Edward Elgar and His World (29 page)

—O.I.

The Press on “The Apostles.”

Musical News
25, no. 660 (24 October 1903): 352–53

This article is a selection of reviews of the premiere from the
Times,
the
Standard,
the
Daily News,
and the
Morning Leader.
I have omitted the article in the
Daily News
by E. A. Baughan, as his rather negative views on the piece—that it lacked a central idea, that it mixed realism and mysticism rather too readily, and that its leitmotifs were not always musically interesting enough—are reiterated at greater length in his articles in
Monthly Musical Record
(see below).

The two parts of “The Apostles” are subdivided into seven parts, called, after the prologue, (1) The Calling of the Apostles; (2) By the Wayside; (3) By the Sea of Galilee; (4) The Betrayal; (5) Golgotha; (6) At the Sepulchre; (7) The Ascension. These again are subdivided into what may be called scenes for want of a better expression. Canon Gorton aptly sums up the prologue in the sentence—“as is fitting, in the prologue we behold the end from the beginning.”
²¹
It would take far too long to go
seriatim
in one notice through each of the parts and its subdivisions. In the beginning “Jesus went out into a mountain to pray.” There follow beautiful scenes of the dawn; of the Temple first shrouded in a dim light, then the dawn flooding the courts as the morning light appears, when Christ calls the disciples and chooses the Twelve. In the second scene, “By the Wayside,” occurs one of the most touching and appealing movements in the oratorio—the utterance of the Beatitudes by Christ to the Apostles; in the next, a magnificent scene for Mary Magdalene, followed by an interlude in which the Mater Misericordiae exhorts her to “Come, for there is peace for thee,” and a finale, “Turn you to the stronghold, ye prisoners of hope.”

The second part begins, after a brief orchestral introduction, with “The Betrayal,” in which Judas plays so prominent a part. Dr. Elgar here takes apparently the view of Archbishop Whately and others that Judas had no intention of betraying Christ to death, “but to have been as confident of the will of Jesus to deliver Himself from His enemies by miracle as he must have been certain of His power to do so, and accordingly to have designed to force Him to make such a display of His superhuman powers as would have induced all the Jews … to acknowledge Him King.”
²²
Judas, in a word, was a “misguided zealot, who would substitute his own plan for Christ's will.”
²³
After “Gethsemane,” St. Peter's Denial, the scene without the Temple, we come to Calvary—a scene reverentially conceived and most impressively presented—to Easter Morn, and to the Ascension, where, for the time, the work stops.

In one sense the book, or rather its arrangement, is a little disappointing, as matters at present stand, since it presents rather a series of more or less detached pictures or scenes which are intended ultimately to lead to a definite end. But so far as he has at present progressed Dr. Elgar has treated his subject with a fitting sense of dignity and awe, and everywhere his reverence, sincerity, and conviction are clearly manifested. Much of his writing is in the best manner of genuine Church music, much of it is in the right sense mysterious, as it should be. And precisely because it is the direct outcome of conviction so it carries conviction with it. In spite of the slightly detached nature of the work, of which mention has already been made, one is immensely impressed by such scenes as those referred to; by the whole scene of the lonely Christ upon the Mountain; that “in Cassarea Philippi,” with the splendid climax beginning at the phrase, “Thou art Peter”; “in Capernaum”; “the Temple”; the awe-inspiring “Golgotha”; the quiet, dignified “scene” of the Ascension; and, in perhaps a slightly different manner, by the storm. Dr. Elgar, as well as his subject, takes us through every kind of emotion; from the beginning to end one is moved—and the result, it must be confessed, is no little physical strain; but it is a strain one willingly submits to. As to the actual writing of the oratorio, there is shown a full mastery over the means of expression; and, though it might be possible to point to one or two small passages that hardly seemed to “come off,” they were few enough to be easily ignored, more especially in view of the many that succeeded, and of the general tone of dignity and power of the work; for Dr. Elgar has succeeded in a huge task before which most composers might have quailed.

—The Times.
²⁴

Whatever the verdict of the future may be on Dr. Edward Elgar's oratorio, “The Apostles,” there can be no question concerning the lofty purpose of the composer and his consummate mastery of the resources of his art. The work is the product of fervid imagination controlled and guided by keen intellectual perception, a masterful expression in music of spiritual convictions, and in its essence a sacred music drama permeated with the spirit of the preacher. In a brief preface, Dr. Elgar writes:—“It has long been my wish to compose an oratorio which should embody the calling of the Apostles, their teaching (schooling), and their mission, culminating in the establishment of the Church among the Gentiles. The present work carries out the first portion of this scheme: the second portion remains for production on some future occasion.”

The composer has written his own libretto, which consists almost entirely of scriptural passages, making liberal use of the Revised Version and the Apocrypha, and placing such passages in the mouths of the characters as indicate their temperament or give dramatic realism to the situation. The general scheme is a series of scenes setting forth incidents in the lives of the Apostles during Christ's sojourn on earth, and Parts One and Two, produced this morning, cover the period from the calling of the Apostles to the Ascension. The music is based on what is technically known as
leitmotifs
, of which ninety-two are specified by Mr. A. J. Jaeger in his exhaustive analytical and descriptive notes.
²⁵
The composition is, indeed, laid out after the same manner as Wagner's “Parsifal,” but here its indebtedness ends, for Dr. Elgar's conception and style are distinct from that of the great German master. The keynote of Dr. Elgar's work is lofty mysticism, suggesting the spiritual in a peculiar and often strangely beautiful manner. The means employed are most elaborate with regard to the instrumentation, but comparatively simple vocally. In addition to the usual orchestra there are parts for base [
sic
] clarionet [
sic
], double bassoon, small E flat gong, large gong, antique cymbals, glockenspiel, keyboard glockenspiel, tambourine, small bells, harps, and organ, and a shofar, the last-named a Jewish instrument used in the Hebrew services. The full score presents a most fascinating study to the musician, and the harmonic scheme challenges all the formulated laws of theorists.

—The Standard.

[ … ]

The music is fuller of
liet motifs [sic]
even than that of “The Dream of Gerontius,” and the polyphony is in many places even more elaborate. The subtleties of orchestration are still more remarkable and triumphantly skilful, but still there is a greater simplicity and directness of speech in critical moments, though there is much brilliant realism—as, for instance, in the themes which represent the people, or those which stand for the scenes of revelry identified with Mary Magdalen [
sic
and
passim]
, or the accurate reproduction of the calls of the shofar at the opening of the doors of the Temple at dawn.

Yet the chief note of the music is one of devoted mysticism which we have come to regard as characteristically Elgarish. It is an obvious remark to say that the atmosphere is akin to that of “Gerontius,” and in places suggestive of that of “Parsifal,” and I mention this rather as a possible help to those who did not hear the work, towards realising its nature, than with any desire to hint that it is not purely distinctive. The mysticism of “The Apostles” has a character of its own. It suggests a stronger, healthier, manlier nature than either of the two works I have suggested a comparison with, and a serener confidence.

It is impossible to describe the work in detail, but one must mention the noble opening chorus, with its note of assured triumph, the splendidly-vigorous scene of the dawn, the massive Psalm, “It is a good thing to give thanks,” the impressive majesty of the chorus, “He has chosen them,” the dramatic solo of Mary Magdalen, the loftily-inspired music in which Jesus promises to Peter the keys of heaven, and the noble chorus which closes the first part.

In the second part the number of things which seem to call for special mention is even larger, but from them I can only select the wonderfully dramatic scene in which the drama of Judas's repentance enacts itself, while the worship is going on within the Temple. The exquisitely tender scene between the Virgin and St. John at the sepulchre (where a great effect is made by a return of the dawn music from
Part I
.), the elevated inspiration of the chorus, “Why seek ye the Living?” and the concluding chorus, which is not only a worthy crown of the whole, but is undoubtedly, both in imagination and in execution, the strongest and most moving thing Dr. Elgar has written. In spite of its extreme complexity, it makes an impression of complete unity and of moving inevitably to an appointed end.

—Morning Leader.

The Birmingham Musical Festival by Our Special Correspondent.

The Musical Standard
65, no. 2047 (full series) (24 October 1903): 261

The author of this article, “A. H. S,” has not been identified.

Dr. Elgar's “The Apostles”

LONG before the time of performance of Dr. Elgar's new oratorio the Town Hall was thronged, and the appearance of the composer on the platform evoked a storm of applause. “The Apostles” is not a work which can be discussed fully after a single hearing, although perusals of the work previous to the performance had naturally helped one to form a somewhat conclusive opinion. The work, though not yet complete, is so full of detail that one needs several performances before pronouncing judgment. The text had been arranged by Dr. Elgar, and he must be congratulated upon the success achieved in this direction.

A roll of the drum opens the Prologue, and then enter the strings and wood-wind. The chorus enter at the sixteenth bar with “The Spirit of the Lord is upon me.” During the chorus various
motiven
are heard from the orchestra, suggestive of “Christ,” “The Man of Sorrows” and “Gospel.”
²⁶
These practically dominate the whole oratorio. Towards the end of the Prologue, we have a repetition of the words “The Spirit of the Lord is upon me,” dying away
ppp
, and the movement ends with a last presentation of the “Gospel”
motif.

The first part opens with “The Calling of the Apostles,” a recitative for tenor, ‘Jesus went out unto a mountain to pray.” The
motif
in the voice part of the “Angel Gabriel” recalls somewhat that in “Gerontius,” but it is only in passing. During this solo the chief
motif
of the work is heard and its recurrence assumes majestic proportions. The Dawn Scene, with the sound of the Shofar introduced, and the Morning Psalm are beautiful. The next scene, “By the Wayside,” is also beautiful and most impressive; the Beatitudes being pronounced by Jesus, while Mary, John, Peter and Judas utter their comments. The scene by the Sea of Galilee, with Mary Magdalene as the principal character, is also striking, especially the riotous chorus which precedes “The Mirth of the tabrets ceaseth.”
[sic]
The storm music, although somewhat original, reminded one too forcibly of a theatrical effect, but in “In Cassarea Phillippi” we come back once more to greatness and loftiness of conception. The “Consolation” theme, with its beautiful melody, is assigned to Mary.
²⁷
The first part ends with a movement for soli and chorus, “Turn you to the stronghold.”

The second part opens with the “Betrayal,” the orchestral introduction being made up of themes mentioned before. The orchestral work here is wonderful in its richness of colouring. Shortly after this Judas becomes the central figure, and here we have the Apostles' declaration of willingness to die with Jesus and the determination of Judas to deliver Jesus into the hands of his enemies. Upon Jesus electing to die, Judas discovers he is the betrayer, and following upon his repentance is despair and death. This is possibly the most powerful scene in the whole work, the denial of Peter being an especially dramatic episode. The chorus also, “And he went out and wept bitterly,” is fine in conception. The repentance of Judas is a truly marvellous piece of writing, while I was very much impressed with the manner in which the cry of the people, “Crucify him,” is brought in.

The next scene, “Golgotha,” is introduced by the lighter strings giving the cry, “Eli, Eli,” followed by a chorus, “Truly this was the Son of God.” A beautifully tender scene between the Mother and the Apostle St. John follows, and with the chorus asking, “Why seek ye the living among the dead?” the final scene, “The Ascension,” is reached. The story of the Ascension is told simply but directly, and the second part of the oratorio ends with another somewhat elaborate choral movement, “In Heaven,” a semi-chorus of sopranos and contraltos sing the “Heavenly Allelujahs”; whilst on earth Mary, John, Peter and the Apostles have the prayer, “Give us one heart and one way.” “Holy Father,” the prayer of Christ, is majestic; but the work ends softly and quietly.

As regards the performance, Dr. Elgar took everything very slowly. The principals were: Mme. Albani (the Angel Gabriel and Mary), Miss Muriel Foster (Mary Magdalene), Mr. John Coates (St. John), Mr. Kennerley Rumford (St. Peter), Mr. Ffrangçon Davies (Jesus), all of whom did well.
²⁸
Miss Foster was tenderly pathetic as Mary Magdalene, and exceptional praise must be awarded to Messrs. Davies and Black. The chorus did their work excellently, while the playing of the band was well-nigh faultless. Mr. C. W. Perkins at the organ lent exceptional aid.
²⁹
At the end, Dr. Elgar had a magnificent ovation, being recalled three times. Judging from a first hearing, I should say “The Apostles” is an advance on “Gerontius,” and the audience evidently was of the same opinion.