George P. Upton

“ A beautiful terzetto describes with inimitable grace the gently sloping hills covered with their verdure, the leaping of the fountain into the light, and the flights of birds, and a bass solo in sonorous manner takes up the swimming fish, closing with "the upheaval of Leviathan from the deep," who disports himself among the double-basses. This leads to a powerful chorus, "The Lord is great." The next number describes the creation of various animals; and perhaps nothing that art contains can vie with it in varied and vivid description. ”

“ So vividly colored is this music that one can well fancy the sorrowful Elizabeth as she stands gazing at the band of knights, with Ludwig at their head, slowly riding away, pennons fluttering in the breeze, and lances and mail glittering in the sunlight.
In the fourth scene a slow and mournful movement, followed by an allegro ominous and agitated in style, introduces the Landgravine Sophie, the evil genius of the Wartburg. The tidings of the death of Ludwig have come, and with fierce declamation she orders Elizabeth away from the castle. ”

“ The two solo voices join in a lament of a most touching nature, accompanied by the chorus exclaiming in short, hurried phrases, "Let Him go! Hold! Bind Him not!" until at last the double chorus bursts in like a tempest, accompanied with the full power of the instruments, expressing the world's indignation at the deed which is to be committed, in the words:--
"Ye lightnings, ye thunders, in clouds are ye vanished! ”

“ The last scene, "The Resurrection," is a powerful and massive chorus, full of mighty accords, typical of the final triumph of Christianity, and closing with a majestic "Amen" built up on the opening motive of the original introduction. "It is," says Nohl, "a cycle of scenes such as only the victorious mastery of the subject by inward perception can give, and such as only the artist can draw who dominates all the conditions apart like a king, and has reconciled his soul with the absolute truth and power of the Eternal." ”

“ It is Nature in her chaotic state, struggling into definite form. Gradually instrument after instrument makes an effort to extricate itself, and as the clarinets and flutes struggle out of the confusion, the feeling of order begins to make itself apparent. The resolutions indicate harmony. At last the wonderful discordances settle, leaving a misty effect that vividly illustrates "the Spirit of God moving upon the face of the waters." Then, at the fiat of the Creator, "Let there be Light," the whole orchestra and chorus burst forth in the sonorous response, "And there was Light." ”

“ Again Adam and Eve in successive solos, finally uniting, join with the choir in extolling the goodness of God; and as they close, all take up the beautiful and majestic pæan, "Hail, bounteous Lord! Almighty, hail!" As the angelic shout dies away, a tender, loving dialogue ensues between Adam and Eve, leading to the beautiful duet, "Graceful Consort," which is not only the most delightful number in the work, but in freshness, sweetness, and tenderness stands almost unsurpassed among compositions of its kind. ”

“ 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. ”

“ His only sacred music is the short oratorio, "The Woman of Samaria," and four anthems: "Now, my God, let, I beseech Thee," "Remember now thy Creator," "O that I knew," and "The Fool hath said in his Heart." It has been well said of him: "In his whole career he never condescended to write a single note for popular effect, nor can a bar of his music be quoted which in style and aim does not belong to what is highest in musical art." ”

“ His style was studied by Beethoven, and so closely imitated that the music of his first period, if published without autograph, would readily be attributed to Mozart. His style was so spontaneous and so characteristic that it has been well said there is but one Mozart. The distinguishing trait of his music is its rich melodic beauty and its almost ravishing sweetness. His melody pours [236] along in a bright, unbroken stream that sometimes even overflows its banks, so abundant is it. ”

“ Perhaps it may be expected by some, that I could say something concerning rules for composition; to these I answer that Nature is the best Dictator, for all the hard dry studied rules that ever were prescribed will not enable any person to form an Air any more than the four and twenty letters, and strict Grammatical rules will qualify a scholar for composing a piece of Poetry, or properly adjusting a Tragedy without a Genius. It must be Nature; Nature must lay the Foundation, Nature must give the Thought. ”

“ It was quite evident at the first rehearsal in London that they liked it, and liked to sing and play it; but I own I was far from anticipating that it would acquire such fresh vigor and impetus at the performance. Had you only been there! During the whole two hours and a half that it lasted, the large hall, with its two thousand people, and the large orchestra were all so fully intent on the one object in question that not the slightest sound was to be heard among the whole audience, so that I could sway at pleasure the enormous orchestra and choir, and also the organ accompaniments. ”

“ In its combination of the symphony and the voice parts, the one growing out of the other and both so intimately connected, it stands almost alone. Some critics have condemned Mendelssohn for imitating Beethoven's Choral Symphony, though in that colossal work the chorus is not only subordinate to the symphony, but is even trifling in length as compared with it, and very inferior in style. While in Mendelssohn's work the symphony is subordinated to the choral part, and serves only as an introduction to it, they are yet conventionally connected ”

“ He died in Paris, March 8, 1869.
The Requiem.
Ferdinand Hiller writes in his "Künstlerleben:" "Hector Berlioz does not belong to our musical solar system; he does not belong to the planets, neither to the large nor to the small. He was a comet, shining far, somewhat eerie to look at, soon again disappearing; but his appearance will remain unforgotten." The Requiem ("Messe des Morts") exemplifies Hiller's words. It is colossal, phenomenal, and altogether unique. It is not sacred, for it never came from the heart. It is not solemn, though it is a drama of death. ”

“ The child displayed a voice so beautiful that in his sixth year he was allowed to study music, and was also given a place in the village church-choir. Reutter, the capellmeister of St. Stephen's, Vienna, having heard him, was so impressed with the beauty of his voice that he offered him a position as chorister. Haydn eagerly accepted it, as it gave him opportunities for study. While in the service of St. Stephen's he had lessons on the violin and piano, as well as in composition. When his voice broke, and his singing was of no further value, he was thrown upon the tender mercies of the world. ”

“ In 1741 he began "The Messiah," the most sublime of all [22] his oratorios and one of the profoundest works of human genius in music. It still holds its place upon the stage as one of the grandest expressions of human aspiration and divine truth, and no Christmas is complete without its performance. Other works followed it, among them "Samson," "Joseph," "Belshazzar," "Judas Maccabæus," "Joshua," and "Theodora," which Handel considered his best work; but none of them equalled "The Messiah," in which his genius reached its climax. ”

“ There is a final controversy between Abraham and Nimrod, and as the latter orders the patriarch to be thrown from the tower, the storm breaks, and amid the shrieks of the chorus ("Horror! horror") and the tremendous clangor of organ and orchestra on the theme already developed in the opening, the tower is destroyed.
The tumultuous scene is followed by Nimrod's lament ("The Tower whose lofty Height was like my State") , a bass aria of great power, and reaching a splendid climax. Abraham, in an exultant strain ("The Lord is strong in Might") , proclaims God's purpose to scatter the people. ”

“ He stands out clothed with all the noble attributes accredited to him in the Bible,--'stern and inflexible in his teaching, yet bowing before him whose message he had to promulgate.' A halo of grandeur surrounds the ascetic of the desert as he hurls anathemas upon the corruptors of Israel; or as, in the true spirit of the ancient prophets of his race, he rebukes Herod under the roof of that monarch's palace. No greater hero could a musician wish for as a source of inspiration, or as a means of exciting interest. ”

“ But the enthusiasm would be checked by no rules; when the heart is full, regulations must stand aside. It was a noble scene, the hall filled with men, the galleries gay with ladies, like so many tulip-beds, added to the princely music and their thundering bravas."
Mendelssohn himself on the day after the performance writes to his brother in Berlin:--
"No work of mine ever went so admirably the first time of execution, or was received with such enthusiasm by both the musicians and the audience, as this oratorio. ”

“ After a brief but majestic instrumental introduction, the voices enter upon the "Requiem,"--a beautiful and solemn strain. The movement is built upon three melodies set to the words, "Requiem æternam," "Tu decet Hymnus," and the "Kyrie," the accompaniment of which is very descriptive and characteristic. The "Kyrie" is specially impressive, the chant of the sopranos being answered by the tenors and basses in unison, and the whole closing with a dirge-like movement by the orchestra.
The "Dies Iræ" is the most spirited as well as impressive number of the work. ”

“ Then ensue three simple phrases, the middle one in plain counterpoint, which form the groundwork for the "Hallelujah." These phrases, seemingly growing out of each other, and reiterated with constantly increasing power, interweaving with and sustaining the "Hallelujah" with wonderful harmonic effects, make up a chorus that has never been excelled, not only in musical skill, [148] but also in grandeur and sublimity. After listening to its performance, one can understand Handel's words: "I did think I did see all heaven before me, and the great God himself." ”

“ His first number ("Honor and Arms scorn such a Foe") is one of the most spirited and dashing bass solos ever written. Samson replies with the majestic aria, "My Strength is from the living God." The two solos reach their climax in the energetic duet between the giants, "Go, baffled Coward, go." Micah then suggests to Harapha that he shall call upon Dagon to dissolve "those magic spells that gave our hero strength," as a test of his power. The recitative is followed by an impressive six-part chorus ("Hear, Jacob's God") in the true church style. ”

“ The soprano solo is a delightful melody, sung to a delicate accompaniment of the strings, with occasional chords on the harp, and based upon the beautiful second typical motive, which the composer styles "The Motive of Happiness." The chorus, "Which once to Abraham," is set in fugue form, which is the conventional style among composers with this number; but, as in "The Redemption," whenever Gounod employs the fugue form, he drops it as soon as the four voices have fairly launched themselves. ”

“ A presto ingeniously represents the quick movements of the [167] stag. The horse is accompanied by music which prances and neighs. A quiet pastoral movement, in strong contrast with the preceding abrupt transitions, pictures the cattle seeking their food "on fields and meadows green." A flutter of sounds describes the swarms of insects in the air, and from this we pass to a long, undulating thread of harmony, representing "the sinuous trace" of the worm. This masterpiece of imitative music is contained in a single recitative. ”

“ It was full of grace, nobility, breadth, and dignity; but it combined with these qualities a fire, an intensity, and a passion which sometimes invested the piano with orchestral effects, and again transformed it into an instrument that wept, laughed, sang, and danced. His power was irresistible and electric. As a composer he ranks very high. His greatest works are the Ocean Symphony, Dramatic Symphony, and a character sketch for grand orchestra called "Ivan the Terrible;" ”

“ And he has solved the difficult problem as if it were child's play, with that inexhaustible wealth of resource which was most at his command precisely when he had to depict the sadder emotions. In no other of his works (unless it be in the 'Christmas Oratorio') do we find such a store of lovely and various solo airs, nor did Bach even ever write melodies more expressive and persuasive than those of the arias in the 'St. Matthew Passion.'"
As we have said, the music is arranged for double chorus, and each chorus has its own orchestra and its own organ accompaniment. ”