as
A THEMATIC ANALYSIS OF EDWARD ELGAR'S ORATORIO,
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Everett Waddell Burge, B. A.
Denton, Texas
August, 1962 TABLE OF CONTENTS
Page LIST OF ILLUSTRATIONS iv
Chapter
I. INTRODUCTION .. . . . 1
II. BIOGRAPHICAL SKETCH .4
III. A THEMATIC STUDY OF "THE APOSTLES'" .. .14
Part One Prologue The Calling of the Apostles By the Wayside By the Sea of Galilee
Part Two The Betrayal Golgotha At the Sepulchre The Ascension
BIBLIOGRAPHY . 65
iii LIST OF ILLUSTRATIONS
Figure Page
1. The Spirit of the Lord . . . . . 19
2. Anointing ...... 20
3. Christ, the Man of Sorrows ...... 21
4. Gospel ...... 21
5. Christ's Mission ...... 22
6. Light of Life...-...... -.. - - . . 22
7. Preachers - --.-...... 23
8. Variation of Preachers ...... 23
9. Comfort ...... 23
10. The Church.-...... 24
11. Christ, the Son of God ...... 24
12. Evangelist - ...... 26
13. Pastoral..-.-...... 26
14. Variation of Pastoral -...... 26
15. The Prayer of Christ . .-. . . 27
16. Angel ...... -...... 27
17. Dream of Gerontius...... 28 18. Prophecy...-....-...... 28
19. Apostles ...... 29
iv Figure Page
20. Variation of the Apostles ...... 29
21. Gregorian tones ...... 30
...... 30 22. Christ's Loneliness 31
23. Christs Passion ...... 31
24. Variation of Christ's Passion . . 31
25. New version of the Christ motive . . 32
26. Divine Blessing ...... 33
27. Shofar...... 33
28. Variation of Shofar ...... 33
29. String figure ...... 34
30. Soldiery ...... 34
31. Watchers ...... 34
32. Morning Psalm . . 35
33. Light and Life ...... 35
34. Morning Glory ...... - - 36
35. Climax ...... - - 36
36. Fellowship ...... 37
37. Choosing the Weak ...... 37
38. Apostles1 Faith ...... 38
39. Earthly Kingdom ...... 38
40. Wayside ...... 39
V Figure Page
41. Beatitudes ...... - . - . 40
42. Judas ...... - - - - - . - 40
43. Longing ...... ------. - 41
44. Strength of Faith ...... 41
45. Ship ...... 42
46. Mary Magdalene ...... 42
47. Anguish Prayer ...... 43
48. Humbleness...... 43
49. Forgiveness...... 44
50. Sin...... * 44
51. Dance ...... 45
52. Feasting ...... 45
53. Revelry ...... 46
54. Joy ...... 46
55. Storm ...... 48
56. Breakers ...... 48
57. Doubt ...... 49
58. Worship ...... 49
59. Peter ...... 50
60. Our Father ...... 51
61. Judgment ...... 51
vi Figure Page
62. Mary's Consolation...... 52
63. Judas ] Temptation0...... 54
64. Resolution,...... -.-.55
65. Rabble...... -...--.-.-. 55
66. Silver Pieces...... 56
67. Captors...... 56
68. Questioning ...... -. 57
69. The Priests ...... 58
70. Judas' Despair...... 58
71. Indifference ...... 59
72. Golgotha...... --..... -.-.-.-....60
73. Mary's Grief...... -.. .. 60
74. Christ's Glory...... -... -.62
75. Christ's Peace*...... 63
vii CHAPTER I
INTRODUCTION
It is the object of this paper to review Sir Edward Elgar's life as a composer, and to discuss and study the thematic elements of his oratorio,
"The Apostles." To understand and evaluate the significance of any per son's rise to fame in his own field, it is necessary to reconstruct the surroundings from which he came.
If a study of the musical conditions had been made when Elgar's development as a composer was starting to draw attention, it would have been noted that the British public was prepared to listen to music in newer forms only if it was from a country other than England. There was very little done or said to encourage any music in a modern character if it was composed by someone from England.
The one acknowledged British composer in Elgar's early years was
Arthur Sullivan, who maintains a high place in English music history. He took London by storm in the early sixties, but in doing so did not try to break away from the methods of composition he had been taught. His per sonality and melodic gifts were exceptional and in spite of all offers to write for other nations, he remained true to England.
Sullivan's fame was made with his comic operas. Although serious
English music of the time, including his own and that of other writers, 2
has failed to maintain a permanent place in music history, Sullivants comic operas have not faded nor grown old-fashioned.
Sullivan seemed to prove to the English musical public that the proper place for English music was the light-opera stage. This made
it extremely hard for the more progressive composers in British music
of this period to make any progress. Such composers as Alexander
Mackenzie, HIubert Parry and Charles V. Stanford found it impossible
to get any response from the musical public after Sullivan became strong
in his position of leadership. It is believed, however, that these com
posers produced works that helped to bring about the renaissance of
English music.
First was a cantata by Parry called "Prometheus Unbound, " which
was not very successful with the critics of that day. In 1881 Stanford
completed his opera, "The Veiled Prophet of Khorassan, " and because
it was produced in Germany it drew some attention from the British
public. A similar thing happened to Mackenzie's orchestral ballad,
"La Belle Dame sans Merci, "1 after its first performance by the
Philharmonic Society of London.
Nationalism in England's music started about the middle of the nine
teenth century. Edward Elgar was the first English composer in more
than two hundred years to gain international recognition for England.
The unusual thing about Elgar t s music was that it was not affected by
the folk song nor any technical characteristics that evolved out of the 3
national music tradition. He proved himself English for the effective way that he wrote cantatas and oratorios for chorus. The oratorio,
"The Dream of Gerontius, " is one of the most important among Elgar's choral works.
"The Apostles" (which will be thematically analyzed in Chapter III of this paper), and "The Kingdom" are two other important oratorios written by Edward Elgar. These works were to be part of a trilogy on which he was working. The trilogy was not completed, however, before Elgar's death.
The entire work, "The Apostles, " is concerned with the choosing of the twelve apostles, and with various scriptural characters up to the time of Christ's crucifixion. "The Kingdom" is a continuation of
"The Apostles," and the two works are connected by the use of some of the same themes. Elgar planned to call the third part of the trilogy
"The Judgment. "
Elgar wrote music for a certain period in history. Today his music may seem a little out of place because people do not always listen to it with an understanding of the period for which it was written and an awareness of the great amount of genius required to write such music.
His music should be given a fresh hearing, and should be renewed by other groups outside the few choral groups in England who now perform the powerful music of Sir Edward Elgar. CHAPTER II
BIOGRAPHICAL SKE TCH
In the year 1857 on June 2, Edward William Elgar was born at the village of Broadheath near Worcester, England.
Elgar ts father, W. H. Elgar, was a native of Dover and left there to join the music publishing business of Messrs. Coventry & Hollier in
Soho, London (5, p. 2). Having gained experience in this firm, he went to Worcester in 1841, and with the aid and partnership of his brother, established a music business there. He became organist of the Roman
Catholic Church of St. George, a position he retained for thirty-seven years. He made his influence felt in the musical life of Worcester by playing the violin in the orchestra engaged for the Festival of the Three
Choirs and taking part with either violin or piano in the musical activities of the town (5, p. 3). He married Anne Greening, a native of Weston in
Herefordshire, who was a lady with literary tastes. She read a great deal and retained what she read, and she was able to quote passages from books upon a variety of subjects. She used this ability to help educate her children (8, p. 3).
It may be gathered, then, that Edward Elgar, through his father's many musical interests and his mother's literary tastes, inherited much
4 5
that was to be of value in his future career. Elgar was not given any special attention in the matter of education, although he was sent to a ladies school where he received his elementary piano lessons (2, p. 16).
He was encouraged by his father to take up the violin, and was placed with a local violin teacher, Frederick Spray, in hope that he might add to the family earnings by playing the violin in the orchestra.
When Elgar left the music school at the age of fifteen, there was a proposal to send him to Leipzig to study music. The project received poor backing, and instead of going to Leipzig he entered the office of a firm of solicitors in Worcester (1, p. 909). Here he spent a year before he decided that he would be more in his element by helping his father in
the music store and in the organ loft. This kept him in contact with music, and by playing violin and piano he earned some extra money.
The small sums Elgar saved amounted to enough to enable him to travel
to London in 1879 for a few lessons with Adolf Pollitizer, a well-known
violinist of that day (1, p. 909). Pollitizer was extremely pleased with his new pupil and urged him to strive for a position as a solo violin player, but Elgar lost his confidence and abandoned his short-lived
aspiration of becoming a concert violinist.
In 1879 Elgar undertook one of the strangest tasks that could ever have fallen to the lot of a musician. He became bandmaster at the
Worcester Lunatic Asylum (3, p. 110). Because of the beneficial
effect of music upon those suffering from mental distress, the officials 6
and attendants at the asylum had organized a band. Elgar did not only conduct this band, but coached the players individually and was required to write a number of compositions for the assorted combination of instru ments to perform.
In 1881 Elgar played first violin in the orchestra at the Worcester
Festival and became very prominent in the musical life of that city. In addition to his teaching, his work at the lunatic asylum and his work at
St. George's Church, he was engaged to play first violin in Mr. Stockley's orchestra at Birmingham (5, p. 46). Stockley's concerts were great events, and it must have been very important in Elgar's gradual advance to receive this appointment.
It was not until 1884 that Elgar had any chance of showing his powers of musical leadership. In that year he became conductor of the Worces ter Amateur Instrumental Society (1, p. 909). In 1885 he gained further prominence in the musical life of the city by succeeding his father as organist of St. George's Church (4, p. 48). These appointments did not enable him to give up his teaching, but did establish him as an esteemed professional man in his own small circle.
In 1889 when Elgar was thirty-two years of age and still unknown to the larger musical world of England, he took the most decisive step of his career--he married (2, p. 23). Elgar's bride, Caroline Alice
Roberts, was the daughter of Major-General Sir Henry Gee Roberts
(1, p. 909). Her interests were musical and literary, and she showed 7
some ability in the writing of verse. As a companion she brought to
Elgar an encouragement which he had needed but had never experienced.
He became more and more dependent upon his partner as he came to the height of his musical career.
After his marriage, Elgar resigned his organ post at St. Georges and he and his wife moved to London. During their first two years there
Elgar wrote his first important orchestral work, the overture "Froissart"
(6, p. 497). The work was first performed at the Worcester Festival
in 1890. Although it was not very successful then, it marked an important
phase in the composer's development. In 1891 his short and bitter ex
perience with London conditions induced him to move to Malvern, where
for a period of thirteen years his steady activity as a composer continued
(2, p. 31).
Elgar was still active in teaching and was only able to find time for
creative work in the evenings. During the first five years of this period
he wrote a cantata called "The Black Knight, " an oratorio called the
"Light of Life" and a series of scenes for chorus and orchestra together
appeared as "King Olaf. " The oratorio was performed at the Worcester
Festival of 1896, and "King Olaf" was performed at the North Stafford
shire Festival at Hanley in the same year (2, p. 31).
In 1898 Elgar was commissioned to compose a large-scale choral
work for the Leeds Festival. The result of the commission was the
cantata "Caractacus. " It was not a complete success with the first 8
audience, but it was important because it showed some advance over the music that Elgar had written earlier.
There were two masterpieces written by Elgar which came to light in 1899 and 1900. They were destined to establish Elgar as one of the greatest composers in English music. Those two works were the
"Enigma" variations for orchestra, and the setting for soli, chorus and orchestra of Cardinal Newman's poem, "The Dream of Gerontius. "
In 1900 he was offered an honorary degree of Doctor of Music by
Cambridge University (4, p. 48). In 1901 he composed the first two
"Pomp and Circumstance" marches and also the "Cockaigne Overture. "
Meanwhile, Richard Strauss was passing enthusiastic compliments about
the public performance of "Gerontius" in Germany (4, p. 48). "Gerontius"
received so much praise that it was placed in the repertory of established
choral works side by side with "The Messiah" and "Elijah" (3, p. 110).
During this time, Elgar had not been wasting his energies. He was
busy completing another big sacred work, his oratorio called "The
Apostles. " This work was performed at the Birmingham Festival of
1903 with Hans Richter conducting. The style of the music and the
methods used were unlike those of "Gerontius. " The text was compiled
by Elgar from passages in the Scriptures.
The year 1904 was a very eventful one in Elgar's life. That was the
year he received an honorary degree of Doctor of Music from Durham
University. Also that year he was the hero of a three-day festival 9
devoted entirely to his works at which his new overture, "In the South," was performed. Following this performance the honor of knighthood was bestowed upon him by King Edward VII (8, p. 86).
The year 1905 brought some new experiences for Elgar. His fame as a composer had begun to spread east and west and had reached the
United States. In 1903 and 1904, performances featuring "The Dream of Gerontius" were given at Chicago and Cincinnati and drew a great deal of attention to the composer's works. America wanted to pay homage to the great composer, so Yale University asked Elgar to come to America to receive the honorary degree of Doctor of Music (8, p. 86).
In 1906, after his visit to America, Elgar was busy completing "The
Kingdom, " an oratorio which he had sketched in the previous year as a continuation of "The Apostles" (6, p. 498). This oratorio was intended to form the second section of a trilogy, but the third section never did materialize (6, p. 498). "The Kingdom" was produced and brought to a hearing at the Birmingham Festival of 1906.
Elgar t s first symphony was announced for performance in 1908.
The work had taken shape during Elgar's visit to Rome in 1907, and the scoring had been completed during the following year. Its production took place at a Halle Concert in the Free Trade Hall, Manchester, in
December of 1908. The symphony was dedicated to Hans Richter and it was Richter who conducted it. Its success was so marked and so immediate that the conductors of England gave it repeated hearings in 10
all parts of the country (1, p. 913). Because of its popularity, it has re mained in the regular repertory and is noted as one of the major works of modern English music.
t Elgar s next big accomplishment was his violin concerto. He had roughly sketched the concerto a few years before 1910, but had put it aside because he was not pleased with its effect. In 1910 he returned to it and through the advice from his friend, W. H. Reed, put it in its final form and completed the scoring. The concerto was performed for the first time, with Fritz Kreisler as soloist, at a concert of the Royal
Philharmonic Society at Queens Hall (5, p. 186).
In 1911 Elgar was awarded the Order of Merit, one of the highest marks of intellectual distinction it is possible for a man to receive in
England (2, p. 107). He was the first musician to be given this honor, a fact which placed him in a high position of eminence in his profession.
The year 1911 was also the year of the coronation of King George V.
For this occasion Elgar composed a march that was played as the royal procession left Westminister Abbey at the close of the coronation ser vice. His second symphony was composed that same year, but did not receive as warm a response from the audiences as did his first symphony
(4, p. 48).
During the year 1914 Elgar does not appear to have been very active in composition. He accepted many invitations to conduct his works in different parts of the country. When the Great War began, however, 11
Elgar's emotions were aroused in various ways. The war atmosphere caused him to produce some remarkable works. The first was an accom paniment to the recitation of a poem by Elime Cammaerts that was called
"Carillon" (5, p. 204). The performances of this composition brought in large sums for Belgian charities. The only other important compositions written at this time were three cantatas under the collective title of "The
Spirit of England". All three were settings of poems by Laurance Binyon and were called "The Fourth of August, " "To Women" and "For the
Fallen" (5, p. 205). In these cantatas Elgar reverted to the choral style of "The Apostles" and "The Kingdom.!!
During World War I, Elgar joined in the ranks of the Hampstead
Division as special constable and later volunteered in the Hampstead
Reserve (3, p. 111). He also enlisted his music in the war effort by setting war poems to music, writing two large works on martial subjects and producing "Polonia"l for the purpose of raising funds for the Polish relief (7, p. 29). After the war Elgar returned to serious musical work.
He became more objective in his writing, leading toward lighter forms and concentrated expressions. He completed several interesting chamber music works including "Sonata," op. 82, "String Quartet, " Op. 83 and
"Quintet for Piano and Strings, " Op. 84.
Elgar had a severe tragedy in 1920 when his wife passed away. After her death he felt that he could no longer write music. Neither the persua sion of his close friends nor even an appointment as Master of the King's 12
Music in 1924, could bring him to compose any music (6, p. 498). His eventual return to composition was caused by his patriotism. George V was stricken by a serious illness, and Elgar wrote a Christmas carol as a prayer for the kings recovery. This was the first piece of music he had written in nine years. After this composition, Elgar spoke of writing a third symphony. In 1931 another high honor was added to those the composer had received when he was given a baronetcy (1, p. 909).
In January of 1934 Elgar suffered from a serious attack of sciatica, which made necessary an immediate operation. After the operation his health steadily declined, and he died at his home in Worcester on Feb ruary 23, 1934 (1, p. 909). CHAPTER BIBLIOGRAPHY
1. Colles, H. C., "Edward Elgar, " Grove's Dictionary of Music and Musicians, II, edited by Eric Blom, London, MacMillan and Company, Ltd., 1954.
2. Dunhill, Thomas F., Sir Edward Elgar, London, Blackie and Son, Ltd., 1938.
3. Ewen, David, European Composers Today, New York, The H. W. Wilson Company, 1954.
4. , The Complete Book of Twentieth Century Music, Englewood Cliffs, New Jersey, Prentice-Hall, Inc., 1960.
5. Maine, Basil, Elgar: His Life and Works, London, G. Bell and Sons, Ltd., 1933.
6. , "Edward Elgar, " The International Cyclopedia of Music and Musicians, edited by Oscar Thompson, New York, Dodd, Mead and Company, 1956.
7. Porte, John F., Elgar and His Music, London, Sir Isaac Pitman and Sons, Ltd., 1933.
8. Reed, W. H., Elgar, London, J. M. Dent and Sons, Ltd., 1939.
13 CHAPTER III
A THEMATIC STUDY OF "THE APOSTLES"
The term "oratorio" is very difficult to define because it has had several meanings throughout music history. Today the term is used to refer to a musical setting of a religious libretto for chorus, orchestra and vocal soloists, to be performed in church or at a concert. Oratorios today do not make use of scenery, costumes or action, but when oratorios were first written at the beginning of the seventeenth century, scenery, costumes and action were used in their presentation. Many secular works have been called oratorios on the grounds that they had choral, orchestral and solo features (8, p. 726).
St. Philip Neri, the founder of the oratorio school in Rome, used this type of music as a means to instruct his congregation and to cultivate
sacred music of all kinds. Several evenings in a week his sermons were preceded and followed either by a selection of popular hymns or by some dramatic scene from the Scriptures (2, p. 248). The scenes he used were adapted to the comprehension of the more humble classes of people
in his congregation. The performances were commonly spoken of as
oratorios, and throughout Europe this term became accepted as a new form of musical art (2, p. 248).
14 15
Florence, Italy, was the birthplace of opera and Rome the birth place of oratorio, but both types of music sprang from the same attempt to introduce a method of direct and dramatic vocal statement into music.
The first oratorio, "La rappresentazione di anima e di corpo, " was com posed by Emilio de Cavalieri and the libretto was written by Agostino
Manni. The piece was an allegorical one, complicated in structure and written throughout in the "style rappresentativo" of which Cavalieri called himself the originator (5, p. 1304). In the same year, 1600, opera was established. From this year, opera and oratorio mingled and grew together for many centuries.
A very important step in the development of the oratorio was made by Giovanni Carissimi. He introduced the narrator, whose part was in recitativo secco. Using a narrator made it possible to eliminate the use of action, costumes and scenery and at the same time retain the dramatic
character of the work (2, p. 250). This method of presentation became adopted throughout Europe and is still used today.
The next change in the oratorio was made by one of Carissimi's stu dents, Alessandro Scarlatti, who helped relieve the monotony by substi tuting the aria for the recitative in many passages. Scarlatti was the composer who was responsible for the division of the aria into three parts in which the third part is a repetition of the first. After Scarlatti's death, interest in oratorio began to decline in Italy because of the growing popu larity of the opera (5, p. 1304). 16
In Germany Heinrich Schutz began composing music in the older polyphonic style of the plainsong. He combined this style with the ora torio style that had been popular in Italy and produced what became known as the Passion oratorio. His music was readily accepted by the musical public in Germany. Schutz, Keiser, Mattheson, Telemann, and Handel composed both oratorios and Passion oratorios of importance in this period (1, p. 517).
Oratorio took root and grew in England, where its master was George
Frederick Handel. Handel composed a masque, "Haman and Mordecai," which was later known as the first English oratorio, "Esther. " The popularity of this oratorio led to a long series of works which increased
Handel's fame and was the beginning of Concert oratorio.
With excellent choral groups at his disposal, Handel made the chorus a main part of his oratorios. He used the chorus for dramatic effects, to mark climaxes and for reflective and didactic purposes. Handel em ployed all types of arias and disposed of the recitative secco in favor of the dramatic recitative (8, p. 729). His treatment of the vocal fugue rivals Bach's mastery of the instrumental fugue.
Contemporary with Handel were the oratorios of Maurice Greene,
"Deborah" and "Jeptha;" William Boyce's "David's Lamentations" and
"Noah;" and T. A. Arnets "Abel" and "Judith;" none of which had any lasting fame (1, p. 517). They were all eclipsed by Handel's oratorios and were actually only good imitations of Handel's style. 17
A better type of oratorio was brought into existence in the late nine
teenth and early twentieth centuries through men of sincerity and sound
taste such as Parry, Stanford, and Mackenzie. Later in this period
Edward Elgar's works gained popularity. His four oratorios, "Light of
Life,1" "The Dream of Gerontius, " "The Apostles, " and "The Kingdom,"
lifted English oratorio form to a level it had not reached for a century
and a half.
These four oratorios of Elgar's were more modern in harmonic and
orchestral idioms than were Handel's oratorios. They abandoned the old
set divisions into arias, chorus and recitative, and used the Leitmotif
system. The methods of the Wagnerian music drama were used to get
better development of scenes and characters. These oratorios were
mystical in feeling and were very characteristic of England.
Edward Elgar's advance from his first sacred oratorio, "The Light
of Life" (1896) to his second oratorio, "The Dream of Gerontius" (1900),
is an advance as great in its own way as that of Beethoven from his
second symphony (1802) to the "Eroica" (1804) (3, p. 3). "The Apostles"
is a step forward from "The Dream of Gerontius" but will probably never be as popular. To certain religious sects, "The Apostles" would be a great work, because it pertains to certain religious aims. At the time of its presentation, however, the English musical public did not receive it very well.
The work itself is concerned with the choosing of the twelve apostles, and several scriptural characters up to the time of Christ's crucifixion 18
by His persecutors (7, p. 104). Elgar himself had these words to say about his oratorio: "It has long been my wish to compose an oratorio which would embody the calling of the apostles, their teaching and their mission, culminating in the establishment of the Church among the
Gentiles" (6, p. 82).
The composers individuality is apparent in many of the melodies and in his harmonic progressions, modulations and cadences (3, p. 3).
In this work he uses themes very extensively, making it impossible to note their every appearance in the score. Elgar's genius can be noted in the structure and rhythm of the work, in the many ways he uses the
Leitmotif system, in his orchestration and in his use of mysticism.
The work calls for a large orchestra and includes besides the usual combination of instruments an English horn, bass clarinet, double bassoon, small E flat gong, large gong, antique cymbals, glockenspiel, tambourine, triangle, harps, organ and a shofar (3, p. 3).
Part One
Prologue
Chorus and orchestra. -
The Spirit of the Lord is upon me, because He hath anointed me to preach the Gospel to the poor; He hath sent me to healjthe broken-hearted, to preach deliverance to the captives, and recovering sight to the blind; To Preach the acceptable year of the Lord. 19
To give unto them that mourn a garland for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness; That they might be called trees of righteousness, the planting of the Lord, that He might be glorified. For as the earth bringeth forth her bud, and as the garden causeth the things that are sown in it to spring forth; So the Lord God will cause righteousness and praise to spring forth before all the nations. The Spirit of the Lord is upon me, because he hath anointed me to preach the Gospel.
The Prologue is an extended movement and a genuine "chorus mys ticus. " It is simple, however, in regard to design and choral writing.
It has an important orchestral accompaniment, scored even to its last note, and is the epitome of the whole oratorio, because it announces a number of the most striking motives connected with Christ and His teaching (3, p. 4).
Upon a pedal A flat held by the drums, double basses and organ, the following melody is played by muted strings, harps, wood-wind and upper brass. This melody is interwoven with mysticism and is the theme con nected throughout the work with the idea of The Spirit of the Lord (3, p. 4).
~~T.4 /h 'ow
Fig., 1--The Spirit of the Lord 20
This theme is immediately repeated in the relative minor. The strings repeat the third measure of Fig. I for a few bars, and then play the entire theme again, still at a pianissimo. The chorus then enters in unison, introducing the Anointing motive.
rxr Ic) -
wr I AV Od
I
Fig. 2--Anointing
The passage that is contained in the first two measures of Fig. 2 is
used again later in the piece (see Fig. 7). The concluding notes, G flat,
A flat and B flat have in their progression of whole-tones a Leitmotive
that is very significant. Yet this motive is very empty without its
harmony (3, p. 5).
Christ, the Man of Sorrows theme is the third theme that appears
in the oratorio. In this theme three notes are transformed by Elgar's
harmony into one of the better motives in the entire work (6, p. 85).
The most important note to appear in this theme is the passing note,
B double flat. 21
W lol A
ALI-~
v
Fig. 3--Christ, the Man of Sorrows
The dissonance that is developed here gives to the progression of chords
that suggestion of mystery which the text demands, and produces a maxi
mum of emotional effect (3, p. 5). This motive is followed by the com
manding Gospel theme.
Fig. 4--Gospel
After the Gospel motive has been heard, Elgar introduces a musical idea which develops into a portrayal of Christ's mission on the earth.
At the same .time that the Christ's Mission theme is being introduced, the Gospel theme is heard in the orchestra. Fig. 5--Christ's Mission
Following this fifth theme is a quotation from the composer's "Light of Life" oratorio, recoveringg of sight to the blind." This quotation is announced by the chorus and by the orchestra with rushing scale passages for strings, harps and woodwinds (3, p. 6).
AL
NOW
Fig. 6--Light of Life
This sudden dynamic outburst leads to a short climax of strength. Voices in unison sing a fortissimo on the phrase, "to preach the acceptable year of the Lord" (6, p. 86). At the same time the orchestra is playing the
Spirit of the Lord motive (Fig. 1), which gradually makes way for a repe tition of the Gospel theme (Fig. 4).
A phrase of three notes, A, E sharp and F, introduces the theme which is illustrated on the following page. It appears to be connected with the idea of the preaching of the Gospel, and 1pter in the oratorio it characterizes the apostles as preachers. This motive is taken from the first bar of the orchestral accompaniment to the words, "The Spirit df 23
of the Lord is upon me." At several other places in the work, the varia
tion of this theme is used. The bass figure is employed with the altered
interval in the second group.
Fig. 7--Preachers
.9o' ff- a -
I7E
Az
Fig. 8--Variation of Preachers
The following melody is a symbol of the comfort in the tribulation
period promised to Christ's followers. It is seldom presented without
the characteristic chromatic countersubject, as shown below.
IN I
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Fig. 9--Comfort 24
The Comfort motive leads into the last of the important themes in the Prologue, the Church motive. It is followed by Christ's declaration,
"Thou art Peter, and upon this rock I will build my Church."
Fig. 10--The Church
The above motive is characterized by a strong diatonic melody line.
It is given twice, the second time by the full chorus in unison above a
strongly scored accompaniment. Then arrives a passage of four bars in which the composer presents the first half of the Spirit of the Lord theme (Fig. 1) in an orchestral interpretation with chord progressions that are very abrupt. Harps, organ, muted horns and strings, together with the changes of harmony, produce an effect of mysticism and intro duce the Christ, the Son of God motive (6, p. 86).
Fig. 11--Christ, the Son of God 25
In this theme Elgar changes the time from 3/4 to 4/4 and uses a
very chromatic melody line. The above passage (Fig. 11) goes into a
slow tempo and is followed by a repetition of the words, "The Spirit of
the Lord is upon me. " Once more the Christ theme (Fig. 3) is heard,
then there is a last presentation of the Gospel motive (Fig. 4) by horn
and cello, and the movement is concluded.
The Calling of the Apostles
Recitative. -
And it came to pass in those days that Jesus went out into a mountain to pray, and continued all night in prayer to God.
The Angel Gabriel.
The voice of Thy watchman! The Lord returneth to Zion! break forth into joy, sing together ye waste lands of Jerusalem, for the Lord hath comforted His people.
Behold My servant, whom I have chosen; My beloved in whom My soul is well pleased. He shall not strive, nor cry aloud; neither shall anyone hear His voice in the streets. A bruised reed shall He not break, the dimly burning wick shall He not quench, and in His name shall the Gentiles hope. The voice of Thy watchman!
A theme that is used to introduce the recitative of this piece is heard before the narrator's first words, "And it came to pass." This is called the Evangelist motive and introduces the solo for tenor, "The Calling of the Apostles" (3, p. 8). 26
Fig. 12--Evangelist
This passage appears in a rhythmically altered form at the end of this recitative and goes directly into the scene, "In the mountain night, " which is brought in by a Pastoral melody, played in a canonic intonation by the English horn and two oboes. It is heard above the tonic pedal
E flat (6, p. 87).
4 7
Fig. 13--Pastoral
Fig. 14--Variation of Pastoral
The Pastoral motive is immediately followed by the Christ theme
(Fig. 3) and by a sequence of chords, which is called the Prayer motive. IL 02 AMP
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Fig. 15--The Prayer of Christ
The scoring of triplet chords in the accompaniment adds to the mystic effect of the sequence of chords in the Prayer motive. This is one of the most important themes in the oratorio and should be remembered.
There is also a return of the Pastoral melody (Fig. 13) and the Gospel theme (Fig. 4). The angel Gabriel is sung by a soprano and is heard above the theme in Fig. 16, which has an identity with the angel theme in "The Dream of Gerontius" (6, p. 89). In this work the theme sym bolizes the angel, and as in "Gerontius, " only the first three notes are used (see Fig. 17).
4. row"_1 LL A I V, am w6+ "P A
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Wow -AL
Fig. 16--Angel Fig. 17--Dream of Gerontius
The angel's solo is treated in a free style above a running triplet accom
paniment for strings. A solo viola plays the vocal melody and harp chords
lend lightness to the overall picture (3, p. 9).
The following passage deals with the prophecy and will be heard again
toward the end of the first scene. Through the Prophecy theme, Elgar modulates from E flat to D and uses several series of triplets.
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JO 643 AJ24
Fig. 1 8 -- Prophecy After the Prophecy motive is heard, the Christ symbol (Fig. 3) is repeated. The Comfort theme (Fig. 9) appears at the end of the first section with "the Lord hath comforted His people." Following this phrase is an orchestral passage of twelve bars which contains eight motives, old and new. After the Prayer theme (Fig. 15) and the Pastoral melody
(Fig. 13), the orchestra plays a theme representative of the apostles, a plain diatonic subject with a very sturdy rhythm. It is founded upon one of the Gregorian tones, that of the Gradual "constitues eos, " in which power is promised to the apostles and their successors for all time (3, p. 10).
Elgar has made use of three parts of this tone, as shown in the following illustrations.
A,*
Fig. 19--Apostles
-,.I - A a - r~~1 r~1$7 11 .17 A A- t-2 i 'T 1 J.., V 17 A
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Fig. 20--Variation of the Apostles 30
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Fig. 21--Gregorian tones
Following the Apostles theme there are two presentations of the
Christ motive (Fig. 3) that build to a crescendo. There is another repe tition of the Apostles theme (Fig. 19) and the Gospel theme (Fig. 4) in which the two motives seem to overlap. Out of Christ's suffering, man has been brought the idea of the Apostles and of the Gospel. Elgar imagines
Christ in his loneliness, and from this idea he develops the next important motive.
A A 4-P LP A 'A 40pr
1, -1*., 17. Oll LZ a r 1 L'a I - 'A I A- I - - -A -4 L Aa
Fig. 22--Christ's Loneliness 31
This symbol of Christ's loneliness is expressed by a sequence of chro matic runs, the two lower parts moving in diminished fifths. It is scored for viola and cello, two instruments very able to express the dejected attitude of this motive.
The Angel theme (Fig. 16) enters again and continues for several bars with a motive of a dual character being played below it. The two parts of this motive are formed by A, C sharp, B sharp, and A, G sharp,
Gnatural, F sharp, and always appear together as shown in Fig. 23.
This phrase is a symbol of Christ's passion. In Part Two of the oratorio it takes up the idea shown in Fig. 24.
Fig. 23--Christ's Passion
)
Fig. Z4--Variation of Christ's Passion Elgar made good use of the Leitmotif system when he worked the
following ideas into themes: Christ praying in the mountains, His wish
to send forth apostles to preach His gospel, His before-hand knowledge
of His loneliness in the hour of trial, His passion, and the angel of God
near His side to strengthen and comfort Him (3, p. 11).
Special notice should be given to the remainder of the soprano solo,
for there is a repetition of several motives; the Christ (Fig. 3), the
Passion (Fig. 23), the Angel (Fig. 16) and at the close, the Comfort
(Fig. 9). A new version of the Christ motive is heard and occurs again
in the scene, "Golgotha, " in Part Two.
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Fig. 25--New version of the Christ motive
The Divine Blessing motive is very extraordinary because of its
harmony, rhythm and orchestral accompaniment. The motive repre
sents the divine blessing of Christ on the apostles, and is sung by the
angel. 33
AWL Add&, Adink
Iva, 21.
Fig. 26--Divine Blessing
The angel's final words lead to a return of the Loneliness motive
(Fig. 22), the Apostle motive (Fig. 19) and the Pastoral motive (Fig. 13).
The first section of Part One comes to an end on the call of the shofar.
The watchers begin sounding instruments and singing to introduce the next section, the Dawn.
The shofar call with its interval of an ascending sixth plays a very important part in this scene. This shofar call is very much kin to the ones that have been used in the Jewish synagogues for centuries. A variation of this call is heard a few bars later.
p I
Fig. 27--Shofar
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Fig. 28--Shofar variation 34
The string figure illustrated below is always used in the treble clef to support the shofar call.
Fig. 29--String figure
While horns sound an E flat and the tempo quickens, figures suggest ive of hurrying feet introduce the motive of the Soldiery (3, p. 13).
ITT
Fig. 30--Soldiery
The triplet figure in the Soldiery motive, with the consecutive fifths in
the bass, will be seen again in the "Betrayal" scene in Part Two. The
chorus follows this motive with a melody that is oriental in rhythm and
intervals. This motive is called the Watchers.
The D HeaC e e-veVA U-to He- -
Fig. 31--Watchers 35
The chorus is heard singing a morning psalm, "It is a good thing to give thanks unto the Lord. To this, the orchestra adds color and rhyth mical movement, which is one of the characteristics of eastern forms of worship (6, p. 91).
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Fig. 32--Morning Psalm
Elgar scored the rhythmic Morning Psalm for cello, basses, bassoons, horns, trombones, tuba, harps, cymbals, tambourine, triangle, big drum and kettle drum. This combination of instruments adds color and makes the theme sound oriental (3, p. 14). As this movement draws to a close, the Shofar call (Fig. 27) accompanied by the String figure (Fig. 29)
gradually broadens out into another motive, the Light and Life.
Fig. 33--Light and Life 36
This theme is developed into a short orchestral movement as an illustration of the sunrise. Another idea, the Morning Glory motive, is very characteristic of Elgar's work and blends well with the Shofar call.
Its character is represented by ascending thirty-second notes and rolling of the chords.
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Fig. 34--Morning Glory
The full orchestra plays a crescendo and the shofar enters, supported by a soft orchestral background. The last note of the motive is followed by a two-bar tremolo and then builds to the climax of the piece.
N. ~ *~yi f-- z .t I A & Aw 12 WS. AWW-- t M AL A& L.71&7 -u- Effy
Alp% y ACD law 'Now
Fig. 3 5--Climax 37
The music which follows is symbolic of the calling of the apostles, the realization of Christ's prayer. The recitative, "And when it was day, " introduces a new motive symbolic of the apostles' fellowship with
Christ.
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21
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Fig. 36--Fellowship
Several old themes are heard prior to this theme, and they lead into an elaborate ensemble. This ensemble is built upon the Apostles theme (Fig. 19) and begins in a strong unison. A new motive appears at "He hath chosen the weak."
Fig. 37--Choosing the Weak
This motive plays an important part in the development of the move ment and is used several times in imitation. At the word "Behold", the 38
Spirit of the Lord motive (Fig. 1) is used in augmentation. The Gospel
theme (Fig. 4) follows, using the Preachers motive (Fig. 7) as an accom paniment. At the words "The meek will He guide, " there is a repetition
of the Christ's Mission motive (Fig. 5). The entrance of the apostles
John, Peter and Judas is noted by their characteristic motive, the
Apostles (Fig. 19). Peter continues to sing and develops a new motive
composed around the new faith. This new motive is supported by triplet
chords in the accompaniment.
Fig. 38--Apostles' Faith
Peter prays that Christ's work may appear unto His servants. When he expresses his anticipation of "eating of the riches of the Gentiles and boasting himself in their glory, " we hear the start of a new motive which will be symbolic of Christ's earthly kingdom.
V,*
Fig. 39--Earthly Kingdom
The Preachers motive (Fig. 7) appears again at the phrase "and the word of the Lord shall go forth from Jerusalem. " This is followed by a repetition of the themes in connection with the calling of the apostles. 3.9
With Christrs first words, "Behold I send you forth, " the scene grows in solemness and the mysticism which is characteristic of the work an nounces one of the better pieces (3, p. 19). The time signature changes to an unusual 2/1 and the chorus repeats part of the Gregorian tones (Fig. 21).
The Spirit of the Lord motive (Fig. 1) and the Apostles motive (Fig. 19) are repeated, and the piece moves to a close with a tutti amen.
By the Wayside
The second scene is developed gradually out of its opening orchestral and vocal passages. The orchestral introduction of eleven bars has an air of simplicity and is an excerpt from "The Dream of Gerontius" (6, p. 94).
From these first bars of introduction is taken the Wayside motive.
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Fig. 40--.Wayside
This motive is typical of the entire section because there is never a show of force or expression. Christ states his Beatitudes in a recita tive while Mary, John, Peter, Judas and the rest of the disciples respond with individual comments. The words of Christ are set to phrases as in the following motive which is called the Beatitudes motive. 40
Fig. 41- -Beatitude s
This motive should be remembered, for it will continue to appear in other parts of the oratorio. In the responses that characterize Judas,
Elgar brings out his statements by means of forceful rhythms. At his words, "The poor is hated even of his own neighbor, " two chords sym bolizing Judas are played by full orchestra (3, p. 23).
--h
Fig. 42--Judas
Following this motive is a repetition of the Spirit of the Lord theme
(Fig. 1) and the Christ motive (Fig. 3). The Gospel (Fig. 4) and the
Apostles (Fig. 19) motives recur at "Blessed are they which are perse cuted for righteousness' sake, " and the Comfort motive (Fig. 9) at
"Rejoice and be exceedingly glad" (3, p. 24). A very important triple theme appears in the accompaniment and should be remembered as the
Longing motive. 41
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Fig. 43--Longing
A short passage representing the strength of the new faith follows at the words, "Blessed are they which have been sorrowful for all Thy
scourges.I" This passage will occur again in the final section of Part
One at "Blessed is he who is not fallen from his hope in the Lord."
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Fig. 44--Strength of Faith
Following this motive the Wayside theme (Fig. 40) is heard in the orchestra, first on a dominant and then on a tonic pedal. The end is reached by an original cadence, the chord of A minor played between two chords of C major. Strings, harps and horns supply the accom paniment (3, p. 24). By the Sea of Galilee
The recitative, "And straightway Jesus constrained His disciples, contains only one new motive, the Ship motive. This is a figure of three notes that is used several times throughout the scene of the "Great tem pest in the sea. "1 In the recitative the following themes make their appear ance: Fellowship, Ship, Pastoral, Prayer, Loneliness, Apostles, and then again the Ship, Fellowship and Prayer motives (6, p. 95).
-AT^ #I.-- "Ii;i Z .
Fig. 45--*Ship
The scene, "In the tower of Magdala, " is one of the most original pieces in the oratorio. It is based on Mary Magdalene as a spectator and the narrator of the Storm scene. The Mary Magdalene motive opens the series of musical ideas in the scene.
A IF&t' I A wol
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Fig. 46--Mary Magdalene 43
Mary Magdalene's motive is in B minor and is always accompanied by
the whole-tone progression of consecutive fifths shown in the illustration,
Fig. 46. Her Anguish Prayer to the God of Israel is illustrated below.
lip 4t, I 001WIF
I I a VIA
Fig. 47--Ahguish Prayer
This motive builds to a crescendo and descends on a run to a sustained
dominant of the key. As the above motive ends, a new motive, the Humble
ness motive, enters.
Li I AW A 4177I AM LIV 77
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Fig., 48--Humbleness
The first section of the alto solo, "1O Lord Almighty, " deals with
the Mary Magdalene, the Anguish Prayer and the Humbleness notives. 44
With a change to D major at "hear and have mercy, for Thou are merci ful, " a new motive occurs, giving expression to Mary Magdalene's prayer for forgiveness (3, p. 27).
nij IV 44-., 1 f JT A mw f ci rf*a'l K've, C'I T60 %A t mev _--atI TLAI
V JIV A I wry I K, IN I its
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Fig. 49--Forgiveness
This motive is followed by a chromatically descending scale with usual harmony scored in the accompaniment. The bass line of the accompaniment states the next motive over a dominant pedal. This motive is called Sin.
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I^ wAie A,,' L 12 ML IMF -IW4 1T IT
Fig. 50--Sin 45
The Sin motive is repeated a fourth higher after the phrase, "I have
sinned before Thee. " A few bars later the same motive is presented a fifth higher. Preceding and following the words, "Woe is me!. "1appear two representations of the first of a number of themes on Mary Magdalenes past life, a ritornello in 6/8 time for woodwind and strings which repre
sents a slow eastern dance (6, p. 97).
Fig. 51--Dance
The words, "Woe is me!, " are sung over a tremolo in the accompaniment and they introduce the Feasting motive. This motive forms the main vocal passage in the next section, the Fantasy.
Fig. 5 2 -- Feasting
A motive suggestive of revelry occurs at the phrase, "as the grape gleanings of the vintage. " This motive is used throughout the remainder 46 of this section as well as in the following section, where it is used in
extended form.
6S3
Fig. 53--Revelry
The Sin theme (Fig. 50) and the Anguish Prayer theme (Fig. 47)
return at the allegro molto. Two repetitions of the Revelry motives are heard, followed by a very different allegro movement. This is a Fantasy for chorus and orchestra, to be played and sung very softly in 6/8 time.
Elgar has put forth the full power of his technique of harmony and orches
tration in this original movement (3, p. 28).
The introduction of the Fantasy opens the scene with a light subject in octaves, the Joy motive.
Fig. 54--Joy
With the unison entry of the chorus there appears in the accompani- ment the first of four chains of chromatic discords on a dominant pedal A. 47
The scoring for horns, trombones, cellos and double bassoon is typical of the extraordinary effects throughout the movement. The Joy motive
(Fig. 54) is repeated, accompanied by a run for cello, and by the Feast ing motive (Fig. 52) to the words, "Let us fill ourselves with costly wine, "1 sung by the chorus (3, p. 29). The Joy theme (Fig. 54) and the
Feasting theme (Fig. 52) are presented for the third time, sung by the
sopranos and tenors. The discords in the accompaniment are brought
out by the introduction of a rhythmical figure in the melody line. This leads into a fortissimo marking which is the climax of the movement.
The chorus then resumes the Feasting motive (Fig. 52) to the accom paniment of the Joy motive (Fig. 54) which is broken up into fragments
over different octaves of the scale. The chain of chromatic discords
over the dominant pedal recurs once more, and following this the Fantasy
comes to an end.
The remainder of Mary Magdalene t s solo from the phrase, "The
mirth of the tabrets ceaseth, " is followed by the Dance theme (Fig. 51).
The Mary Magdalene theme (Fig. 46) enters again, broken into two fragments by the recitative, "This shall ye have of mine hand. " Two
more motives are heard, the Anguish Prayer motive (Fig. 47) and the
Forgiveness motive (Fig. 49) before the latter melody leads into the
Storm scene.
Elgar t s "storm" is among the least conventional musical illustrations
of one of nature's elements. Forceful syncopations, energetic rhythms 48 and dynamic changes are used to develop the storm scene. He also uses
a good command of harmonic progressions and orchestration. The first
subject, the Storm theme, is combined with the Ship theme (3, p. 31).
Fig. 55--Storm
This Storm motive is composed of two ideas in contrary motion,
building to a unison F in imitation of the rough seas. A few bars after
the Storm theme, a new motive enters called Breakers.
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Fig. 56--Breakers
The accented chords and the descending eighth note run in imitation
of the water breaking over the rocks is characteristic of this new theme. 49
Within the next twelve bars, the scoring grows more complex and Elgar
t reaches the first climax of the scene. With Christ s words, "Be of good cheer, " sung to and accompanied by a phrase from the Beatitudes theme
(Fig. 41), there is a modulation to the key of F sharp.
The final climax in voices and orchestra is heard in this scene at the phrase, "hath overwhelmed him, " and Peter's phrase, "Lord save me for I perish." Then the Fellowship motive (Fig. 36) is repeated in augmentation, and after two short bars of the Storm theme (Fig. 55) Mary
Magdalene sings "He streches forth His hand" (6, p. 98). At this point
Elgar changes to the key of D flat and introduces a new idea, the Doubt motive. This motive will appear again in Part Two.
Fig. 57--Doubt
The chromatic harmonization in the accompaniment should be noticed. At
the phrase, "The wind ceaseth, and they worship Him," there is an ascend
ing scale passage which moves into a new motive, the Worship motive.
WIT
Fig. 58--Worship 50
The Worship theme is followed by a presentation of the Son of God theme (Fig. 11) scored for strings and harp. There is a repetition of the
Faith theme (Fig. 38) and a metamorphosis of the Apostles theme (Fig. 19).
Mary Magdalene ts own motive (Fig. 46) brings the scene to a close.
Following the Storm scene there is a small section where an idea enters to the phrase, "Thy face, Lord, will I seek, "1 suggesting the con version of Mary Magdalene. There is a repetition of the Forgiveness motive (Fig. 49) followed by the Anguish Prayer motive (Fig. 47) which forms the link to the next scene, In Caesarea Philippi.
There are no new motives employed in the recitative, "When Jesus came into the parts of Caesarea Philippi, " or in the Apostlest Chorus,
"Some say John the Baptist. " Following this recitative a new idea, the
Peter motive, enters. This precedes Peter's words, "Thou art the
Christ," It is presented as shown in the following illustration, and also appears a few bars later in simpler form.
Fig. 59--Peter 51
The following motive appears at the words, "My Father, Which is in Heaven. " It is taken from the setting of the Lord's Prayer and will appear again later on in the oratorio.
Fig. 60--Our Father
Christ's statement, "Thou art Peter, " is set in elevated style to the
Peter motive (Fig. 59) and is followed by the Church motive (Fig. 10) in its complete form. This motive leads into a short choral passage,
"Proclaim unto them" (3, p. 36). This passage is presented by soloist, chorus and orchestra, and comes to a climax after nine bars. There, under the climax in the accompaniment, is a repetition of the Gospel theme (Fig. 4) and the Apostles theme (Fig. 19). A new motive is intro duced under Christ's words, "And whatsoever thou shalt bind on earth."
This motive is significant of the judgment (6, p.. 99).
1t fil I
Fig. 61--Judgment Following the Judgment motive there is a repetition of the Spirit of the Lord motive (Fig. 1) found in the orchestral introduction of the Pro logue. It accompanies the phrase, Whatsoever thou shalt loose. " This is followed by the Comfort theme (Fig. 9) and leads into Mary Magdalenets theme (Fig. 46). Mary enters in a solo that uses the Longing motive
(Fig. 43) and the Anguish Prayer motive (Fig. 47) for accompaniment.
This solo is a new idea built around Mary consoling Mary Magdalene.
Fig. 62- -Mar y's C ons ola tion
Several of the old motives are repeated, including the Sin (Fig. 50), the Longing (Fig. 43), Mary' s Consolation (Fig. 6Z) and the Forgiveness
(Fig. 49). The repetition of these motives leads into the Finale of Part
One.
The Finale is written for soli and chorus. It begins with full chorus and gradually develops into a fugue of considerable originality. There is a return of only one old theme, the Longing (Fig. 43). It is used as an accompaniment under parts of the fugue. The Finale ends on a chro matic run in the accompaniment to the phrase, "Turn, ye prisoners of hope. " 53
Part Two
The Betrayal
The second part of the oratorio deals chiefly with the tragedy of
Christ's Passion, and it is introduced by a short orchestral adagio. The
Passion motive in its extended form (Fig. 23) is played twice with great variety of expression in the course of eight bars (3, p. 40), and leads into the Christ's Loneliness motive (Fig. 22). This makes way for the
Christ's Prayer theme (Fig. 15), scored for horns, woodwind, harp, strings and organ (3, p. 40). The Passion motive (Fig. 23) in repetition brings the movement to a close. In this forty-bar introduction, Elgar has presented a fine study in modern orchestration. Following the intro duction, a tenor presents the fate of Christ.
Recitative. -
And it came to pass that He went throughout every city and village, preaching and shewing the glad tidings of the Kingdom of God: and the twelve were with Him;
And He began to teach them, that the Son of man must suffer many things, and be rejected, and be killed.
Chorus. -
I will smite the Shepherd, and the sheep of the flock shall be scattered abroad.
Peter. -
Be it far from Thee, Lord, this shall never be unto Thee. Though all men shall be offended because of Thee, yet will I never be offended. 54
The Apostles. -
Though we should die with Thee, yet will we not deny Thee.
The recitative, "And it came to pass that He went throughout every
city, " employs the Evangelist (Fig. 12), the Wayside (Fig. 40), the
Gospel (Fig. 4), the Spirit of the Lord (Fig. 1) and the Fellowship (Fig. 36)
themes, and leads into a passage in B flat minor. In this passage the
chorus states the prophecy, "I will smite the Shepherd, "1 as an accom paniment to the Evangelist's words, "And He began to teach them" (3, p. 41).
The Passion motive (Fig. 23) in solo voice and orchestra illustrates these
words. Peter's protest, "Be it far from Thee, Lord, " and the other
apostles', "Though we should die with Thee, " are sung to the Choosing
the Weak motive (Fig. 37), the Peter motive (Fig. 59) and the Apostles
motive (Fig. 19).
The first motive of any importance in this section is a sequence of
chords that is called Judas' Temptation (6, p. 104).
3%--
Fig. 63--Judast Temptation 55
This motive is immediately followed by a repetition of the Earthly
Kingdom motive (Fig. 39). Following this is a figure of chromatic rhythms which suggest Judas' resolution (4, p. 72).
Fig. 64--Judas' Resolution
The soldiers and the high priests are characterized by a return of the Soldiery motive (Fig. 30). Elgar then introduces a motive that rep resents the rabble calling for Christ's destruction.
4 1 4 1 11 I I IM.
Fig. 65--Rabble
This motive is followed by a return of the Temptation theme (Fig. 63)
at the phrase, "What are ye willing to give me?." Elgar then proceeds to
build a motive around the jingling of the silver that Judas receives for the
betrayal of Christ. 56
Fig. 66- -Silver Pieces
The above motive is the most discordant motive in the work. It is a study in false notes. The motive is immediately followed by the Judas theme (Fig. 4Z). A sequence of suspended discords is used by Elgar at this point to represent the soldiers and priests as Christt s captors (3, p. 43).
4--l .1 -1 I1 L A IL -An
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I t ri,4 141" I1 - v -V,I-,-,- -- - I - I
Fig. 67--Christ's Captors
This motive is followed by repetitions of the Faith theme (Fig. 38) and the Earthly Kingdom theme (Fig. 38).
The Resolution theme (Fig. 64) introduces the scene in Gethsemane.
The Wayside motive (Fig. 40) accompanies Judas' hypocritical "Hail." 57
The Passion (Fig. 23), the Christ (Fig. 3), the Apostles (Fig. 19), the
Christ's Loneliness (Fig. 22) and the Peter (Fig. 59) motives follow.
Then the Soldiery (Fig. 30) and the Captors (Fig. 67) themes lead into a new idea. The scene changes to the palace of the High Priest where
Christ's disciples are being questioned (6, p. 108).
Fig. 68--Questioning
After the Questioning motive is heard, Peter denies Christ with the
phrase, "I swear by the Lord. " This phrase is accompanied by the Spirit
of the Lord (Fig. 1) and the Christ (Fig. 3) themes. After Peter's last
oath there is a repetition of Fig. 22, Christ's Loneliness (4, p. 72). The
Rabble motive (Fig. 65) accompanies the chorus as they sing, "Then they
led Jesus into the hall of judgment. " With a return of the Doubt motive
(Fig. 57) and the Judas motive (Fig. 42) the key changes from A flat
major to A minor, and leads into the Temple scene.
The music in this scene is composed of intervals of fifths and thirds,
and is written in the Phrygian mode (3, p. 48). In the scene Judas has
come to the time when bitter remorse has driven him to the temple to try 58 and right his wrong against Christ. There is a repetition of the Temptation theme (Fig. 63) and at the phrase, "See thou to that, "1there is a return
of the Judas motive (Fig. 42). These two motives work up to a climax
and to a new theme, The Priests.
I U I7 -916V -N..r mop- ,.Vow NAPF
Fig. 69- -The Priests
Judas casts the pieces of silver back to the priests, and we hear the
Silver Pieces theme (Fig. 66) repeated once more. After a climax at
the phrase, "Yet they say," the music gradually goes into a new motive
which depicts Judast despair (6, p. 106).
don
Alk m m
r tr Pre
MII Now""
JvZ4r I t I
-*4o6 4.4*
Fig. 70--Judas' Despair 59
Taken as a whole, Judas' soliloquy is conceived in Elgar's finest dramatic style. Interwoven in this motive are the Light and Life theme
(Fig. 33), the Beatitudes theme (Fig. 41) and the Comfort theme (Fig. 9).
The Resolution (Fig. 64), the Temptation (Fig. 63), and the Earthly
Kingdom (Fig. 39) themes illustrate the words, "Our life is short. "
Chords of the Judgment motive (Fig. 61) appear at the phrase, "For we
are born at all adventure," and gradually lead into a new theme that
characterizes Judas' indifference (3, p. 50).
Fig. 71--Judas' Indifference
The Indifference theme is followed by a repetition of the Temptation
(Fig. 63), the Earthly Kingdom (Fig. 39) and the Judgment (Fig. 61)
motives. The chorus enters with shouts of "Crucify Him. " The shouts
of the chorus lead to the climax of this section. Following the climax,
Judas finds that there is no other course but death for him (4, p. 75).
The Despair theme (Fig. 70), the Earthly Kingdom (Fig. 39), Light
and Life (Fig. 33), the Silver Pieces (Fig. 66) and the Judas (Fig. 42)
motives lead to the conclusion of this section. 60
Golgotha
In the scene, Golgotha, Elgar begins the first motive around Christts words, "Eli, Eli, lama sabachthani?"
V
Iv itlaz %"moor " wo"Now I I I 1 t
Fig. 72--Golgotha
After the Golgotha theme is heard, the chorus enters in unison and then gradually leads into a motive that is built around the idea of
Mary's grief.
Fig. 73--Maryts Grief
The Golgotha motive (Fig. 72) reappears, followed by several other motives including the Christts Loneliness (Fig. 22), the Passion
(Fig. 23) and a return of the Mary t s Grief motive (Fig. 73). 61
At the Sepulchre
The music illustrating this scene commences with the Shofar motive
(Fig. 27), still accompanied by the String figure (Fig. 29). When the alto sings the phrase, "And very early in the morning, " the shofar leads into the Light and Life theme (Fig. 33) below which the Watchers theme (Fig. 31) is heard as a countersubject (3, p. 55). There is also a repetition of the
Morning Glory motive (Fig. 34). The final Alleluia of this scene is used again in the Finale of Part Two.
The Ascension
At the start of the Ascension, the words of the apostles, "We trusted that it had been He, " are introduced by the Choosing of the Weak theme
(Fig. 37) in the accompaniment, and the Doubt motive (Fig. 57) is heard at the conclusion of the first chorus. Christ's words, "Peace be unto you, " are set to the Wayside theme (Fig. 40). There is at this point a repetition of the Spirit of the Lord (Fig. 1), the Earthly Kingdom (Fig. 39), the Christ's Prayer (Fig. 15), the Christ's Mission (Fig. 5), the Gospel
(Fig. 4), the Apostles (Fig. 19) and the Preachers (Fig. 7) motives.
The Comfort motive (Fig. 9) accompanies the words, "And I am with you. " The voice part uses the interval of a seventh that forms the main part of the motive. Christs final words are sung to the Church motive
(Fig. 10) in an impressive cadence. A last presentation of the symbol of
Christ, the Son of God theme (Fig. 11) leads into the recitative, "And then adds when He had spoken these things" (3, p. 58). The composer the Finale, which is scored for two female choruses, male chorus, four
soloists and orchestra.
The Faith motive (Fig. 38) is heard at the words, "Give us one heart,"
with triplets in the accompaniment. The female chorus enters and sings
name, " to the Christ's the phrase, "Holy Father, keep through Thine own the soloists are Prayer motive (Fig. 15). Below this last choral phrase
heard singing the Faith motive (Fig. 38) to the phrase, "all the ends of
the world." Elgar then brings in a return of the Christ, the Man of
and Sorrows motive (Fig. 3). The apostles' prayer, "Give us one heart
one way, " is used to introduce a new motive symbolic of Christ's Glory
(6, p. 112).
Fig. 74--Christ's Glory
After the Christ's Glory theme has been presented twice, it leads
into a repetition of the Spirit of the Lord motive (Fig. 1). Elgar develops
the last motive of the oratorio to symbolize Christ's Peace. 63
4 1 1b It?~vi c;ra 'i-# He ~~ t~
Fig. 75--Christ's Peace
This last subject is taken from the "Dream of Gerontius, and is announced by soloists and orchestra (6, p. 113). The female chorus and the voices representing the apostles combine forces on a crescendo of the last Alleluia to conclude the oratorio. CHAPTER BIBLIOGRAPHY
1. Apel, Willi, Harvard Dictionary of Music, Cambridge, Massachu setts, Harvard University Press, 1960.
2. Colles, H. C., "Edward Elgar, "1Grove's Dictionary of Music and Musicians, II, edited by Eric Blom, London, MacMillan and Company, Ltd., 1954.
3. Jaeger, August, Analytical and Descriptive Notes of "The Apostles, London, Novello and Company, 1903.
4. Maine, Basil, Elgar: His Life and Works, London, G. Bell and Sons, Ltd., 1933.
5. , "Edward Elgar, " The International Cyclopedia of Music and Musicians, edited by Oscar Thompson, New York, Dodd, Mead and Company, 1956.
6. Newman, Ernest, Elgar, London, John Lane The Bodley Head, Ltd., 1932.
7. Porte, John F., Sir Edward Elgar, London, Kegan Paul, Trench, Trubner and Company, Ltd., 1921.
8. Scholes, Percy, The Oxford Companion to Music, London, Oxford University Press, 1955.
64 BIBLIOGRAPHY
Books
Dunhill, Thomas F., Sir Edward Elgar, London, Blackie and Son, Ltd., 1938.
Ewen, David, European Composers Today, New York, The H. W. Wilson Company, 1954.
The Complete Book of Twentieth Century Music, Englewood Cliffs, New Jersey, Prentice-Hall, Inc., 1960.
Jaeger, August, Analytical and Descriptive Notes of "The Apostles, " London, Novello and Company, 1903.
Maine, Basil, Elgar: His Life and Works, London, G. Bell and Sons, Ltd., 1933.
Newman, Ernest, Elgar, London, John Lane The Bodley Head, Ltd., 1932,
Porte, John F., Elgar and His Music, London, Sir Isaac Pitman and Sons, Ltd., 1933.
, Sir Edward Elgar, London, Kegan Paul, Trench, Trubner and Company, Ltd., 1921.
Scholes, Percy, The Oxford Companion to Music, London, Oxford Univer sity Press, 1955.
Dictionaries and Encyclopedia
Apel, Willi, Harvard Dictionary of Music, Cambridge, Massachusetts, Harvard University Press, 1960.
Colles, H. C., "Edward Elgar, " Grove's Dictionary of Music and Musicians, II, edited by Eric Blom, London, MacMillan and Company, Ltd., 1954.
Maine, Basil, "Edward Elgar, "1 The International Cyclopedia of Music and Musicians, edited by Oscar Thompson, New York, Dodd, Mead and Company, 1956.
65