The next number is the "Dies Iræ," written for chorus in simple counterpoint, and very dramatic in its character, the orchestral part being constantly vigorous, impetuous, and agitated, and reaching intense energy on the verse, "Quantus tremor est futurus," the whole presenting a vivid picture in tones of the terrors of the last judgment. In the "Tuba mirum" the spirit of the music changes from the church form to the secular. It is written for solo voices, ending in a quartet. The bass [242] begins with the "Tuba mirum," set to a portentous trombone accompaniment; then follow the tenor ("Mors stupebit"), the alto ("Judex ergo"), and the soprano ("Quid sum miser"). This number is particularly remarkable for the manner in which the music is shaded down from the almost supernatural character of the opening bass solo to the beauty and sweetness of the soprano solo. From this extraordinary group we pass to the sublime chorus, "Rex tremendæ majestatis," once more in the church style, which closes with the prayer, "Salva me," in canonical form. With rare skill is this last appeal of humanity woven out of the thunder-crashes of sound in the judgment-music.
The "Dies Iræ" is followed by the "Recordare," written, like the "Tuba mirum," as a quartet for solo voices. The vocal parts are in canon form and are combined with marvellous skill, relieved here and there with solos in purely melodic style, as in the "Quærens me," while the orchestral part is an independent fugue, with several subjects worked up with every form of instrumental embellishment, the fugue itself sometimes relieved by plain accompaniment. The whole is an astonishing piece of contrapuntal skill, apparently inexhaustible in its scientific combinations, and yet never for an instant losing its deep religious significance. Once more the orchestral part is full of agitation and even savage energy in the "Confutatis maledictis," as it accompanies a powerful double chorus, closing at last in a majestic prayer ("Oro supplex et [243] acclinis"), in which all the voices join in magnificent harmony.
The "Lacrymosa" is the most elegant and poetically conceived movement in the "Requiem." It begins in a delicate, graceful, and even sensuous manner, which gradually broadens and strengthens, and at last develops into a crescendo of immense power, reaching its climax on the words "Judicandus homo reus." Then it changes to a plaintive prayer ("Huic ergo parce Deus"), and closes in a cloud of gloom in the "Dona eis requiem." The next number ("Domine Jesu Christe") is in pure church form, beginning with a motet by chorus in solid harmony, which runs into a fugue on the words "Ne absorbeat eas Tartarus," followed by a quartet of voices regularly fugued, leading to another great fugue on the passage, "Quam olim Abrahæ," which closes the number in a burst of sacred inspiration. The "Domine" is followed by the "Hostias," a lovely choral melody which leads to the "Sanctus," a sublime piece of harmony closing with a fugued "Hosanna." The "Benedictus," which follows it, is a solo quartet plaintive and solemn in character, but full of sweet and rich melodies magnificently accompanied.
The "Agnus Dei" closes the work, a composition of profound beauty, with an accompaniment of mournful majesty, developing into a solemn, almost funereal strain on the words "Dona eis requiem," and closing with the fugue of the opening "Kyrie" on the words "Lux æterna." "Written under the [244] inspiration of death" might well be inscribed on this great monument of musical skill, this matchless requiem of awful majesty and divine beauty. In its own unity, its perfection of form and design, its astonishing skill, from the opening fugue of the "Kyrie" to its repetition in the finale, may be found the proof that Mozart and no other wrote the entire score, and that every thought and idea in it are the inspired work of the dying master.
[245]
PAINE.
John K. Paine, one of the very few really eminent American composers, was born at Portland, Me., Jan. 9, 1839. He studied the piano, organ, and composition with Kotzschmar in that city, and made his first public appearance as an organist, June 25, 1857. During the following year he went to Germany and studied the organ, composition, and instrumentation with Haupt and other masters in Berlin. He returned to this country in 1861 and gave several concerts, in which he played many of the organ works of the best writers for the first time in the United States. Shortly after his return he was appointed instructor of music in Harvard University, and in 1876 was honored with the elevation to a professorship and given a regular chair. He is best known as a composer, and several of his works have been paid the rare compliment of performance in Germany, among them his Mass in D and all his symphonies. The former was given at the Berlin Singakademie in 1867, under his own direction. Among his principal compositions are the oratorio [246] "St. Peter;" the Mass in D; the Centennial Hymn, set to Whittier's poem and sung at the opening of the Philadelphia Centennial Exhibition; the overture to "As You Like It;" "The Tempest," in the style of a symphonic poem; the symphony in C minor and "Spring" symphony; besides numerous sonatas, fantasies, preludes, songs, and arrangements for organ and piano. His larger orchestral works have been made familiar to American audiences by Mr. Theodore Thomas's band, and have invariably met with success. His style of composition is large, broad, and dignified, based upon the best classic models, and evinces a high degree of musical scholarship.
St. Peter.
"St. Peter," Mr. Paine's only oratorio,--and from the highest standpoint it may be said the only oratorio yet produced in this country,--was written in 1872-73, and first performed at Portland, Me., in June of the latter year, under the composer's own direction. The solos were sung by Mrs. Wetherbee, Miss Adelaide Phillipps, Mr. George L. Osgood, and Mr. Rudolphsen. It was again produced with great success at the third Triennial Festival of the Boston Handel and Haydn Society, May 9, 1874, with Mrs. J. Houston West, Mr. Nelson Varley, Miss Phillipps, and Mr. Rudolphsen in the principal parts.
The establishment of Christianity, illustrated by the four principal scenes in the life of St. Peter, forms the subject of the oratorio. It is divided into two parts, and these are subdivided as follows: Part I. The Divine Call; The Denial and Repentance. Part II. The Ascension; Pentecost. The overture, a short adagio movement expressive of the unsettled spiritual condition of the world prior to the advent of Christianity, leads directly to the opening chorus, "The Time is fulfilled," which develops not only this subject, but also a second, "Repent, and believe the glad Tidings of God," in a masterly manner. The chorus, written in a very noble style, is followed by the tenor recitative, which describes the divine call of our Lord to Simon and Andrew as "He walked by the Sea of Galilee." It prepares the way for a soprano aria ("The Spirit of the Lord is upon me") which announces the glad tidings they are commissioned to deliver. Twelve male voices, representing the Disciples, accept the call in the chorus, "We go before the Face of the Lord," which is beautifully accompanied by and interwoven with the full chorus, closing with the smoothly flowing chorale, "How lovely shines the Morning Star." Then ensues the first dramatic scene. To the question of the Saviour, "Who do men say that I am," the twelve male voices first reply, followed by Peter in a few bars of very effective recitative, "Thou art the Christ." A tenor arioso, declaring the foundation of the Church "upon this rock," is followed by a noble [248] and exquisitely chaste bass aria for Peter ("My Heart is glad and my Spirit rejoiceth"), the scene ending with the powerful chorus, "The Church is built upon the Foundation of the Apostles and Prophets." The next scene, "The Denial and Repentance," opens with the warning to Peter that he will deny his Lord, and his remonstrance, "Though I should die with thee," which is repeated by the Apostles. These brief passages are followed by a very pathetic aria for tenor ("Let not your Heart be troubled") and a beautifully worked-up quartet and chorus ("Sanctify us through Thy Truth"). A contralto solo announces the coming of "Judas with a great multitude," leading Jesus away to the High Priest, and is followed by the very expressive chorus, "We hid our Faces from him." The scene of the denial is very dramatic, the alternating accusations of the servants and the denials of Peter being treated with great skill; it closes with a very effective contralto recitative, illustrating the sad words: "And while he yet spake, the cock crew. And the Lord turned, and looked on Peter; and he remembered the word of the Lord, and he went out and wept bitterly." An orchestral interlude follows, in the nature of a lament, a minor adagio full of deep feeling. It is followed by an aria for Peter ("O God, my God, forsake me not"), which is cast in the same strain of lamentation as the orchestral number which precedes and really introduces it. At its close a chorus of Angels, sopranos, and altos, with harp accompaniment ("Remember, [249] remember from whence thou art fallen"), is heard warning Peter, augmented on the introduction of the second subject ("And he that overcometh shall receive a Crown of Life") by the full chorus. This chorus is followed by a beautiful aria for alto ("The Lord is faithful and righteous to forgive our Sins"); and then a massive chorus, which is fairly majestic ("Awake, thou that sleepest"), closes the first part.