Variety of declamation in Handel's oratorio.
I have not enumerated all the elements which enter into a meritorious performance, nor shall I discuss them all; only in passing do I wish to direct attention to one which shines by its absence in the choral performances not only of America but also of Great Britain and Germany. Proper pronunciation of the texts is an obvious requirement; so ought also to be declamation. There is no reason why characteristic expression, by which I mean expression which goes to the genius of the melodic phrase when it springs from the verbal, should be ignored, simply because it may be difficult of attainment from large bodies of singers. There is so much monotony in oratorio concerts because all oratorios and all parts of any single oratorio are sung alike. Only when the "Hallelujah" is sung in "The Messiah" at the gracious Christmastide is an exaltation above the dull level of the routine performances noticeable, and then it is communicated to the singers by the act of the listeners in rising to their feet. Now, despite the structural sameness in the choruses of "The Messiah," they have a great variety of content, and if the characteristic physiognomy of each could but be disclosed, the grand old work, which seems hackneyed to so many, would acquire amazing freshness, eloquence, and power. Then should we be privileged to note that there is ample variety in the voice of the old master, of whom a greater than he said that when he wished, he could strike like a thunderbolt. Then should we hear the tones of amazed adoration in
of cruel scorn in
of boastfulness and conscious strength in
