Christus.
"Christus," which Mendelssohn intended as the third in the series with "Elijah" and "St. Paul," was left unfinished. The words were written by the Chevalier Bunsen and given to the composer in [230] 1844, before he began "Elijah." With his customary fastidiousness, he altered and rearranged the text, and it was not until 1847, after "Elijah" was finished, that he touched the music. At this time he was in delicate health, and had not recovered from the shock of his sister's death. He sought consolation for his troubles and relief for his ailments among the mountains of Switzerland. Part of his time was devoted to mountain-rambling, and the remainder to work upon "Christus" and the opera "Loreley," neither of which he lived to finish.
It is interesting to note in this connection that before Mendelssohn settled upon "Christus," the subject of Saint Peter occupied his attention, although he still had the former in view for later consideration. In a letter to his friend Schubring, written at Bingen-on-the-Rhine, July 14, 1837, he says:--
"I wish to ask your advice in a matter which is of importance to me, and I feel it will therefore not be indifferent to you either, having received so many proofs to the contrary from you. It concerns the selection of a subject of an oratorio which I intend to begin next winter. I am most anxious to have your counsels, as the best suggestions and contributions for the text of my 'St. Paul' came from you. Many very apparent reasons are in favor of choosing St. Peter as the subject,--I mean its being intended for the Düsseldorf Musical Festival at Whitsuntide, and the prominent position the feast of Whit Sunday would [231] occupy in this subject. In addition to these grounds, I may add my wish (in connection with a greater plan for a later oratorio) to bring the two chief apostles and pillars of the Christian Church side by side in oratorios,--in short, that I should have a 'St. Peter' as well as a 'St. Paul.'"
Another extract from the same letter will show the keenness with which he analyzed his themes. He writes:--
"I need not tell you that there are sufficient internal grounds to make me prize the subject; and far above all else stands the outpouring of the Holy Ghost, which must form the central point or chief object. The question, therefore, is whether the place that Peter assumes in the Bible, divested of the dignity which he enjoys in the Catholic or Protestant Churches as a martyr, or the first Pope, etc.,--whether what is said of him in the Bible is alone and in itself sufficiently important to form the basis of a symbolical oratorio. For, according to my feeling, the subject must not be treated historically, however indispensable this was in the case of 'St. Paul.' In historic handling, Christ must appear in the earlier part of St. Peter's career; and where he appears, St. Peter could not lay claim to the chief interest. I think, therefore, it must be symbolical; though all the historical points might probably be introduced,--the betrayal and repentance, the keys of Heaven given him by Christ, his preaching at Pentecost,--not in an historical, but prophetic light, if I may so express myself, in close connection."
The project was never carried out; but the deep earnestness with which Mendelssohn considered it [232] shows how thoughtfully he must have devoted himself to the scheme which took its place. Neither his letters nor his biographers throw much light upon the history of "Christus." Lampadius says: "The oratorio was laid out upon a grand scale. It was to be in three parts,--the career on earth, the descent into hell, the ascent to heaven." This plan must have been subsequently changed, for the fragments of the oratorio are included in two parts, though they entirely pertain to the earthly career. There are in all eight complete numbers,--three from the first part, and five from the second. The first part opens with a soprano recitative ("When Jesus our Lord was born in Bethlehem"), leading to a strong trio for tenor and two basses ("Say, where is he born?"), the question of the Wise Men from the East. The chorus replies, "Then shall a Star from Jacob come forth," closing with the old German chorale, "Wie schön leuchtet der Morgenstern" ("How brightly shines the Morning Star!"), in plain, flowing harmony.
The fragments of the second part are in the form of the passion-music, and include five tenor recitatives, narrating the dialogue between Pilate, the Elders and the People, and his final order, "Take ye him and crucify him, for I cannot find a fault in him," and several short, angry choruses of the Jews, accusing Jesus and calling for his death, leading to a beautiful chorus for mixed voices ("Daughters of Zion, weep"), and closing [233] with an effective chorale for male voices in the genuine Bach style:--
"He leaves his heavenly portals,
Endures the grief of mortals,
To raise our fallen race.
O love beyond expressing!
He gains for us a blessing,
He saves us by redeeming grace.
"When thou, O sun, art shrouded,
By night or tempest clouded,
Thy rays no longer dart;
Though earth be dark and dreary,
If, Jesus, thou art near me,
'Tis cloudless day within my heart."
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