Christus.
"Christus, oratorio, with texts from the Holy Scriptures and the Catholic Liturgy," as Liszt entitles his work, was finished in 1866. At the outset the composer selected the "Hymn of Praise" and "Pater Noster" from Rüchert's "Evangelical Harmony;" and upon these and one or two other detached numbers for a background, he built up a series of religious events connected with the offices [187] of the Church according to the Vulgate and its Liturgy. These events are laid out in three divisions,--"The Christmas Oratorio," "After Epiphany," and "The Passion and Resurrection;" the separate parts of which are as follows: (1) The Introduction. (2) Pastoral and Vision of the Angels. (3) Stabat Mater speciosa. (4) Song of the Shepherds in the Manger. (5) The Anointing of the three Kings. (6) Hymn of Praise. (7) Pater Noster. (8) The Establishment or Foundation of the Christian Church. (9) The Storm on the Lake. (10) The Entry into Jerusalem. (11) Tristis est anima mea. (12) Stabat Mater dolorosa. (13) Easter Hymn. (14) Resurrection of Christ. The motive of the work is announced in Saint Paul's words to the Ephesians: "But speaking the truth in love, may grow up into him in all things, which is the head, even Christ."
The long instrumental introduction is constructed upon a theme representative of a text from Isaiah, "Resound, ye Heavens above," many times repeated, and leading to a pastoral which prepares the way for the angelic announcement to the shepherds. This announcement is made in the simple collect music by a soprano solo, and replied to by a female chorus, first accompanied by string quartet, and then by full orchestra, and leading to the full chorus, "Gloria in excelsis," a series of mighty shouts, closing with a stately Hallelujah and a return of the orchestra to the pastoral movement. The next division is the old Latin hymn, "Stabat Mater speciosa," the Virgin at the cradle of our Lord,--a six-part [188] chorus in church style, accompanied by the organ, with solo variations interspersed through it, and characterized by a lofty feeling of devotion, especially in the "Inflammatus" and the majestic final "Amen." The remaining numbers of the first part are entirely instrumental, including the "Shepherd's Song at the Manger," a pastoral full of beautiful effects, and "the Three Holy Kings," a march which is majestic in its style and broad in its rhythm, and full of characteristic color. The two numbers close the part in a brilliant and jubilant manner.
The second part opens with the "Seligkeiten" ("Hymn of Praise"), a grand declamatory solo for baritone, accompanied by a six-part chorus, which, like the next number, was written by Liszt in his younger days and utilized in its present setting. The hymn is accompanied by organ throughout, and is followed by the "Pater Noster," also with organ,--a fervent, almost passionate, offering of prayer by the precentors and congregation, closing with a mighty "Amen." In the next number--the founding of the Church ("Tu es Petrus"), beginning with male chorus--the orchestra resumes its work. The voices move on in stately manner until the words, "Simon, son of Jona, lovest thou me?" are reached, when the full chorus comes in with imposing effect. Of this number, Nohl says in his fine analysis of "Christus:"--
"The perishable, sinful world in all its aspects is here contrasted with an undoubting faith in an everlastingly constant higher ideal, to give it this name. [189] That it is the spirit of the subject, not its mere perishable husk, is shown by the nature of the melody, which rises to the most powerful expression of the final victory of this spirit of love. Now again the full orchestra joins the double chorus; for the world, the whole world, is meant."
The next scene, entitled "The Wonder," is purely instrumental, and is a marvellous picture of the storm upon the lake, which Nohl also characterizes with reference to its inner meanings:--
"The ninth scene is a marvel. 'The storms rage in contention,'--not the storms of the sea, but the storm of desires to which the weak of faith are exposed. It is not the outward marvel or superstition that is to be strengthened, but the faith of human nature in itself and its higher power and destiny. Hence the actual inner tranquillity when, after the raging orchestral tumult, 'a great stillness' succeeds Christ's words, which is ingeniously introduced with the motive of the 'Seligkeit,' because such inner purity alone bestows upon mankind effective power over the savage forces of the world."
"The Entrance into Jerusalem," a graphic instrumental prelude, introduces a "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-soprano with chorus,--a splendidly constructed number, which closes the second part in a style full of beauty and majesty.
The third part opens with the sorrowful scene, "Tristis est anima mea," Christ's sad words in the walk to Gethsemane,--an unutterably pathetic solo, [190] with an accompaniment which is a marvel of expressive instrumentation. The next number is the old Middle-Age hymn, "Stabat Mater dolorosa," in which Liszt has combined voices and instruments in a manner, particularly in the "Inflammatus," almost overpowering. Solos, duets, quartets, choruses, orchestra, and organ are all handled with consummate skill. It has been aptly characterized as having the dimensions of the "Last Judgment" in the Sistine Chapel. After the great hymn is ended, another begins. It is the old Easter song, "O Filii et Filiæ," written to be sung by boys with harmonium,--a joyous, sunny chorus, dispersing the gloom of the "Stabat Mater." The last scene, "The Resurrection," is a powerful and massive chorus, full of mighty accords, typical of the final triumph of Christianity, and closing with a majestic "Amen" built up on the opening motive of the original introduction. "It is," says Nohl, "a cycle of scenes such as only the victorious mastery of the subject by inward perception can give, and such as only the artist can draw who dominates all the conditions apart like a king, and has reconciled his soul with the absolute truth and power of the Eternal."
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