Saul.
The oratorio of "Saul" was written by Handel in 1738. He began it, says Schoelcher, on the 3d of July, and finished it on the 27th of September; thus occupying eighty-six days. This, however, is evidently an error, as Rockstro says: "The score, written in a thick quarto volume, on paper quite different from that used for the operas, is dated at the beginning of the first chorus, July 23, 1738." The next date is August 28, at the end of the second part, and the last, at the end of the work, September 27,--which would give two months and four days as the time in which it was written. But even this period, short as it is, seems brief when [126] compared with that devoted to the composition of "Israel in Egypt," which Handel began four days after "Saul" was completed, and finished in twenty-seven days.
It has already been said, in the analysis of the last named-work, that in January, 1739, Handel took the King's Theatre in the Haymarket, his purpose being to give oratorios twice a week. "Saul" was the first of the series; and in this connection the following advertisement, which Schoelcher reprints from the London "Daily Post" of Jan. 3, 1739, will be of 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 5s. 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 a conspicuous part in the oratorio itself, not only in amplifying the accompaniment, but also in solo work. In 1740 it was performed by the Academy of Ancient Music in London, and in 1742 in Dublin. Selections were also given from it in the great Handel Commemoration at Westminster Abbey in 1784, and in 1840 it was revived by the Sacred Harmonic Society of London, since [127] which time it has occupied an important place in the oratorio repertory.
The story closely follows the Biblical narrative of the relations between David and Saul. The words have been attributed both to Jennens and Marell; but the balance of evidence favors the former,--a poet who lived at 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 a solo instrument), the third an allegro, and the fourth a minuetto. It is an exceedingly graceful and delicate prelude, and makes a fitting introduction to the dramatic story which follows. The characters introduced are Saul, king of Israel; Jonathan, his son; Abner, captain of the host; David; the apparition of Samuel; Doeg, a messenger; an Amalekite; Abiathar, Merab, and Michal, daughters of Saul; the Witch of Endor; and the Israelites. The very dramatic character of the narrative admirably adapts it to its division into acts and scenes.
The first act is triumphant in its tone and expressive of the exultation of the Israelites at their victory over the Philistines. The second gives a story of the passions,--Saul's jealousy of David, the love of Michal, and the ardent friendship between David and Jonathan. The last act is sombre in its character, opening with the weird incantations of the Witch, 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 Goliah and 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 Infant raised by Thy Command"), describing the meeting of David and Goliah; a trio, in which the Giant is pictured as the "monster atheist," striding along 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 an aria by Michal, Saul's daughter, who reveals her love for David ("O godlike Youth!"). Abner presents David to Saul, and a dialogue ensues between them, in which the conqueror announces his origin and Saul pleads with him to remain, offering the hand of his daughter Merab as an inducement. David (whose part is sung by a contralto) replies in a beautiful aria, in which he attributes his success to the help of the Lord alone. In the next four numbers the friendship of Jonathan and David is cemented, which is followed by a three-verse hymn ("While yet thy Tide of Blood runs high"), of a very stately character, sung by the High Priest. In a few bars of recitative Saul betroths his daughter Merab to David; but the girl replies in a very powerful aria ("My Soul rejects the Thought with Scorn"), in which she [129] declares her intention of frustrating the scheme to unite a plebeian with the royal line. It is followed by a plaintive but vigorous aria ("See with what a scornful Air"), sung by Michal, who again gives expression to her love for David.
The next scene is entitled "Before an Israelitish City," and is prefaced with a short symphony of a jubilant character. A brief recitative introduces the maidens of the land singing and dancing in praise of the victor, leading up to one of Handel's finest choruses, "Welcome, welcome, Mighty King,"--a fresh, vigorous semi-chorus accompanied by the carillons, in which Saul's jealousy is aroused by the superiority of prowess attributed to David. It is followed by a furious aria, "With Rage I shall burst, his Praises to hear." Jonathan laments the imprudence of the women in making comparisons, and Michal suggests to David that it is an old malady which may be assuaged by music, and in the aria, "Fell Rage and black Despair passest," expresses her belief that the monarch can be cured 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 Bosom warmed"), gives vent to his fury and hurls his javelin at David. The latter escapes; and in furious recitative Saul charges his son to destroy him. The next number is an aria for Merab ("Capricious Man, in Humor lost"), lamenting Saul's [130] temper; and Jonathan follows with a very dramatic recitative and aria, in which he refuses to obey his father's behest. The High Priest appeals to Heaven ("O Lord, whose Providence") to protect 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 powerfully descriptive chorus ("Envy, Eldest-born of Hell!"). In a noble song ("But sooner Jordan's Stream, I swear") Jonathan assures David he will never injure him. In a colloquy between them, David is informed that Saul has bestowed the hand of the haughty Merab on Adriel, and Jonathan pleads the cause of the lovely Michal. Saul approaches, and David retires. Saul inquires of Jonathan whether he has obeyed his commands, and in a simple, sweet, and flowing melody ("Sin not, O King, against the Youth") he seems to overcome the wrath of the monarch, who dissembles and welcomes David, bidding him to repel the insults of the Philistines, and offering him his daughter Michal as a proof of his sincerity.
In the second scene Michal declares her love for David, and they join in a rapturous duet ("O fairest of ten thousand fair"), which is followed by a chorus in simple harmony ("Is there a Man who all his Ways"). A long symphony follows, preparing the way for the attempt on David's life. After an agitated duet with Michal ("At Persecution I can laugh"), David makes his escape just as Doeg, the messenger, enters with instructions to bring David [131] 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 an exultant aria, "No, let the Guilty tremble," and even Merab, won over by David's qualities, pleads for him in a beautiful aria, "Author of peace." Another symphony intervenes, preluding the celebration of the feast of the new moon in the palace, to which David has been invited. Jonathan again interposes with an effort to save David's life, whereupon Saul, in a fresh outburst of indignation, hurls his javelin at his son, and the chorus bursts out in horror, "Oh, fatal Consequence of Rage."
The third act opens with the intensely dramatic scene with the Witch of Endor, the interview being preluded by the powerful recitative, "Wretch that I am!" The second scene is laid in the Witch's abode, where the incantation is practised that brings up the Apparition of Samuel. The whole scene is very dramatic, and the instrumentation powerful, although the effect, vigorous as it is, is made simply by oboes, bassoons, and strings, instead of by the brass instruments which other composers employ so vigorously in similar scenes. This scene closes with an elegy foreboding the coming tragedy.
The third scene opens with the interview between David and the Amalekite who brings the tidings of the death of Saul and Jonathan. It is followed by that magnificent dirge, the "Dead March," whose simple yet solemn and majestic strains are familiar [132] to every one. The trumpets and trombones with their sonorous pomp and the wailing oboes and clarinets make an instrumental pageant which is the very apotheosis of grief. The effect of the march is all the more remarkable when it is considered that, in contradistinction to all other dirges, it is written in the major key. The chorus, "Mourn, Israel, mourn thy Beauty lost," and the three arias of lament sung by David, which follow, are all characterized by feelings of 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 an aria of exquisite tenderness ("In sweetest Harmony they lived"), at the close of which he joins with the chorus in an obligato of sorrowful grandeur ("O fatal Day, how low the Mighty lie!"). In an exultant strain Abner bids the "Men of Judah weep no more," and the animated martial chorus, "Gird on thy Sword, thou Man of Might," closes this great dramatic oratorio.