To the people, as a body, music must be written on lines more obvious, and although of late there is every sign that sacred music of a more complex character is becoming increasingly appreciated and understood, that time had not arrived when the "Stabat Mater" was produced in 1884.
The oratorio which, subsequent to the
"Elijah," was destined to appeal most strongly to the people and make the most lasting effect, was Gounod's "Redemption." It was first given at the Birmingham festival in 1882, and the impression it produced was unmistakable. It was quite original in style, being built on lines differing essentially from any of its predecessors. Its atmosphere of mysticism, its religious transport, and strongly suggestive of Latin Catholicism, "The Redemption" seemed the last work to appeal to the English people. Yet, so eclectic are their tastes and broad-minded their sympathies, that, recognizing its deep sincerity and appreciating its many beautiful melodies, they accepted it heartily, and for many years it was one of the most frequently performed oratorios.
It must be admitted, however, that it was not received in the same spirit by many critics, for it aroused a great deal of controversy and even bitterness. While many were willing to do justice to the obvious sincerity underlying the whole score and recognize the sterling value of much of the music, others refused with angry insistence to admit any merit in it whatever, calling it tawdry, vapid and unworthy of serious consideration. Some went still farther, and said that its influence was distinctly baneful.
Well, when the high priests of a cult differ, who is to decide?
Human thought is not cast in one mould. Brahms, in his German "Requiem," gave expression in the noblest manner, to the feelings and aspirations of German Protestantism.
Gounod, on the other hand, although less fully equipped from the point of view of musical science, voiced to the best of his powers, the devout enthusiasm of Catholic Christianity.
So far as England is concerned, there is no doubt that, of the two works, "The Redemption" was by far the more popular.
"The Golden Legend," although not strictly speaking, an oratorio, is written on lines so similar that it can be considered here with perfect propriety. The subject is a religious one, and is treated in that spirit of reverence that is a distinguishing feature of oratorio, and which differentiates it from every other class of work.