38 
 
 
 :~.mr. 
 
 i^r. 
 
 ^^'X^J^ 
 
 ,>v«r^s,-^ 
 
 
 '^^X' 
 
 
 iWlVERSIT^ 
 
Cornell University uuiai , 
 ML 38.N5M97 1891 
 
 Music festival under Ihe direction of Wa 
 
 3 1924 018 549 836 
 
 OfarttcU Ittiueraitg ffiibtatg 
 
 Stifuta. yitta ^nrk 
 
er^ir 
 
 U8IG FESTIVAL. 
 
 %riliv f§e Wmc&ari of 
 
 WALTER DAMROSCH. 
 
 FOR THE INAUGURATION OF 
 
 "MUSIC HALL" 
 
 FOUNDED BY ANDREW CARNEGIE. 
 
 May 5111, Sthi, 7thi, Sthi, 9thL, 1891. 
 
Steinway 
 
 PIANOS. 
 
 "TTHE recognized Standard Pianos of the world, pre-eminently the best instruments at present made, exported 
 ^ to and sold in all art centers of the globe, preferred for private and public use by the greatest living artists, 
 and endorsed, among hundreds of others, by such as ; — 
 
 Richard Wagner, 
 Franz Liszt, 
 Anton Rubinstein, 
 Hector Berlioz, 
 Felicien David, 
 Charles Gounod, 
 Ambroise Thomas, 
 Theodore Thomas, 
 A. Dreyschoek, 
 Stephen Heller, 
 Adolphe Henselt, 
 Alfred Jaell, 
 Joseph Joachim, 
 Rafael Joseffy, 
 
 Moriz Rosenthal, 
 F. von Inten, 
 Theodore Leschetizky, 
 Franz Rummel, 
 A. Marmontel, 
 William Mason, ' 
 S. B. Mills, 
 J. Moscheles, 
 Albert Niemann, 
 Arthur Friedheim, 
 Nicola Rubinstein, 
 Camille Saint=Saens, 
 Anton Seidl, 
 W. Taubert, 
 
 etc., etc. 
 
 Rudolph Willmers, 
 Carl Baermann, 
 Carl Wolfsohn, 
 
 JlSD bt mesdambs 
 
 Adelina Patti, 
 Btelka Gerster, 
 Teresa Titiens, 
 Annette Essipoff, 
 Anna Mehlig, 
 Marie Krebs, 
 Adele aus der Ohe, 
 Parepa Rosa, 
 Minnie Hauk, 
 Fmma Juch, 
 
 Illustrated Catalogues Mailed Free on Application. 
 
 STEINWAY & SONS, 
 
 Warerooms: Steinway Hall, 107-111 East 14th Street, New York. 
 
 ■■■■■>■■■■■■■■■■■■■■■■■■■■■■ ■■■BBBBBBH 
 
 ciinnpptH ncpnT? -i ^^^"'*''' "*'■'" *'' '■"*'"' ^'''""'""' ^*'""*' •''"^inan Square, W., LONDON, ENGLAND. 
 tUHurtAN utt'ui6.|5^£,^^^y,j pn^oFiDRIK, St. Pauli, Neua Rosen-Str., 20-24, HAMDURG, GERMANY. 
 
MUSIC FESTIVAL 
 
 UNDER THE DIRECTION OF 
 
 WALTER DAMROSCH 
 
 FOR THE INAUGURATION OF 
 
 "MUSIC HALL" 
 
 FOUNDED BY ANDREW CARNEGIE 
 
 MAY 5TH, 6th, 7TH, 8th and 9TH, 1891 
 
 NEW YORK 
 
 THE CHEROUNY PRINTING AND PUBLISHING COMPANY 
 
 Nos. 17-27 Vandewater Street 
 
^2 
 
 Cornell University 
 Library 
 
 The original of this bool< is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924018549836 
 
ANDREW CARNEGIE. 
 
MUSIC HALL COMPANY OF NEW YORK, 
 
 LIMITED. 
 
 BOARD OF DIRECTORS. 
 
 MORRIS RENO, 
 STEPHEN M. KNEVALS, 
 FREDERICK WM. HOLLS, 
 
 JOHN W, AITKEN. 
 WALTER DAMROSCH. 
 SHERMAN W. KNEVALS. 
 
 President. 
 Treasurer. 
 Secretary. 
 
 ANDREW CARNEGIE. 
 WILLIAM S. HAWK. 
 WILLIAM B. TUTHILL. 
 
 EXECUTIVE COMMITTEE. 
 
 MORRIS RENO. STEPHEN M. KNEVALS. 
 
 FREDERICK WM. HOLLS. WALTER DAMROSCH. 
 
 WILLIAM S. HAWK. 
 
 Office : Music Hall, 57th Street and 7th Avenue. 
 
CONTENTS 
 
 4" 
 
 Page. 
 
 INTRODUCTION - - - - / - ix-xii 
 
 I.— TSCHAIKOWSKY (Biographical Sketch) - 2 
 
 BERLIOZ: " Te Deum " 5 
 
 II.— MENDELSSOHN: "Elijah" ii 
 
 III.— MOZART: "The Marriage of Figaro" 23 
 
 WAGNER: "Tristan and Isolde" 31 
 
 MASSENET: " Le Roi de Lahore" 34 
 
 IV.— SCHUTZ: "The Seven Words" - - 35 
 
 DAMROSCH: " Sulamith " 39 
 
 v.— BEETHOVEN: " Fifth Symphony " 45 
 
 WAGNER: "Parsifal" 49 
 
 VL— HANDEL: " Israel in Egypt " 53 
 
LIST OF WORKS 
 
 TO BE PERFORMED AT THE FESTIVAL 
 
 First Concert. 
 
 Tuesday Evening, May 8th. 
 "OLD HUNDRED." 
 
 ORATION: Dedication of the Hall - - RT. REV. HENRY C. POTTER, D.D. 
 NATIONAL HYMN, ''America." 
 
 OVERTURE, Leonore No. Ill BEETHOVEN 
 
 MARCHE SOLENNELLE - - - TSCHAIKOWSKY 
 
 TE DEUM - - - - - . - BERLIOZ 
 
 (First time in New York.) For Tenor Solo, Triple Chorus and Orchestra. 
 
 ^Second Concert. 
 
 Wednesday Evening, May 6th. 
 ELIJAH, Oratorio for Soli, Chorus and Orchestra 
 
 MENDELSSOHN 
 
 Third Concert. 
 
 Thursday Afternoon, May 7th. 
 
 OVERTURE to Figaro 
 
 GRAND FINALE, Act II., Figaro 
 
 SUITE No. III., for Orchestra 
 
 SUITE No. III., Op. ss, - 
 
 ARIA from L' Esclarmonde - - ^- 
 
 ARIA from Ze Eoi de Lahore 
 
 PRELUDE AND FINALE from Tristan and Isolde 
 
 MOZART 
 
 MOZART 
 
 TSCHAIKOWSKY 
 
 TSCHAIKOWSKY 
 
 MASSENET 
 
 MASSENET 
 
 WAGNER 
 
Fourth Concert. 
 
 Friday Evening, May 8th. 
 
 THE SEVEN WORDS OF OUR SAVIOUR HEINRICH SCHUETZ 
 
 (Seventeenth Century.) (First time in America.) 
 For Soli, Chorus, String Orchestra and Organ. 
 
 TWO A CAPELLA CHORUSES: 
 
 a. Pater Noster. 
 
 b. Legend. 
 
 (New. First time in America.) 
 
 SULAMITH 
 
 For Soli, Chorus and Orchestra. 
 
 TSCHAIKOWSKY 
 
 LEOPOLD DAMROSCH 
 
 Fifth Concert. 
 
 Saturday Afternoon, May 9th. 
 
 FIFTH SYMPHONY, C Minor 
 
 BEETHOVEN 
 
 SONGS 
 
 \: 
 
 To Sleep " (Tennyson) 
 So Schmerzlich " 
 
 WALTER DAMROSCH 
 TSCHAIKOWSKY 
 
 CONCERTO for Piano with Orchestra. B flat minor, Op. 23, TSCHAIKOWSKY 
 
 I. Andante non troppo e molto maestoso. Allegro con spirito. 
 
 II. Andantino simplice. III. Allegro con fuoco. 
 
 From Parsifal 
 
 PRELUDE, 
 
 FLOWER MAIDEN SCENE, Act 
 
 For Six Solo Voices and Female Chorus. 
 
 „j 
 
 WAGNER 
 
 Sixth Concert. 
 
 Saturday Evening, May 9th. 
 
 ISRAEL IN EGYPT, Oratorio 
 
 For Soli, Double Chorus and Orchestra. 
 
 HANDEL 
 
INTRODUCTION 
 
 §LE¥EK1 TE^IS m©, on May 3, 4, 5, 6 and 7, 1881, 
 Dr. Leopold Damrosch gave, with the assistance of the 
 Oratorio Society, the Symphony Society and an increased 
 chorus, his first Musical Festival, in the Seventh Regi- 
 ment Armory. After that time, up to the present, the two 
 societies had no place in which their efforts could be 
 brought to the highest artistic results. They went first 
 to the Academy of Music, and later to the Metropolitan 
 Opera House, but neither of these places proved satis- 
 factory for concert purposes or for the production of great choral works. 
 At last, however, to-day, the two societies, homeless so long, are able 
 to hold a festival that marks a distinct period in the musical history of 
 New York. At last the great metropolis is able to rejoice in the posses- 
 sion of a temple of Music, which, it is intended, shall be a home not only 
 for the Oratorio and Symphony Societies, but for all musical societies and 
 organizations whose aim is the cultivation of the highest class of music. 
 It is a temple, solid as granite without, made lovely within, a wonderful 
 home for the most beautiful of the arts, the gift of one who has made 
 the advancement of humanity in Literature, Art, Science and Music on both 
 sides of the Atlantic the glory of a busy and successful life. Mr. Andrew 
 Carnegie has expressed to the world his conviction that the man who dies 
 rich without having allotted during his lifetime a portion of his share of the 
 world's goods for the benefit of mankind ends a life disgraced ; and 
 Music Hall is only one of a long series of munificent gifts from which 
 the peoples of two countries will gain untold good, now and in the future. 
 
Introduction. 
 
 At the Festival of 1881 the large choral works produced were 
 Handel's Dettingen Te Deum, Rubinstein's sacred opera, The Tower of 
 Babel, Berlioz' Grande Messe des Moris, Requiem, Handel's Messiah, two 
 of Beethoven's symphonies, the Fifth and the Ninth, and excerpts from 
 several of Wagner's music-dramas. The great choral works of the Festival 
 were religious in character. It was always Dr. Damrosch's endeavor to 
 show as an incontestable truth that in the whole course of musical devel- 
 opment the religious spirit has inspired the greatest compositions. The 
 works selected, therefore, were all more or less intimately connected with 
 the outgrowth of the religious influence in music, and they were placed 
 on the evening programmes in order that the evening concerts should 
 have a consistent purpose, and also that all the members of the chorus 
 might assist in their performance. The same elevated aim is, it will be 
 seen, to be maintained through the present series of concerts. 
 
 The Festival will be essentially a choral one. It has been 
 the aim of the conductor to make the programmes sufificiently varied, 
 and to represent various developments of choral writing, from the old 
 and quaintly beautiful Seven Words, by Schutz, who in that work gave 
 to the world the first German Passion-oratorio that was ever written, 
 through the oratorios of Handel, whose Israel in Egypt was his greatest 
 choral work, to his more modern follower, Mendelssohn, whose master- 
 piece Elijah will be heard, and down to the modern development of the 
 religious cantata, in Leopold Damrosch's Sulamith. 
 
 The work of Schutz (1585 — 1672) marks the second period in the 
 evolution of the Oratorio, when the ancient music to the Mysteries 
 and Passion-plays was released from the religious stage, and began the 
 course that finally led to Bach and Handel. In the Seven Words and 
 in the same composer's Die Auferstehung Christi are found the germs 
 of the modern oratorio. It was Schutz' mission to bring the earlier 
 Passion-music into oratorio form, which Bach took further forward in 
 his Passion-oratorios, and to which Handel gave heroic proportions. 
 
 It is peculiarly fitting that Dr. Leopold Damrosch's Sulamith 
 should be given at the present Festival. Its performance by the mem- 
 bers of the Oratorio Society and the orchestra of the Symphony 
 Society, under the baton of the composer's son, will naturally assume 
 
Introduction. 
 
 the character of an ''In Memoriam" of one without whose noble efforts 
 to achieve the highest position in the American musical world the 
 present Festival would not have been possible. Dr. Damrosch was the 
 founder of the Oratorio Society, and his Sulamith was written for and 
 produced by that body for the first time in April, 1882. It was there- 
 fore eminently fitting that a place should be given on the Festival pro- 
 gramme of to-day to the work of one who always looked forward 
 with confidence to the time when music should have a home of its own 
 in New York, though he himself did not live to see his hopes realized. 
 
 The desire of the conductor of the Festival has, further, been to 
 make the programmes of the Festival as thoroughly catholic in char- 
 acter as possible, so as to embrace all the schools in music ; also to test 
 the acoustic properties of the hall through the different styles of 
 musical expression, from the simple song to the great oratorios de- 
 manding immense choruses, and to the passionate orchestration of Richard 
 Wagner. Berlioz, who has been recognized as the Wagner of France, 
 will be heard in his best work, the Te Deum, which gives a magnif- 
 icent example of fine choral and contrapuntal writing and of the 
 brilliant instrumentation so characteristic of the French composer. To 
 Dr. Leopold Damrosch belongs the honor of having made American 
 audiences better acquainted with Berlioz. He it was who produced 
 first in this country the French composer's Symphonie Fantastique, his 
 Romeo and Juliet overture, his Harold symphony, his Damnation of 
 Faust; and his Grand Messe des Moris, Requiem, was a feature of the 
 Festival of 188 1. 
 
 The selection of the great Finale from the second act of The 
 Marriage of Figaro will reveal Mozart in his most charming mood. 
 The delightful septet is one of the gems of a work that is justly 
 considered the best of all musical comedies, and to many people it 
 will come with almost the charm of novelty. Wagner will be repre- 
 sented by two of his most characteristic works, in selections from Tristan 
 and Isolde and the Prelude and Flower Maiden scene from his Parsifal; 
 while to Beethoven is accorded, with his Leonore Overture No. 3, 
 the first number on the programme, and with it Music Hall will 
 receive its public baptism of music. 
 
Introduction. 
 
 The engagement of the Russian composer Tschaikowsky adds a 
 very pleasant and original feature to the Festival. He is the great- 
 est representative Russian composer living to-day, sharing with Brahms 
 and Saint-Saens the honors of European fame. He will be heard 
 in several of his own best creations, among them a march, two 
 a capella choruses written in the style of Palestrina and Orlando 
 di Lasso, his Suite No. 3 for orchestra, and his Concerto No. i 
 for piano and orchestra. M. Tschaikowsky will also take a prominent 
 part in the Festival, in conducting his own compositions. It will be the 
 first time in America's musical history that a Russian composer will 
 wield the baton. No country in Europe, it may be added, has made 
 such remarkable advance in music as Russia has during the last three 
 or four decades. The seed-thought of national music sown by Wagner 
 in Germany has apparently taken permanent root in the great empire, 
 and, with the traditional splendor of the music of the Greek church 
 and the folk-songs of the people, has developed wonderful blossoms. 
 
 Most of the singers who will be heard at the Festival are so well 
 known from their artistic work in connection with the recent seasons 
 of opera and concert that any extended record of their careers seems 
 to be superfluous. Signor Campanini is still the representative Italian 
 tenor among us. Frau Antonia Mielke, Frau Marie Ritter-Goetze, 
 Herrn Emil Fischer, Theodor Reichmann, Andreas Dippel and Con- 
 rad Behrens were the main supports of the recent season of grand 
 opera in German at the Metropolitan. Mile. Clementine de Vere, Mrs. 
 Theodore J. Toedt, Mrs. Carl Alves, Mrs. Gerrit Smith, Miss Anna 
 Luella Kelly, Mrs. Hattie Clapper-Morris and Mr. Ericson Bushnell 
 complete the list of singers. The pianiste of the Festival is Frl. Aus 
 der Ohe, who has endeared herself to the American public through 
 five seasons of successful artistic work. 
 
\l<d * ^a^ie * \ 
 
 OVERTURE. 
 
 LEONORE No. 3, - Beethoven. 
 
 iOTHING can be more sublime than to draw nearer to the Godhead than other 
 men, and to diffuse here on earth these godhke rays among mortals. * * 
 I willingly renounce the world which has no presentiment that Music is a 
 higher revelation than all their wisdom and philosophy." — Beethoven. 
 
 " How the poems of antiquity, though so beautiful and so admired, pale before 
 this marvel of modern music ! Theocritus and Virgil were great landscape 
 songsters. Their verses are soft music, but Beethoven's tone-poems ! Ye poor 
 great poets of antiquity, ye poor immorj:als, veil your faces ; your conventional 
 language, so pure, so harmonious, cannot vie with the art of Sounds. Ye are 
 glorious, but conquered ! Ye have not known what we to-day call melody, har- 
 mony, the combinations of varying timbres, instrumental coloring, modulations, the 
 learned conflicts of sounds, which war first and afterwards kiss, those surprises 
 which move our souls to their very depths. The stammerings of an art in its in- 
 fancy, which you called music, could not give you any idea of all this ; for the 
 eminent and cultured minds of your age, you were the great melodists, the har- 
 monists, the masters of rhythm and expression. But these words in your language 
 had a very different meaning from that which we give them to-day. The art of 
 Sounds, strictly speaking, is born but of yesterday ; it is hardly an adult ; it is 
 beautiful, it is all-powerful ; it is the Pythian Apollo of the moderns. We owe it a 
 world of sentiments and sensations, which for you was unrevealed. Ye great poets, 
 whom we worship, ye are conquered !" — Berlioz. 
 
First Concert, Tuesday Evening. 
 
 TSCHAIKOWSKY. 
 
 M^I^CH SOIiENEIiIiE. 
 
 Conducted by the Composer. 
 
 tN a review of Russian music published in a London musical journal a short 
 time ago occurs the following sentence : — " The progress which Russia is making 
 ^ in musical art is being watched with interest by all musicians. The St. Peters- 
 burg Conservatorium, founded by Rubinstein in 1862, has produced at least one 
 composer of note, Peter Tschaikowsky, whose songs and pianoforte pieces are 
 known throughout Europe." Not long before, Liszt made a remark to Janka Wohl, 
 which she records in her " Recollections of Liszt," as follows : — "Properly speaking, 
 there is as yet no Russian music, but there are some first-rate composers. The 
 Russian mind, which is in continual activity on the one side, and comatose on the 
 other, will have to do an immense amount of work in order to properly direct its 
 natural tendencies ; and this is the result of the climate of the country and of the 
 Sclav character in general. . . . One feels that the Russian composers go to work 
 under a more or less sentimental inspiration, and not under the all-powerful im- 
 pression of a master idea." 
 
 American audiences have had ample opportunity, however, in the last decade, 
 to estimate for themselves the merits and demerits of the Russian school of music, 
 and the judgment expressed upon it has been of profound admiration for its orig- 
 inality, strength, color and beauty. The performance in New York of Tschai- 
 kowsky's Symphony after Bryon's Manfred, five years ago, induced a well-known 
 writer to say : — " Tschaikowsky's symphony provided an agreeable surprise. It is a 
 highly imaginative and beautiful work, quite as remarkable for the deep, poetical 
 feeling pervading it as for the ingenuity of its instrumentation, which would not be 
 shamed by the best efforts of Berlioz. It would not be altogether fanciful if one 
 should cite a dozen or so compositions of the young Russian school as arguments 
 that the musical scepter which the Teutons have wielded for so long is in danger of 
 passing into Sclavic hands. Such daring and vigor as some of Tschaikowsky's music, 
 including this new symphony, displays, without impairment of these qualities by 
 obvious harmonical and other theoretical subtleties, mean something to the student 
 of musical history. Look out for the Muscovite. He's a dangerous power in 
 politics, and the musical supremacy of Germany is being threatened." Robert 
 
 Hamerling, the Austrian poet, exclaims in his poem of "Die sieben Todsuenden": 
 
 " Up to the conflict, ye Romans and Germans, 
 
 We're the Colossus, and dwarfs are ye ! 
 
 With us henceforth rests the fate of Europa, 
 
 Lord of the world soon the Sclav must be ! " 
 
Tschaikowsky : March Solenelle. 
 
 The names ot Russian composers are now familiar features on nearly all the 
 programmes of our great concert leaders. Russian music is not an artificial 
 growth, or the product of a hot-house system of forcing, as is the case too often in 
 countries where popular and national melodies have not taken root during centuries 
 of history. The Greek Church has done quite as much as the Roman to keep music 
 in the hearts of the Russian people, and Russian Czars have not neglected to give 
 due attention to the furtherance of musical culture in the vast empire. The 
 services of the church are entirely choral, no organ or instrument being permitted. 
 The choirs in the cathedrals, composed of a large number of voices, are conducted 
 with extraordinary precision and accuracy, and the voices are distinguished by 
 great delicacy of tone and expression. A few years ago a celebrated Russian choir 
 was heard in London and Paris, and M. Gounod said of their performances : — " No 
 choir in these days presents such thorough homogeneity of execution." Some of 
 the bass voices created astonishment for their beauty of tone, with a full body of 
 sound, like the pedal pipes of an organ. Those who were permitted to be present 
 at the Coronation of the present Czar at Moscow, in 1883, will remember with what 
 surprise they listened to the marvelous voices of the male choir. 
 
 Without going into the history of Russian secular music, and its gradual release 
 from foreign influences, it may be well to quote a few facts of interest: — At the 
 beginning of the nineteenth century great attention began to be paid to instru- 
 mental music. In 1802 the Philharmonic Society was founded. In the realm of 
 opera Italian composers occupied the field till the end of the second decade of the 
 present century. A pupil of Field, Verstovskig, wrote several operas in the Russian 
 tongue, and he is regarded as the first representative of modern Russian dramatic 
 music. Next to him may be named Glinka, whose Life for the Czar was given 
 in St. Petersburg in 1836, and was received with acclamation. He was a pupil of 
 Field, and, after completing his studies in Italy and Germany, he became court 
 conductor and director of the imperial opera. In 1863 a Russian composer named 
 Serov produced a five act opera, Judith, in St. Petersburg, and attracted con- 
 siderable attention ; the music was described as melodious and Sclavonic in 
 character, while as to form Wagner seems to have been the composer's 
 model. 
 
 The two foremost musicians of Russia to-day are Anton Rubinstein and Peter 
 Tschaikowsky. Rubinstein's life belongs to the history of modern Russian music 
 so intimately that the two cannot be separated. In 1859 he stood at the head of 
 the Russian Musical Society, and in 1862 established the St. Petersburg Conserva- 
 torium, of which institution he was director until 1867. From that time till 1878 
 he made concert tours in Europe and America, and composed, until in 1887 he 
 again took the direction of the St. Petersburg Conservatory. Of his many works his 
 " Ocean " and " Dramatic " symphonies have made the round of the world. These, 
 with his many operas, biblical dramas, his hundreds of compositions for the concert 
 room, have given Russian music glory everywhere. 
 
First Concert, Tuesday Evening. 
 
 M. Tschaikowsky — Peter Iljitsch Tschaikowsky — is the author of several operas, 
 five symphonies, several overtures, two pianoforte concertos, a violin concerto, three 
 string quartets, besides a large number of vocal and instrumental works. He was 
 born in 1840, in the Russian province ofWjatka, in the Urals, and, after having 
 studied jurisprudence, occupied for a time a post as under secretary in the Ministry 
 of Justice. His tastes, however, being altogether musical, he left the service of the 
 state, and in 1862 entered the newly founded Conservatory, and after studying six 
 years he gained the prize medal for a contata on Schiller's Ode to Joy. From 
 1866 to 1877 he was teacher of musical theory at the Moscow Conservatory. Since 
 then he has devoted himself entirely to musical composition, living alternately in 
 St. Petersburg, Italy or Switzerland. Among his works are his orchestral fantasies 
 on " Manfred," on Shakespeare's "Tempest" and on " Francesca di Rimini," his 
 overture to " Romeo and Juliet," and his operas Voyvode, Opritschnik, 
 Walkula, which gained the prize of the Russian Music Society, Eugen Onagin, 
 yoan of Arc, Mazeppa, Pique Dame, a lyric drama. Snow White, and a ballet, 
 The Lake of Swans. He has fairly won his position as the greatest representative 
 living Russian composer. 
 
 All of M. Tschaikowsky's best works have been heard in New York. In 1883 
 Dr. Leopold Damrosch gave the No. 2 Symphony at a concert of the Symphony 
 Society. This work was repeated, under Mr. Walter Damrosch, in the season of 1888- 
 1889, at one of the concerts of the Symphony Society, together with the Concerto 
 for Violin. In the season of 1889-1890 Mr. Walter Damrosch gave the Symphony 
 No. 4, at the fourth concert of the Symphony Society. The Cappriccio Italien has 
 also been given by the Symphony Society, under the conductorship of Mr. Dam- 
 rosch, who, like Mr. Theodore Thomas, has for some years past given the Russian 
 composer a prominent place on his programmes. Besides the March Solenelle, M. 
 Tschaikowsky will conduct his Suite No. 3 for orchestra, two a capella choruses, 
 which will be heard for the first time in America, and his Concerto No. i for piano 
 and orchestra. Descriptions of these works will be found on another page. 
 
 M. Tschaikowsky's musical proclivities have been summed up in Sir George 
 Grove's great work as follows: — " In the works of a highly-educated musician like M. 
 Tschaikowsky, it would be vain to look for anything narrowly national, speci- 
 fically Russian. Though he does not dream of serving up the songs and dances of 
 his country in all their rude and crude beauty, his music nevertheless bears the un- 
 mistakable impress of Slavonic temperament — fiery exaltation on the basis of 
 languid melancholy. Like most Slavonic poets, Polish or Russian, he shows a 
 predilection for huge and fantastic outlines, for subtleties of diction, and luxuriant 
 growth of words and images, together with an almost oriental delight in gorgeous 
 colors. " 
 
^^^i^^'^^^^^^^-^^^^^^^hii^^^is^^^^iie^ 
 
 f;^t^^^:^^^^t^§^^^^:^^^^:^^^^^:^if^,\^^S^^^^^^^^^^^ttf§^^^^^^^^^^^§^t^^k^ 
 
 6^^yi?m^?^^^^gs^^^^^fe^g^»^^^l^^^^^-^^ 
 
 Sp itFom 
 
 FOR THREE CHOIRS, ORCHESTRA AND ORGAN, Op. 22. 
 
 BERLIOZ. 
 
 3- 
 
 4- 
 
 5- 
 6. 
 
 7- 
 
 triple fflbotttis, 
 Pawb, 
 
 " §igttat;e,Somitte." 
 "(£Mfiie, lex moviae." 
 " ®e e«80 quaeiSttmuiS." 
 "lu^liex mtoiiSi." 
 f ottt la ^tmntaiitm &t$ ^tapeau*. 
 
 ifHE genius of Hector Berlioz was recognized tardily by the world. To-day 
 1)1 he is called the Wagner of France. His genius was first recognized by the 
 Germans. The last words of his autobiography are: "I thank, from the 
 bottom of my heart, holy Germany, where the religion of Art is kept unsullied, 
 and thee generous England and thee Russia, who saved me, and you my good 
 friends in France, and you all noble hearts and spirits of all countries whom I have 
 known. To know you has been my joy, I will keep faithfully the dear remem- 
 brance of our friendship." Berlioz would probably have included America in his 
 gratitude had he lived long enough, for nowhere has his genius been so rekdily 
 acknowledged. 
 
 Born in 1803, dying in 1869, the present work dates from the period of his 
 greatest musical activity. In 1840 he had written his Symphonie Funebre et 
 Triumphale. In 1845 and 1846 he visited Germany. At Dresden he met the young 
 Kapellmeister Richard Wagner, who helped him in rphearsals with zeal and 
 good will. Mendelssohn he met at Leipsic. While at Berlin he wrote : "Music is 
 in the air, you breathe it." There he heard Bach's music and gave two successful 
 concerts, at which Meyerbeer assisted him. During a second concert tour in 1846 
 he composed his Damnation of Faust, the work produced for the first time in this 
 country by Dr. Leopold Damrosch at Steinway Hall, eleven years ago. It was in 
 1849 that he wrote the present work. 
 
6 First Concert, Tuesday Evening. 
 
 Richard Pohl in his " Hector Bei-lioz : Studien und Erinnerungen " gives 
 some facts of interest in connection with the first performance of the Te Deum 
 in Germany. Berlioz, he says, was instigated to the composition of the Te Deum 
 by the desire he entertained in 1849 of composing a grand epic-dramatical work on 
 the largest possible scale, in representation and glorification of the military fame 
 of Napoleon I., under the title of The Return of the First Consul from his Italian 
 Campaign. In this prodigious work the Te Deum was to form only an episode. 
 The idea was, Dr. Pohl continues, that at the moment of the work at which General 
 Bonaparte set foot within Notre Dame the Ambrosian Hymn of Praise should 
 burst forth from all sides, and that at its close the standards of the victorious army 
 should be taken up to, the altar, there to be blessed, amid the beating of drums, 
 salvos of artillery, and the performance of martial music. We are thus, says Dr. 
 Pohl, enabled to account for the employment of the triple choir, as well as for the 
 peculiar direction, prefixed to the full score, that the orchestra and double choir 
 should be placed at one end of the church and the organ at the other ; further, that 
 the third choir (children) is to be stationed on a separate platform at some distance 
 from the orchestra and double choir, because it represents the congregation, which 
 from time to time takes part in the ecclesiastical ceremony. Finally, it explains the 
 thoroughly original employment of military drums in the Judex Crederis and its 
 being complimented by a march Pour la presentation des Drapeaux. 
 
 Berlioz in his Memoirs has several references to his work. In a letter to General 
 Lwoff, dated February 23, 1849, he writes :, "I am now hard at work upon a grand 
 Te Deum for double chorus, with orchestra and organ obbligato. It is already assum- 
 ing some sort of shape ; and I have work enough for two months yet, as there will 
 be seven long movements." The work was not produced until 1855, and then not 
 in honor of Napoleon, but by way of a preliminary, the day before, to the opening 
 of the Palais de V Industrie . For this reason the work now bears the dedication 
 to the Prince Consort, of England, as the originator of such expositions. This was 
 the only performance of the Te Deum. during the composer's lifetime. On the 30th 
 of April, 1855, it was given in the Church of St. Eustache, Paris, under his own direc- 
 tion. Writing to his son on April 2Sth, 1855, Berlioz says: "We heard the first 
 orchestral rehearsal yesterday at St. Eustache, with the six hundred children. To- 
 day I try the ensemble of my two hundred artist choristers. The thing goes well. 
 It is colossal . . . There is a finale grander than the Tuba Mirum of my Requiem.'' 
 With the result of its first performance he seems to have been thoroughly satisfied, 
 for he wrote to his friend A. Morel : "The effect which the performance of the Te 
 Deum produced, both upon myself and the executants, was enormous. Speaking 
 generally, the measured grandeur of the conception and style made an immense 
 impression upon them, and you may rest assured that the Tibi Omnes and the 
 Judex, in two entirely different styles, are movements worthy of Babylon or 
 Nineveh, and they will be still more imposing when they are heard in a smaller and 
 less resonant space than that of the Church of St. Eustache." 
 
Berlioz : Te Deum for Three Choirs. 
 
 The subsequent history of the work may be thus given in summary. A single 
 movement, Tibi omnes (No. 2), was performed in the Palais de I'lndustrie, and a 
 partial performance of the work was given by Berlioz at Bordeaux. The Ju- 
 dex Crederis (No. 6) was performed under Berlioz' own direction at Baden Baden 
 in August, 1857 ; but the work as an entirety was not heard again until November, 
 1863, when it was given in the Cathedral of Bordeaux. It was then given in Wei- 
 mar and Vienna in the following year. Berlioz laid out his score on an extraordinary 
 grand scale, viz., for three choirs, orchestra and organ. For its performance he 
 required an orchestra of 134 executants, two choirs (each of 100 voices), a third 
 choir of 600 children, and a grand organ. In a note preiixed to the full score he 
 directed that the orchestra and two principal choirs, with the third choir on a sep- 
 arate platform and at some distance from them, were to be placed at one end of 
 the church and the organ at the other. An analysis of the work is as follows : — 
 
 I.— TRIPLE CHORUS. 
 
 Te Deum laudamus: te Dominum confi- We praise thee, O God: We acknowl- 
 
 temur. edge thee to be the Lord. 
 
 Te, seternum Patrem, omnis terra vene- All the earth doth worship thee: the 
 
 ratur. Father everlasting. 
 
 The First Movement, a Hymn of Praise {Allegro moderato, in F major, 4-4), 
 opens with an instrumental Prelude, consisting of massive chords for the Orchestra, 
 responded to by the Organ, and leading immediately to a triple chorus, treated for 
 the most part in the manner of a double fugue. At the commencement two subjects 
 are worked out contrapuntally. A second section, of a remarkable, tuneful and 
 sonorous character, and treated in close "imitation," soon follows. Both sections 
 are then repeated, but with important modifications; and the Movement is brought 
 to an end pianissimo with a pause on F sharp, leading directly to the Second Move- 
 ment (in B major). 
 
 II.— TRIPLE CHORUS. 
 
 Tibi omnes Angeli: tibi Cceli et Potesta- To thee all Angels cry aloud: the Heav- 
 
 teg. ens and all the Powers herein; 
 
 Tibi Cherubim et Seraphim incessabili To thee Cherubim and Seraphim contin- 
 
 voce proclamant: ually do cry, 
 
 Sanctus, Sanctus, Sanctus, Deus Saba- Holy, Holy, Holy: Lord God of Saba- 
 
 oth! oth; 
 
 Pleni sunt cceli et terra majestatis glorise Heaven and Earth are full of the majesty 
 
 tu£e. of thy glory. 
 
 Te gloriosus chorus Apostoloriim. The glorious company of the Apostles 
 
 Te Prophetarum laudabilis numerus, praise thee. 
 
 Te Martyrum candidatus laudat exer- The goodly fellowship of the Prophets 
 
 citus. praise thee. 
 
First Concert, Tuesday Evening. 
 
 Te per orbem terrarum sancta confitetur The noble army of Martyrs praise thee. 
 
 Ecclesia, The holy Church throughout all the 
 Patrem immensae majestatis; world doth acknowledge thee; 
 
 Venerandum tuum verum et unicum Fi- The Father of an infinite Majesty; 
 
 Hum, Thine honorable, true, and only Son; 
 
 Sanctum quoque Paracletum Spiritum. Also the Holy Ghost, the Comforter. 
 
 This is also a Hymn of Praise {Andantino, in B major, 3-4), and commences 
 with an Organ Prelude. The first three verses are assigned to women's voices, the 
 full choir entering at the words Pleni sunt cceli et terra. The next three verses, 
 commencing Te gloriosus chorus Apostolorum, are appropriately sung by men's 
 voices alone. Then the Sanctus is repeated by the Sopranos and Tenors of the 
 two principal choirs, the entire triple choir joining in it on a repetition of Pleni 
 sunt cosli. A third great section commences at the words Te per orbem, with 
 a solo for the Basses; after which, with the re-entry of the full double chorus, the 
 Sanctus is heard for the third time, but with entirely different treatment. A cul- 
 minating point is reached by its being reinforced by the third choir; but the Move- 
 ment ends quietly with a repetition of the opening Organ prelude, now transferred 
 to the Orchestra. 
 
 III.— DOUBLE CHORUS. 
 
 Dignare, Domine, die isto, sine peccato Vouchsafe, O Lord, to keep us this day 
 
 nos custodire. without sin. 
 
 Make us to be numered with thy Saints 
 Sterna fac cum Sanctis tuis in gloria j^^ ^i^^^ everlasting. 
 
 numerari. q Lqj.jJ^ have mercy upon us, have mercy 
 
 Miserere nostri ! miserere nostri ! upon us. 
 
 The Third Movement {Moderato, in D major, 4-4) has all the characteristics of 
 a fervent Prayer, and by its tranquility appropriately contrasts with what has gone 
 before. It opens with a dialogue between Organ and Orchestra, the effect of which, 
 when they answer each other from a distance, as Berlioz desired, must be very 
 striking. The voices sing sotto voce almost throughout; the Organ is often promi- 
 nent, but the Brass is very sparingly used. 
 
 IV.— DOUBLE CHORUS. 
 
 Tu Christe, Rex gloriae; Thou art the King of glory, O Christ. 
 
 Patris sempiternus Filius. Thou art the everlasting Son of the 
 
 Father. 
 Tu, devicto mortis aculeo, aperuisti ere- When thou hadst overcome the sharp- 
 dentibus regna coelorum. ness of death, thou didst open the 
 
 kingdom of Heaven to all believers. 
 
Berlioz : Te Deum for Three Choirs. 
 
 Tu, ad liberandum suscepturus hpminem, When thou tookest upon thee to deliver 
 non horruisti Virginis uterum. man, thou didst not abhor the Virgin's 
 
 womb. 
 
 Tu ad dexteram Dei sedes, in gloria Thou sittest at the right hand of God, in 
 Patris. the glory of the Father. 
 
 The Fourth Movement {Allegro nontroppo, in D major, $) is a Hymn of Praise. 
 It commences with a vigorous theme for the Tenors and Basses, soon to be taken 
 up by the Sopranos. Its middle section, commencing (in B minor) with the words 
 ad liberandum, is in calm contrast to the rest. A new subject of a bright and 
 animated character enters with Tu ad dexteram, and, after a reversion to the open- 
 ing theme of the movement, is developed at length and maintained to the end. 
 Throughout this chorus the Organ is silent. 
 
 v.— TENOR SOLO AND DOUBLE CHORUS. 
 
 Te ergo, qaesumus, famulis tuis subveni, We therefore pray thee, help thy ser- 
 quos pretioso sanguine redemisti. vants, whom thou hast redeemed with 
 
 thy precious blood. 
 
 Fiat misericordia tua, Domine, super nos, O Lord, let thy mercy lighten upon us, 
 quemadmodum speravimus in te. as our trust is in thee. 
 
 The Fifth Movement {Andantino quasi Adagio, in G minor and major, 3-4) is 
 a heartfelt Prayer. An orchestral Prelude leads to the Solo, a long drawn out mel- 
 ody, accompanied by a continuous syncopated figure on the part of the Strings, and 
 from time to time broken in upon by the upper Wood-wind and English Horn with 
 melodious passages derived from and responding to it. After a full close; in G 
 minor, the Sopranos and Altos monotone the words Fiat super nos, etc., against 
 a syncopated passage for Cornets and Trombones [pianissimo') — a device as remark- 
 able for its originality as for its melodic and harmonic charm. The Solo is again 
 taken up (now in B flat) and again twice responded to by the Sopranos and Altos 
 with the passage last alluded to. With a modulation to G major, at the words 
 Speravimus in te, the movement becomes more animated, and the Tenors of both 
 choirs join in. Thus it is not till the Coda, in which the Basses take part, is 
 reached that the full double chorus is heard. This Coda — a chorale-like passage, 
 rich in old ecclesiastical harmonies — is sung throughout pianissimo and unaccom- 
 panied. 
 
 VI.— TRIPLE CHORUS. 
 
 Judex crederis esse venturus. We believe that thou shalt come to be 
 
 our Judge. 
 
 In te, Domine, speravi ! non confundar O Lord, in thee have I trusted ; let me 
 
 in aeternum. never be confounded. 
 
 Salvum fac populum tuum et benedic O Lord, save thy people, and bless thine 
 
 hereditati tuae, Domine. heritage. 
 
 Per singulos dies benedicimus, laudamus Day by day we magnify thee, we worship 
 
 te, et laudamus nomen tuum. thy Name, ever world without end. 
 
10 First Concert, Tuesday Evening. 
 
 In the Sixth and last Choral Movement {Allegretto, in B flat minor and major, 
 9-8) Praise and Prayer are combined. Its style, as Richard Pohl has remarked 
 in the article already alluded to, is thoroughly characteristic of Berlioz; imposing 
 by its general structure and strongly marked rhythm, surprising by the sharp con- 
 trasts it presents; and powerful by its vocal and instrumental combinations. The 
 principal theme, the strongly marked rhythm of which runs throughout the greater 
 part of the Movement, is given out by the Organ Solo. A counter-theme (in B 
 flat minor) enters at the words Salvum fac populum. With singular persistency 
 and boldness the first bar of this is subsequently taken up by the Orchestra (in D 
 flat major) and made to serve as a continuous figure of accompaniment to the 
 Prayer, Per singulos dies. With the return of the opening theme a powerful 
 crescendo begins, and military Drums re-inforce the rhythm. Subsequently the 
 Double-Drum takes up the same rhythm; the Cymbals join in with it at the words 
 Non confundar in ceternum ; a wondrous climax is reached, and this massively 
 conceived Movement is soon brought to a close with jubilant fanfares for Cornets 
 and Trumpets. 
 
 VII.— MARCH. 
 
 Pour la Presentation des Drapeaux. 
 
 The March, by which the Te Deum is supplemented, though pompous and fest- 
 ive, is at the same time pervaded by a solemn and religious character. In its course 
 the two principal themes of the opening movement of the Te Deum are introduced 
 with striking effect, and thus serve in a singularly felicitous manner to establish its 
 close connection with the Te Deum by which it has been preceded, and in a thor- 
 oughly artistic and satisfactory manner to round off, and impart a sense of uniform- 
 ity to, the work as an organic whole. 
 
ORATORIO FOR SOLI, CHORUS AND ORCHESTRA. 
 
 |F three Oratorios which Mendelssohn wrote, namely, the Hymn of Praise, St- 
 Paul and Elijah, the last named marks a distinct deviation from the more con- 
 ventional form. So strongly does the dramatic element predominate through- 
 out this work that Mendelssohn may be looked upon as the founder of a new and 
 distinct oratorio school. In writing to Schubring on the subject of the book in 
 1838 he says : — " I am anxious to do justice to the dramatic element and, as yo 
 say, no epic narrative must be introduced." And a little later he again writes : — 
 " In such a character as that oi Elijah, like every one in the Old Testament (except, 
 perhaps, Moses), it appears to me that the dramatic should predominate; the person- 
 age should be introduced as acting and speaking with fervor, not, however, for 
 heaven's sake, to become mere musical pictures, but inhabitants of a positive, prac- 
 tical world, such as we see in every chapter of the Old Testament." Mendelssohn 
 has been so eminently successful in carrying out this design of making the dra- 
 matic element prominent that his work might, without difficulty, be staged and 
 produced as a sacred opera, and with scenery, costumes and proper stage appoint- 
 ments would undoubtedly prove effective. 
 
 Mendelssohn conceived the idea of the Oratorio of Elijah in 1837, though the 
 work was not completed until 1846, when on the 26th of August of that year it was 
 first produced in Birmingham, England. Hiller tells us that the idea of the Ora- 
 torio was first suggested to Mendelssohn's mind by a verse in the nineteenth chap- 
 ter of the First Book of Kings, "Behold, the Lord passed by," and that Mendel- 
 ssohn after reading this verse said to him : — " Would not that be splendid for an Ora- 
 torio.''" He discussed the subject with his friend^ Carl Klingemann in London in 
 1837, and the following year with Pastor Julius Schubring. It was during this year 
 that his friend the Pastor assisted him in selecting some of the passages and in 
 sketching out some of the scenes. During the next two years the work occupied 
 Mendelssohn's mind, but it was not until 1840 that he really began to put it into 
 a definite form. In 1842 he was still working at the book, and when in 1844 he re- 
 ceived an invitation to conduct the Musical Festival at Birmingham in 1846 he 
 
12 Second Concert, Wednesday Evening. 
 
 decided to complete the work for that occasion, and bent his energies towards 
 the fulfillment of that end (purpose). 
 
 The text is compiled from the First Book of Kings. It was written in 
 German and afterwards translated into English by Mr. Bartholomew. The entire 
 first part of the work and some half a dozen numbers of the second were completed 
 and sent to Mr. Bartholomew by the 23d of May, 1846, and before the end of July 
 the entire work was in the hands of the translator. On the i8th of August 
 Mendelssohn arrived in London and made his home, as was his custom, with his 
 friend Klingemann. He at once arranged for rehearsals of the work. The first (in 
 England), with pianoforte accompaniment, took place at the house of Moscheles, 
 and two others, with full band, followed at the Hanover Square Rooms. On the 23d 
 of August, in company with Moscheles, he went to Birmingham. Moscheles was 
 engaged to conduct the other works, which were Haydn's Creation, on the 25th, 
 and Handel's Messiah and Beethoven's Mass in D on the 27th. Mendelssohn con- 
 ducted two full rehearsals of his work on the 24th and 25th of August, and on the 
 26th the Oratorio was performed in public for the first time. 
 
 The Overture to Elijah is preceded by a short recitative as an Introduction, 
 sung by Elijah, in which he proclaims the drought which is to last for three years. 
 In the overture which immediately follows a musical description is given of the 
 beginning of the drying up of the streams, and the consequent suffering of the people. 
 It leads without interruption into the first chorus, in which the people in their 
 distress call upon the Lord and in their trouble and need ask : " Wilt Thou quite 
 destroy us V The distress of the people is further made known in the recitative : 
 
 "The deeps afford no water ; the suckling's tongue now cleaveth for thirst to 
 his mouth ; the infant children ask for bread, and there is no one breaketh it 
 to them." 
 
 This is followed by (No. 2) a beautiful and touching supplication of the people, 
 written as a solo duet for first and second soprano with chorus, " Lord, bow down 
 Thine ear." Following this is the recitative for tenor, which is the admonition of 
 Obadiah, " Ye people, rend your hearts and not your garments," after which comes 
 the well known tenor air, "If with all your hearts," every note of which is full of 
 consolation and comfort. The first part of the chorus following this beautiful 
 tenor solo shows the prayers of the people still unanswered, and they cry in their 
 exceeding need, " Yet doth the Lord see it not ; He mocketh at us." But in the 
 latter part of the chorus a beautiful choral, beginning with the words : " For He is 
 a jealous God," is most effectively introduced, showing the people still have hope 
 and faith in the justice and mercy of Jehovah. 
 
 An angel now appears and commands Elijah to depart to the brook of 
 Cherith. The angel sings the command in recitative, and with an alto voice, and 
 this is followed by a melodious and beautifully written double quartet of angels, 
 " For He shall give His angels charge over thee." The angel now commands 
 Elijah (recitative) to arise and go to Zarephath, where he will be sustained by the 
 
Mendelssohn: Elijah. 1 3 
 
 widow woman, whose barrel of meal shall not waste nor cruse of oil fail until the 
 day the Lord sendeth rain upon the earth. The first soprano solo is heard directly 
 after this. In it the widow woman, in pathetic and appealing measures, supplicates 
 the Prophet to succor and restore her son to her. Elijah's fervent intercession in 
 behalf of the bereaved mother, the prayer answered and the passionate joy of 
 the woman at the raising of her son follows. 
 
 The dramatic element, which Mendelssohn was so desirous should predominate 
 in this work, is exemplified in this scene of the raising of the widow's son. After 
 the chorus "Blessed are the men who fear Him" comes a recitative, in which 
 Elijah declares, the three years being fulfilled, he will present himself before Ahab. 
 In the scenes which follow, the dramatic, as well as the musical, element is worked 
 up to a really splendid climax. Elijah appears before Ahab and the king accuses 
 Elijah as being " he that troubleth Israel." Elijah answers, " I never troubled 
 Israel's peace. It is thou, Ahab, and all thy father's house." Elijah asks that the 
 whole of Israel assemble at Mount Carmel, and he challenges the Priests of Baal to 
 offer sacrifice, the answer to be by fire from heaven. The challenge is accepted 
 and the people take up the exciting double chorus, " Baal, we cry to thee." At 
 the close Elijah commands them to "Call him louder," and with ever increasing 
 energy they call yet again. Elijah taunts them further and again bids them to 
 "Call him louder! He heareth not ! Not a voice will answer you, none will listen, 
 none heed you." Goaded on to fury, the Priests of Baal again renew their call to 
 their god. They shout to him and pause in silence to listen for an answer. None 
 comes. Again they shout and demand, " Hear and answer ! " Again they pause 
 and listen, but they receive no answer. 
 
 In strong contrast to these choruses of the wild and idolatrous worshippers of 
 Baal comes the aria " Lord, God of Abraham," sung by Elijah. The pure and devo- 
 tional character of this air and the lovely quartet " Cast thy burden upon the Lord," 
 which follows it, is rendered more apparent and effective by way of contrast from 
 what has just gone before and that which follows when the fire, at the command 
 of Elijah, descends upon his sacrifice and the people burst into an exulting chorus, 
 which is brought to a close by a fine choral and Elijah commands all the false 
 prophets to be slain. The well known bass aria follows, " Is not His word like fire ?" 
 sung by Elijah, and an arioso of rare beauty for alto, " Woe unto them." Obadiah 
 now comes forward and reminds Elijah of the distress of the people, and asks him 
 to help them. Elijah and later the people supplicate that the heavens may be 
 opened and help afforded them. Three times a youth is sent up to look towards 
 the sea and tell the famishing people if deliverance is nigh. The third time the 
 little cloud, like a man's hand, is seen, which comes on and on, and in the orchestra is 
 heard th^ rushing of the storm and the wind, and above this the joyous chorus of the 
 people, singing "Thanks be to God." With this the first part is brought to a 
 close. 
 
 Part II. — The second part oi Elijah begins with the aria for soprano, " Hear 
 
14 Second Concert, Wednesday Evening. 
 
 ye, Israel." The first part of this number (adagio) is broad, flowing and melodious ; 
 and in it is heard the voice of pleading and of warning. This is followed by a short 
 recitative, which leads at once into the second subject (allegro), which begins with a 
 joyous burst of exaltation, " I, I am He that comforteth." Following this brilliant 
 aria comes the chorus " Be not afraid," which is one of the finest in the work, the 
 full chorus being accompanied by both orchestra and organ, with splendid effect. 
 The second part (or subject) of this chorus is in fugue form, and is stirring and full of 
 animation. It leads again into the first and beautiful phrase, and closes with the 
 choral "Thy help is near." In the next number, which is a recitative, Elijah speaks 
 to Ahab and tells him of the evil he has done, and for this, and because he has 
 caused Israel to sin, therefore the Lord will smite him, and the people under him, 
 '' And thou shalt know that He is the Lord." 
 
 Queen Jezebel now comes upon the scene, and endeavors to incite the people 
 against Elijah. Ahab, she tells them, is King of Israel, and yet Elijah's power is 
 greater than the king's. She accuses the Prophet of conspiring against Israel, and 
 vows that she will have his life for those of her prophets he has sacrificed. She 
 incites the people, who respond with vehemence that " He must perish." This 
 duet and chorus leads into the chorus " Woe to him, he shall perish ! " This entire 
 scene is highly effective and of great dramatic power. Obadiah (tenor), in a beauti- 
 ful recitative, tells Elijah of Jezebel's conspiracy against him, and warns him to flee 
 for his life to the wilderness. The aria which follows, " It is enough," sung by the 
 Man of God in his loneliness in the wilderness, is full of the most pathetic tenderness 
 and sorrow. He prays that he may die, for though he has " been very zealous for 
 the Lord" his work has been in vain and he begs: " Lord, take my life away." 
 Overcome by grief and weariness, he sinks to sleep beneath a juniper tree, and the 
 voices of three angels are heard in the lovely, unaccompanied trio " Lift thine eyes." 
 This is followed by the chorus, of wondrous, and suave beauty, " He watching over 
 Israel," which is probably the most widely known chorus of the entire work. In a 
 recitative for alto the Angel arouses Elijah and bids him go to Horeb. The 
 Prophet, on hearing the command, again bewails that his labor has been in vain, 
 and pleads for death. The answer comes in one of the most beautiful vocal com- 
 positions ever penned by Mendelssohn, " Oh, rest in the Lord." 
 
 The music to this number is of the most elevated character, and worthy of the 
 words which inspired it. Every phrase speaks comfort and consolation, and the 
 noble chorus " He that shall endure to the end " is worthy to follow it. The next 
 recitative is declaimed by Elijah, and in it he calls upon the Lord : " My soul is 
 thirsting for Thee," for he has regained his courage and his zeal. The Angel bids 
 him arise and stand on the mount before the Lord, " For there His glory will 
 appear and shine on thee ! Thy face must be veiled, for He draweth near." The 
 chorus which follows is intensely realistic, and, while dramatic, is full of devotional 
 spirit and most impressive. The Prophet must be pictured veiled, waiting the 
 coming of Jehovah. The soprano and alto chorus, with mighty voice, proclaim : 
 
Mendelssohn : Elijah. 
 
 15 
 
 " Behold ! God the Lord passed by!" As if awed by holy fear, the chorus begin, in 
 the softest strains, increasing in power, " And a mighty wind rent the mountains 
 around," and, decreasing again to pianissimo, tell us, without accompaniment of 
 either orchestra or organ, " But yet the Lord was not in the tempest." 
 
 The earthquake and the fire pass by. The treatment of each subject is descript- 
 ive, and similar to the first. The chorus proclaim : " But yet the Lord was not in 
 the fire." With a beautiful and effective musical modulation, and in the tenderest pian- 
 issimo, the chorus sings : " And after the fire there came a still, small voice, and 
 in that still voice onward came the Lord." Following this comes a double quartet 
 and chorus of the celestial choir, who sing : " Holy, holy, holy is God the Lord." 
 Elijah is commanded to return upon his way, as the Lord has left seven thousand 
 in Israel who have not bowed the knee to Baal. With readiness and zeal Elijah 
 answers : " I go on my way in the strength of the Lord." This recitative precedes 
 the aria sung by Elijah, " For the Mountains shall depart and the hills be removed," 
 which prepares for the final chorus, in which the dramatic climax of the work is 
 reached, in the description by the people of the coming of the fiery chariot and 
 the whirlwind by which he is taken up to heaven. Following this effective chorus 
 is an aria for tenor, " Then shall the righteous shine forth as the sun," and a recita- 
 tive for soprano, which leads at once into the chorus " But the Lord from the North 
 has raised one, who from the rising on his name shall call." The beautiful and 
 melodious quartet " O come everyone that thirsteth" is the next number, and the 
 chorus " And then shall your Light break forth as the Light of the morning" is the 
 final chorus of the work. 
 
 1J^!1» 
 
 The author of this English Version has endeavored to render it as nearly in accordance 
 with the Scriptural texts as the music to which it is adapted will admit. The references are, 
 therefore, to be considered rather as authorities than quotations. 
 
 PART L 
 
 INTRODUCTION. 
 
 Recitative. 
 
 Elijah. — As God the Lord of Israel 
 liveth, before whom I stand, there shall 
 not be dew nor rain these years, but ac- 
 cording to my word. 
 
 I Kings xvii. i. 
 
 OVERTURE. 
 . Chorus. 
 The People.— Help, Lord! wilt Thou 
 quite destroy us.' 
 
 The harvest now is over, the summer 
 days are gone, and yet no power cometh 
 to help us! Will then the Lord be no 
 more God in Zion } Jeremiah viii. 20. 
 
16 
 
 Second Concert, Wednesday Evening. 
 
 Recitative Chorus. 
 The deeps afford no water; and the 
 rivers are exhausted! The suckling's 
 tongue now cleaveth for thirst to his 
 mouth: the infant children ask for bread, 
 and there is no one breaketh it to feed 
 
 them I 
 
 Lament, iv. 4. 
 
 i>uet and Chorus. 
 The People. — Lord! bow thine ear 
 to our prayer! 
 
 Duet. — Zion spreadeth her hands for 
 aid; and there is neither help nor com- 
 fort. 
 
 Lament, i. 17. 
 Recitative. 
 
 Obadiah. — Ye people, rend your 
 hearts, and not your garments, for your 
 transgressions the Prophet Elijah hath 
 sealed the heavens through the word of 
 God. I therefore say to ye, Forsake 
 your idols, return to God; for He is slow 
 to anger, and merciful, and kind and 
 gracious, and repenteth Him of the evil. 
 
 Joel ii. 12, 13. 
 Air. 
 
 If with all your hearts yfe truly seek 
 me, ye shall ever surely find me. Thus 
 saith our God. 
 
 Oh! that I knew where I might find 
 
 Him, that I might even come before His 
 
 presence. 
 
 Deut. iv. 29. Job xxiii. 3. 
 
 Chorus. 
 
 The People. — Yet doth the Lord see 
 it not: He mocketh at us; His curse 
 hath fallen down upon us; His wrath 
 will pursue us, till He destroy us! 
 
 For He, the Lord our God, He is a 
 jealous God; and He visiteth all the 
 father's sins on the children to the third 
 and fourth generation of them that hate 
 Him. His mercies on thousands fall — 
 fall on all them that love Him, and keep 
 His commandments. 
 
 Deut. xxviii. 22. Exodus xx. 5, 6. 
 
 Recitative, 
 An Angel.— Elijah! get thee hence; 
 depart, and turn thee eastward: thither 
 hide thee by Cherith's brook. There 
 shalt thou drink its waters; and the 
 Lord thy God hath commanded the 
 ravens to feed thee there: so do accord- 
 ing unto His word. 
 
 I Kings xvii. 3. 
 
 Double Quartet. 
 
 Angels. — For He shall give His 
 
 angels charge over thee; that they shall 
 
 protect thee in all the ways thou goest; 
 
 that their hands shall uphold and guide 
 
 thee, lest thou dash thy foot against a 
 
 stone. 
 
 Psalm xci. 11, 12. 
 
 Recitative. 
 An Angel.— Now Cherith's brook is 
 dried up, Elijah arise and depart, and 
 get thee to Zarephath; thither abide: 
 for the Lord hath commanded a widow 
 woman there to sustain thee. And the 
 barrel of meal shall not waste, neither 
 shall the cruse of oil fail, until the day 
 that the Lord sendeth rain upon the 
 earth. 
 
 I Kings xvii. 7, 9, 14. 
 ft* 
 
 Recitative and Air. 
 
 The Widow.— What have I to do 
 with thee, O man of God.' art thou come 
 to me, to call my sin unto remembrance!* 
 — to slay my son art thou come hitheri* 
 Help me, man of God! my son is sick! 
 and his sickness is so sore, that there is 
 no breath left in him! I go mourning 
 all the day long; I lie down and weep 
 at night. See mine affliction. Be thou 
 the orphan's helper! 
 
 Elijah, — Give me thy son. Turn 
 unto her, O Lord my God; in mercy 
 help this widow's son! For Thou art 
 gracious, and full of compassion, and 
 plenteous in mercy and truth. Lord, my 
 God, O let the spirit of this child return^ 
 that he again may live! 
 
Mendelssohn: Elijah. 
 
 17 
 
 The Widow. — Wilt thou show won- 
 ders to the dead? Shall the dead arise 
 and praise thee? 
 
 Elijah. — Lord, my God, O let the 
 spirit of this child return, that he again 
 niay live! 
 
 The Widow. — The Lord hath heard 
 thy prayer, the soul of my son reviveth! 
 
 Elijah. — Now behold, thy son liveth! 
 
 The Widow. — Now by this I know 
 that thou art a man of God, and that 
 His word in thy mouth is the truth. 
 What shall I render to the Lord for all 
 His benefits to me? 
 
 Both. — Thou shalt love the Lord thy 
 God with al'. thine heart, and with all 
 thy soul, and with all thy might. 
 O blessed are they who fear Him! 
 
 [ Kings xvii. 17, i8, 21—24. Job x. 15. 
 Psalm xxxviii. 6; vi. 7; x. 14; Ixxxvi. 
 15, 16; Ixxxviii. 10; cxxviii. i. 
 
 Chorus. 
 
 Blessed are the men who fear Him: 
 they ever walk in the ways of peace. 
 Through darkness riseth light to the up- 
 right. He is gracious, compassionate; 
 
 He is righteous. 
 
 Psalm cxxviii. i; cxii. i, 4. 
 
 Recitative. 
 
 Elijah. — As God the Lord of Sabaoth 
 Hveth, before whom I stand, three years 
 this day fulfilled, I will show myself unto 
 Ahab; and the Lord will then send rain 
 again upon the earth. 
 
 Ahab.— Art thou Elijah ? art thou he 
 that troubleth Israel ? 
 
 Chorus. — Thou art Elijah, he that 
 troubleth Israel! 
 
 Elijah. — I never troubled Israel's 
 peace: it is thou, Ahab, and all thy 
 father's house. Ye have forsaken God's 
 commands ; and thou hast followed 
 Baalim ! 
 
 Now send and gather to me, the whole 
 of Israel unto Mount Carmel: there sum- 
 mon the prophets of Baal, and also the 
 prophets of the groves, who are feasted 
 at Jezebel's table. Then we shall see 
 whose God is the Lord. 
 
 Chorus. — And then we shall see 
 whose God is God the Lord. 
 
 Elijah. — Rise then, ye priests of 
 Baal : select and slay a bullock, and put 
 no fire under it : uplift your voices, and 
 call the god ye worship ; and I then 
 will call on the Lord Jehovah : and the 
 God who by fire shall answer, let him be 
 God. 
 
 Chorus. — Yea ; and the God who by 
 fire shall answer, let him be Cod. 
 
 Elijah. — Call first upon your god : 
 your numbers are many : I, even I, only 
 remain, one prophet of the Lord ! In- 
 voke your forest-gods and mountain- 
 deities. 
 
 I Kings xvii. 17 ; xviii. 1, 15, i8, 19, 23 — 25. 
 
 Chorus. 
 
 Priests of Baal. — Baal, we cry to 
 thee ! hear and answer us I Heed the 
 sacrifice we offer I hear us ! O hear us, 
 Baal! 
 
 Hear, mighty god ! Baal, O answer 
 us ! Let thy flames fall and extirpate 
 the foe ! O hear us, Baal ! 
 
 Recitative. 
 
 Elijah. — Call him louder, for he is a 
 god ! He talketh ; or he is pursuing ,- 
 or he is in a journey ; or, peradventure, 
 he sleepeth ; so awaken him : call him 
 louder. 
 
 Chorus. 
 
 Priests of Baal. — Hear our cry, O 
 Baal ! now arise ! wherefore slumber ? 
 
 Recitative and Air. 
 Elijah. — Call him louder ! he hear- 
 eth not. With knives and lancets cut 
 
18 
 
 Second Concert, Wednesday Evening. 
 
 yourselves after your manner : leap upon 
 the altar ye have made : call him, and 
 prophecy ! Not a voice will answer 
 you ; none will listen, none heed you. 
 Chorus. 
 
 Priests of Baal. — Hear and answer, 
 Baal ! Mark! how the scorner derideth 
 us! Hear and answer! 
 
 I Kings xvlii. i, 15, 17, 18, 19, 23 — 29. 
 Recitative and Air. 
 
 Elijah. — Draw near, all ye people: 
 come to me! 
 
 Lord God of Abraham, Isaac, and 
 Israel ! this day let it be known that 
 Thou art God; and I am Thy servant ! 
 O show to all this people that I have 
 done these things according to Thy 
 word! O hear me, Lord, and answer 
 me; and show this people that Thou 
 art Lord God; and let their hearts again 
 be turned! 
 
 I Kings xviii. 30, 36, 37. 
 
 Quartet. 
 
 Angels. — Cast thy burden upon the 
 
 Lord, and He shall sustain thee. He 
 
 never will suffer the righteous to fall: 
 
 He is at thy right hand. 
 
 Thy mercy, Lord, is great; and far 
 above the heavens. Let none be made 
 ashamed that wait upon Thee! 
 
 Psalm Iv. 22; xvi. 8; cviii. 5; xxv. 3. 
 
 Recitative. 
 
 Elijah. — O Thou, who makest Thine 
 angels spirits; — Thou, whose ministers 
 are flaming fires, let them now descend! 
 
 Psalm civ. 4. 
 
 Chorus. 
 
 The People. — The fire descends 
 from heaven; the flames consume his 
 offering ! 
 
 Before Him upon your faces fall ! The 
 Lord is God : O Israel hear! Our God is 
 one Lord: and we will have no other gods 
 before the Lord ! 
 
 I Kings xviii. 38, 30. 
 
 Recitative. 
 Elijah. — Take all the prophets of 
 Baal; and let not one of them escape 
 you: bring them down to Kishon's 
 brook, and there let them be slain. 1 
 
 Ctiorus. 
 The People. — Take all the prophets 
 of Baal; and let not one of them escape 
 us: bring all, and slay them ! 
 
 I Kings xviii. 40, 
 Air. 
 Elijah. — Is not His word like a fire: 
 and like a hammer that breaketh the 
 rock into pieces ? 
 
 For God is angry with the wicked 
 every day: and if the wicked turn not, 
 the Lord will whet His sword; and 
 He hath bent His bow, and made it 
 ready. 
 
 Jer. xxiii. 29. Psalm vii. n, 12. 
 
 Air. 
 
 Woe unto them who forsake Him! de- 
 struction shall fall upon them, for they 
 have transgressed against Him. Though 
 they are by Him redeemed, yet they 
 have spoken falsely against him. 
 
 Hosea vii. 13. 
 
 Recitative and Chorus. 
 
 Obadiah.— O man of God, help thy 
 people ! Among the Idols of the Gen- 
 tiles, are they any that can command 
 the rain, or cause the heavens to give 
 their showers? The Lord our God 
 alone can do these things. 
 
 Elijah. — O Lord, thou hast over- 
 thrown thine enemies and destroyed 
 them. Look down on us from heaven, 
 O Lord; regard the distress of Thy peo- 
 ple: open the heavens and send us 
 relief: help, help Thy servant now, O 
 God! 
 
 The People.— Open the heavens and 
 send us relief: help, help Thy servant 
 now, O God! 
 
Mendelssohn: Elijah. 
 
 19 
 
 Elijah. — Go up now, child, and look 
 toward the sea. Hath my prayer been 
 heard by the Lord 1 
 
 The Youth. — There is nothing. The 
 heavens are as brass above me. 
 
 Elijah. — When the heavens are 
 closed up because they have sinned 
 against Thee, yet if they pray and con- 
 fess Thy name, and turn from their sin 
 when Thou dost afflict them; then hear 
 from heaven, and forgive the sin; Help ! 
 send Thy servant help, O God! 
 
 The People. — Then hear from heav- 
 en, and forgive the sin ! Help ! send 
 Thy servant help, O Lord ! 
 
 Elijah. — Go up again, and still look 
 toward the sea. 
 
 The Youth. — There is nothing. The 
 earth is as iron under me ! 
 
 Elijah. — Hearest thou no sound of 
 rain .' — seest thou nothing arise from the 
 deep .' 
 
 The Youth. — No ; there is nothing. 
 Elijah. — Have respect to the prayer 
 
 of Thy servant, O Lord, my God ! Unto 
 Thee will I cry, Lord, my rock ; be not 
 silent to me ; and Thy great mercies 
 remember, Lord ! 
 
 The Youth. — Behold, a little cloud 
 ariseth now from the waters ; it is like 
 a man's hand ! The heavens are black 
 with clouds and with wind : the storm 
 rusheth louder and louder ! 
 
 The People. — Thanks be to God, for 
 all His mercies ! 
 
 Elijah. — Thanks be to God, for He 
 is gracious, and His mercy endureth for 
 evermore ! 
 
 Jer. xiv. 22. 2 Chron. vi. 19, 26, 27. 
 Deut. xxviii. 23. Psalm xxviii. i; cvi. 1. 
 I Kings xviii. 43, 45. 
 
 Chorus. 
 Thanks be to God ! He laveth the 
 thirsty land ! The waters gather ; they 
 rush along ; they are lifting their voices ! 
 The stormy billows are high ; their 
 fury is mighty. But the Lord is above 
 them, and almighty ! 
 
 Psalm xciii. 3, 4, 
 
 PART n. 
 
 Air. 
 
 Hear ye, Israel ; hear what the Lord 
 speaketh: — " Oh, hadst thou heeded my 
 commandments !" 
 
 Who hath believed our report ; to 
 whom is the arm of the Lord revealed t 
 
 Thus saith the Lord, the Redeemer of 
 Israel, and his Holy One, to him op- 
 pressed by Tyrants : thus saith the 
 Lord : — I am He that comforteth ; be 
 not afraid, for I am thy God, I will 
 strengthen thee. Say, who art thou, 
 that thou art afraid of a man that shall 
 die ; and forgettest the Lord thy Maker, 
 who had stretched forth the heavens, 
 
 and laid the earth's foundations \ Be 
 not afraid, for I, thy God, will strengthen 
 
 thee. 
 
 Isaiah xlviii. i, 18; liii. i; xlix. 7; xli. 10; 
 li. 12, 13. 
 
 Chorus. 
 
 Be not afraid, saith God the Lord. 
 Be not afraid ! thy help is near. God, 
 the Lord thy God, saith unto thee, 
 " Be not afraid !" 
 
 Though thousands languish and fall 
 beside thee, and tens of thousands 
 around thee perish, yet still it shall not 
 
 come nigh thee. 
 
 Isaiah xli. 10. Psalm xci. 7. 
 
20 
 
 Second Concert, Wednesday Evening. 
 
 Recitative and Chorus. 
 
 Elijah. — The Lord hath exalted thee 
 from among the people ; and over his 
 people Israel hath made thee king. But 
 thou, Ahab, hast done evil to provoke 
 liim to anger above all that were before 
 thee : as if it had been a light thing for 
 thee to walk in the sins of Jeroboam. 
 Thou hast made a grove and an altar to 
 Eaal, and served him and worshipped 
 him. Thou hast killed the righteous, 
 and also taken possession. 
 
 And the Lord shall smite all Israel, 
 as a reed is shaken in the water ; and 
 He shall give Israel up and thou shalt 
 know He is the Lord. 
 
 I Kings xiv. 7, 9, 15 ; xvi. 30, 31, 32, 33. 
 
 The Queen. — Have you not heard he 
 hath prophesied against all Israel .' 
 
 Chorus. — We heard it with our ears. 
 
 The Queen. — Hath he not prophesied 
 also against the King of Israel .? 
 
 Chorus. — ^We heard it with our ears. 
 
 The Queen. — And why hath he 
 spoken in the name of the Lord ? Doth 
 Ahab govern the kingdom of Israel 
 while Elijah's power is greater than the 
 king's } 
 
 The gods do so to me, and more ; if, 
 by to-morrow about this time, I make 
 not his life as the life of one of them 
 whom he had sacrificed at the brook of 
 Kishon ! 
 
 Chorus. — He shall perish ! 
 
 The Queen. — Hath he not destroyed 
 Baal's prophets .-' 
 
 Chorus. — He shall perish! 
 
 The Queen. — Yea, by the sword he 
 destroyed them all ! 
 
 Chorus — He destroyed them all ! 
 
 The Queen. — He also closed the 
 heavens ! 
 
 Chorus. — He also closed the hea- 
 vens! 
 
 The Queen. — And called down a 
 famine upon the land. 
 
 Chorus. — And called down a famine 
 upon the land. 
 
 The Queen.— So go ye forth and 
 seize Elijah, for he is worthy to die; 
 slaughter him ! do unto him as he hath 
 done ! 
 
 Chorus. 
 
 Woe to him, he shall perish; for he 
 closed the heavens! And why hath he 
 spoken in the name of the Lord .■• Let 
 the guilty prophet perish ! He hath 
 spoken falsely against our land and us, 
 as we have heard with our ears. So 
 go ye forth ; seize on him ! He shall 
 die! 
 
 Jeremiah xxvi. 9, 11. i Kings xviii. lo; 
 xix. 2; xxi. 7. Ecclesiastes xlviii. 2, 3. 
 
 Recitative. 
 
 Obadiah. — Man of God, now let my 
 words be precious in thy sight. Thus 
 saith Jezebel: " Elijah is worthy to die." 
 So the mighty gather against thee, and 
 they have prepared a net for thy steps; 
 that they may seize thee, that they may 
 slay thee. Arise, then, and hasten for 
 thy life; to the wilderness journey. The 
 Lord thy God doth go with thee : He 
 He will not fail thee, He will not for- 
 sake thee. Now begone, and bless me 
 also. 
 
 Elijah. — Though stricken, they have 
 not grieved! Tarry here, my servant: 
 the Lord be with thee. I journey hence 
 to the wilderness. 
 
 2 Kings i. 13. Jer. v. 3; xxvi. 11. Psalm 
 lix. 3. I Kings xix. 4. Deut. xxxi. 6. 
 Exodous xii. 32. i Samuel xvii. 37. 
 
 Air. 
 Elijah. — It is enough, O Lord; now 
 take aw^ay my life, for I am not better 
 than my fathers ! I desire to live no 
 longer: now let me die. for my days are 
 but vanity ! 
 
Mendelssohn : Elijah 
 
 21 
 
 I have been very jealous for the Lord 
 God of Hosts! for the Children of Israel 
 have broken Thy covenant, thrown 
 down Thine altars, and slain Thy proph- 
 ets with the sword: and I, even I, only 
 am left ; and they seek my life to take it 
 away. 
 
 Job vii. i6. I Kings xix. 10. 
 Recitative. 
 See, now he sleepeth beneath a juniper 
 tree in the wilderness: and there the an- 
 gels of the Lord encamp round about all 
 them that fear Him. 
 
 I Kings xix. 5. Psalm xxxiv. 7. 
 
 Trio. 
 
 Angels. — Lift thine eyes to the 
 
 mountains, whence cometh help. Thy 
 
 help Cometh from the Lord, the Maker 
 
 of heaven and earth. He hath said, thy 
 
 foot shall not be moved: thy Keeper 
 
 will never slumber. 
 
 Psalm cxxi. i, 3. 
 
 Chorus. 
 
 Angels. — He, watching over Israel, 
 
 slumbers not, nor sleeps. Shouldst thou, 
 
 walking in grief, languish. He will 
 
 quicken thee. 
 
 Psalm cxxi. 4; cxxxviii. 7. 
 
 Recitative. 
 
 An Angel. — Arise, Elijah, for thou 
 hast a long journey before thee. Forty 
 days and forty nights shalt thou go; to 
 Horeb, the mount of God. 
 
 Elijah. — O Lord, I have labored in 
 vain; yea, I have spent my strength for 
 naught ! 
 
 O that Thou wouldst rend the heav- 
 ens, that Thou wouldst come down; that 
 the mountains would flow down at Thy 
 presence, to make Thy name known to 
 Thine adversaries, through the wonders 
 of Thy works! 
 
 O Lord, why hast Thou made them to 
 2rr from Thy ways, and hardened their 
 
 hearts that they do not fear Thee.'' O 
 that I now might die! 
 
 I Kings xix. 8. Isaiah xlix. 4; Ixiv. i, 2; 
 Ixiii. 7. 
 
 Air. 
 
 O rest in the Lord; wait patiently for ; 
 Him, and He shall give thee thy heart's ' 
 desires. Commit thy way unto Him, 
 and trust in Him, and fret not thyself 
 because of evil doers. 
 
 Psalm xxxvii. i, 7. 
 ' Chorus. 
 
 He that shall endure to the end shall 
 be saved. 
 
 Matthew xxiv. 13. 
 
 Recitative. 
 
 Elijah. — Night falleth round me, O 
 Lord! Be Thou not far from me! hide 
 not Thy face, O Lord, from me; my soul 
 is thirsting for Thee, as a thirsty lane. 
 
 An Angel. — Arise, now! get thee 
 without, stand on the mount before 
 the Lord; for there His glory will ap- 
 pear and shine on thee! Thy face must 
 be veiled, for He draweth near. 
 
 Psalm cxliii. 6, 7. i Kings xix. 11. 
 
 Chorus. 
 
 Behold ! God the Lord passed by! 
 And a mighty wind rent the moun- 
 tains around, break in pieces the rocks, 
 break them before the Lord; but yet the 
 Lord was not in the tempest. 
 
 Behold! God the Lord passed by! 
 And the sea was upheaved, and the 
 earth was shaken: but yet the Lord was 
 not in the earthquake. 
 
 And after the earthquake there came 
 a fire; but yet the Lord was not in the 
 fire. 
 
 And after the fire there came a still, 
 small voice; and in that still voice, on- 
 ward came the Lord. 
 
 I Kings xix. 11, 12. 
 Recitative. 
 
 Above Him stood the Seraphim, and 
 one cried to another: 
 
22 
 
 Second Concert, Wednesday Evening. 
 
 Quartet and Chorus. 
 Angels.— Holy, holy, holy is God the 
 Lord — the Lord Sabaoth! Now His 
 glory hath filled all the earth. 
 
 Isaiah vi. 2, 3. 
 
 Recitative. 
 
 Chorus. — Go, return upon thy way! 
 For the Lord yet hath left Him seven 
 thousand in Israel, knees which have not 
 bowed to Baal: go, return upon thy way; 
 Thus the Lord commandeth. 
 
 Elijah. — I go on my way in the 
 strength of the Lord. For Thou art my 
 Lord; and I will suffer for Thy sake. My 
 heart is therefore glad, my glory re- 
 jpiceth, and my flesh shall also rest in 
 hope. 
 
 I Kings xix. 15, 18. Psalm Ixxi. 16; xvi. 2, 9. 
 
 Air. 
 
 Elijah. — For the mountains shall de- 
 part, and the hills be removed; but Thy 
 kindness shall not depart from me, 
 neither shall the covenant of Thy peace 
 
 be removed. 
 
 Isaiah liv. 10. 
 
 Choi'US. 
 
 Then did Elijah the prophet break 
 forth like a fire; his words appeared like 
 burning torches. Mighty kings by him 
 were overthrown. He stood on the 
 mount of Sinai, and heard the judgments 
 of the future; and in Horeb, its venge- 
 ance. / 
 
 And when the Lord would take him 
 away to heaven, lo! there came a fiery 
 chariot, with fiery horses; and he went 
 by whirlwind to heaven. 
 
 Ecclesiastes xlviii. i, 6, 7. 2 Kings ii. i, 11. 
 
 Air. 
 Then shall the righteous shine forth as 
 
 the sun in their heavenly Father's realm. 
 Joy on their head shall be for everlast- 
 ing, and all sorrow and mourning shall 
 flee away forever, 
 
 Matthew xiii. 43. Isaiah li. II. 
 
 Recitative. 
 Behold, God hath sent Elijah the 
 prophet, before the coming of the great 
 and dreadful day of the Lord. And he 
 shall turn the heart of the fathers to the 
 children, and the heart of the children 
 unto their fathers; lest the Lord shall 
 come and smite the earth with a curse. 
 
 Malachi iv. 5, 6. 
 
 Chorus. 
 
 But the Lord, from the north hath 
 raised one who from the rising of the sun 
 shall call upon His name and come on 
 princes. 
 
 Behold, my servant and mine elect, in 
 whom my soul delighteth! On him the 
 Spirit of God shall rest : the spirit of wis- 
 dom and understanding, the spirit of 
 might and of counsel, the spirit of knowl- 
 edge and of the fear of the Lord. 
 
 Isaiah xli. 25; xlii. i; xi. 2. 
 
 Quartet. 
 
 O! come every one that thirsteth, O 
 come to the waters: come unto Him. O 
 hear, and your souls shall live for 
 ever ! 
 
 Isaiah Iv. i, 3. 
 Chorus. 
 
 And then shall your light break forth 
 as the light of morning breaketh; and 
 your health shall speedily spring forth 
 then; and the glory of the Lord ever 
 shall reward you. 
 
 Lord, our Creator, how excellent Thy 
 name is in all the nations ! Thy fiUest 
 heaven with Thy glory. Amen ! 
 
 Isaiah Iviii. 8. Psalm viii. 1. 
 
|e |}arria§e i |i§ar0. 
 
 M O Z A RT. 
 OVERTURE; AND GRAND FINALE ACT II. 
 
 ^HE book of Mozart's opera Le Nozze di Figaro is taken from Beaumarchais's 
 pC comedy Le Mariage de Figaro, ou la folk yournee, and is a continuation of 
 ^ the same author's comedy Le Barbier de Seville. In Le Mariage de Figaro 
 we meet with the same personages with whom we have become familiar in 
 Le Barbier, and make the acquaintance of several others. The Count Almaviva 
 has married Rosina, the niece of Dr. Bartolo, and with him into his new establish- 
 ment he has taken Figaro and Marcellina, the duenna of the once lively Rosina. 
 Dr. Bartolo and Basillio are also met again — all with new surroundings. The new 
 characters introduced are Susanna, the maid and confidant of the Countess Alma- 
 viva ; Cherubino, a page to the Count ; Antonio, a gardener, and his daughter, called 
 in the comedy Fanchette, but in the libretto the name has been changed to Barba- 
 rina. The story which leads up to tYie finale of the second act is as follows : — 
 
 Figaro is betrothed to Susanna and preparations are in progress for the nup- 
 tials, when Figaro discovers that Susanna is the object of the Count's attentions. 
 The Count has developed into a sad flirt as well as a most jealous husband since his 
 marriage. Don Basillio is the tool of the Count in trying to forward the latter's 
 , attentions to Susanna. His Lordship has also shown a tender feeling for Barbarina, 
 the gardener's daughter, and upon one occasion, when visiting her at her cottage, 
 finds with her Cherubino, the Page, and as a punishment for poaching on his Lord- 
 ship's preserves, dismisses the boy from his service. This Page Figaro determines 
 to use as his assistant in a counterplot against the Count and Basillio, though 
 Cherubino is unconscious that he is being made use of. After being dismissed by 
 the Count, Cherubino seeks out Susanna to ask her to intercede with the Countess, 
 who is his godmother and for whom he entertains a most ardent boyish passion, 
 in his behalf. During this interview the Count enters, to press his suit with Su- 
 sanna, and Cherubino quickly conceals himself behind a large armchair. 
 
 23 
 
24 
 
 Third Concert, Thursday Afternoon. 
 
 The Count is proceeding to make love to Susanna when footsteps are heard, 
 and, not wishing to be found alone with her, he conceals himself behind the arm- 
 chair, and as he does so Cherubino slips around into the chair and Susanna covers 
 him with a gown belonging to the Countess, just as Basillio enters. The 
 latter tries to advance his Lordship's suit, and in doing so mentions Cherubino and 
 his passion for the Countess. This enrages the Count, who at once rises and de- 
 mands to know the whole of the story which the gossiping Basillio has been insin- 
 uating, and threatens vengeance upon the Page. Susanna intercedes for him, 
 whereupon the Count relates how he, only the morning before, had found the young 
 scapegrace at the cottage of Barbarina, having suspected his presence there by 
 finding the door of the cottage locked, and upon demanding entrance was further 
 convinced by the tell-tale look on Barbarina's face. Seeking in every corner for 
 him, his Lordship had finally lifted up the table cover. "Lo ! the Page," he exclaims, 
 and imitating the action described, he raises the gown on the armchair and dis- 
 covers Cherubino. 
 
 The Count is about to inflict further punishment upon him when he remembers 
 that the Page has heard him make love to Susanna. This fact secures pardon for the 
 boy, and as there is a vacancy in his Lordship's regiment, Cherubino is given a 
 commission and ordered to join it at once. Susanna informs the Countess of the 
 Count's visit to her, and of all that Cherubino has overheard, and they assist Figaro in 
 his plot to entrap the Count. Cherubino, having written a sonnet to the Countess, 
 comes to take leave of her and sings his song, after which he is, in furtherance of 
 Figaro's plans, to be arrayed in female dress. Susanna has completed the head- 
 dress and by the Countess's order has gone to fetch one of her gowns for the Page, 
 when the Count's voice is heard; Cherubino runs and conceals himself in the closet. 
 The Countess locks him in and then opens the door to the Count, whose jealousy is 
 at once aroused by the confused manner of the Countess. He demands entrance 
 to the closet where Cherubino is concealed. Leaving the room for a little time, 
 Cherubino escapes by leaping from the window, and Susanna enters the closet. 
 The Count returns with a crowbar to effect his entrance by force, and with it goes 
 to the closet, and at this point the^nate begins. 
 
 GRAND FINALE ACT II. 
 
 Count. 
 Come forth, you precious varlet ! 
 Rogue, no longer hesitate ! 
 
 Countess. 
 Oh, my lord, your growing anger 
 Makes me tremble for his fate. 
 
 Count. 
 Dare you still my wishes flout .' 
 
 Countess. 
 No, but hear me. 
 
 Count. 
 
 Well, speak out ! 
 
 Countess. 
 True, you'll p'r'aps have some suspicion. 
 When you find him — his condition — 
 Naked neck, and bare of bosom — 
 
Mozart : The Marriage of Figaro. 
 
 25 
 
 Count. 
 
 But take up your sword, then, 
 
 Nacked neck and bare of bosom ! 
 
 And slay him, my lord, then, 
 
 And what further — 
 
 The Page whom you doubt. 
 
 Countess. 
 
 Countess. 
 
 He just put on woman's dress. 
 
 What means this contrivance t 
 
 Count. 
 
 (Susanna comes out.) 
 
 Oh I see it, worthless woman ! 
 
 Count. 
 
 But I'll be avenged no less. 
 
 (Some cunning connivance ! 
 
 (Seizes the crowbar in a rage.) 
 
 My head whirls about.) 
 
 Countess. 
 
 Susanna. 
 
 You insult me by your passion — 
 
 (Then both the contrivance 
 
 Wrong me by untrustfulness ! 
 
 Has bothered, no doubt.) 
 
 Count. 
 
 Count. 
 
 Give the key here. 
 
 Alone, too 1 
 
 Countess. 
 
 Susanna, 
 
 Spare your anger. 
 
 Examine — He's probably here. 
 
 Know, he's guiltless - 
 
 Count. 
 
 Count. 
 
 I'll seek him, I'll seek him, 
 
 I know nothing 
 
 And find him, no fear. 
 
 Out of sight and knowledge human ! 
 
 (Enters the closet. The Countess rises.) 
 
 Faithless and abandoned woman ; 
 
 Countess. 
 
 Go, no more dishonor me. 
 
 Susanna, I'm quaking ; 
 
 Countess. 
 
 My strength is forsaking — 
 
 I will go — but — 
 
 Susanna. 
 
 Count. 
 
 Take courage, show spirit, 
 
 I despise you. 
 
 He's off safe and clear. 
 
 
 (The Count returns confused.) 
 
 Countess. 
 
 
 I am pure. 
 
 Count. 
 
 Count. 
 
 How strange is my error ; 
 
 Your face belies you. 
 
 I scarce can believe it ; 
 
 (She gives him the key.) 
 
 But if I caused terror 
 
 I will kill him ; that no longer 
 
 I beg you'll forgive it. 
 
 He may plot such infamy. 
 
 (To the Countess.) 
 
 
 Such joking is cruel. 
 
 Countess. 
 
 Too cruel I call it. 
 
 Ah, how far leads such blind passion ! 
 
 Countess. 
 Your folly deserves, sir — 
 
 Where will end the agony.? 
 
 (The Count opens the door; the Countess flings 
 
 herself into a chair, covering her eyes. Susanna 
 
 Susanna. 
 
 comes out of the closet with ironical gravity.) 
 
 No pity at all. 
 
 Count. 
 
 Count and Countess. 
 
 Susanna ! 
 
 I love you. 
 
 Susanna. 
 
 My master ! 
 
 Countess. 
 
 Is any disaster t 
 
 Oh, fie, sir ! 
 
26 Third Concert, Thursday Afternoon. 
 
 Count. 
 
 Countess. 
 
 I swear it ! 
 
 Why, that was a jest, too. 
 
 Countess. 
 Mere words, sir : 
 
 Count. 
 But this villainous billet? 
 
 I'm false : in your fever 
 
 (Showing it.) 
 
 You called me deceiver. 
 
 Countess. 
 
 Count. 
 
 'Tis Figaro's letter, 
 
 Susanna, pray help me 
 
 And sent through Basillio — 
 
 My peace to repair. 
 
 Count. 
 
 Susanna. 
 
 The rogues! I'm their debtor. 
 
 A man of suspicion 
 
 Countess. 
 
 Well merits such fare. 
 
 He earns not forgiveness 
 
 Countess. 
 
 Who grace can't bestow. 
 
 And all this commotion 
 
 Count. 
 
 Rewards the devotion 
 
 Well, well, if 'twill suit you, 
 
 Of one who so loves you 
 
 Peace shall be mutual. 
 
 And hoped love to share! 
 
 You won't be inflexible. 
 
 Susanna. 
 
 Dearest, I know. 
 
 My lady! 
 
 Countess. 
 
 Count. 
 
 Susanna, I render 
 
 Rosina! 
 
 A heart much too tender. 
 
 Countess. 
 
 The wrath of a woman. 
 
 silence! 
 
 Who credits now this } 
 
 Most cruel of husbands, 
 
 Susanna. 
 
 To utter that name: 
 
 The men, ma'am, discern 'em : 
 
 You wound — you despise me — 
 
 We twist and we turn 'em ; 
 
 You put me to shame! 
 
 At most the transaction 
 
 A wife your suspicion 
 
 Winds up with a kiss. 
 
 Will drive to despair! 
 
 Count. 
 
 Susanna. 
 
 Regard me ! 
 
 (Aside to the Countess.) 
 
 Countess, 
 
 You see his repentance, 
 
 Unkind one ! 
 
 Commute now his sentence; 
 
 Count. 
 Yes, I was the blind one — 
 
 Forgive and forget. 
 
 Countess. 
 
 The deed I abjure. 
 
 I can't bring my conscience 
 To pardon him yet. 
 
 Count. Countess. Susanna. 
 I ) ( You. 
 
 Count. 
 
 You \ Ever will hold \ Me. 
 
 But the Page you confessed to.' 
 
 He j (Her. 
 
 Countess. 
 
 All stainless and pure. 
 
 (Enter Figaro.) 
 
 'Twas only to test you. 
 
 Figaro. 
 
 Count. 
 
 My lord, the musicians; 
 
 Your fright — ^your confusion — 
 
 All sort and conditions 
 
Mozart : The Marriage of Figaro. 
 
 27 
 
 Of music; fifes squealing 
 And trumpet's loud pealing; 
 Your vassals advancing, 
 With singing and dancing, 
 To honor the wedding, 
 To which we'll repair. 
 
 (The Count stops him as he is going.) 
 
 Count. 
 Come here, and less prating. 
 
 Figaro. 
 The people are waiting. 
 
 Count. 
 Ere going resolve me 
 A doubt which I share. 
 
 Countess. Susanna. Figaro. 
 
 (Aside.) 
 
 Now here comes a poser; 
 And what shall we say? 
 
 Count. 
 
 (Aside.) 
 The cards in my hand I 
 Must skillfully play. 
 Can you tell me who indited 
 This same note, Sir Figaro.' 
 
 Figaro. 
 No, I can't, sir. 
 
 Countess. Susanna. 
 What, you can't, sir! 
 
 Figaro. 
 No, I can't tell; no, no, no! 
 
 Susanna. 
 Why, you gave it Don Basillio. 
 
 Countess. 
 To deliver, you remember. 
 
 Figaro. 
 Oh I swear it wasn't so. 
 Susanna. 
 How.? You know of that young spark in 
 Yonder garden, and the larking — 
 
 Count. 
 You assert then — 
 
 Figaro. 
 
 I dont know. 
 
 Count. 
 Oh, you cannot disabuse us. 
 For your face your guilt accuses. 
 And I see you want to lie. 
 
 Figaro. 
 It's my face, not me, that's lying. 
 
 Countess. Susanna. 
 Vainly you your wits are trying. 
 We the secret have discovered 
 And you need not make reply. 
 
 Count. 
 Now, what say you ? 
 
 Figaro. 
 Deuce a bit, sir. 
 
 Count. 
 You admit, then .' 
 
 Figaro. 
 Don't admit, sir. 
 
 Countess. Susanna. 
 There, confess, mad-witted joker ; 
 It is time the farce had ceased. 
 
 Figaro. 
 Well, to make an end dramatic. 
 Theater usage says emphatic. 
 You should wind up all the business 
 With a matrimonial feast. 
 
 Countess. Susanna. 
 Good, my lord, do not oppose it. 
 To our wishes yield, we pray. 
 
 Count. 
 
 (Asi'de.) 
 
 Marcellina, Marcellina ! 
 
 What can make her longer stay } 
 
 (Enter Antonio intoxicated, bringing in a pot of 
 
 flowers with the stalks broken.) 
 
 Antonio. 
 Oh, my lord, my lord ! 
 
 Count. 
 What's happened .' 
 
 Antonio. 
 'Twas a knave's trick. But who did it ? 
 
28 
 
 Third Concert, Thursday Afternoon. 
 
 All Four. 
 What's the grievance ? What's the 
 matter ? 
 
 Antonio. 
 Listen to me. 
 
 All. 
 Well, continue. 
 
 Antonio. 
 (To the Count.) 
 From the lattice o'er the garden 
 Often they pitch out their rubbish, 
 And not long ago the beggars 
 Pitched a man out of the window. 
 Count. Countess. Susanna. 
 From the lattice ! 
 
 Antonio. 
 See the flowers ! 
 
 Count. 
 In the garden ! 
 
 Countess. Susanna. 
 (Aside.) 
 Help us, Figaro. 
 
 Count. 
 What means this .■" 
 
 Countess. Susanna. 
 (Aside.) 
 
 The knave confounds us. 
 
 Countess. Susanna. Figaro. 
 But what would this drunkard with us } 
 
 Count. 
 (To Antonio.) 
 
 So, a man .' And 'vhither went he ? 
 
 Antonio. 
 Helter skelter fleet the rascal, 
 And I lost him in a moment. 
 Susanna. 
 (Aside to Figaro.) 
 
 'Twas the Page, you know. 
 Figaro. 
 (Aside.) 
 
 I know it. Ha, ha, ha ! 
 Count. 
 Come, silence, silence ! 
 
 Antonio. 
 Why do you laugh .■• 
 
 Figaro. 
 Ho, ho, ho ! 
 
 Count. 
 Silence ! 
 
 Figaro. 
 (To Antonio.) 
 You've been drunk since break of 
 morning. 
 
 Count. 
 
 (To Antonio.) 
 Just repeat the tale. — A man fell 
 From the window 1 
 
 Antonio. 
 
 From the window. 
 Count. 
 To the garden .' 
 
 Antonio. 
 
 To the garden. 
 
 Countess. Susanna. Figaro. 
 'Tis the wine, my lord, speaks in him. 
 
 Count. 
 Well, you recognize his features .■• 
 
 A ntonio. 
 Not I. 
 
 Countess. Susanna. 
 (Aside.) 
 Figaro, be careful. 
 
 Figaro. 
 (To Antonio.) 
 Stop your whisperings, you rascal, 
 Making all this noise and nonsense. 
 
 (Pointing to the flowers.) 
 There's no use of further hiding : 
 It was I who jumped down yonder. 
 
 Count. Antonio. 
 You } What, you ! 
 
 Countess. Susanna. 
 What brains ! What quickness ! 
 
 Figaro. 
 Why do you stare .' 
 
 Count. 
 (Aside.) 
 
 I don't believe him. 
 
 Antonio. 
 What has made you grow so big since .' 
 You were not so big in jumping. 
 
 Figaro. 
 Pooh ! that happens oft to jumpers. 
 
Mozart : The Marriage of Figaro. 
 
 29 
 
 Antonio. 
 Who'd ha' thought it ! 
 
 Countess. Susanna. 
 (To Antonio.) 
 Ass, don't argue. 
 
 Count. 
 (To Antonio.) 
 What say you .' 
 
 Antonio. 
 Oh, well, I fancied 
 I was the youngster — 
 
 Count. 
 Cherubino ! 
 
 Countess. Susanna. 
 (Aside.) 
 
 Plague upon him ! 
 
 Figaro. 
 Very likely ; 
 
 He's on horseback come from Seville : 
 Just arrived : it's him most surely. 
 
 Antonio. 
 No, it won't be him; I cannot 
 Say I saw the horse a-jumping. 
 
 Count. 
 Bah! I'll soon cut short this nonsense. 
 
 Countess. Susanna. 
 (Aside.) 
 
 Gracious powers! What now will happen.? 
 
 Count. 
 Go on. You — 
 
 Figaro. 
 Jumped out o' window. 
 
 Count. 
 What induced you .' 
 
 Figaro. 
 Fright. 
 
 Count. 
 Of what, sir ? 
 
 Figaro. 
 Shut up, waiting for my sweetheart, 
 Crick-crack came a noise unusual; 
 You cried out; and I, reminded 
 Of the note, leaped from the casement 
 And have sprained my foot. 
 
 (Rubs his foot. Antonio pulls out some papers.) 
 
 A ntonio. 
 These papers, 
 Then, belong to you; you dropped them. 
 
 Count. 
 Give them to me. 
 
 (Antonio gives them. 
 Figaro. 
 I'm caught ! 
 
 Countess. Susanna. 
 (Aside.) 
 Be cautious. 
 
 Count. 
 Now, sir, explain. What is this paper ? 
 (Showing Figaro at a distance.) 
 Figaro. 
 Wait — I'll tell you — I've so many. 
 (Pulls out a lot of memoranda from his pocket 
 and examines them.) 
 
 Antonio. 
 P'r'aps a list of debts, your lordship. 
 
 Figaro. 
 No, a list of invitations. 
 
 Count. 
 (To Figaro.) 
 
 Speak. 
 
 (To Antonio.) 
 You leave him. 
 
 Countess and Susanna. 
 Yes, you leave him, 
 And be off. 
 
 Antonio. 
 I'm going. — Look you 
 If again I find you skulking — 
 
 Figaro. 
 Go, old fellow, I don't fear you. 
 (Exit Antonio. The Count again shows the paper ; 
 the Countess recognizes the commission.) 
 
 Count. 
 Come! 
 
 Countess. 
 
 (Aside to Susanna.) 
 
 Oh, heavens! the cojjimission! 
 Susanna. 
 
 (Aside to Figaro.) 
 
 Good gracious! the commission! 
 
 Count. 
 Now then! 
 
30 
 
 Third Concert, Thursday Afternoon. 
 
 Figaro. 
 What a good for nothing 
 Head is mine! That! the commission 
 Which he had not long since gave me. 
 
 Count. 
 What to do? 
 
 Figaro. 
 It lacks — 
 Count. 
 What lacks it? 
 
 Countess. 
 
 (Aside.) 
 
 Lacks the seal. 
 
 Susanna. 
 (Aside to Figaro.) 
 The seal — seal tell him. 
 Figaro. 
 Why, a seal is mostly added. 
 Count. 
 (Aside.) 
 Oh, this villain will drive me distracted, 
 Ne'er unriddled the secret will be. 
 
 (Twists up the paper.) 
 Countess. Susanna. 
 (Aside.) 
 If I only escape from this tempest, 
 I will never tempt further the sea. 
 Figaro. 
 (Aside.) 
 The poor beggar may stamp and may 
 
 bluster. 
 But he knows less about it than me. 
 
 (Enter Bartolo, Marcellina and Basillio.) 
 Marcellina. Bartolo. Basillio. 
 You, my lord, are famed for justice : 
 On that justice we rely. 
 Count. 
 (Aside.) 
 These are come, then, to avenge me. 
 Even now relieved am I. 
 
 Countess. Susanna. Figaro. 
 These are come to disconcert us : 
 To what aid can we apply ? 
 
 Figaro. 
 (To the Count.) 
 These are lunatics — three idiots . 
 What can they be after, pray ? 
 
 Count. 
 Softly now, without confusion 
 Hear what each one has to say. 
 
 Marcellina. 
 (Pointing to Figaro. 
 This man here has offered marriage, 
 Promised it me, sir, in writing ; 
 And I claim that the fulfillment 
 Of that vow shall now take place. 
 
 Countess. Susanna. 
 How — why — what ! 
 
 Count. 
 
 Ho there — be silent 
 I am here to judge the case. 
 
 Basillio. 
 I, a citizen of standing. 
 Come to offer testimony; 
 I bear witness to the promise 
 And to money lent beside. 
 
 Countess. Susanna. Figaro. 
 They are lunatics, are raving. 
 
 Count. 
 Silence there I We'll ascertain it, 
 We shall read the contract over, 
 All in order shall be tried. 
 
 Countess. Susanna. Figaro. 
 
 (Aside.) 
 
 I'm astounded, I'm bewildered, 
 
 Desperate and all confounded. 
 
 Certainly some imp of mischief 
 
 Sent them on an evil tide. 
 
 Count. Marcellina. Bartolo. Basillio. 
 
 This is capital, 'tis splendid I 
 
 Out of joint are all their noses. 
 
 Surely some propitious genius 
 
 Sent us on a lucky tide. 
 
TRISTAN AND ISOLDE 
 
 RICHARD WAGNER. 
 
 PRELUDE AND FINALE. 
 
 }N Tristan and Isolde Richard Wagner reveals the fullest development of his 
 theory of endless melody. The opera has been heard frequently at the Metropoli- 
 tan, and the poetic structure from which the composer gained the musical comple- 
 tion of the work is well known to New York audiences. When the Prelude was first 
 produced, over thirty years ago, it left a chaotic impression upon audiences. Wag- 
 ner showed his own belief in himself characteristically when he determined to give 
 it in Paris, in i860, to a public for the most part hostile to him, and which later re- 
 fused, under the lead of the members of the Jockey Club, to accept his Tannhduser. 
 He gave three concerts in the Theatre Italien, and the Tristan overture was 
 received with constantly increasing appreciation, except on the part of Berlioz, 
 who confessed his inability to understand it. "I have read the curious score 
 of this Prelude through again and again " he wrote. "I have listened to it with 
 every possible attention, inspired with the greatest desire to be able to grasp its 
 significance. But I have to confess that I have not the slightest idea of what the 
 composer wants to say." Berlioz would doubtless be surprised if he could come to 
 life again to-day to find with what enthusiasm this same Prelude is received in Paris 
 to-day by the Paris public. 
 
 In Tristan, Wagner has released melody from the bonds of a definite, re- 
 stricted rhythmical period; given it the form of what he calls infinite or endless 
 melody — melody whose origin is not in dance rhythm, but in the free rhythm of 
 musical expression. The motives of the prelude are consequently of a somewhat 
 fragmentary nature, to a certain extent simply interjections, from which is created 
 by means of skillful thematic development a tone picture of marvelous unity and 
 completeness. Edward Schure, the noted French Wagnerian, says of the music 
 drama: — " A work of profound passion, fiery and concentrated, born of strong 
 personal emotions, yet moving in a region beyond that of reality. At once the 
 boldest, most audacious, yet spontaneous expression of the genius of Richard 
 Wagner, it is the most moving, the most human of dramas, but transfigured by the 
 double magic of Legend and Music, Tristan and Isolde! These two names. 
 
32 
 
 Third Concert, Thursday Afternoon. 
 
 inseparably bound together, call up an era out of the twilight of semi-oblivion. Dur- 
 ing centuries the story of their love lived on th^ lips of men. It was transmitted' 
 by the Gallic bards to the Anglo-Norman singers, by these to the French trouba- 
 dours, from whom it passed into all the countries of Europe. If the legend of the 
 Holy Grail represents religious chivalry, the mystic conquest of divine love, the 
 story of Tristan and Isolde represents worldly chivalry in the service of terrestrial 
 love that rules all hearts. Breton bards, minstrels and troubadours vied with each 
 other in singing of the numerous adventures of Tristan, the nephew of King Mark, 
 and of Queen Isolde; of their amours at the court of the King, their retreat and their 
 life in the cave of the giants, of their cruel separation caused by Tristan's exile, of 
 Isolde's journey across the sea in order to rejoin him, and finally of their death, 
 uniting both. 
 
 " In Tristan, poetry and music, welded together by the might of genius, give 
 expression to the tragedy of love with an energy of passion and a plenitude of senti- 
 ment that have never been equaled. The music is endless melody. It is a great 
 advance on Lohengrin, where harmonic warp and woof dominate the characters. 
 In Tristan the organism of the soul, the incessant working of sentiment and thought 
 are revealed. . . Harmony and melody resemble a deep river of passion, which 
 now rushes on confined between its banks, now dashes and foams upon the rocks, 
 now widens into an immense lake; now precipitates itself over cataracts, finally to 
 be lost, as with Isolde's last song, in the silence and majesty of the ocean. The 
 final impression is that of a great calm after a most violent storm. More clearly 
 than ever is revealed the significance of the lives of the unhappy Leopardi. Born 
 at the same time. Love and Death are brothers; not the w^irld below nor the 
 stars above have anything more beautiful." 
 
 The scene of the Finale is in the courtyard of Tristan's castle in Brittany, 
 whither the Knight has fled after having been wounded by Melot for treachery to 
 the King in winning the love of the Irish Princess. Isolde has followed him across 
 the sea, and King Mark has hastened to the side of his nephew to give his forgive- 
 ness to the love-smitten couple. They arrive too late, for Tristan dies in Isolde's 
 arms after a single word of greeting. Isolde sings her famous lament over Tristart's 
 body: — 
 
 (Isolde enters. Tristan, unable to control him- 
 self, plunges, totteringly, towards her. They 
 meet. Isolde receives him in her arms.) 
 
 Tristan ! 
 
 Isolde. 
 Ha! 
 
 Tristan. 
 
 (Dying, looking up to Isolde.) 
 
 Isolde ! 
 
 (He dies.) 
 Isolde. 
 'Tis I ! Isolde J 
 
 O my beloved ! 
 
 Wake up once more 1 
 
 Hark to my voice ! 
 
 Hearest thou not .' 
 
 — Isolde calls — 
 
 — Isolde came 
 
 With Tristan truly to die ! 
 
 Will thou not speak .' 
 
 But for one moment 
 
 Linger. O lov'd one. 
 
Richard Wagner : Tristan and Isolde. 
 
 33 
 
 Look to the light ! 
 
 Such dreary days 
 
 I have waited, forsaken, 
 
 For this brief hour 
 
 With thee, love, to waken ! 
 
 Betrayed was Isolde ? 
 
 Betrayed by Tristan 
 
 Of one last, fleeting 
 
 Hour of bliss, 
 
 Ih earth's last joyous greeting ! 
 
 Where are his wounds, 
 
 That I may them heal ? 
 
 That the Night her wonders, 
 
 Her rapture reveal ? 
 
 Not on thy wounds — 
 Not thy wounds — be ended the strife ! 
 
 But blended in love 
 Be extinguished the light of our life ! — 
 
 All broken his look ! 
 
 Still the heart ! 
 
 Could Tristan truly 
 
 From me thus part ? 
 
 Not e'en a gentle 
 
 Flutter of breath ! 
 
 Now she must sorrow, 
 
 Looking at death. 
 Who, so joy'd with thee to be wedded. 
 
 Bravely came over the sea ! 
 * * * 
 
 (Unconscious of all that has been passing around 
 her, fixes her gaze with estatic fondness and 
 inspiration upon Trisan's body.) 
 
 Mild and sweetly 
 
 See him smiling : 
 
 See his eyelids 
 
 Softly open ! 
 
 Look you, comrades. 
 
 See ye not ! 
 
 How in radiant 
 
 Light he rises, 
 
 Bright and lustrous, 
 
 Lov'd and lordly. 
 
 Starlight-haloed, 
 
 Borne on high. 
 
 See ye, comrades ? 
 
 See ye not ? 
 
 How his heart, in 
 
 Rapture stress'd, 
 
 Stirs and rises 
 
 In his breast ! 
 
 Through his lips so 
 
 Sweet and mild. 
 
 Breathes his spirit 
 
 Reconcil'd : — 
 
 Comrades, see — 
 
 See and hear ye not ? 
 
 To me only 
 
 Do they render 
 
 All their songs in 
 
 Accents tender, — 
 
 Sorrow-burden'd, 
 
 Rapture-guerdon'd, 
 
 Softly moaning, 
 
 All-atoning, 
 
 Upward soaring, 
 
 In me pouring. 
 
 Echoing round me, 
 
 Love imploring ! 
 
 Louder sounding, 
 
 Me surrounding; 
 Sound that through the 
 
 World rejoices. 
 
 Waves of wondrous 
 
 Yearning voices. 
 
 Tones that swell and 
 
 Sink and darken, — 
 
 Shall I breathe them. 
 
 Shall I hearken ? 
 
 Shall I sip them, 
 
 Dive within them ? 
 
 Leaving life and 
 
 Yearning in them ? 
 
 In the billowy surge. 
 
 In the echoing dirge. 
 In the wildering world-breath 
 
 Joyously merge, 
 
 And in desiring 
 
 Sweet expiring, — 
 
 As in a dream, 
 
 Find rapture supreme ! 
 
 (Isolde sinks, as if transfigured, in Brangaene's 
 arms, softly upon Tristan's body. Deep emo- 
 tion and sorrow among those standing around. 
 King Mark invokes a blessing upon the dead. 
 The curtain falls slowly.) 
 
 {John P. Jackson's Translation^ 
 
34 Third Concert, Thursday Afternoon. 
 
 mm 
 
 LK ROI DE LAHORE," - - IVtASSENET. 
 
 piiome^^B de goq AVeqii". 
 
 jUX troupes du Sultan qui menacient Lahore, 
 La royale cite, 
 Notre puissance est redoutable encore. 
 Comme si les chassait une invisible main, 
 EUes ont du desert regagne le chemin. 
 
 Le peuple est rassure 
 C'est mon nom qu'il acclame, 
 Le calme est rentre dans mon ame 
 Et je puis etre heureux ! 
 
 Promesse de mon avenir, 
 O Sita, reve de ma vie ! 
 O beaute qui me fus ravie, 
 Enfin tu vas m'appartenir. 
 
 O Sita! — Viens charmer mon coeur amoureux, 
 Viens sourire aux splendeurs du monde, 
 
 Viens charmer mon coeur amoureux ! 
 O Sita, viens, je t'attends, je t'aime ! 
 Ma main te garde un diademe. 
 
 O Sita, viens, je t'attends ! — 
 
 O Sita, viens, je t'attends ! ! je t'aime ! 
 
 Sita, tu seras reine ! 
 
 Ah ! viens charmer mon coeur amoureux, 
 Viens sourire aux splendeurs du monde, 
 
 O Sita, reve de ma vie, 
 Viens charmer mon coeur amoureux, 
 
 Viens ! Sita, ah, viens ! 
 
 —jjob— .4— 0^— 4— ^SUll^- 
 
K^e SLocir Jesus ©Drist SFOIEIN! PI IHlIfl 
 
 lis ME n^n^ on tme s^^ke^ tieEo 
 
 TOUGHINGLY SET TO MUSIC BY HEINRIGH 8GHUTZ, KAPELLMEISTER AT CflSSEL. 
 
 (1585=1672.) 
 
 For Five Solo Voices, Chorus, String Orchestra and Organ. 
 
 Kn libCiiB (or tje toorW, tjou'rt heati Hut an tjou Irtest tn Sll toounJfs so relr, 
 anir sorrotu ffiSrist reteibrtS. Jmitfiin tJs Seart S8I Kbrtfi. 
 
 «i< 
 
 ^EINRICH SCHUTZ' T/te Seven Words is now heard for the first time in 
 America. It is a work of peculiar interest in the history of religious music 
 ^^Si in general, occupying a place half-way between the music which accompanied 
 the Mysteries and Miracle plays of the thirteenth and fourteenth centuries and the 
 Oratorio as we know it from Handel's day to the present time. The old Passion- 
 plays, to which we trace the modern musical drama, lasted well into the Middle 
 Ages, and in Luther's day they were still a feature of religious life. The best 
 known of those still left to the world, with the original traditions and religious 
 spirit clinging to it, is that given every ten years in the little village of Ober- 
 Ammergau, in the Bavarian Highlands. 
 
 In the course of time these mysteries and passion-plays deteriorated so much 
 into buffoonery that they were finally prohibited by the authorities, and by the 
 
 church itself, and religious musical dramas given under the superintendence of the 
 
 a5 
 
36 Fourth Concert, Friday Evening. 
 
 clergy took their place. San Pleppo Neri, who was born at Florence in 1515, and 
 is famous as the founder of the Congregation of the Oratory, began the dramatiza- 
 tion and performance of biblical stories, such as The Good Samaritan, The Prodigal 
 Son and Tobias and his Angels, accompanied with music, written by Giovanni 
 Animuccia. The term Oratorio became the accepted title for this class of work. 
 Gradually, with the Reformation in Germany, came the musical compositions illus- 
 trative of the passion of Christ, which form the connecting link between the works 
 of the Italian composers already mentioned and the oratorio as it developed under 
 Handel. 
 
 The earliest forms are found in the Passio secundum Matthceum by Stephani, 
 a Nuremberg composer of the sixteenth century, but Schutz was the first to estab- 
 lish the passion-music in genuine oratorio form. He was born in 1585 and died 
 in 1672. Gifted with a beautiful voice, he gained a po.sition in the court-chapel of 
 the Landgrave Moritz of Hesse-Cassel, well known as the writer of many meritor- 
 ious church compositions. This prince sent the young singer to study for a period 
 of four years with the famous Gabrielli of Venice. Returning to Germany, 
 he was from 1613 to 1615 the Landgrave's court-organist, and from that 
 time until his death he held the position of Electoral Saxon Kapellmeister in 
 Dresden. 
 
 Retaining his native German force and solidity, Schutz gave to his works the 
 beauty of Italian form. He left six oratorio-compositions, namely. The Res- 
 urrection of Christ, which was first performed in Dresden in 1623, and which is re- 
 garded as the foundation of German oratorio ; The Seven Words of Christ, which 
 was written some time about the year 1645, and four works on the Passion of Our 
 Lord, according to the Evangelists (Matthew, Mark, Luke and John), which date 
 from the year 1665. All these show great progress from the earlier works on the 
 Passion. 
 
 The editor of the German edition of The Seven Words, Carl Riedel, says : — 
 " Interesting as is Schiitz' work in its historical relation, a careful and loving study 
 and an exact understanding of it will imbue musicians and dilettantes with the 
 fullest and highest regard for the most prominent of German composers, produced 
 by the times of the Thirty Years' War. They will be astonished at the lovely form 
 of the work, as well as the deep and truthful German expression of feeling. They 
 will have heartfelt satisfaction with the rendition of this small Passion-oratorio, and 
 always return with gladness to it." 
 
 After Schiitz' death the next works of importance in the same class were in 
 1704, Bernhard Kaiser's The Bleeding and 'Dying Jesus and Handel's Passion nach 
 Cap. ip, S. Johannis, a weak prelude to that composer's later colossal works. Be- 
 tween 1705 and 1718 Kaiser, Handel, Telemann and Matthison prepared the way 
 for the great oratorios of Carl Heinrich Graun, who gave greater significance to the 
 chorale treatment of oratorio, and Johann Sebastian Bach, the father of modern 
 music, who, in his St. Matthew, reached the sublimest form of the Passion-oratorio. 
 
Schuetz: The Seven Words. 
 
 37 
 
 Chorus of the Congregation : 
 
 Since Cbrist our lorb was cruciflcb. 
 Unit bore tbe spear wounb in bis sibe, 
 Mitb pain anb anguisb cruel, 
 Ikeep in i^our bearts tbe worbs Ibe spoke, 
 leacb like a boll? iewel. 
 
 II.— SYMPHONIA. 
 
 III. 
 Evangelist. 
 And it was close upon the third hour 
 when they crucified the Lord, and Jesus 
 spake : 
 
 Jesus. 
 
 jfatfter, forgive tbem, for tbe^ hnow 
 not wbat tbes &o. 
 
 Evangelist. 
 
 There stood by the Cross of Jesus, 
 Mary his mother, Mary his mother's 
 sister, the wife of Cleophas, also Mary 
 Magdalene. 
 
 When Jesus therefore saw his mother 
 standing near the Cross, with the one 
 loved, the dearest of His disciples. He 
 
 spake : 
 
 Jesus. 
 
 Xo, woman, tbis is tbi? son. 
 
 Evangelist. 
 Then to His disciple He saith : 
 
 Jesus. 
 
 JBeloveb, tbis is tbs motber. 
 bol5 ber ! 
 
 Be= 
 
 Evangelist. 
 
 From that moment forth that disciple 
 
 took her. 
 
 Soprano. 
 
 Straightway, one of the malefactors, 
 which had been hanged, railed on Him 
 and said : 
 
 The Thief on the Left. 
 If thou be the Christ, then help thy- 
 self and us. 
 
 Evangelist. 
 Eftsoons answered the other, chiding 
 him, and spake : 
 
 The Thief on the Right. 
 
 Oh thou, hast thou then no fear of 
 God .? Seeing thou the same condemna- 
 tion hast. Indeed, we are justly con- 
 demned ; for we receive due reward for 
 deeds we have wrought ; 
 
 But, remember, naught amiss hath 
 ever this man done. 
 
 Evangelist. 
 And unto Jesus he said : 
 
 The Thief on the Right. 
 Lord, be mindful of me when Thou to 
 Thy kingdom comest. 
 
38 
 
 Fourth Concert, Friday Evening. 
 
 Evangelist, 
 
 Evangelist. 
 
 And Jesus said : 
 
 And one among the soldiers present 
 
 Jesus. 
 
 ran in haste, filled a sponge with vinegar 
 
 and hyssop, and brought it, and put it 
 
 Uruls % zvcQ to tbec, tbou witb me 
 
 upon a reed, and to His lips he raised it, 
 
 sbalt to»5as in parabfse be. 
 
 and gave Him to drink. 
 
 The Four Evangelists. 
 
 Now when Jesus the vinegar had re- 
 ceived He said : 
 
 And at about the ninth hour He cried 
 
 
 aloud and said : 
 
 Jesus. 
 
 Jesus. 
 
 •Xlis finisbeb ! 
 
 Eli, lEli, lama sabacbtbani. 
 
 
 Evangelists. 
 
 Evangelist. 
 
 Which is interpreted : 
 
 And once again He cried aloud and 
 
 
 said : 
 
 Jesus. 
 
 Jesus. 
 
 /IDs (Bob, xwQ 0O&, wberetore bast 
 
 jFatber, xkq spirit 3 comment) into 
 
 Ubou f orsaften me ? 
 
 tlbB banbs. 
 
 Evangelist. 
 
 Evangelists. 
 
 And after this, when Jesus knew that 
 
 And after He had thus spoken He in- 
 
 all things were done, that the Word might 
 be fulfilled, he saith : 
 
 clined His head and gave up His spirit 
 
 Jesus. 
 
 
 % tbirst. 
 
 IV.— SYMPHONIA. 
 
 Chorus of the Congregation : 
 
 IRow ^e wbo bonor tbe woes of (Bob, 
 Hnb oft recall Ibis seven worbs; 
 Mill finb ^our (Bob ever present, 
 Botb bere on eartb, wbere once Ibe trot), 
 Hnb tbere in tbe liQbt of Ibeaven. 
 
SUB/IMITH 
 
 LEOPOLD DAMROSCH. 
 
 FOR SOLI, CHORUS AND ORCHESTRA. 
 
 pHE production of Dr. Leopold Damrosch's Sulamith at the present Festival 
 ■^|I||k: must naturally assume the character of a service in honor and memory of the 
 ^ founder of the Oratorio Society and of the Symphony Society, of New York, 
 both of which have since the father's death, February 15, 1885, been under the 
 leadership of Mr. Walter Damrosch, his son, who has been enabled to see accom- 
 plished the plans of which, under less favorable conditions, the father could only 
 dream. Had the father lived he could have exclaimed with Wotan : " Achieved is 
 the wonderful work ; as in my dreams I dreamt it ; such as it was in my will," and 
 contemplated the new home of the two societies and of music in general with more 
 satisfaction than could the old Teutonic god, upon whose Walhalla rested such a 
 fearful mortgage until the flames consumed it and the divinities. 
 
 Dr. Leopold Damrosch occupied when he died a proud position in the American 
 musical world, one which he had attained by true, conscientious and unwearying 
 artistic work. He enjoyed a great European reputation before his arrival here, in 
 1 87 1, at the invitation of the Arion Society, but his best and most enduring work 
 was done after that for the American musical world. The Oratorio and Symphony 
 Societies, and the first season of grand German opera at the Metropolitan, are the 
 monuments which attest that fact. 
 
 " For years," said a biographer at the time of Dr. Damrosch's death, " before 
 his musical activity began here the city had practically been without a firmly estab- 
 lished and worthy choral organization, except the Liederkranz and Arion, which 
 are German institutions. The large choirs which existed when he came were torn 
 by internal dissensions, and were accomplishing little else than to perpetuate the 
 Christmastide performances of The Messiah. Dr. Damrosch had naturally a 
 longing to stand at the head of a capable choral society, but he knew the difficulties 
 
40 Fourth Concert, Friday Evening. 
 
 in the way of establishing one, and for two years confined his efforts to the narrow 
 and unsatisfactory field afforded him by the Arion, a society of men singers. In the 
 spring of 1873 Mrs. Morris Reno and other friends called upon him and urged him to 
 organize' a mixed choir. He consented to take the direction of one, and two weeks 
 afterward the first meeting of the nucleus of the future Oratorio Society was held in 
 Dr. Damrosch's house, which then was in Thirty-fifth street. There were twelve or 
 fifteen men and women present, all of whom pledged themselves to do missionary 
 work for the new enterprise and bring additional voices to the next meeting. 
 Trinity Chapel was secured for a study room, and the work was begun with a zeal 
 equally distributed between the director and his little choir. 
 
 "On December 3, 1873, the first concert of the Oratorio Society was given in 
 Knabe's pianoforte warerooms, which had succeeded Trinity Chapel as the place of 
 weekly meeting. The choir by this time numbered fifty or sixty voices. Dr. 
 Damrosch played a violin solo, and took part in some chamber music interspersed 
 with the vocal pieces. The chorus grew steadily. By May 12, 1874, it had not 
 quite one hundred members, but felt itself strong enough to attempt an oratorio 
 with orchestra. Handel's Samson was given on that date in Steinway Hall, and 
 the society was launched on its career. For five years Dr. Damrosch gave it his 
 services gratis, but after that it was so well established that it needed no such sacri- 
 fice. It now ranks with the foremost choirs of the world. In the twelve years of 
 its existence, up to the time of Dr. Damrosch's death, the Oratorio Society had 
 performed the following large choral works, besides many of lesser moment : 
 
 Title. Composer. Title. Composer. 
 
 Actus Tragicus Bach L' Allegro, II Pensieroso ed II 
 
 St. Matthew Passion Bach Moderato Handel 
 
 Vain and Fleeting Bach Israel in Egypt Handel 
 
 Grande Mess deo Mortes Berlioz The Creation Haydn 
 
 German Requiem Brahms The Seasons Haydn 
 
 St. Ursula Cowen Christus (two parts) Kiel 
 
 Ruth and Naomi Damrosch St. Paul Mendelssohn 
 
 Sulamith Damrosch Elijah Mendelssohn 
 
 Scenes from Orpheus Gluck First Walpurgis Night Mendelssohn 
 
 The Messiah Handel Tower of Babel Rubinstein 
 
 Judas Maccabeus Handel Paradise and the Peri Schumann 
 
 Alexander's Feast Handel 
 
 "During the first few years of its existence the Oratorio Society co-operated at 
 intervals with Mr. Thomas' orchestra. When this was dissolved, in 1877, Dr. Dam- 
 rosch and his friends organized the Symphony Society, which afterwards remained 
 under his baton, and worked hand in hand with the choral organization. The two 
 most striking products of this co-operation, under the direction of Dr. Damrosch, 
 were the first performance in this country of Berlioz' Damnation of Faust, at a 
 series of concerts in 1879 and 1880, and the Musical Festival of 1881, held in the 
 
Leopold Damrosch : Sidamith. 41 
 
 Seventh Regiment Armory. At this festival Rubinstein's Tower of Babel and 
 Berlioz' Requiem were performed for the first time in America. The chorus num- 
 bered 1,200 voices, the orchestra 250 instruments, and in spite of the vast expense 
 incurred by the gathering and drilling of such forces, and the engagement of emi- 
 nent solo singers, the festival was financially successful." 
 
 Dr. Damrosch crowned his great work for music in New York by carrying to a 
 brilliant success what then seemed a very hazardous experiment — that of establisliing 
 German Opera at the Metropolitan Opera House. He was the first to give the 
 Wagnerian opera in high, artistic shape. He had just completed the arduous 
 rehearsals, and had given the first performance of Wagner's Fd;/y&_yr, and was dream- 
 ing of introducing the later music dramas of the Bayreuth Master the following 
 season, when he fell a victim to overwork, and his death was mourned as a public 
 calamity. The funeral solemnities for the dead leader were held at the Metropolitan 
 Opera House. There was never before such universal appreciation shown by the 
 metropolitan public for the loss of a great benefactor. The funeral eulogies were 
 contained in a beautiful letter by Bishop Potter and an address by the Rev. Henry 
 Ward Beecher. 
 
 Dr. Damrosch's life-work was directed to the artistic interpretation of the 
 highest musical ideals. " Art," he said, in his address to the Nineteenth Century 
 Club, in March, 1884, " must be lifted to the position of religion, and religion is de- 
 pendence and obedience. Equality is a political thing, but it has no place in Art. 
 So long as the world lasts there will be rich and poor. But there is a great charity 
 which we in America can give — that is, education to every one, and especially in 
 Art." Dr. Damrosch was a composer of high attainments. Two of his works, Ruth 
 and Naomi and Sulamith, appear in the list of those sung by the Oratorio Society. 
 The latter was written for and dedicated to the Society, and had its first production 
 in New York in the year 1882. One of his most successful compositions was his 
 Festival Overture, which he wrote in 1865 for the inauguration of the Grand Opera 
 House at Breslau, and which was heard here at the grand Festival in 188 1. In 
 1870 it was given at the festival of the United Musicians of Germany, at Weimar, 
 and Raff, who heard it, volunteered, in testimony of his high appreciation of the 
 work, to make a pianoforte arrangement of it for four hands, which he did. On 
 November 23, 1884, his Violin Concerto was played at the Symphony Society's 
 Concert, by M. Ovid Musin. 
 
 In dying. Dr. Damrosch was sustained by the thought that beyond his work 
 accomplished he left hostages to the perpetuation of his name and the pursuance 
 of his high endeavors. His last words were to leave the legacy of his work to be 
 completed by his son. He was assured that all would go well, and then, in dis- 
 jointed phrases, he asked that the great work he had commenced should go on as if 
 he were in life, and then, calm and composed, undisturbed by the prospect of death, 
 he breathed his last. Such a life could not, indeed, end with death. It lives on 
 in his teachings and in the heritage he left to those imbued so thoroughly with 
 
42 Fourth Concert, Friday Evening. 
 
 the spirit that inspired him. The music world acknowledges, for the father's sake, 
 the son, whose education and training fitted him to carry out his father's ideas. To 
 this end he needed the artistic devotion of those whom his father gathered around 
 him, and this was given him, and the result is seen in the splendid Music Hall, now 
 inaugurated as the home of the two societies which he founded. 
 
 Brought up in an atmosphere of music, benefited by the instruction of his 
 father, Walter Damrosch became an accomplished musician at an early age. 
 At the age of nineteen he came prominently before the public as conductor 
 of the Newark Harmonic Society. Under his direction this Society produced 
 Beethoven's Choral Fantaisie, Rubinstein's Tower of Babel, and other pieces 
 of an equally high order. When Dr. Damrosch conducted the great musical festi- 
 val at the Seventh Regiment Armory in 1881 his son officiated as assistant, through 
 weeks of arduous rehearsals. After his father's death, in 1885, he was called upon 
 to conduct the Metropolitan Opera season to its close. He stood the ordeal of 
 carrying that work through so successfully that he was appointed the leader 
 of the opera for a supplementary tour that season, and the following year was made 
 the Assistant to the Director, and shared with him the duty of selecting in Germany 
 the singers for the following season, many of whom have won fame while with us. 
 
 He was also chosen as the successor to his father as the leader of the Oratorio 
 and Symphony Societies, after due deliberation and trial. Predisposed toward him, 
 on his father's account, they nevertheless felt that the standard of performances 
 must continue lofty. His term of trial was to last through the unfinished season of 
 four concerts. All concerned understood that if he should not meet the require- 
 ments another conductor would be found for the ensuing season. At all hazards, 
 the interests of the Societies were to be of prime consideration. The first concert 
 under this arrangement went far to quiet apprehensions that the new conductor's 
 work might be disappointing. At the second concert these fears were entirely 
 overcome. The remaining two concerts made the triumph complete, and Walter 
 Damrosch was regularly and unconditionally installed as the conductor of the Ora- 
 torio and Symphony Societies. 
 
 The public is reasonably informed about what the Oratorio and Symphony 
 Societies have done under him. They have produced the great chorals with entire 
 acceptability, and they have done much that was never before attempted by them ; 
 notably, the full oratorio of Liszt's Christus, which before had been given only in 
 part ; Berlioz' Romeo and Juliet, the Damnation of Faust and Grell's Missa 
 Solemnis. The last-named work abounds in difficulties so stupendous as to have dis- 
 couraged its performance ever before in this country. Indeed, it has but rarely been 
 attempted in Europe, for although musicians have known of it for years as a mas- 
 terly production, singularly effective in its possibilities and constructed with mar- 
 velous contrapuntal skill, it stood beyond the reach of all except the most ad- 
 vanced choral societies, and even they fought shy of it. 
 
 It happened that Dr. Von Bulow attended the concert at which this work was 
 
Leopold Damrosch : Sulamith. 
 
 43 
 
 given. Von Bulow's tongue and pen are not easily tempted to praise. The value 
 and correctness of his judgment are held in the highest esteem. The performance 
 led him to write to Mr. Damrosch. His estimate may be sufficient to show how 
 a very great musical authority regarded the work of the conductor of the present 
 Festival: — 
 
 My Dear Friend and Valiant Young Colleague : You gave me last 
 night a very, very great pleasure, such as has seldom been afforded me ; and you 
 know how genuinely happy I am when I am able to admire sincerely an artistic per- 
 foripance. This was the case last night. Your chorus is a " collective virtuoso," 
 such as the oldest and most celebrated institutions of the kind in the German Em- 
 peror's city of Berlin cannot hope to approach. How happy would the departed 
 author of the wonderful art-work have been if he could have been present at its 
 transatlantic interpretation ! " Per aspera ad astra ! " I exclaimed again and again 
 while the intoxicatingly beautiful sounds of so many well-schooled throats came 
 to my ears. If the spirit of my old and revered comrade, Leopold Damrosch, could 
 only have listened to the endeavors of the son, the worthy successor and continuer 
 of the work begun by him ; the artistification of the land of freedom ! But he does 
 continue to live in you. " Macte virtute tua Valteri ! Vale et me ama ! " 
 
 sahAniTH. 
 
 No. I. Prelude. — Orchestra. 
 No. 2. Duet for Soprano and Tenor. 
 
 Tell me, O thou whom my soul loveth, 
 where thou feedest, where thou makest 
 thy flock to rest at noon. 
 
 No. 3. Tenor Solo with Male Chorus. 
 
 Behold, thou art fair, my love ; thou 
 hast dove's eyes. Thou art the rose of 
 Sharon and the lily of the valley. As 
 the lily among thorns, so is my love 
 among the daughters. 
 
 No. 4. Mixed Chorus. 
 
 Arise, my love, my fair one, and come 
 away. For lo, the winter is past, the 
 rain is over and gone ; the flowers appear 
 
 on the earth ; the time of the singing of 
 birds is come, the voice of the turtle is 
 heard in our land. Arise, my love, my 
 fair one, and come away. 
 
 No. ^. Soprano Solo. 
 
 I rose to unlock for my beloved, with 
 sweet fragrant myrrh perfumed the 
 limbs : I longed for my beloved in the 
 night, I waited in vain — and I fell asleep: 
 — Hark ! it knocketh, hark ! the dearest 
 voice sounds forth! "Oh! unlock, my 
 love, my dearest sister ! My tender dove, 
 my angel undefiled ! Tarry not, unlock, 
 my love, my angel, unlock !— 
 
 Trembling for joy, breathless with rapt- 
 ure, enchanted by his voice, how beats 
 
44 
 
 Fourth Concert, Friday Evening. 
 
 my heart with pulses longing for coming 
 pleasures ! I haste, draw the bolt quickly 
 back — and gaze with terror into the 
 vacant night ! — Lo ! I awake and see, it 
 is a dream, a painful dream ! — 
 
 O, I charge you, daughters of Jerusa- 
 lem, whene'er you meet my friend : tell 
 him that I am sick with love's desire, tell 
 my sorrows, the griefs of my tortured 
 soul. Conjure him, as I conjure you : to 
 haste, to come and kiss me sound again ! 
 
 No. 6. Orchestra. 
 
 He brought me to the banqueting 
 house, and his banner over me was love. 
 
 No. 7. Tenor Solo. 
 
 " How fair is thy love, my sister, my 
 spouse ; thou hast ravished my heart 
 with thine eyes, with the chain of thy 
 neck. A garden inclosed is my sister ; 
 a spring shut up, a fountain sealed, a 
 
 fountain of gardens, a well of living 
 waters, and streams from Lebanon." 
 
 No. 8. Octet for Female Voices, without 
 accompaniment. 
 Whither is thy beloved gone, O thou 
 fairest among women .' Whither is thy 
 beloved turned aside .' that we may seek 
 with thee. 
 
 No. p. Duet for Soprano and Tenor. 
 
 Come, my beloved, let us go forth into 
 the field : let us lodge in the villages. 
 Let us get up early to the vineyards ; 
 let us see if the vine flourish, whether the 
 tender grape appear and the pomegran- 
 ates bud forth : there will I give thee 
 my loves, O my beloved ! 
 
 No. JO. Final Chorus. 
 
 Love is strong as death ; many waters 
 cannot quench love, neither can the 
 floods drown it. Love is strong as death. 
 
ffittft Concert, Satnrtias Afternoon, M^s dtg, 2 o'clocft 1^^^ 
 
 BeQlKoYen'5 FiflK SympKony. 
 
 C IVLINOR. 
 
 1. ALLEGRO CON BRIO. 
 
 2. ANDANTE CON MOTO. 
 
 3. ALLEGRO, FOLLOWED by 
 
 4. ALLEGRO (FINALE). 
 
 jEETHOVEN'S Fifth Symphony, in C minor, is probably the one most 
 
 strongly associated with its composer in the mind of the general public. 
 
 With the rugged strength of this great work, its impassioned violence and 
 the glowing blaze of its color the average listener is more impressed than by the 
 depth of the Ninth, or even the exalted beauty of the Eroica. Its place is in that 
 supreme vantage ground of the composer's life, the second period of his musical 
 evolution. He had shaken free from the trammeling influence of all other creative 
 minds and formal "rule," and was then walking alone over new fields and pastures 
 green in the unexplored realms of music's world. 
 
 This new world's wonders required a new language for their description, and 
 the new language was forthcoming in that mighty series of revelations, the nine 
 symphonies. It glowed, perhaps, with a more vivid intensity and passionate 
 brilliancy in the C minor than anywhere else. Certainly it is here that one finds 
 its most startling phase. It is small wonder that in the dazzling brightness of these 
 immortal nine compositions, which seem to have sounded the entire gamut of 
 human feeling, the claim has gone forth that Beethoven has " said the last word " 
 for the symphony. Certainly the force of the word spoken in this Fifth is so mighty 
 that its sound will go rolling down the years to come, as it has in the past, gnd no 
 future light will ever detract from its power or shadow its glory. 
 
 The C minor Symphony is the 67th in number of its composer's works, and until 
 181 3 was known as the 6th, while the Pastoral was called the 5th. The researches 
 of Nottebohm prove that the two symphonies reached their completion during the 
 years 1807 and 1808. Studies for the first movement of the C minor were made 
 some seven years earlier. There is small doubt that the latter takes precedence of 
 the Pastoral in point of time. For although the original manuscript is unnumbered, 
 and is simply inscribed "Sinfonie da L. v. Beethoven," the Pastoral is numbered 
 
46 Fifth Concert, Saturday Afternoon. 
 
 the 6th in the composer's own hand. The two were brought out together at a 
 concert in the "Theater an der Wien," December 22d, 1808. 
 
 I. Allegro con brio. — Of the simple opening theme on which th.^ Allegro con 
 brio is built, a theme consisting of only two notes, Beethoven himself is reported to 
 have said: — "So pocht das Schicksal an die Pforte " (Thus fate knocks at the portals). 
 It is from this simple subject, however, that the master-hand created an opening 
 movement so wild, impetuous and stormy that when Goethe, who was in nowise 
 predisposed to favor Beethoven's music, first heard it he exclaimed: — "It is very 
 grand, wildly mad. It makes one fear that the house is about to fall down." 
 It has been suggested that the actual notes of this subject were possibly those of 
 some bird's call. If this be so it was veritably a cry that proved the " open 
 sesame " to a mystic realm. At the feeble call from a bird's tiny throat open flies 
 the sealed portal which leads into the uttermost depths of human nature, stormy and 
 tempestuous, assailed by direst foes, encompassed by a darkly overshadowing fate, 
 and well nigh overwhelmed by its vain struggles. Beethoven in this first move- 
 ment sets forth a human soul struggling against its own bitterness. 
 
 In this symphony above all others the searcher after the meaning and portent 
 of this vague language of music seeks not for an explanation of its mysteries in any 
 set picture, nor tries to express it in any form of words, ^e looks for its meaning 
 into his own soul, and finds it there according to his own measure of the heights 
 and depths of humanity. But two subjects enter into the composition of the 
 Allegro — the one already mentioned and the counter-theme, an almost equally 
 simple one, of eight notes, introduced by the horn and then taken up successively 
 by violins, clarinet and oboe. Out of these two short subjects the entire move- 
 ment, in all its intricacy, is evolved. No new matter is introduced as groundwork 
 for the tale of heavy human misery the teller is unfolding, nor to help out the 
 variety of incident, yet the treatment of this small field, although of the strictest 
 and most concise, presents with all the force of vividest picturing the intensest 
 emotion capable of expression. 
 
 Berlioz says of this movement : — " It (the first) is devoted to a delineation of 
 boundless feelings which agitate great souls and bring them to the verge of desper- 
 ation. Not that quiet, submissive hopelessness which has the appearance of resig- 
 nation, nor the mute and gloomy sorrow of a Romeo when he hears of the death of 
 his Juliet, but the rage of a terrible Othello while he listens to those venomous 
 calumniations from the mouth of lago which convince him of the guilt of Desde- 
 mona. Now it is the frenzied rage of insanity, which finds expression in fearful 
 cries, and anon utter despondency, which speaks only in tones of longing sadness 
 and self-commiseraton. Mark the sobbing in the orchestra, the dialogue between 
 the wind and string instruments, whose sounds, decreasing in power, ebb and flow 
 like the stertorous breathing of a dying man, but only in a moment to give place to 
 a more intense thought, which kindles the orchestra into a new blaze of rage. Mark 
 the trembling manner as they hesitate for a moment, then suddenly break forth in 
 
Beethoven: Fifth Symphony. 47 
 
 all their overwhelming power, like a double stream of lava, divided into two kindling 
 unisons, and say if this passionate style does not surpass everything yet achieved 
 in instrumental music." 
 
 II. Andante con moto. — The second movement, Andante con moto, is in 
 the key of A flat. Here the mood has changed and softened. It is still sad, with a 
 beautiful grace of sorrow, but it has become tender, daintily poetical, even joyful at 
 times, as though the soul whose conflicts the opening portrays had passed into 
 calmer and more hopeful state, and although even yet disturbed by passing doubts 
 and fears looked forward to a triumphant emancipation from its dark dreams and 
 to final victory. The whole movement is worked out on three themes of exquisite 
 beauty, and with a marvelous variety and unsurpassed grace of treatment^ On the 
 last repetition of the second of these Beethoven, by a slight alteration of the 
 notes, a trifling extension of the phrase and a management of nuance all his own, 
 has produced one of the most pathetic and beautiful effects possible. Immediately 
 after which touching farewell, as if ashamed of being seen with the tears on his 
 cheeks, he urges the basses into crescendo arpeggio, and ends the movement with a 
 loud crash and ordinary cadence. 
 
 But if Beethoven limited his subjects for the actual treatment of this Andante 
 to three only, he permitted to himself during the course of its construction "diver- 
 sions" — small recreations, as it were, ever and anon interrupting himself in the 
 serious course of progression to throw in a little musical exclamation, or comment, 
 in the most unexpected and bewildering manner. Nowhere is this tendency to "do 
 what he liked" more forcibly exemplified than in one place in this Andante where 
 the graceful and even flow of the melody is suddenly suspended, while a rollicking 
 little measure scurries in, conducts itself with much levity through eight bars, and as 
 suddenly disappears, as the original form, recovering breath from the unceremonious 
 interruption, hastens to take up its rightful place again. 
 
 III. Scherzo. — The Scherzo passes at once into the (IV.) Finale, as the subject 
 matter, being the same, will not allow of interruption. Of these Berlioz says : — " The 
 Scherzo is an extraordinary composition ; the very opening — though containing 
 nothing terrible in itself— produces the same inexplicable emotion that is caused by 
 the gaze of a magnetizer. A somber, mysterious light pervades it ; the play of the 
 instruments has something sinister about it, and seems to spring from the same state 
 of mind which conceived the scene on the Blocksberg in Faust. A few bars only 
 are forte-piano, and pianissimo predominate throughout. The middle of the move- 
 ment (the ' trio ') is founded on a rapid passage for the double basses, fortissimo, 
 which shakes the orchestra to its foundation," retiring by degrees until it is gradu- 
 ally lost. M. Berlioz' analysis continues : — " The theme of the Scherzo reappears, 
 pizzicato, the sound diminishing at the same time until nothing is heard but the 
 crisp chords of the violins and the droll effect of the upper A flat in the bassoon's 
 rubbing against the G, the fundamental note of the dominant minor ninth. At 
 length the vioHns subside onto the chord of A flat, which they hold pianissimo. 
 
48 Fifth Concert, Saturday Afternoon. 
 
 The drums alone have the rhythm of the subject, held with all possible lightness, 
 while the rest of the orchestra maintains its stagnation. 
 
 " The drums sound C, since C minor being the key of the movement : but the 
 chord of A flat, so long held by the strings, forces another tonality on the ear, and 
 we are thus kept in doubt between the two. But the drums increase in force, still 
 obstinately keeping up both note and rhythm; the fiddles have by degrees also 
 fallen into the rhythm, and at length arrive at the chord of the seventh on the dom- 
 inant (G), the drums still adhering to their C. At this point the whole orchestra 
 — including the three trombones, hithero silent — bursts like a thunderclap into C 
 major, and into the triumphal march which forms the commencement of the Finale, 
 the thunder-like effect of which we all know." 
 
 Sir George Grove, from whose analysis the above is for the main part taken, 
 says : — " The effect of this transition is obvious enough to the ear, though it may be 
 difficult to explain it to the reader. With reference to it, it is sometimes said that 
 Beethoven has, after all, only made use of the common expedient of following a 
 soft passage in the minor by a burst in the major; that the theme of the Finale is 
 not original ; and that the interest of the movement diminishes instead of increas- 
 ing as it goes on. To which answer may be made that it is no reflection on the 
 genius of a composer that the means he employs are those already in use. Plenty 
 of other composers have used the same expedients, but nothing that they have 
 done can be compared for a moment to this stupendous paean of victory, in which 
 the soul of Beethoven, for the moment freed from its mortal drawbacks and suffer- 
 ings, seems to mount to heaven in a chariot of fire. The four first bars of the sub- 
 ject may not be strikingly original, but the forms of the triumphant fanfare are but 
 limited, and it is' probably not possible to find new ones without forfeiting the 
 • simple, grandiose, pompous character which is native to that kind of phrase. 
 
 "But Beethoven evidently did not intend to continue the fanfare style after the 
 first few bars, and in the rest of the movement he quickly resumes the lofty and 
 original style which never forsakes him. As to the interest not increasing as it 
 goes on, the transition from the Scherzo to the Finale is probably the greatest effort 
 of which music is at present capable, so that it would be simply impossible to have 
 continued to increase it. And those who thus carp at one of the greatest works of 
 human genius forget what a peculiar charm is given to the movement by the 
 sudden reintroduction of the trio into the midst of it, an expedient most original 
 and producing an effect which has probably never been surpassed. 
 
 "It was indeed a prodigious effort even to sustain so lofty a flight; but Beethoven 
 has done it, notwithstanding the extent to which he has developed his subjects." 
 
VAGNER^S PARSIFAli. 
 
 PRELUDE AND FLOWER MAIDEN SCENE-ACT II. 
 
 FOR SIX SOLO VOICES AND FEMALE CHORUS. 
 
 fHIS scene is the temptation of Parsifal, the hero of Wagner's last music-drama 
 Parsifal became ruler of the legendary realm of the Grail, after passing through 
 many trials and temptations. Titurel had ruled four hundred years over the 
 Grail kingdom ere he was called to his eternal rest. He was succeeded by his son 
 Frimutelle, who, however, fell from grace. He in his turn was succeeded by 
 Amfortas, who had fallen from his high estate and been wounded in an encounter with 
 Klingsor. The latter had himself once been a Knight of the Grail, but he had been 
 expelled from the order for his sins. He had then built a castle near to Monsalvat 
 and had filled it with beautiful maidens to allure the Knights. 
 
 Amfortas had fallen to the wiles of Kundry (Orgeleuse). Klingsor had obtained 
 possession of the Sacred Spear, and hoped in time to possess himself of the Grail. 
 Amfortas, however, was still kept in life by being permitted to look upon the radiance 
 of the Grail. But his wound would not heal ; yet the prophecy was that there should 
 come to the Grailburg in good time a pure, youthful knight, who, after passing 
 triumphantly through temptation and mockery, should bring him healing and 
 redemption by touching his wound with the Sacred Lance, but should succeed him as 
 a ruler of the Grail realm. To prevent Parsifal attaining the glories of the Grail, 
 Klingsor has bidden Kundry to call her enchantresses to her assistance and to bring 
 about his downfall. The scene in the opera is a magic garden, with tropical 
 vegetation and most luxuriant growth of flowers. At the back the scene is closed 
 in by the battlements of the castle walls, on which stands Parsifal, gazing down 
 upon the garden in astonishment. From every side, from the garden as well as 
 from the palace, rush in, first singly then in greater numbers, beautiful girls, 
 in garb hastily thrown about them, as if they had been suddenly wakened by 
 fright:- 
 
50 
 
 Fifth Concert, Saturday Afternoon. 
 
 THE FLOWER MAIDENS. 
 
 Girls. 
 Here was the tumult ! 
 Weapons! Wild confusion! 
 
 Others. 
 Horror! Vengeance! Up! 
 Where is the culprit? 
 
 Several. 
 My beloved is wounded. 
 
 Others. 
 Pray tell me where mine is. 
 
 Others. 
 I awoke all alone, — 
 Where hath he vanished? 
 Still Others. 
 There in the castle? — 
 They're bleeding, wounded! 
 Where is the wretch? 
 Behold him! Look! 
 There with my Ferris' sword I 
 I saw him storm up the walls, 
 I heard, too, the master's voice, 
 My knight hastened here ; — 
 They all rushed at him, but each 
 Was received by his terrible blade. 
 The fearless! The slaughterer! 
 All of them fled from him ! — 
 Thou there! Thou there! 
 Why bring us such direful woe? 
 Accurst, accurst thou shalt be ! 
 
 (Parsifal springs down lower to the garden.) 
 
 The Girls. 
 
 Ha! Stripling! Wouldst thou defy us? 
 
 Why hast thou slaughtered our lovers? 
 
 Parsifal. 
 
 (In great astonishment.) 
 
 Ye winsome women — how could I help it? 
 
 To such loveliness did they bar me not the 
 
 way? 
 
 Girls. 
 
 To us wouldst thou come? 
 
 Nor saw'st us before? 
 
 Parsifal. 
 
 Ne'er saw before such lovely delight! 
 
 I call ye lovely; — am I not right? 
 
 The Girls. 
 And surely thou wouldst not beat us? 
 
 Parsifal. 
 Nay, surely not. 
 
 Girls. 
 
 But harm 
 Full much thou hast done us and griev-- 
 
 ous: — 
 Of our playmates wouldst thou bereave us? 
 Who'll play with us now? 
 
 Parsifal. 
 Forsooth will I! — 
 
 The Girls. 
 If thou art kind, so pray come nigh — 
 And then, wilt thou not scold us. 
 For sweet reward mayst hold us ; 
 For gold we do not play, 
 Love's gentle meed is the pay ; 
 Wouldst thou comfort us truly, 
 The winnings earn from us duly? 
 
 (Some of the girls have entered the bowers; they 
 now return, clad in garments of flowers and even 
 appearing like flowers, and surround Parsifal.) 
 
 Flower Maidens, 
 Hands off the stripling ! He belongs to me ! 
 No !— N o !— Me !— Me !— . 
 Others, 
 Oh, the hussies ! A trick they've play'd us ! 
 (They retire and return in similar flowery" garb.) 
 
 The Girls. 
 Come! Come! Gentle stripling: 
 I'll be thy blossom ; 
 And in rapturous rippling 
 Let my love pierce to thy bosom ! 
 (While in graceful play they dance round Parsifal.) 
 
 Parsifal. 
 (Enjoying the scene; standing in their midst.) 
 How fragrant ! How sweet ! 
 Are ye all flowers ? 
 
 The Girls. 
 (Sometimes singly, sometimes together.) 
 The garden's pride, 
 Whose fragrance and splendor 
 To the Master in Spring we surrender ; 
 
Richard Wagner: Parsifal. 
 
 51 
 
 Each bloom a bnde, 
 In sunshine and summer, 
 Awaiting the call of the comer. 
 Be to us kind and true, 
 Nor hoard from the flowers their due ! — 
 And canst thou not love us nor cherish, 
 Then surely we wither and perish ! 
 Girls. 
 
 1. Upon thy bosom let me rest ! 
 
 2. O Love, let me caress thee! 
 
 3. To me let me press thee! 
 
 4. I'll close thy mouth with kisses! 
 
 5. Nay, I am fairest and best! 
 
 6. To me, wouldst know what bliss is I 
 
 Parsifal. 
 (Softly repelling their advances.) 
 Ye wild, winsome pressure of roses — 
 If I'm to play with you, your circle too 
 
 close is! 
 
 Girls. 
 
 Surely not wroth? 
 Parsifal. 
 I would not harm you! 
 
 Girls. 
 We're quarreling for thee. 
 
 Parsifal. 
 Pray calm you ! 
 
 First Girl. 
 Away with you ! See, he wants me ! 
 
 Second. 
 No, me! 
 
 Third. 
 He mine is! 
 
 Fourth. 
 No, mine! 
 
 First (to Parsifal). 
 Wouldst spurn me? 
 
 Second. 
 Wouldst drive me away? 
 
 First. 
 Art of women so frightened? 
 
 Second. 
 Of fear be thou lightened ! 
 Some. 
 How cold he is— so bashful in wooing! 
 
 Others. 
 Should flowers, like the bees, 
 Do all the cooing? 
 
 First Half Chorus. 
 A fool he is surely ! 
 
 A Girl. 
 I'm not sad to lose him ! 
 
 Otfiers. 
 Then we others will choose him. 
 
 Others. 
 No, we! No, we! — 
 Me too ! — Here ! Here I 
 Parsifal. 
 (Half in anger turns away, as if to escape.) 
 Away ! — Your wiles are vain ! 
 
 From a flowery arbor is heard the voice of 
 Kundry. 
 Parsifal ! — Tarry 1^ — 
 
 (The girls are terrified and cease their witcheries. 
 Parsifal stands dumbfounded.) 
 
 Parsifal. 
 
 Parsifal ... — 
 
 So once in dreams — I was named by my 
 
 mother I 
 
 Kundry's Voice. 
 
 Nay linger ! Parsifal ! — 
 
 For here shall rapturous bliss be thine! 
 
 Ye childish enchantresses, leave him alone : 
 
 Flowers, born but to wither: 
 
 Not sent was he here for your delight! 
 
 Go home, care for the wounded. 
 
 Lonely awaits you many a knight. 
 
 The Girls. 
 
 (Reluctantly leaving Parsifal.) 
 
 O the sorrow ! this parting grievous ! 
 
 Alas I Alack a day ! 
 
 Let all the world beside but leave us, 
 
 If he could with us stay. — 
 
 Farewell ! Farewell ! 
 
 So gentle ! So handsome ! 
 
 Thou— Fool ! 
 
 (With the last word they all rush towards the 
 castle, laughing. Parsifal looks timidly towards 
 the side whence came the voice. There stands 
 revealed, through the withdrawal of the branches 
 of the thicket, a youthful female figure of sur- 
 passing beauty — Kundry, in her form completely 
 changed — lying upon a bed of flowers, and clad 
 in fantastic drapery that lightly veils her form.) 
 
5'i 
 
 Fifth Concert, Saturday Afternoon. 
 
 Parsifal passes safely through the ordeal, is found and recognized by Gur- 
 nemanz as the promised savior of Amfortas, and by him taken on a Good 
 Friday morning to the realm and castle of the Grail, where he touches the wound 
 of the suffering monarch and is himself made King of Monsalvat. Thej)oem of 
 Parsifal was completed by Wagner in the summer of 1877, a year after the first 
 Nibelung Festal Performances at Bayreuth. The musical composition of the work 
 was finished at Palermo, and in July afld August, 1882, sixteen performances of 
 the work were given at Bayreuth. On February 13th of the following year the 
 great composer died at Venice. The germ of the Parsifal music-drama was born 
 in Wagner's mind much earlier than 1877. The first portions were the " Abend- 
 mahl " scene and the " Good Friday Magic." The latter is thought to date from 
 the year 1857. Prof. Tappert says: "Wagner told me (in 1877) that in the fifties 
 when in Zurich he took possession on a Good Friday of a charming new house, and 
 that inspired by the beautiful spring weather he wrote out the sketch that very 
 day of the Good Friday music," the words to which are filled with the highest relig- 
 ious fervor, and which may be quoted as forming a contrast to the wild revelries 
 of the Klingsor flower garden scene : — 
 
 Parsifal. 
 (Turns round and gazes enraptured upon forest 
 
 and meadow, bathed in the morning light.) 
 Methinks, to-day the meads are won- 
 drous fair ! — 
 Full many a magic flower I've seen 
 That round my neck all wantonly 
 
 would cluster : 
 Yet never saw, so mild and sweet, 
 The frondage, flowers and blossoms, — 
 Their fragrance pure as child's delight. 
 And speaking fondest trust to me. 
 
 Gurnetnanz. 
 'Tis all Good Friday's magic, Lord ! 
 
 Parsifal. 
 
 Alas! His day of agony! 
 When surely all that buds and blooms. 
 And breathing lives, and lives again, 
 
 Should mourn and weep and sorrow. 
 
 Gurnetnanz. 
 Thou seest — that is not so — 
 But sinners' tears it is of penance 
 That here, with heavenly dew, 
 Fall down on mead and field, 
 And make them blbom rejoicing; 
 
 Now all His creatures live anew, 
 
 And at the Saviour's trace revealed. 
 
 Their praise and prayers are voicing. 
 
 Upon the Cross they can not see Him 
 
 languish. 
 So up to Man Redeemed they, trusting, 
 
 look. 
 Who feels releas'd from stress of sin and 
 
 anguish. 
 Through God's great sacrifice made clean 
 
 and pure: 
 The Flowers well know how love can 
 
 hatred vanquish. 
 To-day of human feet they have no 
 
 dread: 
 For as the Lord, with heavenly patience 
 
 filled, 
 Compassion took and for Men bled. 
 Now Man to*day, with glory thrill'd, 
 Spares them with careful tread : — 
 All Creatures that rejoice in life. 
 And all that blooms and passes hence. 
 See Nature, freed from sin and strife, 
 Wake to her day of Innocence. 
 (Kundry has slowly raised her head and looks 
 with moistened eyes, pleadingly, upon Parsifal.) 
 
(ORATORIO) 
 
 FOR SOLI, DOUBLE CHORUS AND ORCHESTRA. 
 
 HANDEL. 
 
 [^ANDEL wrote Israelin Egypt four years before his Messiah. It is the fifth of 
 the nineteen oratorios he wrote for England. It dates from 1738, and was 
 first produced April 4, 1739, at the King's Theatre, of which Handel was 
 then manager. He made several alterations and additions to the score before the 
 work was given a second time, on April 11, and for its third performance, on 
 April 17, a " Funeral Anthem " which he had written for Queen Caroline was used, 
 under the title of " Lamentations of the Israelites for the Death of Joseph." Com- 
 pared with The Messiah, Israelin Egypt shows astonishing absence of symmetry. 
 The work was given in mutilated form up till the year 1849, when the Sacred Har- 
 monic Society gave it as it was originally written, and as it is now known, without 
 the funeral anthem or any of the added songs. The edition of the vocal score used 
 at the festival is that edited for the Handel Society of London in 1844 by Mendel- 
 ssohn, who undertook the task with a fitting reverence for the sanctity of Handel's 
 intentions. The following description of the work is by Mr. Chorley : — 
 
 The opening of the Part I. is abrupt, and, though twice written by Handel, 
 gives a poor preface to the splendors within. There is no Overture: merely six 
 bars of recitative for tenor, to introduce the first double chorUs. This latter is 
 prepared for by the eight bars of a single contralto voice delivering the theme with 
 a wondrously deep pathos. Strength is given to the close of the phrase— "And 
 their cry came up unto God "—by the use of the mass of treble voices in unison with 
 the altos— this being rendered necessary to balance the muscular phrase in the 
 bass instruments, on the working of which to the words, "They oppressed them 
 with burdens," against the sustained wail or chant, this magnificent chorus in 
 eight parts depends.— It is admirable to see how the two contradictory elements 
 
54 Sixth Concert, Saturday Evening. 
 
 of prisoners and their task-masters — of " cry " and " oppression " — are here at once 
 combined and kept distinct at the close of the movement, where all the eight voices 
 unite to tell how the " Cry came up unto God " — the God who has never forsaken 
 in their distress them that have called on His name. From this point to the end 
 of the work only signs and wonders are vouchsafed in answer to "the cry" for the 
 humiliation of the tyrant, and afterwards thanksgivings for the marvels wrought by 
 the Most High for His chosen people. 
 
 After a few bars of tenor recitative^— like all the recitatives in this oratorio, of 
 great boldness and vigor — the remainder of the one act (one song excepted) is a 
 chain of choruses. First — The Plague of the Water turned into Blood, and the 
 loathing of the Egyptians to drink of the river — a chorus based on one of the most 
 obvious subjects for a chromatic fugue in being; which has been, again and again, 
 employed and wrought out. Nevertheless, so admirably does the phrase fit the 
 humor of disgust, that it is difficult, for a moment, to recollect how well such phrase 
 is known or not to conceive it invented with an express reference to the portent. 
 The loathing rises to a point of almost intolerable abomination as the close of the 
 chorus draws near. In this plague the consequences of the portent are dwelt on, 
 rather than the miracle itself. 
 
 The air which immediately follows ("Their land brought forth frogs") is the 
 first number in which the student may learn to value Handel, by comparing him in 
 description with Haydn. The words suggest associations perilously familiar; but 
 Handel, in place of passing them over rapidly, accepted them with all their conse- 
 quences. In the chorus which immediately succeeds this air variety had 
 to be given ; and here the instinct of inspiration helped out the musician, in a 
 manner little short of miraculous. Handel seized " He spake the word " by way of 
 giving relief and basis to a picture which, if only made up of detail, must of neces- 
 sity have been frivolous, petty, and confusing. The air is full of insect myriads 
 (listen to the restless, whirling, shrill accompaniment — a flight of gnats — told in 
 sound with amazing reality), but the Retributive Power who called this plague 
 forth is never, for a moment, to be left out of memory. The sonorous force of this 
 phrase — especially when delivered in antiphony, binding the whole movement to- 
 gether, without disturbance to the freest possible play of description in music — 
 makes this chorus of the most remarkable in a most remarkable series. 
 
 More familiar are the two next choruses — the Plague of Hailstones and the 
 Plague of Darkness. The fire is leaping, rioting, tormenting lightning. How fre- 
 quently Handel disregarded all that moderns look to so anxiously — namely, se- 
 quence of keys — could be hardly better exemplified than by the fact that from the 
 insect Plague, in B flat major, he moved quietly to C major, by way of enforcing 
 his next effect. The subject of this chorus, again, is said not to be Handel's own ; 
 but how the treatment of it flashes ! — there is no other possible verb — how do reci- 
 tation and picture go hand in hand, — prodigious energy and clearness, without a 
 thought, or stint, or less vivid inspiration, than the idea of " Fire mingled with the 
 hail " which " ran along the ground ! " 
 
 After the Plague of Fire, the next was of thick Darkness ! Here, aware of the 
 limits of epithets, when admiration is to be repeated, it maybe best merely to speak 
 
Handel: Israel in Egypt. 55 
 
 to fact — merely to point out this recitative chorus (for such it is, without key, or 
 ordinance, or formal structure) as being in its incompleteness more vague, and fear- 
 ful, and oppressive than any stricter rendering of the words might have made it. 
 In comparison to this, how cruel (to a scimitar-sharpness) is the following chorus : 
 "He smote all the first-born of Egypt"; a fugue in which every phrase of the de- 
 tached accompaniment is a blow — and a blow strong enough to smite down the 
 chief of all the strength of Egypt. There is more of vengeance and destruction 
 than of omnipotent retribution in this chorus. It is fiercely Jewish. There is a 
 touch of Judith, of Jael, of Deborah in it ; no quarter, no delay, no mercy for the 
 enemies of the Most High. It is the chorus of the unflinching, inflexible, com- 
 missioned Angels of the Sword ! 
 
 The next chorus, " But as for His people. He led them forth like sheep," if 
 showing neither the pillar of cloud nor the pillar of fire, is the pillar of confidence, 
 under whose shelter a nation wandering and oppressed may repose in the dry wilder- 
 ness of desolation which intervenes between bondage and the promised land. The 
 lovely serenity of this movement places it by itself among these choruses of Israel. 
 There is something in it of even enjoyment ; a flow of happy — not stagnant — • 
 calm, the effect of which is delicious, after the terrors and severities that have gone 
 before it. The chorus which follows, "Egypt was glad,"isthat which figures note by 
 note in Sir John Hawkins's " History of Music," as a Canzona by Kerl, there printed 
 without words. The verification of a coincidence so strange, and so strangely 
 overlooked, only a few years since, may be said to have re-opened the question of 
 Handel's debts and plagiarisms. 
 
 What a print of a giant's foot was made by his first step on the Red Sea shore! 
 How stupendous those few chords, — " He | re | buked the Red Sea, — and it was 
 dried up." Even the very break noted betwixt the " He" and the word "rebuked," 
 possibly accidental, gives a sort of separateness and sublimity to Him who " holdeth 
 the waters in the hollow of his hand "; and the pauses by suspense add power to 
 the opening phrase of the movement which immediately succeeds, — "He | led them 
 through the | deep," — the stateliest march of a chosen nation, delivered by Omnipo- 
 tence, ever set in music. Observe, again, how simple is the opposition betwixt 
 the two subjects of this muscular chorus — an ascending scale in slow tempo being 
 wrought against the descending scale allotted to the words, " As through a wilder- 
 ness," the latter one at four times the speed of the former. The weight of the 
 lower phrase would not have been felt without the flexibility of the upper one. 
 
 Animated, however, as this chorus is, it is not rapid ; but what a tremendous 
 scream of positive triumph is to be found in that one which succeeds — triumph over 
 the enemy overwhelmed by the waters, "not one" of whom was left ! Here is a 
 sublime example of Handel's declamatory power and his immense ease and 
 command of color. The surge, the swell, the storm, the sweep of "the old sea," 
 the wall of waters " on the right hand and on the left," and the Jericho breaking 
 down of that wall when the pilgrims to the Land of Promise had passed through, 
 are in this chorus. The return from such wandering could hardly be more 
 dryly, prosaically typified than in the chorus closing the first part of Israel 
 ("And Israel saw"), which may or may not be a pure Handel chorus. 
 
66 Sixth Concert, Saturday Evening. 
 
 The Second Part of the work, or " The Song of Moses" (as it was originally 
 called), is a thanksgiving anthem after the miraculous sea-deliverance of Israel. 
 That this is on a grander scale than The Messiah is obvious. Not only, as we have 
 seen, is a double chorus perpetually used, but more solo singers are indispensable. 
 The key-note of the whole composition is struck at once in its opening chorus, 
 "Moses and the children of Israel "; to which, by the way, the words closing the First 
 Part may have been meant to serve as an after-link, howbeit superfluous. After a 
 pompous prelude on the grandest scale, another semi-vocal overture, we have the 
 whole majestic words of Miriam's Song, — " I will sing unto the Lord," and the 
 musical themes of the chorus, to which Miriam answered, exposed, or treated 
 elaborately, by way of commencement. 
 
 It is followed by a duet for soprani — by Erba, not by Handel ("The Lord is my 
 Strength and my Song ") — though written in a minor key, written in words little 
 less triumphant than the foregoing. In Mendelssohn's incomparable edition of 
 Israel it is caressed by an organ part, the beauty of which, had Handel sat at the 
 organ himself, could not have been exceeded. After a few bars of grave chorus, 
 "He is my God" (with a singularly odd phrase-^— again Erba's — for the tenors of the 
 second choir, on the repetition of the words, " I will prepare him an habitation "), 
 comes the alia capella movement, " And I will exalt him." 
 
 Next comes the duet for two basses, " The Lord is a Man of War," one among 
 many serious bass duets which has never been outdone in musical force — in its 
 truth to the sentiment of the words and in its vocal effect. The end of this superb 
 duet (which, although written in a formal time of music, is written, like the songs 
 of The Messiah, with a wondrous emancipation from musical formality) spreads 
 and widens, not without a touch of the sea-tragedy, on the words, " Also are 
 drowned," and with consummate vocal and declamatory splendor. 
 
 After this brilliant duet there is a moment's respite from the jubilation — a 
 moment's picture of the deep, fathomless ocean — in the introduction to the next 
 chorus. The three bars of bass on the same note (F), and the entire form of the 
 phrase on the words, — " The depths have covered them," have a wondrously 
 majestic calm and amplitude. After this picture, flashes out anew the triumph 
 of Israel, in the brilliant double chorus, — " Thy right hand, O Lord." with its sec- 
 ond phrase accented by the musician with a foreign accent, — " is become glorious." 
 
 The next chorus is one of those which are debatable. The subject of the 
 fugue — "Thou sentest forth Thy wrath" — is, for Handel, dry, uninteresting, and 
 barren of agreement with the meaning of the verse. All of the master-hand that 
 it presents is the repetition of the word "stubble," which brings out the one effect 
 of the movement with a certain force. The next chorus (a single one) seems doubly 
 precious in contrast. The undulating phrase with which it commences bears 
 an almost literal resemblance to that with which Mozart accompanied the words, — 
 "Tranquilla sia I'onda," in the well-known terzett, "Soave" (Cosi fan tutte). 
 There is, perhaps, more peculiarity than truth in the treatment of the scene ; at 
 least, during its commencement : — a fathomless serenity in the phrase, — " The 
 waters were gathered together," somewhat at variance with the idea of — " the blast 
 of Thy nostrils." But there is an admirable fertility and grandeur in the words, — 
 
Handel: Israel in Egypt. 57 
 
 " The floods stood upright as an heap, and the depths were congealed." The 
 close is an example of calm, sonorous grandeur of sound. 
 
 The next number (" The enemy said, ' I will pursue' ") is the only tenor air in 
 the oratorio; one of those bravuras to which allusion has been elsewhere made, not 
 Handel's best bravura. The following song ("Thou didst blow with Thy wind")— 
 the one air for soprano— often undersung— is, perhaps, the grandest solo in the 
 oratorio. It is a proud, declamatory song, one to be given with a heart haughty 
 rather than thankful ; the adoration is to come later in Miriam's " Sing ye to the 
 Lord." The next chorus may be passed by those who accept the idea of things 
 debatable, and the fact — now pretty distinctly accepted — that Handel's Israel has 
 many things in it which do not belong to Handel. 
 
 The duet for contralto and tenor (" Thou in Thy mercy "), also debatable, is 
 suave, almost to the point of being pathetic. The duet is in D minor. The chorus 
 which follows, " The people shall hear," is in E minor, and offers another despotic 
 proof of Handel's disregard of all conventions in the succession of keys. But this 
 very chorus contains a unique example of instant setting-to-rights. After the chorus 
 was completed Handel found that one clause of the verse, "All the inhabitants of 
 Canaan shall melt away," had been overlooked ; and that marvelous episode now 
 existing was inserted by him betwixt the words, " sorrow shall take hold on them," 
 and those, "by the greatness of Thy arm." The close of this chorus, with its 
 ascending minor scales, is extraordinarily difficult to sing in tune by a mass of 
 voices. 
 
 The air which follows, " Thou shalt bring them in," a delicious cantabile for 
 the contralto, is the only glimpse afforded in Israel of the Land of Promise — not 
 taken from a Pisgah top, perhaps, but more dreamily and distantly — a prophecy 
 rather than an assurance. And last, after a recitative offering noble scope for dec- 
 lamation, comes the culminating point and close of the Song of Triumph, — the^ 
 most stupendous ending, it may be asserted, to any musical work in being. There 
 is wonderful unity and variety in the chant, "The Lord shall reign for ever and 
 ever," a few plam notes broken by the intervening voice oi Miriam, the prophetess. 
 What a use of a few plain notes ! first, in unison by the alti and tenors ; then with 
 all the force of the entire eight-part choir. And what an enhancement of accom- 
 paniment ! by a simple amplification of the stately march of the instruments, which 
 at first upbore the chant ; after this a few bars of recitative ; and then the chant 
 afresh, one-half first, given by the solitary soprano voice oi Miriam, unaccompanied ; 
 then chorused; afterward the second half is accompanied; then taken up by chorus 
 and wrought to a close, with the words : — 
 
 " Sing to the Lord, for He hath triumphed gloriously ! 
 The horse and his rider hath He thrown into the sea !" 
 
68 
 
 Sixth Concert, Saturday Evening. 
 
 Ssrael in ^flypt 
 
 PART I. 
 
 Recitative. 
 
 Now there arose a new king over 
 Egypt, which knew not Joseph ; and he 
 set over Israel task-masters to afflict 
 them with burthens, and they made them 
 serve with rigor. 
 
 Double Chorus. 
 
 And the Children of Israel sighed 
 by reason of the bondage, and their cry 
 came up unto God. They oppressed them 
 with burthens, and made them serve 
 with rigor ; and their cry came up unto 
 God. 
 
 Recitative. 
 
 Then sent He Moses, His servant, and 
 Aaron whom He had chosen ; these 
 shewed His signs among them, and 
 wonders in the land of Ham. He turned 
 their waters into blood. 
 
 Chorus. 
 
 They loathed to drink of the river. He 
 turned their waters into blood. 
 
 Air. 
 
 Their land brought forth frogs, yea, 
 even in their king's chambers. 
 
 He gave their cattle over to the pes- 
 tilence ; blotches and blains broke forth 
 on man and beast. 
 
 Double Chorus. 
 
 He spake the word, and there came all 
 manner of flies and lice in all their quar- 
 ters. He spake ; and the locusts came 
 without number, and devoured the fruits 
 of the ground. 
 
 Double Chorus. 
 He gave them hailstones for rain ; fire 
 mingled with the hail ran along upon the 
 ground. 
 
 Chorus. 
 
 He sent a thick darkness over the 
 land, even darkness which might be felt. 
 
 Chorus. 
 He smote all the first-born of Egypt, 
 the chief of all their strength. 
 
 Chorus. 
 But as for His people, He led them 
 forth like sheep ; He brought them out 
 with silver and gold ; there was not one 
 feeble person among their tribes. 
 
 Chorus. 
 Egypt was glad when they departed, 
 for the fear of them fell upon them. 
 
 Double Chorus. 
 He rebuked the Red Sea, and it was 
 dried up. 
 
 Double Chorus. 
 He led them through the deep as 
 through a wilderness. 
 
 Chorus 
 But the waters overwhelmed their 
 enemies, there was not one of them left. 
 
 Double Chorus. 
 
 And Israel saw the great work that 
 the Lord did upon the Egyptians ; and 
 the people feared the Lord. 
 
 Chorus. 
 And believed the Lord and His servant 
 Moses. 
 
Handel: Israel in Egypt. 
 
 59 
 
 PART II. 
 
 Double Chorus. 
 Moses and the Children of Israel sang 
 this song unto the Lord, and spake, 
 saying : 
 
 Double Chorus. 
 I will sing unto the Lord, for He hath 
 triumphed gloriously ; the horse and his 
 rider hath He thrown into the sea. 
 Duet. 
 
 The Lord is my strength and my 
 song ; He is become my salvation. 
 
 Double Chorus. 
 He is my God, and I will prepare Him 
 a habitation ; my father's God. 
 
 Chorus. 
 
 And I will exalt him. 
 
 Duet. 
 
 The Lord is a man of war, Lord is his 
 name ; Pharaoh's chariots and his host 
 hath He cast into the sea ; his chosen 
 captains also are drowned in the Red 
 Sea. 
 
 Double Chorus. 
 
 The depths have covered them, they 
 sank into the bottom as a stone. 
 
 Double Chorus. 
 
 Thy right hand, O Lord, is become 
 glorious in power ; Thy right hand, O 
 Lord, hath dashed in pieces the enemy. 
 
 Double Chorus. 
 
 And in the greatness of Thine excel- 
 lency Thou has overthrown them that 
 rose up against Thee. 
 
 Double Chorus. 
 
 Thou sentest forth Thy wrath, which 
 consumed them as stubble. 
 
 Chorus. 
 
 And with the blast of Thy nostrils 
 the waters were gathered together, the 
 floods stood upright as an heap, and the 
 depths were congealed in the heart of 
 the sea. 
 
 Air. 
 
 The enemy said, I will pursue, will 
 overtake, I will divide the spoil ; my 
 lust shall be satisfied upon them ; I will 
 draw my sword, my hand shall destroy 
 them. 
 
 Air. 
 
 Thou didst blow with Thy wind, the 
 sea covered them ; they sank as lead in 
 the mighty waters. 
 
 Double Chorus. 
 
 Who is like unto Thee, O Lord, among 
 the gods ? Who is like Thee, glorious 
 in holiness, fearful in praises, doing 
 wonders .' Thou stretchedst out Thy 
 right hand. 
 
 Double Chorus. 
 
 The earth swallowed them. 
 
 Duet. 
 
 Thou in Thy mercy hast led forth 
 Thy people which Thou hast redeemed; 
 Thou hast guided them in Thy strength 
 unto Thy holy habitation. 
 
 Double Chorus. 
 
 The people shall hear and be afraid, 
 sorrow shall take hold on them ; all the 
 inhabitants of Canaan shall melt away ; 
 by the greatness of Thy arm, they shall 
 be as still as a stone till Thy people 
 pass over, O Lord, which Thou hast pur- 
 chased. 
 
60 
 
 Sixth Concert, Saturday Evening. 
 
 Air. 
 
 Thou shalt bring them in, and plant 
 them in the mountain of Thine inherit- 
 ance ; in the place, O Lord, which Thou 
 hast made for Thee to dwell in ; in the 
 sanctuary, O Lord, which Thy hands 
 have established. 
 
 Double Chorus. 
 
 The Lord shall reign for ever and 
 ever. 
 
 Recitative. 
 
 For the horse of Pharaoh went in 
 •with his chariots and with his horsemen 
 into the sea, and the Lord brought again 
 the waters of the sea upon them ; but the 
 
 children of Israel went on dry land in the 
 midst of the sea. 
 
 Double Chorus. 
 
 The Lord shall reign for ever and 
 ever. 
 
 Recitative. 
 
 And Miriam, the prophetess, the sis- 
 ter of Aaron, took a timbrel in her hand, 
 and all the women went out after her 
 with timbrels and with dances, and 
 Miriam answered them. 
 
 Solo and Double Chorus. 
 
 Sing ye to the Lord, for He hath 
 triumphed gloriously ; the horse and his 
 rider hath He thrown into the sea. 
 
FOUNDED BY ANDREW CARNEQIC, 
 
 FIFTY-SEVENTH STREET AND SEVENTH AVENUE, 
 "Neto ¥orft. 
 
 "Besides the principal (Auditorium, 
 "MUSIC HALL" comprises Recital Hall, 
 Chamber Music Hall, Large and Small 
 "Banquet Halls and Meeting T^oms with 
 Parlours, suitable for Lectures, Tradings and 
 Inceptions, as well as Chapter and Lodge 
 ^oms, for Secret Organisations. 
 
 For Terms apply to the Administration 
 Office of the Company, on the premises. 
 
:.,>,....ii^--^ 
 
 .V^ 
 
 %.;^: 
 
 m^-^^ 
 
 .>:!>^:^*^ 
 
 
 
 S"*^. 
 
 .;^^^ 
 
 iii 
 
 -s^^^ 
 
 ill 
 
 ---^^^ 
 
 :^>^H^ 
 
 iiii'i 
 
 li'l'i! 
 
 ilij.ilil'''! 
 
 «s»^:ii4 
 
 i!lu