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The Light of Life

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The Light of Life ELGAR THE LIGHT OF LIFE Judith Howarth soprano London Symphony Chorus Linda Finnie contralto London Symphony Orchestra Arthur Davies tenor John Shirley-Quirk baritone Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Sir Edward Elgar (1857 – 1934) The Light of Life, Op. 29 (Lux Christi) 1 1 Meditation – 5:29 2 2 Chorus and Solo: ‘Seek Him that maketh the seven stars and Orion’ – 6:56 3 3 Recitative and Chorus: ‘As Jesus passed by’ – 1:24 4 4 Solo: ‘Be not extreme, O Lord, to mark amiss’ – 3:05 5 5 Solo: ‘Neither hath this man sinned, nor his parents’ – 2:59 6 6 Chorus: ‘Light out of darkness Thou hast brought!’ 5:05 7 7 Recitative: ‘And when He had thus spoken’ – 1:19 8 8 Women’s Chorus: ‘Doubt not thy Father’s care!’ 2:16 9 9 Soli and Chorus: ‘He went his way therefore, and washed, and came seeing’ – 5:20 10 10 Solo: ‘As a spirit didst Thou pass before mine eyes’ 4:32 11 11 Recitative and Chorus: ‘They brought him to the Pharisees’ – 2:42 3 12 12 Solo: ‘Thou only hast the words of life!’ – 2:44 13 13 Soli and Chorus: ‘But the Jews did not believe’ – 3:37 14 14 Solo and Women’s Chorus: ‘Woe to the shepherds of the flock’ 3:01 15 15 Recitative and Soli: ‘Jesus heard that they had cast him out’ – 2:30 16 ‘I am the Good Shepherd’ 4:29 17 16 Chorus: ‘Light of the World, we know Thy praise’ 5:04 TT 62:48 Judith Howarth soprano (The Mother of the Blind Man) Linda Finnie contralto (Narrator) Arthur Davies tenor (The Blind Man) John Shirley-Quirk baritone (Jesus) London Symphony Chorus Stephen Westrop chorus master John Scott organ London Symphony Orchestra Richard Hickox 4 Elgar: The Light of Life During 1895 Edward Elgar, with the Three and the oratorio was complete in vocal score Choirs Festival at Worcester in 1896 in mind, early in April. Novello’s agreed to publish both asked an Anglican clergyman, the Rev. Edward works. They had asked for the oratorio to be Capel Cure, for a libretto on a biblical subject. kept under an hour in length and queried the Capel Cure had played chamber music with Latin title lest an Anglican cathedral festival Elgar while he was curate of Holy Trinity, might detect Roman Catholic bias. Elgar Worcester in the 1880s. He was now vicar suggested The Light that Shineth, but readily of Bradninch in Devon. He replied with three accepted Novello’s suggestion of The Light suggestions, of which he thought the best of Life: was the story of Christ healing the blind man: much better as it is in the chapter of Call it Lux Christi… it is a perfect story, St John used in the work: we had thought descriptive & dramatic – would almost of this name but had an idea that it had arrange itself for musical treatment. been used. Elgar agreed and the finished libretto reached Orchestration was completed by 20 June him in August 1895 while he and his wife, and two days later Elgar conducted a choral Alice, were on holiday in Garmisch in Bavaria. rehearsal in Worcester. The London rehearsal Some sketches for the music were composed for soloists and orchestra on 3 September at once. was attended by Sir Walter Parratt, Master In November the secretary of the of the Queen’s Musick, and others who, Worcester Festival invited Elgar to play golf Alice Elgar confided to her diary, were ‘quite with him so that they could discuss Elgar’s carried away with enthusiasm for E’s great offer of a work for the following summer. music, also soloists’. The first performance Throughout the autumn Elgar worked on his took place on 8 September in Worcester cantata King Olaf, commissioned by the North Cathedral, with Edward Lloyd (later to be the Staffordshire Festival at Hanley for October first Gerontius), Watkin Mills, Anna Williams, 1896, and on Lux Christi. The vocal score of and Jessie King as soloists. The music was the cantata was finished on 21 Match 1896 well received, most criticism being reserved 5 for the libretto. A notice in the Worcestershire Elgar began Gerontius), nor by the assurance Echo by Edward Vine Hall, precentor of the with which the orchestra is handled in the cathedral and also a conductor, singled later work, nor by the imaginative use of the out the words ‘Hadst Thou a son, O Lord’ in chorus, prophetic at some points of his last the solo of the Mother of the Blind Man as choral work, The Spirit of England (1916). There ‘somewhat deficient in reverence’. Novello’s are passages, notably the tenor’s ‘As a spirit agreed and wrote to Capel Cure, who did not didst Thou pass before mine eyes’, at which agree and said so vehemently. They refused the music seems to belong not to a cathedral to deal with him, but Elgar intervened and the festival but to a Massenet opera. passage was revised. Elgar called the prelude to the oratorio a Three years later, the Worcester Festival ‘Meditation’. It contains the work’s principal hoped for the ‘Gordon’ Symphony from Elgar Leitmotive. The third of them, in G major and but it was not forthcoming, so The Light of to be played dolcissimo, and also used in Life was repeated. For this performance Elgar The Apostles, represents Jesus as giver of revised the solo parts extensively. A critic the Light of the World and pervades the found them whole work in some shape or other. After the all the easier and more effective… though chorus’s entry, the voice of the Blind Man is one still feels that the composer has more heard praying for light, anticipating Gerontius sympathy with his instruments than with very noticeably at the phrase ‘I cannot prove / his voices. Thy truth and love’. Elgar uses the device of a The Light of Life is the prelude to the contralto narrator, with a soprano singing the uncompleted trilogy of New Testament Mother of the Blind Man, whose solo ‘Be not oratorios, which occupied Elgar in the first six extreme, O Lord’ is accompanied by complex years of the twentieth century. Some of its string writing and decorative woodwind. When themes resemble those in The Apostles and Jesus (baritone) is first heard, it is immediately The Kingdom. They come, to quote Elgar, ‘from evident that Elgar’s treatment of the Saviour is the same oven’. Listeners to The Light of Life to be virile and unsanctimonious. need no longer be surprised by the fluency The restoration of the Blind Man’s sight is of the writing for solo tenor in The Dream of prosaically passed over and is followed by a Gerontius (the tenor part in The Light of Life choral fugue of which Elgar told an interviewer was, after all, revised only a few months before in the summer of 1896: 6 I thought a fugue would be expected of studies with Patricia Macmahon. She won me. The British public would hardly tolerate numerous awards before being awarded oratorios without a fugue. So I tried to give a special bursary – the first of its kind – to them one. Not a ‘barn‑door’ fugue, but one join The Royal Opera, Covent Garden as a with an independent accompaniment. principal soprano in the 1985 / 86 season. In There’s a bit of canon, too, and in short, I the 1989 / 90 season she sang her first major hope there’s enough counterpoint to give roles with the Company, including Musetta the real British religious respectability! (La bohème), Ännchen (Der Freischütz), In 1933 he told Delius that writing oratorios and Gilda (Rigoletto). She has since sung was ‘the penalty of my English environment’. Adele (Die Fledermaus), Marguerite de Valois Further pointers to the future can be (Les Huguenots), Liù (Turandot), Norina heard in the orchestral introduction to the (Don Pasquale), Marzelline (Fidelio), and contralto’s ‘Thou only hast the words of life!’ Morgana (Alcina) with the Company. and in the interlude, ‘Woe to the shepherds of Judith Howarth has a wide concert the flock’ for soprano and women’s chorus. repertoire and has appeared with the Boston The closing section begins with a dialogue Symphony Orchestra, Vienna Symphony between Jesus and the Man who was blind. Orchestra, London Philharmonic Orchestra, Significantly, the Man’s worship of Christ as London Symphony Orchestra, BBC Symphony divine is expressed by the orchestra in the Orchestra, English Chamber Orchestra, City of most beautiful example of mature Elgar in Birmingham Symphony Orchestra, and Royal the work. It is followed by Jesus’ ‘l am the Scottish National Orchestra, and with the Good Shepherd’, with a solo violin leading the Monteverdi Choir and Orchestra in Paris and accompaniment. It is here, rather than in the Innsbruck. In 1989 she made her American choral apotheosis of the ‘Light of the World’ debut in Seattle in a gala concert with theme, that one is acutely aware of genius Plácido Domingo, and appeared again with about to burst into flame. Domingo in 1990 and 1992. She has appeared in the 1991, 1992, and 1993 BBC Promenade © Michael Kennedy Concerts in London. Judith Howarth studied at the Royal Scottish Linda Finnie was born in Scotland and Academy of Music and Drama and currently studied at the Royal Scottish Academy 7 of Music and Drama. In 1974 she won the has since appeared there, and with English Kathleen Ferrier Memorial Award, and National Opera, in leading roles in operas three years later the Kathleen Ferrier Prize by Donizetti, Gounod, Janáček, Massenet, at the ’s‑Hertogenbosch International Puccini, and Verdi.
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