To end this fragmentary sketch, we may fairly say that oratorio should contain two important elements:—
I. The narrative form, as subject of the whole work.
II. The didactic and contemplative, as interpolations in soliloquy, or in chorus of adoration, prayer, and warning.
A third element, the dramatic accessories of costume, scenery, and action, we have dispensed with, and, I think, happily so.
We find in these days in many nations, including our own dear country, composers are striving after this highest and noblest ideal; let us pray they may receive that strength necessary for so great a responsibility. There is none greater in music, and our hearts tell us that unless a composer knows and believes himself that the subject which in reverence he approaches is the truth itself, which he must proclaim and preach as a conviction of his own—we say that unless he thus incorporates himself in his work it is but mockery, and the result of it nothingness.
NOTES FOR NOVEMBER.
uring this month we get the finest effects of the changing tints of foliage; after a wet, windy summer the colours are poor, but fine and varied after dry calm weather.
These autumnal changes of colour are caused by decay and death; the life in the leaf enabled it to withstand certain chemical changes, which it can no longer resist as the vital force wanes, and the green colouring matter is either changed or destroyed.