The second scene, after a short prelude, opens with Ludwig's hunting-song ("From the Mists of the Valleys"), which is written in the conventional style of songs of this class, although it has two distinct movements in strong contrast. As he meets Elizabeth, a dialogue ensues, including the scene of the rose miracle, leading up to a brief chorus ("The Lord has done a Wonder"), and followed by an impressive duet in church style ("Him we worship and praise this Day"). The scene closes with an ensemble, a duet with full choral harmony, worked up with constantly increasing power and set to an accompaniment full of rich color and brilliant effect.
The third scene opens with the song of the Crusaders, an impetuous and brilliant chorus ("In Palestine, the Holy Land"), the accompaniment to which is an independent march movement. The stately rhythm is followed by a solo by the Landgrave, bidding farewell to Elizabeth and appealing to his subjects to be loyal to her. The chorus replies in a short number, based upon the Hungarian melody which has already been heard. Elizabeth follows with a tender but passionate appeal to her husband ("Oh, tarry! oh, shorten not the Hour"), leading to a solo ("With Grief my Spirit wrestles"), [184] which is full of the pain of parting. A long dialogue follows between them, interrupted here and there by the strains of the Crusaders, in which finally the whole chorus join with great power in a martial but sorrowful style. As it comes to a close, the orchestra breaks out into the Crusaders' march,--a brilliant picture of the knightly pageant, the time gradually accelerating as well as the force, until it reaches a tremendous climax. The trio of the march is based upon a religious melody which was sung in the time of the Crusaders; but the remainder follows the Gregorian intonation. The chorus once more resumes its shout of jubilee, and the brilliant scene comes to an end. So vividly colored is this music that one can well fancy the sorrowful Elizabeth as she stands gazing at the band of knights, with Ludwig at their head, slowly riding away, pennons fluttering in the breeze, and lances and mail glittering in the sunlight.
In the fourth scene a slow and mournful movement, followed by an allegro ominous and agitated in style, introduces the Landgravine Sophie, the evil genius of the Wartburg. The tidings of the death of Ludwig have come, and with fierce declamation she orders Elizabeth away from the castle. The latter replies in an aria ("O Day of Mourning, Day of Sorrow") marked by sorrowful lamentation. Sophie again hurls her imprecations, and a very dramatic dialogue ensues, which takes the trio form as the reluctant Seneschal consents to enforce the cruel order. Once more Elizabeth tenderly appeals [185] to her in the aria, "Thou too art a Mother." Sophie impatiently and fiercely exclaims, "No longer tarry!" The scene comes to an end with Elizabeth's lament as she goes out into the storm, which is vividly described in an orchestral movement, interspersed with vocal solos. These have little bearing upon the subject-matter, however, which is mainly described by the band with overwhelming power.
The fifth scene opens with a long declamatory solo by Elizabeth,--full of tenderness and pathos, in which she recalls the dream of childhood,--closing with an orchestral movement of the same general character. It is followed by the full chorus ("Here 'neath the Roof of Want"), which after a few bars is taken by the sopranos and altos separately, closing with chorus again and soprano solo ("Elizabeth, thou holy one"). The death-scene follows ("This is no earthly Night"). Her last words, "Unto mine End Thy Love has led me," are set to music full of pathos, and as she expires, the instrumentation dies away in peaceful, tranquil strains. A semi-chorus, which can also be sung by three solo voices ("The Pain is over"), closes the sad scene, the ritornelle at the end being made still more effective by the harps, which give it a celestial character.
The last scene opens with an interlude which gathers up all the motives of the oratorio,--the Pilgrim's Song, the Crusaders' March, the Church Song, and the Hungarian Air, and weaves them into a rich and varied texture for full orchestra, bells, and [186] drums, forming the funeral song of the sainted Elizabeth,--the same effect, and produced in the same manner, which Wagner subsequently used with such magnificent power in the dirge of Siegfried. It is followed by a solo from the Emperor, "I see assembled round the Throne,"--a slow and dignified air, leading to the great ensemble closing the work, and descriptive of the canonization of Elizabeth. It begins as an antiphonal chorus ("Mid Tears and Solemn Mourning"), the female chorus answering the male and closing in unison. Once more the Crusaders' March is heard in the orchestra as the knights sing, "O Thou whose Life-blood streamed." The church choir sings the chorale, "Decorata novo flore," the Hungarian and German bishops intone their benedictions, and then all join in the powerful and broadly harmonious hymn, "Tu pro nobis Mater pia," closing with a sonorous and majestic "Amen."
Christus.
"Christus, oratorio, with texts from the Holy Scriptures and the Catholic Liturgy," as Liszt entitles his work, was finished in 1866. At the outset the composer selected the "Hymn of Praise" and "Pater Noster" from Rüchert's "Evangelical Harmony;" and upon these and one or two other detached numbers for a background, he built up a series of religious events connected with the offices [187] of the Church according to the Vulgate and its Liturgy. These events are laid out in three divisions,--"The Christmas Oratorio," "After Epiphany," and "The Passion and Resurrection;" the separate parts of which are as follows: (1) The Introduction. (2) Pastoral and Vision of the Angels. (3) Stabat Mater speciosa. (4) Song of the Shepherds in the Manger. (5) The Anointing of the three Kings. (6) Hymn of Praise. (7) Pater Noster. (8) The Establishment or Foundation of the Christian Church. (9) The Storm on the Lake. (10) The Entry into Jerusalem. (11) Tristis est anima mea. (12) Stabat Mater dolorosa. (13) Easter Hymn. (14) Resurrection of Christ. The motive of the work is announced in Saint Paul's words to the Ephesians: "But speaking the truth in love, may grow up into him in all things, which is the head, even Christ."
The long instrumental introduction is constructed upon a theme representative of a text from Isaiah, "Resound, ye Heavens above," many times repeated, and leading to a pastoral which prepares the way for the angelic announcement to the shepherds. This announcement is made in the simple collect music by a soprano solo, and replied to by a female chorus, first accompanied by string quartet, and then by full orchestra, and leading to the full chorus, "Gloria in excelsis," a series of mighty shouts, closing with a stately Hallelujah and a return of the orchestra to the pastoral movement. The next division is the old Latin hymn, "Stabat Mater speciosa," the Virgin at the cradle of our Lord,--a six-part [188] chorus in church style, accompanied by the organ, with solo variations interspersed through it, and characterized by a lofty feeling of devotion, especially in the "Inflammatus" and the majestic final "Amen." The remaining numbers of the first part are entirely instrumental, including the "Shepherd's Song at the Manger," a pastoral full of beautiful effects, and "the Three Holy Kings," a march which is majestic in its style and broad in its rhythm, and full of characteristic color. The two numbers close the part in a brilliant and jubilant manner.
The second part opens with the "Seligkeiten" ("Hymn of Praise"), a grand declamatory solo for baritone, accompanied by a six-part chorus, which, like the next number, was written by Liszt in his younger days and utilized in its present setting. The hymn is accompanied by organ throughout, and is followed by the "Pater Noster," also with organ,--a fervent, almost passionate, offering of prayer by the precentors and congregation, closing with a mighty "Amen." In the next number--the founding of the Church ("Tu es Petrus"), beginning with male chorus--the orchestra resumes its work. The voices move on in stately manner until the words, "Simon, son of Jona, lovest thou me?" are reached, when the full chorus comes in with imposing effect. Of this number, Nohl says in his fine analysis of "Christus:"--
"The perishable, sinful world in all its aspects is here contrasted with an undoubting faith in an everlastingly constant higher ideal, to give it this name. [189] That it is the spirit of the subject, not its mere perishable husk, is shown by the nature of the melody, which rises to the most powerful expression of the final victory of this spirit of love. Now again the full orchestra joins the double chorus; for the world, the whole world, is meant."