The oratorio "Paradise Lost" was first produced in Vienna in 1859 by the Gesellschaft der Musikfreunde, a choral organization conducted by Rubinstein during his stay in that city. Like "The Tower [265] of Babel," it is entitled by the composer "a sacred opera," though it is in genuine oratorio form, and usually classed as such. The text is a very free transcription from Milton. The work is divided into three parts; but as the second is usually the only part given by oratorio societies, our sketch will be principally confined to that. The first part mainly concerns the defeat of Satan's forces by the legions of Heaven, and is remarkable for its vigorous instrumental treatment.
The second part is devoted to the creation, and is composed principally of choruses introduced by a few bars of recitative, invariably for the tenor, who acts the part of narrator. The first seven of these describe the creation of the earth. After a characteristic introduction, the tenor declares "Chaos, be ended!" whereupon the Angels sing a glowing tribute to light ("Upspringing, the darkened Air broke forth into radiant Brightness"). Again the tenor and chorus in a brief number describe the firmament. The third chorus ("Fierce raged the Billows") pictures the division of land and water with great vigor, accompanied by imitative instrumentation which indicates Rubinstein's skill as a water-painter quite as clearly as his great Ocean Symphony. In the fourth and fifth choruses the music vividly tells the story of the creation of the trees and plants and the appearance of the stars in the firmament. The sixth ("Gently beaming, softly streaming"), in which the Angels rejoice in the soft radiance of the moon, is short, but exceedingly tender and [266] beautiful. In the seventh ("All around rose the Sound of the Strife of Life"), we have a description of the awakening of life characterized by extraordinary descriptive power. This group of choruses, each one thoroughly fresh, original, and picturesque in its description, brings us up to the creation of man, which is the finest portion of the whole work. It begins with a long tenor recitative, "In all her Majesty shines on high the Heaven," reaching a fine crescendo at the close ("And lo! it was Man"). The Angels reply with their heavenly greeting, "Hail to Thee, O Man." A short dialogue follows between Adam and the Narrator, and the Angels renew their greeting, this time to Eve. This leads up to a lovely duet between Adam and Eve ("Teach us then to come before Thee"), which is very gracefully constructed, and tenderly melodious in character. The final number is a chorus of the Angels ("Clear resounded the Trumpets of Heaven"), beginning in broad, flowing, jubilant harmony, then developing into a fugue on the words "Praise the Almighty One," built up on a subject full of exultation and grandeur, and closing with a Hallelujah delivered with mighty outbursts of power.
The third part is devoted to the fall of Adam and Eve and their banishment from Eden, closing with the announcement of the ultimate salvation of mankind. Both the Almighty and Satan appear in this part, the former's music being sung by the tenor voice; though, curiously enough, the latter's music is much the more attractive.
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SAINT-SAËNS.
Charles Camille Saint-Saëns, famous as composer, pianist, and critic, was born in Paris, Oct. 9, 1835. He began his musical studies at a very early age. In his seventh year he took piano lessons of Stamaty and studied harmony, and in his twelfth was a student at the Conservatory, where he took two organ prizes; though he failed on two occasions in his competition for the Prix de Rome. His first symphony appeared in 1851, and was performed with success. In 1853 he was appointed organist of the Church of St. Merri, and five years later secured a like position at the Madeleine, which he filled with high honor for nineteen years, finally resigning in favor of Theodore Dubois. In 1867 he was awarded a prize for his cantata "Les Noces de Prométhée" by the Paris International Exhibition, and the next year he was received with distinguished honor at the Artists' Meeting in Weimar, both as pianist and composer. His operatic career began about this time. "La Princesse jeune" appeared in 1872, and "Le Timbre [268] d'Argent" in 1877; but neither was successful. His next work was the sacred drama "Samson et Dalila," produced at Weimar in the latter part of 1877; followed by "Étienne Marcel" at Lyons in 1879. In addition to his operas he has written several cantatas, among them "The Deluge" and "La Lyre et la Harpe," composed for the Birmingham Festival of 1879; three symphonies; four symphonic poems, "La Rouet d'Omphale," "Phaéthon," "Danse Macabre," and "La Jeunesse d'Hercule;" a large number of concerted pieces with orchestra, songs and romances, as well as chamber-music and compositions for piano and organ. His sacred music includes the following works: mass for four voices, Requiem Mass, "Oratorio de Noël," "Tantum Ergo," the Nineteenth Psalm for solos, chorus, and orchestra, and many minor pieces for choir use. He has been a prolific writer, but his fame thus far rests upon his instrumental music. He has travelled much as a virtuoso in Russia, Spain, Germany, and England, conducting his own compositions, and also giving piano and organ recitals, in which he has met with great success. He also ranks high as a musical critic, and many of his contributions to the Parisian press have been collected, with a view to publication in a separate volume. Of late he has obtained considerable notoriety by his controversial articles on the Wagner question,--in which, however, national prejudice sometimes has been more apparent than cosmopolitan judgment. As a composer, he is unquestionably more learned than are [269] any of his native contemporaries, and he has made a closer study of Bach than even Gounod has. His descriptive powers are very strong, as is evidenced by the symphonic poems which Mr. Thomas has introduced into this country. They even go to the verge of the sensational; but, on the other hand, the study of his "Oratorio de Noël" and of his transcriptions from Bach will show that he is a master of counterpoint and thematic treatment.
Christmas Oratorio.
"Noël," Saint-Saëns' Christmas oratorio, in dimensions hardly exceeds the limits of a cantata, but musically is constructed in oratorio style. Its subject is the nativity, combined with ascriptions of praise and a final exultant hallelujah. The work is short, but very effective, and is written for five solo voices and chorus, with accompaniment of strings and organ, and the harp in one number. It opens with a pastoral symphony of a very melodious character. The first number is the recitative, "And there were Shepherds," including the angelic message and the appearance of the heavenly hosts, the subject being divided among the tenor, alto, soprano, and baritone, and leading up to the first chorus ("Glory now unto God in the highest"), which is quite short, but beautifully written. The next number is an aria for mezzo-soprano ("Firm in Faith"), which is very simple, but graceful in its melody. The fourth number is a tenor solo and [270] chorus ("God of all"), written in the church style, followed by a soprano and baritone duet ("Blessed, ever blessed"), which is very elaborate in its construction, and highly colored. The next number is the chorus, "Wherefore are the Nations raging," which is intensely dramatic in its effect, especially for the manner in which the voice-parts are set off against the agitated accompaniment. The contrasts also are very striking, particularly that between the tumultuous opening of the chorus and its tranquil close in full harmony on the words, "As it was in the Beginning." The next number is a lovely trio for tenor, soprano, and baritone ("Thou art from first to last"), with harp accompaniment throughout, which gives to it an extremely graceful and elegant effect. It is followed by a quartet ("Alleluia"), in which the theme is introduced by the alto. The Alleluia is then taken up by all four parts (soprano, mezzo-soprano, alto, and baritone), in full, rich harmony, the alto closing the number alone in a very effective adagio passage. The next number is a quintet and chorus, the prelude to which is a repetition of parts of the opening pastoral. It is also utilized in the voice parts. The number is very elaborate in its construction and development, and is followed by a short final chorus ("Raise now your Song on high") in simple church style. Short as the work is, it is very beautiful, and full not only of genuine service music, but also of graceful conceits and delicate fancies, both in the voice parts and the accompaniments.
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