, and pours forth his admiration in a rapturous song ("Thou artlovely, O my Friend, as Thirza"). The Princes and Nobles also testify totheir admiration of her beauty. A very dramatic scene ensues, in whichthe Beloved and the Sulamite seek to escape "out of the caves of the lionand from the haunt of the leopard. " She is brought back by an elder, andagain Solomon pleads his cause in a passionate declamation ("Unto mycharger in Pharaoh's stud I would compare thee, O my friend"). Shereplies, "My Beloved is to me a nosegay of myrrh, " and clings to herlover, who once more seeks to escape with her; whereupon she is seizedand placed in one of the king's chariots, and the cavalcade moves off tothe brilliant strains of the cortège music, accompanied by the chorus. 

The second part, "Temptation, " introduces us to Solomon's palace, wherethe Sulamite is alone, pining for her lover. The scene opens with thepsalm, "The Lord is my Shepherd, " set to a simple, charming melody, fullof the spirit of devotion, but entirely disconnected with the generaltexture of the work. As the touching strain comes to an end, the Women ofthe court enter, insidiously plead the cause of Solomon, tempt her withhis luxuries, and seek to shame her love for the Beloved. "Kings'daughters shall be among thine honorable women; thy clothing shall be ofwrought gold; thou shalt be brought unto the king in raiment ofneedlework, with gladness and rejoicing shalt thou be brought and enterinto the king's palace, " sings one of the Women; but the Sulamite remainsloyal, and only answers: "My Beloved pastures his flocks among thelilies. My Beloved is mine, and I am his. " The temptation is interruptedby the procession of the ark passing in the street below to the gladacclaim of the people ("Make a joyful Noise unto the Lord, all yeLands"), and a brilliant march. Successively the Maidens of Jerusalemwith timbrels, the Elders, the Shepherds and Vine-dressers, the Soldiers, the Priests bearing the sacred vessels pass by, singing tributes ofpraise to the Lord; and as the Levites appear bearing the ark, andSolomon comes in sight with all his retinue, the entire chorustriumphantly repeat "God save the King!" The brilliant procession passesfrom view. The Women once more appeal to the Sulamite; but she stillloyally 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 thesleep of the Sulamite, with her women watching about her. The voice ofthe Beloved is heard without the chamber, "Open to me, my Sister, myBride. " It reaches her in a dream, and in fancy she replies to him, clothes herself, and searches for him in the streets; but when sheaccosts the watchmen, they are so rude that her fright awakes her. She isstill a prisoner in the palace, and the Women about her announce thecoming of Solomon. He pleads his cause in a passionate song ("Ere the Daycool and the Shadows flee away"); and she replies with anotherprotestation of her constancy in the solo, "Lo! a Vineyard hath Solomonat Baal-hamon. " The situation, which is very dramatic in its treatment, is heightened by a duet and by the mocking chorus of Women; but abovethem all still sings the brave Sulamite, "My Beloved is mine, and I amhis. "

The fourth part brings us back again to the vineyards of Sulam. It openswith a melancholy chorus of the Vine-dressers ("O Lord, be gracious untous"), lamenting her absence. It is followed by a bass solo ("Thus saiththe Lord") and a chorale in full broad harmony. At last the victoriousSulamite is seen coming up from the valley leaning on the arm of theBeloved. All join in a powerful and exultant chorus of gratitude and joy("Sing, O Heavens, and be joyful, O Earth"). A rapturous duet ensuesbetween the Sulamite and the Beloved, and then all join in the spiritedfinale:--

 "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 atHamburg, Feb. 3, 1809, and, unlike almost all other composers, was rearedin the lap of luxury. Every advantage which wealth could procure heenjoyed, with the result that he became highly educated in the other artsas 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 asa pianist in Berlin, and afterwards in Paris. The first of hiscompositions 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, inwhich he met with great success, he resided for some time in Düsseldorf. In 1835 he went to Leipsic as director of the famous Gewandhausconcerts, --which are still given in that city. Two years later he marriedCécile Jeanrenaud, the beautiful daughter of a minister of the ReformedChurch in Frankfort, and shortly afterwards went to Berlin as generaldirector of church music. In 1843 he returned to his former post inLeipsic, and also took a position in the newly established Conservatory, where he spent the remainder of his days in company with his family, towhom he was closely attached. He has left a large and rich collection ofmusical works, which are favorites the world over. His three greatoratorios are the "Hymn of Praise, " catalogued as a symphony-cantata, "St. Paul, " and "Elijah. " The last is specially interesting, as it markeda new departure from the conventional forms of oratorio, and gave thewidest scope to the dramatic elements, --to such a degree, in fact, thatit might with propriety be styled a sacred opera. Besides theseoratorios, his exquisite music to the "Midsummer Night's Dream, " which isfamiliar the world over, and his stately dramatic music to "Antigone, " hehas left five symphonies, of which the "Scotch, " the "Italian, " and the"Reformation" are best known; four exquisite overtures, "Ruy Blas, " "CalmSea and Prosperous Voyage, " "Hebrides, " and "Melusina;" the very dramaticcantata, "The Walpurgis Night;" a long list of beautiful songs for one ormore voices; the incidental music to Racine's "Athalia;" a very largecollection of sacred music, such as psalms, hymns, anthems, and cantatas;several beautiful trios and other specimens of chamber-music; and thelovely "Songs without Words, " which are to be found upon almost everypiano, the beauty and freshness of which time has not impaired. Mendelssohn never wrote a grand opera, owing to his fastidiousness as toa libretto; though he finally obtained one from Geibel, on the subject ofthe "Loreley, " which suited him. He had begun to write it, and hadfinished the finale to the first act, when death interrupted his work, Nov. 4, 1847. Mendelssohn was a man of remarkable beauty, and hischaracter corresponded to his charm of person. He had a liberaleducation, was a man of broad culture, a clever artist, and a veryskilful writer, as is shown by his volumes of letters from Italy andSwitzerland. Possessed of these graces of mind and person, and having allthe advantages that wealth could bestow, he lacked those incentives whichin other composers have brought out the deepest, highest, and mostmajestic 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 Düsseldorfand finished in Leipsic in the winter of 1835, the composer being then inhis twenty-sixth year. He first applied to Marx to write the text; butthe invitation was declined, on the ground that the chorales wereunsuited to the period of the narrative. Mendelssohn then consulted withhis friends Fürst and Schubring, and the libretto as it now standsrepresents their joint compilation. Its three principal themes are themartyrdom of Saint Stephen, the conversion of Saint Paul, and theapostle's subsequent career. One of the clearest statements of thegeneral 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 ofFrankfort in 1831; but it was not produced until May 22, 1836, on theoccasion of the Lower Rhine Festival at Düsseldorf. The principal partswere sung by Madame Fischer-Achten, Mademoiselle Grabau, Herren Schmetzerand Wersing, the latter artist taking the part of Paul. The secondperformance was given at Liverpool, Oct. 3, 1836; and between the twoperformances Mendelssohn revised the work and cut out fourteen numbers. 

After a long and expressive overture for orchestra and organ, the firstpart opens with a strong and exultant chorus ("Lord! Thou alone artGod"). It is massively constructed, and in its middle part runs into arestless, agitated theme ("The Heathen furiously rage"). It closes, however, in the same energetic and jubilant manner which characterizesits opening, and leads directly to a chorale ("To God on High"), set to afamous old German hymn-book tune, "Allein Gott in der Höh' sei Ehr, "which is serenely beautiful in its clearly flowing harmony. The martyrdomof Stephen follows. The basses in vigorous recitative accuse him ofblasphemy, and the people break out in an angry chorus ("Now this Manceaseth not to utter blasphemous Words"). At its close Stephen sings abrief but beautiful solo ("Men, Brethren, and Fathers!"); and as the calmprotest dies away, again the full chorus gives vent to a tumultuous shoutof indignation ("Take him away"). A note of warning is heard in thefervent soprano solo, "Jerusalem, thou that killest the Prophets;" but itis of no avail. Again the chorus hurls its imprecations more furiouslythan before ("Stone him to death"). The tragedy occurs. A few bars ofrecitative for tenor, full of pathos, tell the sad story, and thenfollows another beautiful chorale of submission ("To Thee, O Lord, Iyield my Spirit"). Saul's participation in the tragedy is barely touchedupon. The lament for Stephen is followed by the chorus, "Happy and blestare they, " which is beautifully melodious in character. Saul now appears, "breathing out threatenings and slaughter" against the apostles. Hisfirst aria ("Consume them all") is a bass solo which is fiery in itsenergy. It is followed by the lovely arioso for alto, "But the Lord ismindful of His own, "--fitting companion to the equally beautiful "O restin the Lord" from "Elijah, " and much resembling it in general style. Thenoccurs the conversion. The voice from heaven ("Saul, Saul, whypersecutest thou Me?") is represented, as was often done in thepassion-music, by the soprano choir, which gives it peculiar significanceand makes it stand out in striking contrast with the rest of the work. Aforcible orchestral interlude, worked up in a strong crescendo, leads tothe vigorous chorus, "Rise up! arise!" in which the powerful orchestralclimax adds great strength to the vocal part. It is a vigorouslyconstructed chorus, and is followed by a chorale ("Sleepers, wake! aVoice is calling"), which still further heightens the effect by itstrumpet notes between the lines. At the close of the imposing harmony themusic grows deeper and more serious in character as Saul breathes out hisprayer, "O God, have Mercy upon me;" and again, after the message offorgiveness and mercy delivered by Ananias, more joyful and exultant inthe bass solo with chorus ("I praise Thee, O Lord, my God"), Saulreceives his sight, and straightway begins his ministrations. A grandreflective chorus ("O great is the Depth of the Riches of Wisdom"), strong and jubilant in character, and rising to a powerful climax, closesthe first part. 

The second part opens with the five-part chorus, "The Nations are now theLord's, "--a clear fugue, very stately and dignified in its style, leading, after a tenor and bass duet ("Now all are Ambassadors in theName of Christ"), to the beautifully melodious chorus, "How lovely arethe Messengers that preach us the Gospel of Peace, " and the equallybeautiful soprano arioso, "I will sing of Thy great Mercies. " After thechorus, "Thus saith the Lord, " and a second tumultuous chorus expressiveof rage and scorn ("Is this He who in Jerusalem"), another chorale occurs("O Thou, the true and only Light"), in which the Church prays fordirection. The tenor recitative announcing the departure of Paul andBarnabas to the Gentiles, followed by the tenor and bass duet, "For sohath the Lord Himself commanded, " bring us to the scene of the sacrificeat Lystra, in which the two choruses, "The Gods themselves as Mortals, "and "O be gracious, ye Immortals, " are full of genuine Greek sensuousnessand in striking contrast with the seriousness and majestic character ofthe harmony in the Christian chorus ("But our God abideth in Heaven")which follows. Once more the Jews interfere, in the raging, wrathfulchorus, "This is Jehovah's Temple. " In a pathetic tenor aria ("Be thoufaithful unto Death") Paul takes a sorrowful leave of his brethren, andin response comes an equally tender chorus, "Far be it from thy Path. "Two stately choruses ("See what Love hath the Father, " and "Now only untoHim") close the work. 

 Hymn of Praise. 

The "Lobgesang" ("Hymn of Praise") was written at Leipsic in 1840, theoccasion which gave birth to it being the fourth centennial celebrationof the art of printing. The musical features of the festival wereintrusted to Mendelssohn, the ceremonies occupying two days, June 24 and25 of the above year. On the evening of the 23d there was a performanceof Lortzing's opera, "Hans Sachs, " written for the occasion. On themorning of the 24th there was a service in the church, followed by theunveiling of the statue of Guttenberg in the public square, and anopen-air performance of the composer's "Festgesang" for two choirs, withtrombone accompaniment, David conducting one choir, and Mendelssohn theother. In the afternoon of the 25th the "Hymn of Praise" was given forthe first time in St. Thomas's Church, preceded by Weber's "JubileeOverture" and Handel's "Dettingen Te Deum. " Lampadius, who was present atthe 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, Mendelssohnhimself conducting. After this performance it was considerably changed, and the whole scene of the watchman was added. The idea occurred to himafter a sleepless night, during which, as he informed a friend, thewords, "Will the night soon pass?" incessantly came into his mind. 

The title given to the "Hymn of Praise, " "a symphony-cantata, " was firstsuggested by his friend Carl Klingemann, of London, as will be seen bythe following interesting extract from a letter written by Mendelssohn tohim, 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 anyparticular dramatic significance. It is what its name indicates, --atribute of praise. Lampadius says the composer undertook to show "thetriumph at the creation of light over darkness. With his pious andbelieving heart he could easily enter into that theme, and show withmatchless power and skill the closing-in of those ancient foes, and thevictory of light when darkness cowered and ignobly shrank away. " Theexpression of delight over this victory is very well brought out, notonly in the music, but also in the arrangement of the Scriptural texts, which begin with exhortations of praise, and appeals to those who havebeen in distress and affliction to trust the Lord. The tenor, who may beregarded as the Narrator, calls upon the Watchman, "What of the night?"The response comes that the night has passed. In exultation over thevictory, once more the text ascribes praise to the Lord. "All that haslife and breath" sings to His name. 

The symphony is in three parts, beginning with a maestoso movement, inwhich the trombones at once give out the choral motive, "All that haslife and breath sing to the Lord, "--a favorite theme of Mendelssohn. Thismovement, which is strong and energetic in character, is followed by anallegretto based upon a beautiful melody, and to this in turn succeeds anadagio religioso rich in harmony. The symphony clearly reflects thespirit of the cantata, which follows. The opening chorus ("All that hasLife and Breath") is based upon the choral motive, and enunciates thereal hymn of praise. It moves along in a stately manner, and finallyleads without break into a semi-chorus, "Praise thou the Lord, O mySpirit, " a soprano solo with accompaniment of female voices. The tenor ina long dramatic recitative ("Sing ye Praise, all ye redeemed of theLord") urges the faithful to join in praise and extol His goodness, andthe chorus responds, first, the tenors, and then all the parts, in abeautiful number, "All ye that cried unto the Lord. " The next number isan exquisite duet for soprano and alto with chorus ("I waited for theLord"). It is thoroughly devotional in style, and in its general colorand 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 isfollowed by a sorrowful, almost wailing tenor solo, "The Sorrows of Deathhad closed all around me, " ending with the piercing, anxious cry inrecitative, "Watchman! will the Night soon pass?" set to a restless, agitated accompaniment and thrice repeated. Like a flash from a cloudcomes the quick response of the chorus, "The Night is departing, " whichforms the climax of the work. The chorus is beautifully constructed, andvery impressive in its effect. At first the full chorus proclaims thenight's departure; it then takes the fugal form on the words, "Thereforelet us cast off the works of darkness, " which is most effectively workedout. 

In the finale the male voices are massed on the declaration, "The Nightis departing, " and the female voices on the response, "The Day isapproaching;" and after alternating repetitions all close in broad, flowing harmony. This chorus leads directly to the chorale, "Let all Menpraise the Lord, " sung first without accompaniment, and then in unisonwith orchestra. Another beautiful duet, "My Song shall alway be ThyMercy, " this time for soprano and tenor, follows, and prepares the wayfor the final fugued chorus, "Ye Nations, offer to the Lord, " a massivenumber, stately in its proportions and impressive in its effect, andclosing with a fortissimo delivery of the splendid choral motive, "Allthat 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 pronouncethe "Hymn of Praise" Mendelssohn's greatest work. In its combination ofthe symphony and the voice parts, the one growing out of the other andboth so intimately connected, it stands almost alone. Some critics havecondemned Mendelssohn for imitating Beethoven's Choral Symphony, thoughin 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 instyle. While in Mendelssohn's work the symphony is subordinated to thechoral part, and serves only as an introduction to it, they are yetconventionally connected; but in Beethoven's work the chorus was theproduct of necessity, as the idea could not have been developed withoutit. The instruments had gone as far as possible; the voices _must_ speak. 

 Elijah. 

"Elijah, " the most admired of all Mendelssohn's compositions, wasfinished in 1846. The plan of the work was first considered in 1837, andwas discussed with his friend Klingemann in London. During the next yearhe had frequent consultations with another friend, Schubring, as to thepreparation of the book, and many of the passages were selected andscenes sketched out; but it was not until 1840 that he really began toput it into shape. We learn by a letter that in 1842 he was still at workupon the book itself. Two years later he received an invitation toconduct the Birmingham Festival of 1846; and it was evidently at thattime he decided to prepare the work for that occasion. We learn byanother letter that on the 23d of May, 1846, the entire first part andsix or eight numbers of the second part were sent to London to a Mr. Bartholomew, who was engaged translating the text into English. ThatMendelssohn himself was pleased with his work is evident from his ownwords, written to a friend after he had finished the first part: "I amjumping about my room for joy. If it only turns out half as good as Ifancy, how pleased I shall be!" By the latter part of July the entireoratorio was in the hands of Mr. Bartholomew, and on August 18Mendelssohn himself arrived in London and immediately began therehearsals. The work was first performed on the 26th at Birmingham, coming between Haydn's "Creation" on the 25th, and Handel's "Messiah" onthe 27th, the latter oratorio being followed by Beethoven's Mass in D. Acorrespondent 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 hisbrother 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 satisfiedwith the oratorio as a whole. He made numerous changes and re-wroteportions of the work, --indeed there was scarcely a movement that was notretouched. It is interesting to note in this connection that thebeautiful trio, "Lift thine Eyes, " was originally a duet, and verydifferent in character. The first performance of the work in London tookplace April 16, 1847, when it was given by the Sacred Harmonic Society. Her Majesty and Prince Albert were in attendance; and after theperformance the Prince sent to Mendelssohn the score which he had used infollowing 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 wastranslated, as has been said, by Mr. Bartholomew. Hiller says that theidea of the oratorio was first suggested by the verse in the nineteenthchapter, "Behold, the Lord passed by, " and that Mendelssohn, whilereading it, remarked to him, "Would not that be splendid for anoratorio?" The prominent scenes treated are the drought prophecy, theraising of the widow's son, the rival sacrifices, the appearance of therain in answer to Elijah's appeal, Jezebel's persecution of Elijah, thesojourn in the desert, his return, his disappearance in the fierychariot, and the finale, which reflects upon the meaning of the sacrednarrative. The scenes themselves indicate the dramatic character of theoratorio. In this respect, indeed, Mendelssohn may almost be said to havecreated a new school of oratorio construction. "Elijah" could be placedupon 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 aletter written Nov. 2, 1838, to Pastor Julius Schubring, who wasassisting 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 veryimpressive recitative, --Elijah's prophecy of the drought; leadingdirectly to the overture, a sombre, despairing prelude, picturing thedistress which is to follow as the curse settles down upon the streamsand valleys. At last the suffering is voiced in the opening chorus("Help, Lord"), which, after three passionate appeals, moves along inplaintive beauty, developing phrase after phrase of touching appeal, andleading to a second chorus, with duet for two sopranos ("Lord, bow ThineEar 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 followedby Obadiah's lovely tenor aria, "If with all your Hearts, " full oftenderness and consolation. Again the People break out into a chorus oflamentation ("Yet doth the Lord see it not"), which at the close developsinto 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 ofCherith, leading to the beautiful double quartet, "For He shall give HisAngels Charge over thee, " the melody of which is simple, but full ofanimation, and worked up with a skilful effect. Again the Angel summonsElijah to go to the Widow's house at Zarephath. The dramatic scene of theraising of her son ensues, comprising a passionate song by the mother("What have I to do with thee?") and the noble declaration of theprophet, "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 thechallenge of the Priests of Baal to the sacrifice on Mount Carmel, setforth in vigorous recitative, accompanied by short choral outbursts. Atthe words of Elijah, "Invoke your forest gods and mountain deities, " thePriests of Baal break out into the stirring double-chorus, "Baal, we cryto thee, " which is fairly sensual and heathenish in its rugged, abruptmelodies, as compared with the Christian music. At its close Elijah bidsthem "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, OBaal"), in the intervals of which Elijah taunts them again and again withthe appeal, "Call him louder. " The Priests renew their shouts, each timewith increasing force, "pausing in vain for the reply, and closing with arapid, almost angry expostulation ("Hear and answer"). Then follows thecalm, dignified prayer of the prophet ("Lord God of Abraham"), succeededby a simple, but beautiful chorale ("Cast thy Burden upon the Lord"). Itis the moment of quiet before the storm which is to come. He calls forthe fire to descend upon the altar, and a chorus of passionate energyreplies, "The Fire descends from Heaven, " accompanied by imitative music, and closing with a brief movement in broad harmony. In fierce recitativeElijah dooms the Priests of Baal to destruction, and after a short choralreply sings the bass aria, "Is not His Word like a Fire?"--a song ofextraordinary difficulty, and requiring a voice of exceptional accuracyand power for its proper performance. A lovely arioso for alto ("Woe untothem") follows Elijah's vigorous declamation. These two arias areconnecting links between the fire chorus and the rain scene which ensues. Obadiah summons Elijah to help the People, and Elijah replies in anexquisite little andante passage, repeated by the chorus ("Open theHeavens and send us Relief"). Then follows a dialogue-passage between theprophet, the People, and the Youth, whom he bids "look toward thesea, "--the most striking features of which are the responses of the Youthand the orchestral climax as the heavens grow black and "the storm rusheslouder and louder. " As the deluge of rain descends, the thankful Peoplebreak out into a passionate shout of delight ("Thanks be to God"), heardabove the tempest in the orchestra. At first it is a brief expression ofgratitude. The voices come to a pause, and Elijah repeats the tribute ofpraise. Then all join in a surging tumult of harmony, as fresh anddelightful as was the pouring rain to the thirsty land, voices andinstruments vying with each other in joyful acclamations, until the endis 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 obligatodeveloping 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 ofvoices, orchestra, and organ join in the sublime strain, sweeping on inbroad, full harmony. There is a pause of the voices for two bars, thenthey move on in a strong fugue ("Though Thousands languish and fall"). Atits close they are all merged again in the grand announcement, "Be notafraid, " delivered with impetuosity, and ending with the same subject inpowerful chorale form. The scene which follows is intensely dramatic. Theprophet rebukes Ahab and condemns the Baal worship. Jezebel fiercelyaccuses Elijah of conspiring against Israel, and the People in sharp, impetuous phrases declare, "He shall perish, " leading to the chorus, "Woeto him!" After a few bars for the instruments, Obadiah, in an exquisiterecitative, counsels him to fly to the wilderness. In the next scene webehold Elijah alone, and in a feeble but infinitely tender plaint heresigns himself. It is hard to conceive anything grander and yet morepathetic than this aria, "It is enough, " in which the prophet prays fordeath. A few bars of tenor recitative tell us that, wearied out, he hasfallen asleep ("See, now he sleepeth beneath a juniper-tree in thewilderness, and there the angels of the Lord encamp round about all themthat fear Him"). It introduces the trio of the Angels, "Lift thine Eyesto 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 oftender beauty; the trio and chorus are the perfection of dream-music. Atits close the Angel awakes Elijah, and once more we hear his patheticcomplaint, "O Lord, I have labored in vain; oh, that I now might die!" Inresponse comes an aria of celestial beauty, sung by the Angel ("Oh, restin the Lord"), breathing the very spirit of heavenly peace andconsolation, --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 mostimpressive and dramatic in the oratorio. Elijah no longer prays fordeath; 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; forthere His glory will appear and shine on thee. Thy face must be veiled, for He draweth near. " With great and sudden strength the chorusannounces: "Behold! God the Lord passed by. " With equal suddenness itdrops to a pianissimo, gradually worked up in a crescendo movement, andwe hear the winds "rending the mountains around;" but once more inpianissimo it tells us "the Lord was not in the tempest. " The earthquakeand the fire pass by, each treated in a similar manner; but the Lord wasnot in those elements. Then, in gentle tones of ineffable sweetness, itdeclares, "After the fire there came a still, small voice, ... And inthat still, small voice onward came the Lord;" and onward sings thechorus in low, sweet, ravishing tones to the end: "The Seraphim above Himcried one to the other, Holy, holy, holy, is God the Lord!"--a doublechorus of majestic proportions. Once more Elijah goes on his way, nolonger dejected, but clothed with "the strength of the Lord. " His aria, "For the Mountains shall depart, " prepares us for the final climax. Instrong accents the chorus announce, "Then did Elijah the prophet breakforth like a fire;" his words were like "burning torches;" he overthrewkings; he stood on Sinai and heard the vengeance of the future on Horeb. Then comes a significant pause. The basses begin, "And when the Lordwould take him away;" another brief pause, and the full chorus picturesin vivid color the coming of the fiery chariot and the whirlwind by whichhe was caught up into heaven. The picturesqueness and dramatic intensityof this splendid chorus can hardly be described in words. One more tenoraria ("Then, then shall the Righteous shine") and a brief soprano solointroduce the chorus, "Behold My servant. " A beautiful quartet ("Oh!come, every one that thirsteth") follows, and the massive fugue, "Andthen shall your Light break forth as the Light of the Morning, " closesthis 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 bythe Chevalier Bunsen and given to the composer in 1844, before he began"Elijah. " With his customary fastidiousness, he altered and rearrangedthe text, and it was not until 1847, after "Elijah" was finished, that hetouched the music. At this time he was in delicate health, and had notrecovered from the shock of his sister's death. He sought consolation forhis troubles and relief for his ailments among the mountains ofSwitzerland. Part of his time was devoted to mountain-rambling, and theremainder to work upon "Christus" and the opera "Loreley, " neither ofwhich he lived to finish. 

It is interesting to note in this connection that before Mendelssohnsettled upon "Christus, " the subject of Saint Peter occupied hisattention, although he still had the former in view for laterconsideration. In a letter to his friend Schubring, written atBingen-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 heanalyzed 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 whichMendelssohn considered it shows how thoughtfully he must have devotedhimself to the scheme which took its place. Neither his letters nor hisbiographers throw much light upon the history of "Christus. " Lampadiussays: "The oratorio was laid out upon a grand scale. It was to be inthree parts, --the career on earth, the descent into hell, the ascent toheaven. " This plan must have been subsequently changed, for the fragmentsof the oratorio are included in two parts, though they entirely pertainto the earthly career. There are in all eight complete numbers, --threefrom the first part, and five from the second. The first part opens witha soprano recitative ("When Jesus our Lord was born in Bethlehem"), leading to a strong trio for tenor and two basses ("Say, where is heborn?"), the question of the Wise Men from the East. The chorus replies, "Then shall a Star from Jacob come forth, " closing with the old Germanchorale, "Wie schön leuchtet der Morgenstern" ("How brightly shines theMorning 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 betweenPilate, the Elders and the People, and his final order, "Take ye him andcrucify him, for I cannot find a fault in him, " and several short, angrychoruses of the Jews, accusing Jesus and calling for his death, leadingto a beautiful chorus for mixed voices ("Daughters of Zion, weep"), andclosing with an effective chorale for male voices in the genuine Bachstyle:--

 "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 remarkablemusical geniuses the world has produced, and the only one of hiscontemporaries whose operas still hold the stage with unimpairedfreshness, was born at Salzburg, Jan. 27, 1756. He was the son of LeopoldMozart, the Salzburgian Vice-Capellmeister, who gave him and his sisterNannerl their earliest instructions in music, and with such good resultsthat the children travelled and gave concerts with great success. Beforehe was seven years of age, he had composed several pieces for piano andviolin, his earliest having been written at the age of five! At twelve hebecame court capellmeister in Salzburg. After his musical travels he wentto Vienna, and there began his real period of classic activity, whichcommenced with "Idomeneus, " reached its culmination in "Don Giovanni, "and closed with the "Requiem, "--the "swan-song" of his wonderful life. Inhis brief life Mozart composed more than fifty great works, besideshundreds of minor ones in every possible form of musical writing. Hisgreatest compositions may be classed in the following order: "Idomeneus"(1780); "Entführung aus dem Serail" (1781); "Figaro's Hochzeit" ("TheMarriage 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 animmense one, for his period of productivity was unusually long. From theage of five to his death, there was not a year that was not crowded withhis music. Besides his numerous operas, of which only the more famous aregiven above, he wrote a large number of symphonies (of which the"Jupiter" is now the best known), sonatas, concertos for all kinds ofinstruments, even to musical-glasses, trios, quartets, quintets, andsextets for all possible combinations of instruments, marches, fugues, masses, hymns, arias of extraordinary brilliancy, --many of them writtenfor his sister-in-law, Aloysia Weber, to whom at one time he wasengaged, --liturgies, cantatas, songs, and ballads, and indeed every formof music that is now known. His style was studied by Beethoven, and soclosely imitated that the music of his first period, if published withoutautograph, would readily be attributed to Mozart. His style was sospontaneous and so characteristic that it has been well said there is butone Mozart. The distinguishing trait of his music is its rich melodicbeauty and its almost ravishing sweetness. His melody pours along in abright, unbroken stream that sometimes even overflows its banks, soabundant 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 theirinspiration, though it lacked the maturity, majesty, and emotional depthswhich were reached by such a Titan as Beethoven. Old as it is, andantiquated in form, especially as compared with the work of the newschools, its perennial freshness, grace, and beauty have made itimmortal. 

 The Requiem. 

Mozart's "Requiem" was written in Vienna in 1791 and was left in anunfinished state by the composer, who made suggestions and gaveinstructions as to its completion even upon his death-bed; it wasliterally his swan-song. No work by any composer has given rise to moreromantic stories or more bitter discussion. It was long the popularbelief that the "Requiem" was commissioned by a dark, mysteriousstranger, whose appearance impressed Mozart with the conviction that hewas a messenger of death; more than this, that he himself had beenpoisoned, and that he was writing his own death-song, upon the order ofsome supernatural power. There was some foundation for the belief, as thecommission was given in a very mysterious manner, and Mozart's health atthat 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 hisown requiem. The actual circumstances attending the commission, thoughthey do not bear out the romantic versions of the story-tellers, are yetof extraordinary interest. 

The author of the commission was one Count von Walsegg, living in thevillage of Stuppach, whose wife had died early in 1791. He was an amateurmusician of vast ambitions and small accomplishments, and had conceivedthe idea of purchasing a requiem anonymously from Mozart and passing itoff as his own work. In pursuance of his scheme he despatched hissteward, named Leutgeb, a tall, solemn, mysterious looking person, withan anonymous letter to Mozart, who at that time was in absolute poverty, asking for the music and requesting him to name his ownprice, --stipulating, however, that he should make no effort to discoverthe identity of his patron. The unsuspicious Mozart accepted theproposition, after consulting with his wife. He was about to begin workupon it at once, when he received a commission to write the opera of"Clemenza de Tito, " in honor of the Emperor Leopold's coronation. Thisoccupied him several weeks, and when it was completed he decided upon avisit to Baden. At the moment he was about to get into the carriage, themysterious stranger again appeared and inquired about the progress of the"Requiem. " Mozart excused himself, and replied that as soon as hereturned 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 devotedhimself assiduously to the "Requiem, " though it served only to increasehis gloom. One day he remarked to his wife: "I well know that I amwriting this requiem for myself. My own feelings tell me that I shall notlast long. No doubt some one has given me poison; I cannot get rid of thethought. " It is now known that this suspicion was only the result of hismorbid thoughts; but when it was publicly uttered, most unjustaccusations were made against his rival, Salieri, embittering the oldcomposer's life until its close. As the work progressed, his gloomincreased. "The day before his death, " Nohl says, "he desired the scoreto 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 firstbars of the 'Lacrymosa, ' when Mozart suddenly burst into tears and laidaside the score. " His sister-in-law has left an account of his lastmoments. 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 refundthe money advanced for the work, induced Süssmayer, who was thoroughlyfamiliar with Mozart's ideas, to complete it. He did so, and the copy wasdelivered to Count von Walsegg, who did not hesitate to publish it as hisown. Süssmayer, however, had kept a copy, and after completion publishedit; and in a letter to the publishers set up a claim to theinstrumentation of the "Requiem, " "Kyrie, " "Dies Iræ, " and "Domine, " andto the whole of the "Sanctus, " "Benedictus, " and "Agnus Dei. " Thepublication of Süssmayer's letter provoked a controversy which has ragedfrom that day to this. The ablest critics and musicians in Europe havetaken 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 farSüssmayer participated in the completion of the work as it now stands. The bulk of the evidence, however, favors the theory that Süssmayer onlyplayed the part of a skilful copyist, in writing out the figurings whichMozart had indicated, carrying out ideas which had been suggested to him, and writing parts from the sketches which the composer had made. One ofthe most pertinent suggestions made in the course of this controversy isthat 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 openingmovement, --a slow, mournful, solemn theme, --the first number begins withthe impressive strain, "Requiem æternam dona eis, " which graduallybrightens in the phrase, "Et Lux perpetua, " and reaches a splendid burstof exultation in the "Te decet hymnus, " of which Oublichieff, the Russiancritic, says: "One seems to hear the voice of an archangel, and SaintCecilia herself with her organ sounding a fugued accompaniment which themost laborious efforts of mortals never could have power to reach. " Aftera repetition of the "Requiem æternam, " the number closes with the "Kyrieeleison, " 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 simplecounterpoint, and very dramatic in its character, the orchestral partbeing constantly vigorous, impetuous, and agitated, and reaching intenseenergy on the verse, "Quantus tremor est futurus, " the whole presenting avivid picture in tones of the terrors of the last judgment. In the "Tubamirum" the spirit of the music changes from the church form to thesecular. It is written for solo voices, ending in a quartet. The bassbegins with the "Tuba mirum, " set to a portentous trombone accompaniment;then follow the tenor ("Mors stupebit"), the alto ("Judex ergo"), and thesoprano ("Quid sum miser"). This number is particularly remarkable forthe manner in which the music is shaded down from the almost supernaturalcharacter of the opening bass solo to the beauty and sweetness of thesoprano solo. From this extraordinary group we pass to the sublimechorus, "Rex tremendæ majestatis, " once more in the church style, whichcloses with the prayer, "Salva me, " in canonical form. With rare skill isthis last appeal of humanity woven out of the thunder-crashes of sound inthe judgment-music. 

The "Dies Iræ" is followed by the "Recordare, " written, like the "Tubamirum, " as a quartet for solo voices. The vocal parts are in canon formand are combined with marvellous skill, relieved here and there withsolos in purely melodic style, as in the "Quærens me, " while theorchestral part is an independent fugue, with several subjects worked upwith every form of instrumental embellishment, the fugue itself sometimesrelieved by plain accompaniment. The whole is an astonishing piece ofcontrapuntal skill, apparently inexhaustible in its scientificcombinations, and yet never for an instant losing its deep religioussignificance. Once more the orchestral part is full of agitation and evensavage energy in the "Confutatis maledictis, " as it accompanies apowerful double chorus, closing at last in a majestic prayer ("Orosupplex et acclinis"), in which all the voices join in magnificentharmony. 

The "Lacrymosa" is the most elegant and poetically conceived movement inthe "Requiem. " It begins in a delicate, graceful, and even sensuousmanner, which gradually broadens and strengthens, and at last developsinto a crescendo of immense power, reaching its climax on the words"Judicandus homo reus. " Then it changes to a plaintive prayer ("Huic ergoparce Deus"), and closes in a cloud of gloom in the "Dona eis requiem. "The next number ("Domine Jesu Christe") is in pure church form, beginningwith a motet by chorus in solid harmony, which runs into a fugue on thewords "Ne absorbeat eas Tartarus, " followed by a quartet of voicesregularly fugued, leading to another great fugue on the passage, "Quamolim Abrahæ, " which closes the number in a burst of sacred inspiration. The "Domine" is followed by the "Hostias, " a lovely choral melody whichleads to the "Sanctus, " a sublime piece of harmony closing with a fugued"Hosanna. " The "Benedictus, " which follows it, is a solo quartetplaintive and solemn in character, but full of sweet and rich melodiesmagnificently accompanied. 

The "Agnus Dei" closes the work, a composition of profound beauty, withan accompaniment of mournful majesty, developing into a solemn, almostfunereal strain on the words "Dona eis requiem, " and closing with thefugue of the opening "Kyrie" on the words "Lux æterna. " "Written underthe inspiration of death" might well be inscribed on this great monumentof musical skill, this matchless requiem of awful majesty and divinebeauty. In its own unity, its perfection of form and design, itsastonishing skill, from the opening fugue of the "Kyrie" to itsrepetition in the finale, may be found the proof that Mozart and no otherwrote the entire score, and that every thought and idea in it are theinspired work of the dying master. 

 PAINE. 

John K. Paine, one of the very few really eminent American composers, wasborn at Portland, Me. , Jan. 9, 1839. He studied the piano, organ, andcomposition with Kotzschmar in that city, and made his first publicappearance as an organist, June 25, 1857. During the following year hewent to Germany and studied the organ, composition, and instrumentationwith Haupt and other masters in Berlin. He returned to this country in1861 and gave several concerts, in which he played many of the organworks of the best writers for the first time in the United States. Shortly after his return he was appointed instructor of music in HarvardUniversity, and in 1876 was honored with the elevation to a professorshipand given a regular chair. He is best known as a composer, and several ofhis 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 atthe Berlin Singakademie in 1867, under his own direction. Among hisprincipal compositions are the oratorio "St. Peter;" the Mass in D; theCentennial Hymn, set to Whittier's poem and sung at the opening of thePhiladelphia Centennial Exhibition; the overture to "As You Like It;""The Tempest, " in the style of a symphonic poem; the symphony in C minorand "Spring" symphony; besides numerous sonatas, fantasies, preludes, songs, and arrangements for organ and piano. His larger orchestral workshave been made familiar to American audiences by Mr. Theodore Thomas'sband, and have invariably met with success. His style of composition islarge, broad, and dignified, based upon the best classic models, andevinces a high degree of musical scholarship. 

 St. Peter. 

"St. Peter, " Mr. Paine's only oratorio, --and from the highest standpointit may be said the only oratorio yet produced in this country, --waswritten in 1872-73, and first performed at Portland, Me. , in June of thelatter year, under the composer's own direction. The solos were sung byMrs. Wetherbee, Miss Adelaide Phillipps, Mr. George L. Osgood, and Mr. Rudolphsen. It was again produced with great success at the thirdTriennial 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 principalscenes in the life of St. Peter, forms the subject of the oratorio. It isdivided into two parts, and these are subdivided as follows: Part I. TheDivine Call; The Denial and Repentance. Part II. The Ascension;Pentecost. The overture, a short adagio movement expressive of theunsettled spiritual condition of the world prior to the advent ofChristianity, leads directly to the opening chorus, "The Time isfulfilled, " which develops not only this subject, but also a second, "Repent, and believe the glad Tidings of God, " in a masterly manner. Thechorus, written in a very noble style, is followed by the tenorrecitative, which describes the divine call of our Lord to Simon andAndrew as "He walked by the Sea of Galilee. " It prepares the way for asoprano aria ("The Spirit of the Lord is upon me") which announces theglad tidings they are commissioned to deliver. Twelve male voices, representing the Disciples, accept the call in the chorus, "We go beforethe Face of the Lord, " which is beautifully accompanied by and interwovenwith the full chorus, closing with the smoothly flowing chorale, "Howlovely shines the Morning Star. " Then ensues the first dramatic scene. Tothe question of the Saviour, "Who do men say that I am, " the twelve malevoices first reply, followed by Peter in a few bars of very effectiverecitative, "Thou art the Christ. " A tenor arioso, declaring thefoundation of the Church "upon this rock, " is followed by a noble andexquisitely chaste bass aria for Peter ("My Heart is glad and my Spiritrejoiceth"), the scene ending with the powerful chorus, "The Church isbuilt upon the Foundation of the Apostles and Prophets. " The next scene, "The Denial and Repentance, " opens with the warning to Peter that he willdeny his Lord, and his remonstrance, "Though I should die with thee, "which is repeated by the Apostles. These brief passages are followed by avery pathetic aria for tenor ("Let not your Heart be troubled") and abeautifully worked-up quartet and chorus ("Sanctify us through ThyTruth"). A contralto solo announces the coming of "Judas with a greatmultitude, " leading Jesus away to the High Priest, and is followed by thevery expressive chorus, "We hid our Faces from him. " The scene of thedenial is very dramatic, the alternating accusations of the servants andthe denials of Peter being treated with great skill; it closes with avery effective contralto recitative, illustrating the sad words: "Andwhile he yet spake, the cock crew. And the Lord turned, and looked onPeter; and he remembered the word of the Lord, and he went out and weptbitterly. " An orchestral interlude follows, in the nature of a lament, aminor 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 oflamentation as the orchestral number which precedes and really introducesit. At its close a chorus of Angels, sopranos, and altos, with harpaccompaniment ("Remember, remember from whence thou art fallen"), isheard warning Peter, augmented on the introduction of the second subject("And he that overcometh shall receive a Crown of Life") by the fullchorus. This chorus is followed by a beautiful aria for alto ("The Lordis faithful and righteous to forgive our Sins"); and then a massivechorus, which is fairly majestic ("Awake, thou that sleepest"), closesthe first part. 

The second part opens with a chorus ("The Son of Man was delivered intothe Hands of sinful Men"), which tells the story of the crucifixion, notonly with great power, but also with intense pathos, ending with thechorale, "Jesus my Redeemer lives, " which invests the sad narrative withtender and consolatory feeling. The ascension scene is accompanied bygraceful and expressive recitatives for tenor and bass, followed by atenor arioso ("Go ye and teach") and a short soprano recitative ("And helifted up his Hands"), leading to the full melodious chorus, "If ye thenbe risen. " The next number is an impressive soprano solo ("O Man ofGod"), in which Peter is admonished "to put on the whole armor of God andfight the good fight. " A beautifully written quartet ("Feed the Flock ofGod") closes the scene of the ascension. The last scene opens with atenor solo describing the miracle of Pentecost, set to an extremelyvigorous and descriptive accompaniment. It is followed by the chorus, "The Voice of the Lord, " which is one of the most effective in the wholework, though not constructed in the massive style of those which closethe two parts. A contralto recitative links this chorus to its successor, "Behold! are not all these who speak Galileans?" After a brief sopranorecitative, Peter has another vigorous solo ("Ye Men of Judæa"), which isas dramatic in its style and almost as descriptive in its accompanimentas the opening tenor solo of this scene. A reflective aria for alto ("Asfor Man") follows it, and bass and tenor recitatives lead up to theeagerly questioning chorus of the people, "Men and Brethren. " The answercomes from Peter and the Apostles, "For the Promise is to you. " Anintricate chorus ("This is the Witness of God"), closing with a chorale("Praise to the Father"), leads to the finale, which comprises thechorus, "Beloved, let us love one another, " written for bass solo, tenors, and basses (the Disciples), and full chorus; an effective duetfor 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 ofopera, was born Feb. 29, 1792, at Pesaro, in the Romagna. His father wasan accomplished musician, and his mother a professional singer, so thathe was brought up in a musical atmosphere. Even as a boy he sang with hismother in the theatre. He first studied with Mattei, and later withMartini. His first opera, "Demetrio e Polibio, " was brought out at Romein 1812, and before he had concluded his life-work, more than forty ofhis operas had been given in almost every part of Europe, --a crowningresult 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 spreadhis reputation far and wide. In 1815 appeared "L' Italiana in Algeri" and"Aureliano in Palmira;" in 1816, "Elisabetta, " "Otello, " and his splendidwork "The Barber of Seville, " which, though his masterpiece, is said tohave been written in fourteen days; in 1817, "La Cenerentola, " "La GazzaLadra, " and "Armida;" and in 1819, "Ricciardo e Zoraïde, " "La Donna delLago, " and many others. From 1815 to 1822 Rossini was under the"management" of the _impresario_ Barbaja in Naples, who had muchdifficulty in keeping him to the work of composition, his facility inwriting often leading him to defer work until it was the very eve ofperformance. In 1823, under the auspices of Barbaja, and with theassistance of the prima donna, Colbran, whom Rossini married about thistime, his opera "Zelmira" and others of his works were given with suchbrilliant success as to raise his aspirations for a wider and morepromising 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 grandopera, but also gave himself to the study and development of orchestralmusic and the encouragement of artists. His home was the Mecca ofsingers, and, like Liszt's at Weimar, the centre of art influences. Thenew work was "William Tell, " which was first brought out in Paris in1829. It was his last important effort. It met with only temporarysuccess, 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 soughtfor by artists and the public as it was in his own day. Among his othersacred works is "Moses in Egypt, "--originally written as an oratorio forthe San Carlo in Naples, and brought out there in 1818, thoughsubsequently recast and provided with a revised libretto for the ParisGrand Opera in 1827. The "Prayer" from this work has a world-widepopularity. During the latter years of his life Rossini gave upcomposition entirely, --in part because of the eventual failure of his"William Tell, "--and enjoyed the fruits of his labors at his beautifulvilla in Passy. He died Nov. 14, 1868. His sacred works, besides thosealready mentioned, are a few Italian oratorios, now unknown, threechoruses, "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, andthe one recently written by the Bohemian composer, Dvorák. Of all theseno one has been so popular as that of Rossini, nor made the world sofamiliar with the text of the Virgin's Lamentation. After the failure of"William Tell, " Rossini abandoned opera-writing, though he had a contractwith the Grand Opera at Paris for four more works, and contemplatedtaking up the subject of Faust. "William Tell" was his last work for thestage; but before his absolute retirement he was to produce a workdestined to add to his fame. In 1832 his friend Aguado induced him tocompose a "Stabat Mater" for the Spanish minister, Don Valera, which wasnot intended to be made public. Before its completion he fell ill, andTadolini wrote the last four numbers. The work was dedicated to Valera, with the understanding that it should always be retained by him. Nineyears afterwards Valera died, and Rossini learned that his heirs had soldthe work to a Paris publisher for two thousand francs. He at once claimedthe copyright and brought an action, in which he was successful. He thencomposed four new numbers in place of those written by Tadolini, and soldthe work complete to the publisher, Troupenas, for six thousand francs. The latter sold the right of performance for a limited time to theEscudiers for eight thousand francs, and they in turn sold it to theThéâtre Italien for twenty thousand. Its first complete performance wasat the Salle Ventadour, Jan. 7, 1842, Grisi, Albertazzi, Mario, andTamburini 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 dramaticin style, especially in its broad, melodious contrasts. It is followed bythe tenor solo, "Cujus Animam, " which is familiar to everyconcert-goer, --a clear-cut melody free of embellishment, but verybrilliant and even jubilant in character, considering the nature of thetext. The next number ("Quis est Homo"), for two sopranos, is equallyfamiliar. It is based upon a lovely melody, first given out by the firstsoprano, and then by the second, after which the two voices carry thetheme through measure after measure of mere vocal embroidery, closingwith an extremely brilliant cadenza in genuine operatic style. The fourthnumber is the bass aria "Pro peccatis, " the two themes in which are veryearnest and even serious in character, and come nearer to the churchstyle than any other parts of the work. It is followed by a beautifullyconstructed number ("Eia Mater"), a bass recitative with chorus, which isvery strong in its effect. The sixth number is a lovely quartet ("SanctaMater"), full of variety in its treatment, and closing with full, broadharmony. After a short solo for soprano ("Fac ut Portem"), the climax isreached in the "Inflammatus, "--a brilliant soprano obligato with powerfulchoral accompaniment. The solo number requires a voice of exceptionalrange, power, and flexibility; with this condition satisfied, the effectis intensely dramatic, and particularly fascinating by the manner inwhich the solo is set off against the choral background. A beautifulunaccompanied quartet in broad, plain harmony, "Quando Corpus, " leads tothe showy fugued "Amen" which closes the work. 

Unquestionably the "Stabat Mater" is one of the most popular of all theminor sacred compositions; and the secret lies on the surface: it is tobe found in the delightful and fascinating melodies, which are strewn sothickly through it, as well as in the graceful bravura, which was socharacteristic of Rossini, and which when delivered by accomplishedartists 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 orVerdi's requiems. Indeed, Rossini himself remarked to Hiller that hewrote it in the "mezzo serio" style. In connection with this matter oneor two criticisms will be of interest. Rossini's biographer, SutherlandEdwards, says: "The 'Stabat Mater' was composed, as Raphael's Virginswere painted, for the Roman Catholic Church, which at once accepted it, without ever suspecting that Rossini's music was not religious. " Theremark, however, would be more pertinent were it not for the fact thatthe Church itself has not always been a good critic of its own music, ora good judge of what its music should be, as Liszt discovered when hewent to Rome full of his purposes of reform in the musical service. Heine, in a letter to the "Allgemeine Zeitung" in 1842, replying tocertain 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 thissweeping statement is either just to Mendelssohn or true of Rossini. Perhaps they will also concede that Heine was not a very good judge ofChristianity in any of its aspects, musical or otherwise. The veteranMoscheles in one of his letters criticizes the work very pertinently. Hesays, --

 "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 "StabatMater" which might not be detached from it and reset in one of Rossini'soperas without doing violence to whatever of the real religious style itmay be supposed, or was intended, to have. The "Stabat Mater" music wouldbe captivatingly beautiful in any setting. 

 RUBINSTEIN. 

Anton Gregor Rubinstein was born, Nov. 30, 1829, at the village ofWechwotynetz, in Russia. His parents, who were in moderate circumstances, moved to Moscow during his infancy, and in that city he received hisfirst musical instruction. His mother gave him lessons at the age offour, with the result that by the time he was six she was unable to teachhim anything more. He then studied the piano with Alexander Villoing, apupil of John Field. His first composition appeared in his twelfth year, and soon his songs and two and four hand piano-pieces began to attractthe attention of musicians. In 1840 Villoing took him to Paris and placedhim in the Conservatory, where he attracted the attention of Liszt, Chopin, and Thalberg. He remained in that city eighteen months, devotinghimself to unremitting study, and then made some professional tours, inwhich he met with extraordinary success, particularly in England. Fromthat country he went to Holland and Sweden, everywhere meeting with anenthusiastic reception. In 1844 his parents removed to Berlin, and he wasplaced under Dehn, the famous contrapuntist, to study composition, hisbrother Nicholas being a companion in his work. The father dying in 1846, the mother and Nicholas returned to Russia, leaving Anton alone. Duringthe next two years he taught music in Pressburg and Vienna, and in thelatter part of 1848 went back to Russia. About this time he received anhonorary musical appointment from the Grand-Duchess Hélène. For eightyears he studied and wrote in St. Petersburg, and at the end of that timehad accumulated a mass of manuscripts destined to make his name famousall over Europe, while his reputation as a skilful pianist was alreadyworld-wide. He visited England again in 1857, and the next year returnedhome and settled in St. Petersburg, about which time he was made ImperialConcert Director, with a life-pension. At this period in his career hedevoted himself to the cause of music in Russia. His first great work wasthe foundation of the Conservatory in the above city in 1862, of which heremained principal until 1867. He also founded the Russian MusicalSociety in 1861, and in 1869 was decorated by the Czar. In 1870 hedirected the Philharmonic and Choral Societies of Vienna, and shortlyafterwards made another tour, during which, in 1872, he came to thiscountry with the eminent violinist Wieniawsky, as will be wellremembered. His visit here was marked by a succession of ovations. Noother pianist ever achieved such a wonderful success, not only amongmusicians, but among the people of all classes. Musicians were astoundedat his remarkable knowledge, while musical and unmusical people alikewere carried off their feet by the whirlwind-style of his playing. It wasfull of grace, nobility, breadth, and dignity; but it combined with thesequalities a fire, an intensity, and a passion which sometimes investedthe piano with orchestral effects, and again transformed it into aninstrument that wept, laughed, sang, and danced. His power wasirresistible and electric. As a composer he ranks very high. His greatestworks are the Ocean Symphony, Dramatic Symphony, and a character sketchfor grand orchestra called "Ivan the Terrible;" his operas, "Children ofthe Heath, " "Feramors, " "Nero, " "The Maccabees, " "Dimitri Donskoi, " andthe "Demon;" the oratorios "Paradise Lost" and "Tower of Babel;" and along and splendid catalogue of chamber, salon, and concert music, besidessome 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, waswritten in 1870, the text, which is somewhat of a travesty on sacredhistory, by Julius Rodenberg. An English critic very pertinently says:"One item alone in all the multitude of details crowded by Herr Rodenberginto his canvas has any foundation in fact. He adopts the theory thatthere really was a tower of Babel, and all the rest he founds onconjecture. " In point of fact, the anachronisms are numerous enough tomake the text almost a burlesque. Nimrod, the mighty hunter, is made thechief builder of the tower, which is supposed to be in process oferection as an insult to the Deity. Abraham appears upon the scene (manyyears before he was born), and rebukes Nimrod for his presumption;whereupon the hunter-king orders "the shepherd, " as he is called, to bethrown into a fiery furnace, after the manner of Shadrach, Meshach, andAbednego. The angels watch over the patriarch, and he comes out of thefire unharmed. Some of the people standing by ascribe the miracle toBaal, some to Dagon, some to Ashtaroth, and a few to Jehovah, and at lastget into a quarrel with each other. Nimrod interposes his authority, andorders them to their work on the tower again. Soon the heavens cloudover, and a storm is seen approaching. Abraham prophesies destruction, and Nimrod orders him to be seized and hurled from the summit of thetower; but before his commands can be executed, a thunderbolt strikes itand crumbles it into a heap of shapeless stones. While Abraham exultsover the destruction, the dispersion of the three races, the Shemites, Hamites, and Japthides, occurs. Nimrod laments over the result of hisfolly, and at last acknowledges the authority of the Divine Power, andthus the story ends. 

The _dramatis personæ_ are Nimrod (bass), Abraham (tenor), Master Workman(baritone), four Angels (boys' voices), the choruses by Nimrod'sfollowers, the People, Angels, and Demons. The overture is a confused, formless number, indicating the darkness. In the beginning there is noclear musical idea; but at last the subject assumes definite form as thedawn breaks and the Master Workman announces the sunrise and calls thePeople to their work, in the recitative, "Awake! ye Workers, awake!" Thesummons is followed by the chorus, "To work, " in which the vocal part isnoisy, broken, and somewhat discordant, representing the hurry and bustleof a crowd of working-men, --with which, however, the orchestra and organbuild up a powerful theme. The song of the Master Workman is alsointerwoven, and the chorus is finally developed with great vigor andsplendid dramatic effect. Nimrod now appears, and in a triumphantoutburst ("Stately rises our Work on high") contemplates the monument tohis greatness now approaching completion. Abraham rebukes him ("How, Mortal, canst thou reach His Presence?"). The scene at this point is fullof dramatic vigor. Nimrod hurls imprecations at Abraham, followed bystrongly contrasting choruses of the angry People and protecting Angels, which lead up to the mixed chorus of the People, indicating the confusionof tongues as they severally ascribe the escape of Abraham from thefurnace-fire to Baal, Dagon, Ashtaroth, and Jehovah, and closing withtumultuous dissension, which is quelled by Nimrod. The effect of theAngels' voices in the hurlyburly is exceedingly beautiful, and theaccompaniments, particularly those of the fire-scene, are very vivid. Nimrod's order to resume work on the tower is followed by the angelicstrain, "Come on! let us down to Earth now hasten. " Once more theBuilders break out in their barbaric chorus, "To work, " followed by theportentous outburst of the People, "How the Face of Heaven iso'ershadowed!" In a vigorous solo Abraham replies, "No! 'tis not Vapornor Storm-clouds that gather. " There is a final controversy betweenAbraham and Nimrod, and as the latter orders the patriarch to be thrownfrom the tower, the storm breaks, and amid the shrieks of the chorus("Horror! horror") and the tremendous clangor of organ and orchestra onthe theme already developed in the opening, the tower is destroyed. 

The tumultuous scene is followed by Nimrod's lament ("The Tower whoselofty Height was like my State"), a bass aria of great power, andreaching a splendid climax. Abraham, in an exultant strain ("The Lord isstrong in Might"), proclaims God's purpose to scatter the people. Themost picturesque scene in the work now occurs, --the dispersal of theShemites, Hamites, and Japthides, typified by orchestral marches andchoruses of a barbaric cast. The stage directions at this point indicatethat the three choruses "must be sung behind the scenes, while dissolvingviews present to the audience the emigration of the three great humanraces, "--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 sungin unison, is taken from some of the ancient music in the ritual of theJewish Synagogue, that used on the eve of the Day of Atonement. The othertwo choruses are also Oriental in color and rhythm, and give a verystriking effect to this part of the work. The chorus of Angels ("Thus byAlmighty Power of God") proclaims the completion of the work, and twolong solos by Abraham and Nimrod lead up to the final choruses of theAngels, People, and Demons, worked up in very powerful style, and in thefinale uniting the themes which originally introduced the chorus of thePeople and the Angels, and the subject of the darkness in the overture. The tableau is thus described in the stage directions: "The stage isdivided into three horizontal compartments. In the middle is the earth;in the upper is the throne of the Almighty, surrounded by all theheavenly 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 theGesellschaft der Musikfreunde, a choral organization conducted byRubinstein during his stay in that city. Like "The Tower of Babel, " it isentitled by the composer "a sacred opera, " though it is in genuineoratorio form, and usually classed as such. The text is a very freetranscription from Milton. The work is divided into three parts; but asthe second is usually the only part given by oratorio societies, oursketch will be principally confined to that. The first part mainlyconcerns the defeat of Satan's forces by the legions of Heaven, and isremarkable for its vigorous instrumental treatment. 

The second part is devoted to the creation, and is composed principallyof choruses introduced by a few bars of recitative, invariably for thetenor, who acts the part of narrator. The first seven of these describethe creation of the earth. After a characteristic introduction, the tenordeclares "Chaos, be ended!" whereupon the Angels sing a glowing tributeto light ("Upspringing, the darkened Air broke forth into radiantBrightness"). Again the tenor and chorus in a brief number describe thefirmament. The third chorus ("Fierce raged the Billows") pictures thedivision of land and water with great vigor, accompanied by imitativeinstrumentation which indicates Rubinstein's skill as a water-painterquite as clearly as his great Ocean Symphony. In the fourth and fifthchoruses the music vividly tells the story of the creation of the treesand plants and the appearance of the stars in the firmament. The sixth("Gently beaming, softly streaming"), in which the Angels rejoice in thesoft radiance of the moon, is short, but exceedingly tender andbeautiful. In the seventh ("All around rose the Sound of the Strife ofLife"), we have a description of the awakening of life characterized byextraordinary descriptive power. This group of choruses, each onethoroughly fresh, original, and picturesque in its description, brings usup to the creation of man, which is the finest portion of the wholework. It begins with a long tenor recitative, "In all her Majesty shineson high the Heaven, " reaching a fine crescendo at the close ("And lo! itwas Man"). The Angels reply with their heavenly greeting, "Hail to Thee, O Man. " A short dialogue follows between Adam and the Narrator, and theAngels renew their greeting, this time to Eve. This leads up to a lovelyduet between Adam and Eve ("Teach us then to come before Thee"), which isvery gracefully constructed, and tenderly melodious in character. Thefinal number is a chorus of the Angels ("Clear resounded the Trumpets ofHeaven"), beginning in broad, flowing, jubilant harmony, then developinginto a fugue on the words "Praise the Almighty One, " built up on asubject full of exultation and grandeur, and closing with a Hallelujahdelivered with mighty outbursts of power. 

The third part is devoted to the fall of Adam and Eve and theirbanishment from Eden, closing with the announcement of the ultimatesalvation of mankind. Both the Almighty and Satan appear in this part, the former's music being sung by the tenor voice; though, curiouslyenough, the latter's music is much the more attractive. 

 SAINT-SAËNS. 

Charles Camille Saint-Saëns, famous as composer, pianist, and critic, wasborn in Paris, Oct. 9, 1835. He began his musical studies at a very earlyage. In his seventh year he took piano lessons of Stamaty and studiedharmony, and in his twelfth was a student at the Conservatory, where hetook two organ prizes; though he failed on two occasions in hiscompetition for the Prix de Rome. His first symphony appeared in 1851, and was performed with success. In 1853 he was appointed organist of theChurch of St. Merri, and five years later secured a like position at theMadeleine, which he filled with high honor for nineteen years, finallyresigning in favor of Theodore Dubois. In 1867 he was awarded a prize forhis cantata "Les Noces de Prométhée" by the Paris InternationalExhibition, and the next year he was received with distinguished honor atthe Artists' Meeting in Weimar, both as pianist and composer. Hisoperatic career began about this time. "La Princesse jeune" appeared in1872, and "Le Timbre d'Argent" in 1877; but neither was successful. Hisnext work was the sacred drama "Samson et Dalila, " produced at Weimar inthe 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 BirminghamFestival of 1879; three symphonies; four symphonic poems, "La Rouetd'Omphale, " "Phaéthon, " "Danse Macabre, " and "La Jeunesse d'Hercule;" alarge number of concerted pieces with orchestra, songs and romances, aswell as chamber-music and compositions for piano and organ. His sacredmusic 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 aprolific writer, but his fame thus far rests upon his instrumental music. He has travelled much as a virtuoso in Russia, Spain, Germany, andEngland, conducting his own compositions, and also giving piano and organrecitals, in which he has met with great success. He also ranks high as amusical critic, and many of his contributions to the Parisian press havebeen collected, with a view to publication in a separate volume. Of latehe has obtained considerable notoriety by his controversial articles onthe Wagner question, --in which, however, national prejudice sometimes hasbeen more apparent than cosmopolitan judgment. As a composer, he isunquestionably more learned than are any of his native contemporaries, and he has made a closer study of Bach than even Gounod has. Hisdescriptive powers are very strong, as is evidenced by the symphonicpoems which Mr. Thomas has introduced into this country. They even go tothe 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 heis a master of counterpoint and thematic treatment. 

 Christmas Oratorio. 

"Noël, " Saint-Saëns' Christmas oratorio, in dimensions hardly exceeds thelimits of a cantata, but musically is constructed in oratorio style. Itssubject is the nativity, combined with ascriptions of praise and a finalexultant hallelujah. The work is short, but very effective, and iswritten for five solo voices and chorus, with accompaniment of stringsand organ, and the harp in one number. It opens with a pastoral symphonyof a very melodious character. The first number is the recitative, "Andthere were Shepherds, " including the angelic message and the appearanceof the heavenly hosts, the subject being divided among the tenor, alto, soprano, and baritone, and leading up to the first chorus ("Glory nowunto God in the highest"), which is quite short, but beautifully written. The next number is an aria for mezzo-soprano ("Firm in Faith"), which isvery simple, but graceful in its melody. The fourth number is a tenorsolo and chorus ("God of all"), written in the church style, followed bya soprano and baritone duet ("Blessed, ever blessed"), which is veryelaborate in its construction, and highly colored. The next number is thechorus, "Wherefore are the Nations raging, " which is intensely dramaticin its effect, especially for the manner in which the voice-parts are setoff against the agitated accompaniment. The contrasts also are verystriking, particularly that between the tumultuous opening of the chorusand its tranquil close in full harmony on the words, "As it was in theBeginning. " The next number is a lovely trio for tenor, soprano, andbaritone ("Thou art from first to last"), with harp accompanimentthroughout, which gives to it an extremely graceful and elegant effect. It is followed by a quartet ("Alleluia"), in which the theme isintroduced by the alto. The Alleluia is then taken up by all four parts(soprano, mezzo-soprano, alto, and baritone), in full, rich harmony, thealto closing the number alone in a very effective adagio passage. Thenext number is a quintet and chorus, the prelude to which is a repetitionof parts of the opening pastoral. It is also utilized in the voice parts. The number is very elaborate in its construction and development, and isfollowed by a short final chorus ("Raise now your Song on high") insimple church style. Short as the work is, it is very beautiful, and fullnot only of genuine service music, but also of graceful conceits anddelicate fancies, both in the voice parts and the accompaniments. 

 SCHUMANN. 

Robert Schumann, one of the greatest of musicians, and one who, had hislife been spared, would probably have stood at the head of all composerssince Beethoven and Schubert, was the son of a bookseller, and was bornat Zwickau, in Saxony, June 8, 1810. In his earliest youth he wasrecognized as a child of genius. His first teacher in music wasBaccalaureus Kuntzsch, who gave him piano instructions. It was whiletaking these lessons that he attended a concert given by Moscheles. Theplaying of the great teacher aroused his musical ambition, and firstinspired him to become a musician. His father recognized his talent veryearly, but his mother was opposed to his ambition. In deference to herwishes, he began the study of law, --with the full determination, however, to make music his vocation; and in this he ultimately succeeded, throughthe influence of Wieck, whose daughter, Clara, he subsequently married, and who is still a skilful pianist and famous teacher. He studied thepiano with Wieck until his right hand was injured. In 1830, in which yearhis artistic career really opened, he began the theoretical study ofmusic in its groundwork, first with Director Kupsch in Leipsic, and laterwith Heinrich Dorn, and at the same time entered upon the work ofcomposition. His opus No. 1 was the so-called "Abegg Variations, "dedicated to a young lady, Meta Abegg, whom he had met at a ball inMannheim. In the same year, 1830, he composed a toccata. In 1831 hisfamous "Papillons" and other piano works appeared. Schumann was not onlya musician, but an able critic and graceful writer; and in 1834, withSchunke, Knorr, and Wieck, he founded the "Neue Zeitschrift für Musik, "which had an important influence upon musical progress in Germany, and inwhich the great promise of such musicians as Chopin and Brahms was firstrecognized. He married Clara Wieck in 1840, after much opposition fromher father; and in this year appeared some of his best songs, includingthe three famous cycluses, "Liederkreis, " "Woman's Life and Love, " and"Poet's Love, " which now have a world-wide fame. In the following yearlarger 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 withhis wife, which largely increased the reputation of each. In 1843 hecompleted his great "romantic oratorio, " "Paradise and the Peri, " set toMoore's text, and many favorite songs and piano compositions, among themthe "Phantasiestücke" and "Kinderscenen, " and his elegant piano quintetin E flat. In 1844, in company with his wife, he visited St. Petersburgand Moscow, and their reception was a royal one. The same year heabandoned his "Zeitschrift, " in which "Florestan, " "Master Raro, ""Eusebius, " and the other pseudonyms had become familiar all overGermany, and took the post of director in Düsseldorf, in the place ofFerdinand Hiller. During the last few years of his life he was the victimof profound melancholy, owing to an affection of the brain, and he evenattempted suicide by throwing himself into the Rhine. He was then removedto an asylum at Endenich, where he died July 20, 1856. The two men whoexercised most influence upon Schumann were Jean Paul and Franz Schubert. He was deeply pervaded with the romance of the one and the emotionalfeeling of the other. His work is characterized by genial humor, a richand warm imagination, wonderfully beautiful instrumentation, especiallyin his accompaniments, the loftiest form of expression, and a rigidadherence to the canons of art. 

 Paradise and the Peri. 

Schumann's secular oratorio, "Paradise and the Peri, " was written in1843, and first performed at the Gewandhaus, Leipsic, December 4th ofthat year, under the composer's own direction. Its first performance inEngland was given June 23, 1856, with Madame Jenny Lind-Goldschmidt inthe part of the Peri, Sterndale Bennett conducting. The text is takenfrom the second poem in Moore's "Lalla Rookh, " and was suggested toSchumann by his friend Emil Flechsig, who had translated the poem. Thiswas in 1841; but he did not set it to music until two years later. Thetext required many changes, and these he made himself. The principaladditions are a chorus for "The Spirits of the Nile, " the chorus ofHouris, the Peri's solo, "Banished, " the quartet, "Peri, 'tis true, " thesolo, "Sunken was the Golden Orb, " and the final chorus. It has also beensuggested that he availed himself of still another translation, that ofOllker's, as many of the changes agree with his text. 

It is difficult to define the exact form of the work, though it is nearlyalways classed as a secular oratorio, principally because of theintroduction of the narrator, after the style of the passion-music. Inother respects it resembles the cantata. Reissmann, in his Life ofSchumann, 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 haveenhanced the interest and perhaps relieved the monotony and wearisomenessof some parts of the work. Unlike the usual manner in which thenarrator's part is treated, --as a mere recitative link betweennumbers, --Schumann invests it with the same importance as the acts andevents themselves, and treats it melodically, so that the relief whichcomes from contrast is lacking. 

The oratorio is written in three parts, for solo voices, chorus, andorchestra, the principals being the Peri (soprano); the Angel (alto); theKing of Gazna (bass); a Youth (tenor); the Horseman (baritone); and theMaiden (soprano). The choruses are sung by Indians, Angels, Houris, andGenii of the Nile, and the part of Narrator is divided among the variousvoices. The story follows that of the original poem. The Peri, expelledfrom 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-admittedif she brings "the gift that is most dear to Heaven. " The Peri goes inquest of the gift, first to India, where she procures the last drop ofblood shed by the hero who resisted the tyrant Mahmoud, and takes it withher 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 ofthe maiden who sacrificed herself to her love for the youth who stole outto die alone. But still the crystal bar moves not. At last, in the valeof Baalbec, she finds the gift, --the tear of a repentant sinner, --whichsecures her admission. 

After a brief orchestral introduction, the Narrator (alto) tells thestory of the disconsolate Peri at the gate, and introduces her in thefirst 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 ("OneHope is thine"), to which the latter replies in a sensuous melody, fullof Oriental color ("I know the Wealth hidden in every Urn"). The tenorNarrator introduces at this point a quartet ("O beauteous Land"), inwhich the two trebles, tenor, and bass alternate, followed by the full, powerful chorus, "But crimson now her Rivers ran. " A weird march, fairlybarbaric in its effect, indicates the approach of the tyrant of Gazna, and introduces the stirring chorus of the Indians and Conquerors ("Hailto Mahmoud"). The tenor Narrator describes the youthful warrior standingalone beside his native river and defying the tyrant. Once more thechorus shouts its greeting to Mahmoud, and then ensues a dialogue inrecitative between the two, leading up to the youth's death and a doublechorus of lamentation ("Woe, for false flew the Shaft"). The tenorNarrator describes the flight of the Peri to catch the last drop of bloodshed for liberty; and then all the voices join with the soprano solo in abroad, strong, exultant finale ("For Blood must holy be"), which is oneof the most effective numbers in the work. 

The second part opens in the most charming manner. The tenor Narratorpictures the return of the Peri with her gift, leading up to the Angel'ssolo ("Sweet is our welcome"), which preludes a brief choral passage forsixteen female voices. After the Narrator's declaration of herdisappointment, the scene changes to Egypt, and in a dainty, delicatethree-part chorus the Spirits of the Nile are invoked not to disturb thePeri. Her lament is heard ("O Eden, how longeth for thee my Heart!"), andthe Spirits now weave a gentle, sympathetic strain with her song. A longtenor narration follows ("Now wanders forth the Peri sighing"), describing the pestilence brooding over the Egyptian plains, the music towhich is very characteristic. The scene of the maiden dying with herlover is full of pathos, and contains two exquisite numbers, --thenarrative solo for mezzo-soprano ("Poor Youth, thus deserted"), and thedying 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 ("Sleepon"), sung by the Peri, followed by the chorus, which joins in thepathetic farewell. 

The third part opens with a lovely chorus of Houris ("Wreathe ye theSteps to Great Allah's Throne"), interspersed with solos and Oriental inits coloring. The tenor narration ("Now Morn is blushing in the Sky"), which is very melodious in character, introduces the Angel, who in analto solo ("Not yet") once more dooms the Peri to wander. Her reply("Rejected and sent from Eden's Door") is full of despair. The narrationis now taken by the baritone in a flowing, breezy strain ("And now o'erSyria's rosy Plain"), which is followed by a charming quartet of Peris("Say, is it so?"). Once more the baritone intervenes, followed by thePeri; and then the tenor Narrator takes up the theme in a stirringdescription 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 seesthe child kneeling. The solo baritone announces his repentance, followedby a quartet and chorus in very broad, full harmony ("O blessed Tears oftrue Repentance!"). The next number is a double one, composed of sopranoand 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 closewith the heavenly greeting, "Oh, welcome 'mid the Blessed!" The thirdpart is unquestionably long and wearisome, and taxes not only the voicesof the singers, but also the patience of the hearers. The first andsecond, however, contain some beautiful gems, and the orchestral work isvery rich in its coloring. Taken all in all, however, it is a severetreatment of a fanciful subject. 

 SPOHR. 

Louis Spohr, one of the world's greatest violinists, and a composer ofworld-wide fame, was born at Brunswick, April 25, 1784. Like all greatmusical geniuses, his ability was displayed very early. He began to playthe violin in his fifth year, and to compose for that instrument beforehe was in his teens. After studying the rudiments with several teachers, the Duke of Brunswick induced Franz Eck, a recognized master of theviolin, to give him instruction. Spohr remained with him two years, andaccompanied him on his travels to Russia, studying, composing, andlearning much by his observation of Eck's playing. In 1805 he wasappointed leader of the band of the Duke of Gotha, and began writingorchestral works, his compositions before that time having been mainlyfor the violin. His first opera, "Die Prüfung, " also appeared about thistime. In 1807 he made a very successful tour through Germany, and anotherin 1809, arousing great enthusiasm by his admirable playing. In that yearalso occurred the first musical festival in Germany, which was conductedby Spohr at Frankenhausen, in Thuringia. In 1811 another was held, forwhich he wrote his first symphony. In 1812 his first oratorio, "Dasjüngste Gericht, " appeared; but after two performances of it he wasgreatly dissatisfied, and laid it aside. In the fall of that year he madehis first public appearance in Vienna, and achieved such success that hewas offered and accepted the leadership of the band at theTheater-an-der-Wien. He remained there only three years, however, andthen resumed his professional tours in Switzerland and Italy. In 1818 hewas appointed conductor of the opera at Frankfort, where he remained fortwo years, during which time he brought out his operas "Faust" and"Zemire and Azor. " In 1820 he went to England for the first time, andplayed many of his compositions in the Philharmonic concerts. His Englishvisit was a very successful one, and on his journey back to Germany hestopped in Paris, where also he met with an enthusiastic welcome. Hefinally settled down at Dresden, where Weber was then busy with thepreparations for the performance of his "Freischütz. " During his staythere, Weber had been offered the post of Hofkapellmeister to the Electorof Cassel; but not being in a position to accept it, he recommendedSpohr, and the latter obtained the appointment Jan. 1, 1822, where heremained the rest of his days, as it was a life-office. During this yearhe finished his opera "Jessonda, " one of the most successful of all hisvocal works. Four years later he conducted the Rhenish Festival atDüsseldorf and brought out his second oratorio, "Die letzten Dinge" ("TheLast Things"). In 1831 he completed his "Violin School, " which has eversince been a standard work. His most important symphony, "Die Weihe derTöne" ("The Consecration of Sound"), was produced at Cassel in 1832, andhis third oratorio, "Des Heiland's letzte Stunden" ("Calvary"), at thesame place in 1835. Four years later he went to England again, andproduced his "Calvary" at the Norwich Festival with immense success, which led to his reception of a commission to produce "The Fall ofBabylon" for the Festival of 1842. His last opera, "The Crusaders, " waswritten in 1844, but did not meet with a permanent success. From thistime until 1857 he was engaged in making tours and producing the works ofother composers, among them those of Wagner, whose "Tannhäuser" hebrought out in 1853, in spite of the Elector's opposition. In 1857 he waspensioned, 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 didmuch to ennoble and dignify it, notwithstanding the curious combinationsin his musical texture. He never could understand or appreciateBeethoven. He proclaimed himself a disciple of Mozart, though he hadlittle in common with him, and he declared Wagner the greatest of allliving composers, on the strength of his "Flying Dutchman" alone. As aperformer, 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"); butthe latter is now universally entitled "The Last Judgment, " and theformer was shelved by the composer himself shortly after its performance. His autobiography gives us some interesting details of each. After aconcert-tour to Hamburg, Spohr returned to Gotha, and found there aletter from Bischoff, the Precentor of Frankenhausen, informing him thathe had been commanded by the Governor of Erfurt to arrange a musicalfestival there in celebration of the birthday of Napoleon, August 15. Heinvited Spohr to assume its direction and to write an oratorio for theoccasion. Previous to this a poet in Erfurt had offered him the textcalled "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 chorusesand fugues, but not with the solo parts of Jesus and Mary, which were inthe florid cantata style of that day. He subsequently determined tore-write them; but "when about to begin, " he says, "it seemed to me asthough I could no longer enter into the spirit of the subject, and so itremained undone. To publish the work as it was, I could not make up mymind. Thus in later years it has lain by without any use being made ofit. "

Thirteen years afterwards he wrote "Die letzten Dinge, " now so well knownas "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 theother hand, is graceful and elegant in style. The affixing of this titleto it is said to have been the work of Professor Taylor, who arranged itfor the Norwich festival of 1830, and supposed he was preparing theearlier oratorio, "Das jüngste Gericht. " The title has now become soindissolubly connected with it that no effort has been made to change it. In the first part the text is confined to ascriptions of praise. Thesolo, "Blessing, honor, glory, and power be unto him that sitteth uponthe throne, and unto the Lamb forever, " conveys the meaning of the wholefirst part; while the second part is confined to those portions of theApocalypse which describe the terrible signs of the last day, concludingwith visions of the new heaven and a hallelujah. And yet Malibran, in herbiography of Spohr, calls the oratorio a musical copy of Michael Angelo's"Last Judgment, "--showing that more than one person has confounded thetwo oratorios. 

The work opens with a very long overture of a grave and majesticcharacter, in limits far beyond those usually found in oratorio. It isfollowed by the striking chorus, "Praise His awful Name, " which isbeautifully written, and contains impressive soprano and bass solos. Somebrief tenor and bass recitatives lead to the second number, a shortchorus ("Holy, holy, Lord God of Hosts"), in which the voices have noaccompaniment except the horns. Three phrases of recitative for sopranoand tenor lead to the next chorus ("All Glory to the Lamb that died"), agrand 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 tenorrecitative introduces the tenor solo and chorus, "Blessing, honor, glory, and power, " beginning with a tranquil and smoothly flowing solo, thechorus opening in the same manner, then developing into an admirablywritten fugue, and closing in the same serene style as it opened. A verydramatic and picturesque scene follows, comprising the tenor recitative("And lo! a mighty Host"), with a very striking accompaniment descriptiveof "the mighty host of all nations and people that stood before thethrone and the Lamb, " and the exquisite quartet and chorus ("Lord God ofHeaven and Earth") which close the first part. 

The second part opens with an orchestral symphony which heralds the signsand portents of the Day of Judgment in graphic style. It is followed by along 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 treatedwith a force and vigor that are in striking contrast with the tendernessand serenity, at times rising to exultation, that characterize theremainder of the work. This recitative leads to the very pathetic duetfor soprano and tenor, "Forsake me not in this dread hour, " which is agem of beautiful melody, followed by the response of the chorus inunison, "If with your whole Hearts. " After a short tenor recitative, another strong chorus ensues ("Destroyed is Babylon"), with an agitatedand powerful accompaniment, which continues for some time after thevoices 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. Thesoprano voice announces the new heaven and earth. A short tenorrecitative ("Behold! He soon shall come") and the quartet response ("Thencome, Lord Jesus") prepare the way for the final massive chorus ("Greatand wonderful are all Thy Works"), which begins with a few bars of fullharmony, then develops into a vigorous fugue, which, after choralannouncements of hallelujah, is followed by another fugue ("Thine is theKingdom"), closing with a tumultuous ascription of praise, and Amen. Thesolo parts in the oratorio are always short and of a reflectivecharacter. It is peculiarly a choral work, of which, with one or twoexceptions, the predominant traits are sweetness, tenderness, and grace. In these exceptions, like the great chorus, "Destroyed is Babylon, " withits wonderful accompaniments, it reaches a high strain of sublimity. 

 SULLIVAN. 

The great popularity which Arthur Seymour Sullivan has enjoyed for a fewyears past, growing out of his extraordinarily successful series of comicoperettas, beginning with "The Sorcerer" (1877), which first caught thepublic fancy, and ending with "The Mikado" (1885), has almostovershadowed the permanent foundations upon which his reputation mustrest; namely, his serious and sacred music. He was born in London, May13, 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 1854and remained there three years, and also studied in the Royal Academy ofMusic under Goss and Sterndale Bennett during this period, leaving thelatter institution in 1858, in which year he went to Leipsic. He remainedin the Conservatory there until 1861, when he returned to London andintroduced himself to its musical public with his music to Shakspeare's"Tempest, " which made a great success. The enthusiasm with which this wasreceived and the favors he gained at the hands of Chorley, at that timemusical critic of the "Athenæum, " gave him a secure footing. The cantata"Kenilworth, " written for the Birmingham Festival, the music to theballet "L'Île enchantée, " and an opera, "The Sapphire Necklace, " wereproduced in 1864. In 1866 appeared his first symphony, which has beenplayed not only in England, but also in Germany, and an overture, "InMemoriam, "--a tribute to his father, who died that year. The next yearhis overture "Marmion" was first performed. In 1869 he wrote his firstoratorio, "The Prodigal Son, " in 1873 "The Light of the World, " and in1880 "The Martyr of Antioch;" the first for the Worcester, the second forthe Birmingham, and the third for the Leeds festivals. The beautiful"Overture di Ballo, " so frequently played in this country by the Thomasorchestra, was written for Birmingham in 1870, and the next year appearedhis brilliant cantata "On Shore and Sea. " On the 11th of May, 1867, wasfirst heard in public his little comic operetta "Cox and Box. " It was thefirst in that series of extraordinary successes, really dating from "TheSorcerer, " which are almost without parallel in the operatic world, andwhich have made his name and that of his collaborator, Gilbert, householdwords. He has done much for sacred as well as for secular music. Inaddition to his oratorios he has written numerous anthems, forty-sevenhymn-tunes, two Te Deums, several carols, part-songs, and choruses, andin 1872 edited the collection of "Church Hymns with Tunes" for theChristian Knowledge Society. 

He received the honorary degree of Doctor of Music from Cambridge in1876, 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 forthe Worcester Festival in England, and performed for the first time Sept. 8, 1869. It is a short work, comprising but eighteen numbers, and verymelodious 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 thenarration of the parable. The remainder moralize upon the story andillustrate its teaching. After a short, simple orchestral prelude, anopening chorus, beginning with soprano solo ("There is Joy in thePresence 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 therejoicing in heaven over the "one sinner that repenteth. " At itsconclusion the parable begins with tenor recitative and solo, "A certainman 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 recitesin the next number that "he took his journey into a far country, andthere wasted his substance in riotous living. " Thereupon follows a verymelodious and vivacious chorus ("Let us eat and drink; to-morrow wedie"), in which the tenor has an important part. The response to thebacchanal comes in the next number, a brief chorus beginning with thealto recitative, "Woe unto them. " One of the gems of the work, a prettyalto song, "Love not the World, " intervenes at this point. At itsconclusion the narrative is resumed. 

After an effective prelude by orchestra, the soprano recitative relatesthe famine and the experiences of the Prodigal among the swine, leadingup to a pretty aria ("O that thou hadst hearkened"). The tenor followswith an expressive aria ("How many hired Servants of my Father's"). Thenarrative again halts to give place to a very taking chorus ("TheSacrifices of God"), after which we have the return and reconciliation("And he arose and came to his Father"), --a very dramatic duet for tenorand bass, followed by the vigorous and exultant bass aria ("For this mySon was dead") of the father. The parable ends here; but the music goeson moralizing upon and illustrating the theme in four effectivenumbers, --the chorus, "O that Men would praise the Lord, " which is thelongest and best constructed in the work; the recitative and aria fortenor, "Come, ye Children;" the unaccompanied quartet, "The Lord isnigh;" and the final chorus, "Thou, O Lord, art our Father, " closing witha Hallelujah in full, broad harmony. 

 The Light of the World. 

Sir Arthur Sullivan's second oratorio, "The Light of the World, " is laidout upon a much larger scale in every way than "The Prodigal Son. " Itwas written for the Birmingham Festival of 1873, was given for the firsttime on the 27th of August. The purpose of the work, as the composerexplains in his preface, is to set forth the human aspects of the life ofour Lord upon earth, by the use of some of the actual incidents in hiscareer which bear witness to his attributes as preacher, healer, andprophet. "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" (whichmight more appropriately have been entitled "Bethany"), and "The Way toJerusalem. " The scenes of the second part are laid entirely in Jerusalem. "Bethlehem" includes the message of the angels to the shepherds, theirvisit to Mary, the nativity, the warning by the angel to Mary and Josephof Herod's design, the lament and consolation of Rachel in Rama, and thepromise of God's blessing upon the child. In "Nazareth" we have a scenerepresenting Christ in the synagogue reading from Isaiah and declaringhimself the object of the prophecy, his expulsion by the incredulouscrowd of listeners, and his exhortations to his disciples, when leftalone with them, to bear their persecutions with meekness. "Lazarus"describes the journey to Bethany and our Lord's assurances to thebereaved sisters that their brother shall rise again. "The Way toJerusalem" scene is indicated by its title, --the entry of the Lord intothe city amid the hosannas and exultant acclamations of the people. Inthe second part, we have the discourse concerning the sheep and thegoats, the interview between the ruler and the people, and the former'sanger with Nicodemus, the sufferings and death of Christ, and theresurrection and joy of the disciples as they glorify God and sing thepraises of their risen Master. 

The work opens with a prologue chorus ("There shall come forth a Rod outof the Stem of Jesse"), at the close of which the "Bethlehem" scenebegins. It is preluded with a quiet but effective pastoral movement forthe orchestra, a tenor recitative ("There were Shepherds abiding in theField"), and a contralto solo announcing the heavenly message to theShepherds, which lead up to a spirited "Gloria" by the sopranos andaltos, followed by a chorus of the Shepherds ("Let us now go even untoBethlehem") for male voices. A Shepherd, in brief recitative passages, declares to Mary, "Blessed art thou among Women, " followed by the sopranosolo, "My Soul doth magnify the Lord. " After the Virgin's expression ofthanks, the Shepherds join in the chorus, "The whole Earth is at rest, "which is peculiarly striking in its contrasts. A short recitative by theAngel, warning Mary to flee into Egypt, is followed by a very sombrechorus ("In Rama was there a Voice"). At its close, the tenor is heard ina tender aria ("Refrain thy Voice from weeping"), leading to a chorusfull of spirited harmony, and rising to a very effective climax ("I willpour My Spirit"), which closes the scene. 

The "Nazareth" scene opens with a baritone solo ("The Spirit of the Lordis upon me"), in which Jesus declares himself in the synagogue as theobject of the prophecy from Isaiah which he has been reading. The Jewsanswer in a very dramatic chorus ("Whence hath this Man his Wisdom?"). Again Jesus interposes with the declaration, "A prophet is not withouthonor save in his own country;" whereupon the people break out in a stillmore dramatic chorus ("Is not this Jesus?"), set to a very effectiveaccompaniment. For the third time Jesus declares himself, followed by thestirring, furious chorus, "Why hear ye him?" A tender and at times fervidsolo ("Lord, who hath believed our Report?") leads to a very effectivequintet ("Doubtless Thou art our Father"). After another brief baritonesolo ("Blessed are they"), we come to the chorus, "He maketh the Sun torise, " which is one of the most beautifully written in the work, andcloses the scene. 

The third scene, "Lazarus, " begins with the description of the mournfuljourney to Bethany, the arrival among the kindred and friends, who aretrying to comfort the bereaved sisters, and closes at the still unopenedgrave. It includes a duet between tenor and baritone, the former aDisciple, the latter Jesus, whose music is invariably sung by thebaritone voice; a solo for alto ("Weep ye not for the Dead"), with asombre orchestral prelude, and accompanied by a chorus in its close; adialogue between Martha and Jesus ("Lord, if thou hadst been here"); ashort but very beautiful chorus ("Behold how he loved him!"); thebaritone 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 verybrilliant throughout, and is in cheerful contrast with the generalsombreness of the preceding numbers. It opens with a brief dialoguebetween 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 theaccompaniment, and worked up to a fine climax. A brilliant soprano solo("Tell ye the Daughter of Zion") intervenes, followed by a short dialoguebetween Jesus and a Pharisee, which leads to the vigorous chorus of theDisciples, "Blessed be the Kingdom. " After another baritone solo ("Ifthou hadst known, O Jerusalem") the children's hosanna is repeated, --thistime with the power of the full chorus; and the first part comes to aclose. 

The first part opens with a prelude of a few bars; but the second beginswith a long overture, very effectively written, and intended, as thecomposer himself says, to indicate the angry feelings and dissensionscaused by the Lord's presence in Jerusalem. At its close the baritone, inone of the most forcible solos assigned to this part ("When the Son ofMan shall come in his Glory"), discourses the parable of the sheep andgoats. The wondering chorus of the People, "Is not this he whom they seekto kill?" follows, and then ensues a somewhat tedious scene. A Rulerargues with the People, contemptuously asking if Christ shall come out ofGalilee. The People remain unconvinced, however. Nicodemus then strivesto reason with the Ruler, with the natural effect of making him veryangry. All this leads up to an effective female chorus ("The Hour iscome"). 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. Therest of the story is told in narrative form; an unaccompanied quartet("Yea, though I walk") and a powerful, but gloomy chorus, describingChrist's sufferings ("Men and Brethren"), bring us to the sepulchre. Thescene opens with the plaint of Mary Magdalene, "Where have they laidhim?" and the response of the Angel, who tells her Christ has risen, which is followed by a six-part unaccompanied chorus ("The Lord isrisen"). A short tenor solo ("If ye be risen with Christ") leads directlyto the final chorus ("Him hath God exalted"), which is worked up in fugalform with much spirit. 

 VERDI. 

Giuseppe Verdi, the greatest of living Italian opera composers, was bornat Roncale, Oct. 9, 1813. Like many another musician, he sprang fromhumble and rude beginnings, his parents having kept a small inn andnotion store in the little Italian village. His musical talent displayeditself very early. In his tenth year he was appointed organist in theplace of Baistrocchi, the master with whom he had been studying atBusseto. Through the generosity of his patron, M. Barezzi, he was sent toMilan, where he was refused admission to the Conservatory, on the groundthat he showed "no special aptitude for music!" Nothing daunted, theyoung composer, acting on the suggestions of the conductor of La Scala, studied composition and orchestration with M. Lavigne, himself a composerof no mean ability. In 1833 Verdi returned to Busseto, and five yearslater went back to Milan, where he began his wonderfully successfulcareer as an operatic composer. His first opera, "Oberto Conte di S. Bonifacio, " appeared in 1839, and was followed by a series of operaticworks that have achieved world-wide success and placed their composer atthe head of all contemporary Italian writers. The most important of themare: "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); "TheSicilian Vespers" (1855); "The Masked Ball" (1857); "The Force ofDestiny" (1862); "Don Carlos" (1867); "Aïda" (1871). In the last-namedopera, Verdi departs from the purely Italian school of operatic writingand shows the unmistakable signs of Wagner's influence upon him. Now, inhis seventy-third year, comes the intelligence that he has completedstill another opera, on the subject of "Othello, " which will soon beplaced in rehearsal in Paris. In the interval between "Aïda" and"Othello" he wrote the "Manzoni Requiem, " a "Pater Noster" for fivevoices, and an "Ave Maria" for soprano solo. He has also written severalmarches, short symphonies, concertos for piano, minor churchcompositions, a stringed quartet, a "Stabat Mater, " the choruses toManzoni's tragedies, and numerous songs and romances for thedrawing-room. With his wife, Madame Strepponi, he has spent a very quietlife in his villa at S. Agato, looking after his farming operations, towhich of late years he has given more attention than to music. In aletter addressed to the Italian critic, Filippi, he writes: "I know verywell that you are also a most distinguished musician and devoted to yourart: ... But Piave and Mariani must have told you that at S. Agato weneither make nor talk about music, and you will run the risk of finding apiano not only out of tune, but very likely without strings. " He has beenoverwhelmed with decorations and honors, but has studiously avoidedpublic life and the turmoil of the world. In 1866 he was elected a memberof the Italian Parliament from Busseto, but sent in his resignationshortly afterwards; and in 1875 was appointed senator by the King, butnever 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 admiredcomposers 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 arequiem in his memory, to be written by many hands, which should beperformed in the cathedral of Bologna on each centenary of the composer'sdeath, but upon no other occasion and at no other place. The project metwith favor. The work was laid out in thirteen numbers and assigned tothirteen Italian composers, Verdi taking the "Libera me, " which was to bethe last number in the work. Each of the composers finished his task; butwhen the parts were joined in a complete requiem they were found to be sodissimilar in treatment, and the whole work so incoherent and lacking insymmetry and unity, that the scheme went no further. M. Mazzucato, ofMilan, 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 romanticschool in Italian literature, died, and was universally mourned by hiscountrymen. The requiem which had been intended for Rossini was nowwritten by Verdi for his friend, the great Italian patriot and poet, theimmortal author of "I promessi Sposi, " and the "Libera me" wastransferred 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, achorus of a hundred and twenty voices, and an orchestra of a hundred andten. It was next given in Paris, in the following month, under thecomposer's direction and since that time has been frequently given inEurope and in the United States. 

The mass is divided into seven parts, with solos, choruses, and fullorchestra, 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" (duofor 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 doublechorus). 5. "Agnus Dei" (duet for soprano and alto, and chorus). 6. "Luxæterna" (trio for alto, tenor, and bass). 7. "Libera me" (solo forsoprano, chorus, and final fugue). 

The "Requiem" opens, after a few measures of prelude, with the choruschanting the appeal for rest sotto voce, the effect being carried aspianissimo as possible until the basses, by an abrupt change of key, giveout the theme of a fugue ("Te decet hymnus"), written in pure religiousstyle. 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 theother soloists, the chorus shortly joining, a double sextet interwovenwith 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 freeraccompaniment. The opening chorus is one of startling power. The tenorsand basses open the number, immediately followed by the four partsannouncing the Day of Wrath in high, sustained notes, while the secondsopranos, altos, and tenors accompany them with immense sweeps of soundthat rise and fall like the waves. There are nine numbers in this partwhich have been already specified, the most effective of them being theadagio trio ("Quid sum miser") for soprano, alto, and tenor, upon whichVerdi has lavished his melodious inspiration. The trio is continuallyinterwoven with the chorus shouting fortissimo the "Rex tremendæmajestatis, " until it takes another form in the prayer, "Recordare, " aduet for soprano and alto in Verdi's best operatic vein. A very effectivetenor solo, "Ingemisco, " followed by a very solemn and majestic basssolo, "Confutatis, " lead to the stirring measures of the Day of Wrathagain, and close this part in an ensemble of immense power, both vocaland dramatic. 

The offertory ("Domine Jesu") is a quartet with three motives, --the firstandante, the second allegro, and the third adagio in Gregorian form, thethree 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 ofmelodious inspiration, illustrated with charming instrumental color; itis the gem of the mass, and one of the happiest numbers Verdi has everscored. The sixth part is the "Lux æterna, " a trio for alto, tenor, andbass 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 generaleffect a soprano obligato with chorus. After a monotone recitative andsolo, the "Dies Iræ" is repeated, likewise the "Requiem æternam" (whichforms the introduction of the mass), and closes with a fugue of majesticproportions that finally ends in the same pianissimo effect ascharacterizes the opening of the work. 

Thus much of the work in detail. It remains to look at this mass as awhole. The first thought that will strike the listener is its utterdissimilarity to any other of Verdi's works, except "Aïda. " Like thatopera, it is in his latest style, --an attempt to show the world that hecan write something besides melodies. Hence we find more decidedcontrapuntal effects, the canon and fugue forms, and even the plain, serious style of the early devotional music of the Church in the days ofGregory and Palestrina. The second thought is that this mass, although ithas had Papal approval, is not so much a mass as it is a dramaticthrenody in memory of a loved friend. As compared with the masses ofBeethoven, Mozart, Haydn, and the other early mass-writers, it has nottheir conventional form, their regular sequence of setting, theircoherence of spirit and sentiment. There are wide divergences in it fromthe old beaten track. But it may be said, on the other hand, that whilethe traditions are violated, Verdi does not so far lose sight of thedevotional character of his work as to descend to the light, tripping, and sometimes fantastic measures of Rossini in the "Stabat Mater. " VonBülow very nearly hit the truth in saying that "The Manzoni Requiem" isan opera in ecclesiastical costume. The dramatic element is its strongfeature, and the inexhaustible resources of the composer's inventionstrike the hearer as one of the chief characteristics. The first sixparts seem to have included nearly all that can be done, and you wonderif the last part, the "Libera me, " will not fall tamely; when to yoursurprise it proves to be the grand culmination of the work, and presents, with its solo and chorus and imposing fugue, an ensemble of effect, arichness of instrumentation, a severe and almost classical form ofcomposition, and a dramatic intensity and passion that sweep the wholerange of power, from a fortissimo tutte forza, down to the faintestwhisper of a pianissimo. It bursts upon you like the thunder, and diesaway in the still small voice that whispers the requiem of everlastingrest. 

 SACRED MUSIC IN AMERICA. 

The following sketch of the rise and progress of sacred music in Americamay prove of interest to the reader as a supplement to the history of theOratorio and of the numerous illustrations of that class of compositionscontained in the body of the book. Ritter, Gould, Hood, and otherchurch-music historians have been freely consulted to make the sketch ascomplete as possible. 

The psalmody of the Protestant church was first arranged and brought intouse in the course of the sixteenth century, through the efforts of thereformers in Germany and particularly of Martin Luther, who was extremelyfond of music, and wrote a quaint discourse on the art. In 1524 hepublished a collection of hymns which also comprised a few versifiedpsalms. These were set to music in four parts, as he says "for no otherreason than because of my desire that the young, who ought to be educatedin music as well as in other good arts, might have something to take theplace of worldly and amorous songs, and so learn something useful andpractise something virtuous, as becometh the young. I would be glad tosee all arts, and especially music, employed in the service of Him whocreated them. " Zwingle, Cranmer, Calvin, and Knox were also zealousadvocates 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 themselveszealous musical reformers. They reduced singing to the severestsimplicity. 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 andjogelyng and the playing of orgayns a foolish vanitie. " Latimer in 1537notified the convent at Worcester: "Whenever there shall be any preachingin your monastery all manner of singing and other ceremonies shall beutterly laid aside. " In 1562 it was proposed that the psalms should besung by the whole congregation, and that organs should be no longer used. In the Confession of the Puritans (1571) they say: "Concerning thesinging of the psalms, we allow of the people's joining with one voice ina plain tune, but not in tossing the psalms from one side to the other, with intermingling of organs. " An appeal was made to Parliament againstthe singing of the noble cathedral music by "chanting choristersdisguised, as are all the rest, in white surplices, some in corner capsand silly copes, imitating the fashion and manner of Antichrist the Pope, that man of sin and child of perdition, with his other rabble ofmiscreants and shavelings. "

Sternhold, who was groom of the robes to Henry VIII. And afterwards groomof the bed-chamber to Edward VI. , was one of the most zealous of thesereformers. In connection with Hopkins, a clergyman and schoolmaster, heversified a large number of the psalms and published them. They wereprinted at first without music, but in 1562 they appeared with the notesof 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. Imprintedby John Day. " In this work there was but one part, the air, and each notewas accompanied by its name; but a few years later the psalms appearedset to music in four parts. They were the work of William Damon, and hisbook bore the title: "The Psalms of David to English Metre, with notes ofFour Parts set unto them, by Wm. Damon, to the Use of the GodlyChristians, for recreating themselves, instead of fond and unseemlyballads. 1579. " In 1599 there appeared a very ambitious work in folioform, so arranged that four persons might sing from it, and bearing thetitle: "The Psalms of David in Metre, the Plain song being the commonTune, to be sung and played upon the Lute, Orpharion, Citterne, orBass-viol, severally or together; the singing Part to be either Tenor orTreble to the instrument, according to the Nature of the Voice, or forFour Voices; with Ten Short Tunes in the end, to which, for the mostpart, all Psalms may be usually sung; for the Use of such as are of meanSkill, and whose Leisure least serveth to practice. By Richard Allison, Gent. , Practitioner in the Art of Music. " Notwithstanding its formidabletitle, the work was not highly esteemed at the time. In 1621, ThomasRavenscroft, Bachelor of Music, published an excellent collection ofpsalm tunes, many of which are still in use. In his preface he says, byway of advice: "1. That psalms of tribulation be sung with a low voiceand long measure; 2. That psalms of thanksgiving be sung with a voiceindifferent, neither too loud nor too soft, and neither too swift nor tooslow; 3. That psalms of rejoicing be sung with a loud voice and a swiftand jocund measure. " His preface closes with the pious wish that all hispatrons after death may join in the "Quire of Angels in the Heavens. "

The date of the Ravenscroft collection brings us to the time of thePilgrims. When they loaded the "Mayflower" with their homely householdfurniture, spinning-wheels, and arms of defence, and set out upon theirlong and uncertain voyage to find a friendly shore where they mightworship God in their own fashion, the psalm-book was not forgotten. Theybrought with them a version made by Henry Ainsworth of Amsterdam, inwhich the notes set above the words were of lozenge shape. For twentyyears it was in exclusive use, though the Salem Church did not abandon ituntil 1667, and the Plymouth Church retained the old favorite until 1692. The Sternhold and Hopkins collection had also found its way over, but itwas used only at Ipswich and in its vicinity. In 1640 appeared the BayPsalm Book, issued from the Cambridge press. It was prepared by anassociation of New England divines, most prominent among whom were ThomasWelde, Richard Mather of Dorchester, and John Eliot of Roxbury, thefamous Indian missionary. Being new, it was at once regarded as aninnovation. The churches were soon in a wrangle, not only over thecontents of the new collection, but as to the methods of singing. Somewere opposed to singing altogether, while others insisted that onlyChristian voices should be heard. At no time were the colonists verylearned 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 aTreatise wherein are handled these four Particulars: I. Touching the dutyitself. 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 earlycolonists were good fighters. They quarrelled over the question whetherone should sing or the whole congregation; whether women as well as menshould sing; whether pagans should be allowed to lift up their voices;and whether the scanty stock of tunes should be enlarged. Learning a tuneby note, without having previously heard it, was almost a mortal offence, and at last something like a compromise was effected in some of thechurches, where alternate singing by rote and rule satisfied bothparties. The ministers added to the general confusion with a flood ofcirculars on the subject. Several of them issued a tract entitled "Casesof 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 hecontended 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, particularlyin teaching them psalm-singing, --for Dr. Mather says "their singing wasmost 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 introducebetter singing, in which the college at Cambridge took a leading part. In1712, 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 thegreatest ease and speed imaginable. " These tunes were reprinted in threeparts from Playford's "Book of Psalms. " In 1721, Rev. Thomas Walter, ofRoxbury, Mass. , issued a new book, also compiled from Playford, which washighly commended by the clergy. The English singing-books by Tansur andWilliams were reprinted by Thomas Bailey, at Newburyport, Mass. , and hada large circulation. In 1761, James Lyon, of Philadelphia, published avery ambitious work, called "Urania, or a choice collection of PsalmTunes, Anthems, and Hymns, " which was compiled from the English books. The edition, however, was a small one, and was issued in such anexpensive manner that it ruined the unfortunate author. In 1764 appearedanother collection, made by Josiah Flagg, who was a composer himself aswell as band-master. Its title reads: "A Collection of the best PsalmTunes in two, three, and four parts, from the most approved authors, fitted to all measures and approved by the best masters in Boston, NewEngland; the greater part of them never before printed in America. Engraved by Paul Revere, printed and sold by him and Jos. Flagg. " Aboutthe same time Daniel Bailey, of Newburyport, Mass. , published "A new andcomplete 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 Americancomposers had contributed to New England psalmody. Though numeroussinging-books had appeared, they were compiled from the Englishcollections and reprinted. The first composer of church music in Americawas William Billings, born at Boston, Oct. 7, 1747. He was the son ofpoor 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 churchmusic, and of American choirs, concerts, and singing-schools as well. Hewrote his first tunes on the boards of the tannery as he tended thebark-mill. He was a zealous patriot; and as Governor Samuel Adams was notonly a still more zealous patriot, but devotedly attached to music, thetwo became warm friends and at one time sang together in a choir, evidently much to the distress of Adams, as his companion had astentorian voice. His association with Adams led him to the compositionof songs of a patriotic and religious character, one of which, set to thetune known as "Chester, " played an important part in rousing the martialspirit 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 thefollowing instructions appended to one of his anthems which was performedin 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 andeight pages entitled "The New England Psalm Singer; or AmericanChorister. Containing a number of Psalm Tunes, Anthems, and Canons. Infour and five parts. (Never before published. ) Composed by WilliamBillings, a native of Boston, in New England. Matt. Xii. 16, 'Out of themouth 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 andrevision of his first. His humor again crops out in the following extractfrom 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 thecrudest of musical works, for he was entirely unacquainted with harmonyand musical rules, they had an immense influence. He was the pioneer, andthe path he cleared was soon crowded with his successors. The mostprominent of these were Andrew Law, born at Cheshire, Conn. , in 1748, whopublished many books and taught in most of the New England States; JacobKimball, born at Topsfield, Mass. , in 1761, who published the "RuralHarmony;" Oliver Holden, of Charlestown, Mass. , who published the"American Harmony, " "Union Harmony, " and "Worcester Collection, " andwrote the favorite tune "Coronation;" Samuel Holyoke, born at Boxford, Mass. , in 1771, author of the "Harmonia Americana" and "ColumbianRepository;" Daniel Reed, born at Rehoboth, Mass. , in 1757, who publishedthe "American Singing-Book" and "Columbian Harmony;" Jacob French, bornat Stoughton, Mass. , in 1754, who issued a work entitled "Harmony ofHarmony;" 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 treatiseson music; Dutton, of Hartford, Conn. , who issued the "HartfordCollection, " and wrote the tune of "Woodstock;" Oliver Shaw, born atMiddleborough, Mass. , in 1799, who was totally blind, but became a verysuccessful teacher and composer. Gould says that his compositions were"truly original, " and one of them, "There's Nothing True but Heaven, " wasrepeated night after night by the Boston Handel and Haydn Society. 

The era of psalm composers was followed by that of the singing-schoolteachers, who exerted a mighty influence upon sacred music and musicaltaste. At the same time numerous societies were organized, among them theHandel and Haydn Society of Boston, which was born April 20, 1815, andstill exists, --a vigorous growth from the little gathering which gave itsfirst concert on Christmas, Dec. 25, 1815, singing the first part of "TheCreation" and selections from Handel's works, and was pronounced by anenthusiastic critic of that time "the wonder of the nation. " The greatsinging-teachers were Thomas Hastings of Washington, Conn. , Lowell Masonof Mansfield, Mass. , Nathaniel D. Gould of Chelmsford, Mass. Still latercame George F. Root, Woodbury, Dyer, Bradbury, Ives, Johnson, and others, whose labors, both as composers and teachers, are familiar to all loversof sacred music even at this day. The old-fashioned singing-school, however, has disappeared. The musical convention still survives in ruralplaces. The great festivals, oratorio societies, the modern concertstage, even the opera, have all had their effect upon sacred music. Thepaid choir of professional musicians marks a long departure from therobust Puritan psalm-singers; its music is equally remote from thejingling tunes of Billings which "tickled the ears" of the colonists. 

 APPENDIX. 

The following chronological list is intended to present to the reader astatement of the more important sacred music which has been writtenduring the last two centuries, with its composers and dates, for thepurposes 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. AHandbook. 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. AHandbook. 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. ByGeorge 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. AHandbook. 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. Translatedfrom 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 Epochsof English Literature, from the English conquest of Britain, 449, to thedeath 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. , TrinityCollege, 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, authorof "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. Translatedby Mary L. Booth. 

Rasselas, Prince of Abyssinia. By Samuel Johnson. 

Raphael; or, Pages of the Book of Life at Twenty. From the French ofAlphonse 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 OriginalDesigns. 

 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. 1870to 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 SteelPortrait. 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 ofLucien 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 consistentlyapplied 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 notnumbered. The (few) footnotes were moved to chapter ends; in the original theywere in page footers.