Judas Maccabæus.
The oratorio of "Judas Maccabæus" was written in thirty-two days, between July 9 and Aug. 11, 1746, upon the commission of Frederic, Prince of Wales, to celebrate the return of the Duke of Cumberland from Scotland after the decisive victory of Culloden, April 16, 1746. The words were written by the Rev. Thomas Morell, D.D., a learned Greek scholar of that time, the plot being taken from the narrative of the exploits of the Jewish deliverer contained in the first book of Maccabees and in the twelfth book of Josephus' "Antiquities of the Jews." In his dedication, Dr. Morell says:--
"To His Royal Highness Prince William, Duke of 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 [150] respect and veneration, inscribed by His Royal Highness' most obedient and most devoted servant the author."
To what extremes of adulation even a doctor of divinity may go, is well shown in Schoelcher's pithy comment: "This is addressed to a man who pitilessly murdered as many prisoners after the battle as his courage had slain enemies during the combat." It is but just to the composer, however, to say that the great success of this oratorio had little to do with the political causes which led to its composition. It was first performed at Covent Garden, April 1, 1747, and was repeated six times that year. Handel himself conducted it thirty-eight times with ever growing popularity, to which the Jews contributed greatly, as it glorified an episode in their national history.
The characters represented are Judas Maccabæus; Simon, his brother; an Israelitish Messenger; and Israelitish Men and Women. The story may be gathered from the following summary of the plot as prepared for the Birmingham Festival of 1861:--
Part I.--Lamentations for the death of Mattathias (the father of Judas 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 [151] 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 Cœlesyria, 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 the death of the father of Judas in the sorrowful chorus, "Mourn, ye afflicted Children," which, after a duet for soprano and tenor, is followed by still another chorus in a similar strain ("For Zion Lamentation make"), but much more impressive, and rising to a more powerful climax. After a brief and simple soprano solo ("Pious Orgies"), the chorus sings the prayer, "O Father, [152] whose Almighty Power," closing with a characteristic fugue on the words, "And grant a Leader." After a short recitative, Simon (bass) breaks out in the heroic and sonorous aria, "Arm, arm, ye brave," which has always retained its popularity, notwithstanding its antique bravura. It is followed by the chorus in the brief, but stirring number, "We come in bright array." Five arias, a duet, and two choruses, nearly all of which are now omitted in performances, being of the same general character, and mainly apostrophes to liberty, lead to the great chorus closing the first part, "Hear us, O Lord." It is intricate in its construction, but when properly sung resolves itself into one of the most vigorous and impressive choruses Handel has written.
The second part opens with the Israelites celebrating the return of Judas from the victories over Apollonius and Seron. An instrumental prelude, picturing the scenes of battle, leads directly to the great chorus, the best in the work, "Fallen is the Foe." The triumphant declaration is made over and over with constantly increasing energy, finally leading to a brilliant fugue on the words, "Where warlike Judas wields his righteous Sword;" but interwoven with it are still heard those notes of victory, "Fallen is the Foe," and the response, "So fall Thy Foes." The Israelitish Man sings a vigorous tribute to Judas ("So rapid thy Course is"). The triumphant strain, "Zion now her Head shall raise," is taken by two voices, closing with the soprano alone; but [153] before her part ends, the whole chorus takes it and joins in the pæan, "Tune your Harps," and the double number ends in broad, flowing harmony. In a florid number ("From mighty Kings he took the Spoil") the Israelitish Woman once more sings Judas's praise. The two voices unite in a welcome ("Hail Judæa, happy Land"), and finally the whole chorus join in a simple but jubilant acclaim to the same words. The rejoicings soon change to expressions of alarm and apprehension as a Messenger enters and announces that Gorgias has been sent by Antiochus to attack the Israelites, and is already near at hand. They join in a chorus expressive of deep despondency ("Oh, wretched Israel"); but Simon, in a spirited aria ("The Lord worketh Wonders"), bids them put their trust in Heaven, and Judas rouses their courage with the martial trumpet song, "Sound an Alarm," which, though very brief, is full of vigor and fire. After the departure of Judas to meet the foe, Simon, the Israelitish Man, and the Israelitish Woman follow each other in denunciation of the idolatries which have been practised by the heathen among them, and close with the splendid chorus, "We never will bow down to the rude Stock or sculptured Stone," in which vigorous repetitions of the opening phrase lead to a chorale in broad, impressive harmony, with which is interwoven equally vigorous repetitions of the phrase, "We worship God alone."
The third part opens with the impressive prayer, "Father of Heaven, from Thy eternal Throne," [154] sung by the Priest. As the fire ascends from the altar, the sanctuary having been purified of its heathen defilement, the Israelites look upon it as an omen of victory and take courage. A Messenger enters with tidings of Judas's triumph over all their enemies. The Israelitish Maidens and Youths go out to meet him, singing the exultant march chorus, "See the Conquering Hero comes," which is familiar to every one by its common use on all occasions, from Handel's time to this, where tribute has been paid to martial success and heroes have been welcomed. It is the universal accompaniment of victory, as the Dead March in "Saul" is of the pageantry of death. It is very simple in its construction, like many others of Handel's most effective numbers. It is first sung as a three-part chorus, then as a duet or chorus of Virgins, again by the full power of all the voices, and gradually dies away in the form of an instrumental march. The chorus did not originally belong to "Judas Maccabæus," but to "Joshua," in which oratorio it is addressed to Othniel when he returns from the capture of Debir. Handel frequently made transfers of that kind, and this was a permanent one; for the celebrated chorus is now unalterably identified with the work in which he placed it, and in which also the setting is still more imposing. A very elaborate chorus ("Sing unto God"), a florid aria with trumpet solo for Judas ("With Honor let Desert be crowned"), the chorus, "To our Great God," a pastoral duet with exquisite accompaniment ("O [155] Lovely Peace"), and a Hallelujah in the composer's customary exultant style, close this very brilliant and dramatic oratorio.