The Standard Oratorios: Their Stories, Their Music, And Their Composers

by George P. Upton

"St. Paul," the first of Mendelssohn's oratorios, was begun in Düsseldorf and finished in Leipsic in the winter of 1835, the composer being then in his twenty-sixth year. He first applied to Marx to write the text; but the invitation was declined, on the ground that the chorales were unsuited to the period of the narrative. Mendelssohn then consulted with his friends Fürst and Schubring, and the libretto as it now stands represents their joint [209] compilation. Its three principal themes are the martyrdom of Saint Stephen, the conversion of Saint Paul, and the apostle's subsequent career. One of the clearest statements of the general character of the work is that given by Lampadius; he says:--

"The main thought which runs through the whole work is too high and broad to be linked by the tie of a personal interest to any single man. It is the glorification of Christianity, with its humility, its joy in living and dying for the Lord, in contrast with the blind self-righteousness of Judaism and the mere sensuous morality of the heathen schools. It is the contrast, or rather the struggle, of the last two with the former, and the victory of the light and love of the Gospel,--the light eternal, the love divine. This thought is made incarnate in the persons of Stephen, Paul, and Barnabas, and it is concentrated at that point which is really the central point of interest to the oratorio,--the conversion of Saint Paul."

The work was written upon a commission given by the Cecilien Verein of Frankfort in 1831; but it was not produced until May 22, 1836, on the occasion of the Lower Rhine Festival at Düsseldorf. The principal parts were sung by Madame Fischer-Achten, Mademoiselle Grabau, Herren Schmetzer and Wersing, the latter artist taking the part of Paul. The second performance was given at Liverpool, Oct. 3, 1836; and between the two performances Mendelssohn revised the work and cut out fourteen numbers.

After a long and expressive overture for orchestra and organ, the first part opens with a strong and exultant chorus ("Lord! Thou alone art God"). It is massively constructed, and in its middle part runs into a restless, agitated theme ("The Heathen furiously rage"). It closes, however, in the same energetic and jubilant manner which characterizes its opening, and leads directly to a chorale ("To God on High"), set to a famous old German hymn-book tune, "Allein Gott in der Höh' sei Ehr," which is serenely beautiful in its clearly flowing harmony. The martyrdom of Stephen follows. The basses in vigorous recitative accuse him of blasphemy, and the people break out in an angry chorus ("Now this Man ceaseth not to utter blasphemous Words"). At its close Stephen sings a brief but beautiful solo ("Men, Brethren, and Fathers!"); and as the calm protest dies away, again the full chorus gives vent to a tumultuous shout of indignation ("Take him away"). A note of warning is heard in the fervent soprano solo, "Jerusalem, thou that killest the Prophets;" but it is of no avail. Again the chorus hurls its imprecations more furiously than before ("Stone him to death"). The tragedy occurs. A few bars of recitative for tenor, full of pathos, tell the sad story, and then follows another beautiful chorale of submission ("To Thee, O Lord, I yield my Spirit"). Saul's participation in the tragedy is barely touched upon. The lament for Stephen is followed by the chorus, "Happy and blest are they," which is [211] beautifully melodious in character. Saul now appears, "breathing out threatenings and slaughter" against the apostles. His first aria ("Consume them all") is a bass solo which is fiery in its energy. It is followed by the lovely arioso for alto, "But the Lord is mindful of His own,"--fitting companion to the equally beautiful "O rest in the Lord" from "Elijah," and much resembling it in general style. Then occurs the conversion. The voice from heaven ("Saul, Saul, why persecutest thou Me?") is represented, as was often done in the passion-music, by the soprano choir, which gives it peculiar significance and makes it stand out in striking contrast with the rest of the work. A forcible orchestral interlude, worked up in a strong crescendo, leads to the vigorous chorus, "Rise up! arise!" in which the powerful orchestral climax adds great strength to the vocal part. It is a vigorously constructed chorus, and is followed by a chorale ("Sleepers, wake! a Voice is calling"), which still further heightens the effect by its trumpet notes between the lines. At the close of the imposing harmony the music grows deeper and more serious in character as Saul breathes out his prayer, "O God, have Mercy upon me;" and again, after the message of forgiveness and mercy delivered by Ananias, more joyful and exultant in the bass solo with chorus ("I praise Thee, O Lord, my God"), Saul receives his sight, and straightway begins his ministrations. A grand reflective chorus ("O great is the Depth of the Riches of Wisdom"), strong and jubilant in [212] character, and rising to a powerful climax, closes the first part.

The second part opens with the five-part chorus, "The Nations are now the Lord's,"--a clear fugue, very stately and dignified in its style, leading, after a tenor and bass duet ("Now all are Ambassadors in the Name of Christ"), to the beautifully melodious chorus, "How lovely are the Messengers that preach us the Gospel of Peace," and the equally beautiful soprano arioso, "I will sing of Thy great Mercies." After the chorus, "Thus saith the Lord," and a second tumultuous chorus expressive of rage and scorn ("Is this He who in Jerusalem"), another chorale occurs ("O Thou, the true and only Light"), in which the Church prays for direction. The tenor recitative announcing the departure of Paul and Barnabas to the Gentiles, followed by the tenor and bass duet, "For so hath the Lord Himself commanded," bring us to the scene of the sacrifice at Lystra, in which the two choruses, "The Gods themselves as Mortals," and "O be gracious, ye Immortals," are full of genuine Greek sensuousness and in striking contrast with the seriousness and majestic character of the harmony in the Christian chorus ("But our God abideth in Heaven") which follows. Once more the Jews interfere, in the raging, wrathful chorus, "This is Jehovah's Temple." In a pathetic tenor aria ("Be thou faithful unto Death") Paul takes a sorrowful leave of his brethren, and in response comes an equally tender chorus, "Far be it from thy [213] Path." Two stately choruses ("See what Love hath the Father," and "Now only unto Him") close the work.

Hymn of Praise.

The "Lobgesang" ("Hymn of Praise") was written at Leipsic in 1840, the occasion which gave birth to it being the fourth centennial celebration of the art of printing. The musical features of the festival were intrusted to Mendelssohn, the ceremonies occupying two days, June 24 and 25 of the above year. On the evening of the 23d there was a performance of Lortzing's opera, "Hans Sachs," written for the occasion. On the morning of the 24th there was a service in the church, followed by the unveiling of the statue of Guttenberg in the public square, and an open-air performance of the composer's "Festgesang" for two choirs, with trombone accompaniment, David conducting one choir, and Mendelssohn the other. In the afternoon of the 25th the "Hymn of Praise" was given for the first time in St. Thomas's Church, preceded by Weber's "Jubilee Overture" and Handel's "Dettingen Te Deum." Lampadius, who was present at the performance, says:--

"The work called out the greatest enthusiasm, which could hardly be repressed within bounds even by the fact that the audience were seated within the walls of a church. After the first duet a subdued [214] whisper of applause ran through the edifice and betrayed the suppressed delight of the listeners. On one of the evenings following, a torchlight procession was made in honor of the great composer. Mendelssohn, who then lived in Lurgenstein's Garden, appeared at the window, his face lighted up with joy. 'Gentlemen,' he said in his neat, quiet way, with a sensible trembling of the voice, 'you know that it is not my manner to make many words; but I heartily thank you.' A loud 'Hoch!' three times shouted, was our reply."

Its next performance was at Birmingham, Sept. 23, 1840, Mendelssohn himself conducting. After this performance it was considerably changed, and the whole scene of the watchman was added. The idea occurred to him after a sleepless night, during which, as he informed a friend, the words, "Will the night soon pass?" incessantly came into his mind.

The title given to the "Hymn of Praise," "a symphony-cantata," was first suggested by his friend Carl Klingemann, of London, as will be seen by the following interesting extract from a letter written by Mendelssohn to him, Nov. 18, 1840:--