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 first performed at the Birmingham Festival, Aug. 26, 1885, under the direction of Herr Hans Richter, the principal parts being sung by Mesdames Albani and Patey and Messrs. Santley and Lloyd. Its companion oratorio, "The Redemption," was dedicated to Queen Victoria, and itself to His Holiness Pope 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 [107] 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 of representative themes, an illustration of which was also noted in "The Redemption." The first one, consisting of four notes, presenting a sequence of three major seconds, is intended to express "the terror inspired by the sense of the inflexibility of justice and, in consequence, by that of the anguish of punishment. Its sternness gives expression both to the sentences of divine justice and the sufferings of the condemned, and is found in combination throughout the whole work, with melodic forms which express sentiments altogether different, as in the 'Sanctus' and the 'Pie Jesu' in the 'Requiem,' which forms the first part." It is first heard in the opening chorus, and for the last time in the quartet of the third part. The second melodic form, expressive of sorrow and tears, by the change of a single note and the use of the major key is made to express consolation and joy. "The third," says Gounod, "by means of threefold [108] superposition, results in the interval of an augmented fifth, and announces the awakening of the dead at the terrifying call of the angelic trumpets, of which Saint Paul speaks in one of his epistles to the Corinthians."
The oratorio is divided into a prologue and three parts, the Latin text being used throughout. The first part is entitled "Mors," and opens with the prologue, which is brief, followed by the "Requiem," interspersed with texts of a reflective character commenting upon the sentiment. The second part is entitled "Judicium" ("Judgment"), and includes (1) The Sleep of the Dead; (2) The Trumpets at the Last Judgment; (3) The Resurrection of the Dead; (4) The Judge; (5) The Judgment of the Elect; (6) The Judgment of the Rejected. The third part is entitled "Vita," and includes the vision of Saint John, the text being taken from the Apocalypse; the work closing with an "Hosanna in Excelsis," exulting in the 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 the words, "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 the percussion instruments,--the motive which typifies death both of the body and of the unredeemed soul. Immediately after follows the baritone voice, that of Jesus, in the familiar words, "I am the Resurrection and the [109] Life." The chorus repeats the declaration, and the Requiem Mass then begins, divided into various sections, of which the "Dies Iræ" is the most important; this in turn subdivided in the conventional form. After an adagio prelude and the intonation of the "Requiem æternam," an interpolated text occurs ("From the Morning Watch till the Evening"), set as a double chorus without accompaniment, in the genuine Church style of the old masters. It leads directly to the "Dies Iræ," in which the death motive already referred to frequently occurs. It is laid out in duets, quartets, and arias, with and without chorus, very much in the same tempo and of the same character of melody. The verse, "Ah! what shall we then be pleading?" for quartet and chorus, is remarkable for its attractive melody. It is followed by a soprano solo and chorus ("Happy are we, with such a Saviour") of a reflective character, which gives out still another very tuneful melody. The hymn is then resumed with the verse, "Faint and worn, thou yet hast sought us," for duet and chorus, which is of the same general character. The next verse, "Lord, for Anguish hear us moaning," for quartet and chorus, is very effective and elaborate in its construction, particularly as compared with that immediately following ("With the Faithful deign to place us"), a tenor solo of a quaint and pastoral character. The next number for chorus ("While the wicked are confounded") affords still another striking contrast, being in the grandiose style and [110] very dramatic, closing with phrases for the solo voices expressive of submission and contrition. Up to this point the "Dies Iræ" has been monotonous in its sameness of general style; but the next verse ("Day of Weeping, Day of Mourning") is a beautiful and thoroughly original number of very striking effect. It leads directly to the offertory ("O Lord Jesus Christ, King of Glory"), which is composed of a chorus for eight parts, a soprano solo ("But, Lord, do thou bring them evermore"), a chorus ("Which once to Abraham"), and a second chorus ("Sacrifice of Prayer and Praise"). The soprano solo is a delightful melody, sung to a delicate accompaniment of the strings, with occasional chords on the harp, and based upon the beautiful second typical motive, which the composer styles "The Motive of Happiness." The chorus, "Which once to Abraham," is set in fugue form, which is the conventional style among composers with this number; but, as in "The Redemption," whenever Gounod employs the fugue form, he drops it as soon as the four voices have 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 is followed by the quartet, "Mighty Saviour, Jesus blest," which is deeply religious in character; the lovely soprano solo and chorus, "Agnus Dei;" and the chorus, "Lord, forever let Light Eternal." The first part is rounded off with an epilogue, an interlude for full orchestra and organ, based upon the first and [111] second typical melodies, forming a consistent and stately finale to this part of the work.
The second part is peculiar for the prominence which the composer assigns to the orchestra. It opens with a well-sustained, gentle adagio movement, entitled "The Sleep of the Dead," which at times is somewhat harshly interrupted by the third typical melody, announcing the awakening of the dead at the terrifying call of the angelic trumpets. This is specially noticeable in that part of the prelude called "The Trumpet of the Last Judgment," in which the trombones, trumpets, and tubas are employed with extraordinary effect. Still a third phrase of the prelude occurs,--"The Resurrection of the Dead,"--which is smooth and flowing in its style, and peculiarly rich in harmony. A brief recitative by baritone ("But when the Son of Man") intervenes, immediately followed by another instrumental number, entitled "Judex" ("The Judge"),--one of the most effective pieces of orchestration in the oratorio, based upon the motive which indicates the tempering of justice with mercy, given out by the strings in unison. It preludes a short chorus ("Sitting upon the Throne"), the previous melody still continuing in the orchestra. The "Judgment of the Elect" follows, pronounced by the baritone voice in recitative, and leading directly to the soprano solo, "The Righteous shall enter into Glory eternal,"--the most exquisite solo number in the work,--followed by an effective chorale ("In Remembrance everlasting"). Then follows "The Judgment of the [112] Rejected," consisting of baritone solos and chorus, closing the second part.
The third part celebrates the delights of the celestial city as pictured in the apocalyptic vision of Saint John, and is in marked contrast to the gloom and sombreness of the Requiem music, as well as the terrors of the Judgment. It is bright, jubilant, and exultant throughout. The title of the prelude is "New Heaven, New Earth." The baritone intones the recitative ("And I saw the New Heaven"), which is followed by another delightful sketch for the orchestra ("Celestial Jerusalem"),--a most vivid and graphic picture of the subject it describes. The remaining prominent numbers are the "Sanctus" chorus, the celestial chorus ("I am Alpha and Omega"), and the final chorus ("Hosanna in Excelsis"), which closes this remarkable work.
The weakest part of the oratorio is the "Requiem," which suffers from the monotony of its divisions, especially when compared with the treatment of requiems by the great composers who have made them a special study. As compared with the "Redemption," however, it is more interesting, because it is more melodious and less cumbered with recitative. It is also peculiarly noticeable for the free manner in which the composer uses the orchestra, and the skill with which the typical melodies are employed, as compared with which the solitary "Redemption" motive seems weak and thin. Both works are full of genuine religious sentiment, and taken together cover almost the entire [113] scope of human aspiration so far as it relates to the other world. No composer has conceived a broader scheme for oratorio. Though Gounod does not always reach the sublime and majestic heights of the old masters in sacred music, yet the feeling manifested in these works is never anything but religious; the hearer is always surrounded by an atmosphere of devotion.
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