The Cincinnati daily star. [volume] ([Cincinnati, Ohio]) 1875-1880, 1880-01-02
ORATORIO MUSIC AND ITS INFLU.
ENCES.
Chamber yournal.l

ENC6Ss
[Chamben' Journall
No form Of music so soon takes deep
hold of the .contemplative mind as that
which is applied to Scriptural topics.
Inspired writing, when presented to us in
musical allegory, impresses the mind with
greatly increased force, as any one will
admit who has listened to HandePs mag
nifcent chpruses in the 'Messiah," or the
lovely melodies or recitatives by which
the leading incidents in Christ's advent
are told in that remarkable composition.
Were we to inquire into the history of the
oratorio, we should find it of compara-
lively recent date, although Old Testa-
ment writings leave no doubt that music
on some well-devised system was the
great medium for worshiping the Crea-
tor in the earliest times. In listening to
sacred music we'll performed, men and
women for the time forget the troubles
of everyday life. The pleasant excite
ment caused by thrilling harmony is de-
signed to have this effect, and any reader
may be asked if he has not experienced
such feelings during the performance of
grand choral works9 Does not an au-
ditor, during the progress of the music,
leave mundane things behind, and feel
something like foretaste of the employ
ment of good men in future and better
world than this3
1t is an undoubted fact that the salu-
tary impressions produced by good ora
torio music tend to the we'll being of
society and ought to be encouraged. A
modern example of such music may be
preceded by brief allusion to what took
place when Haydn, the author of the
"Creation," was about to take his leave
of this world. Haydn had reached his sew
enty-eighth year when it was determined
that his oratorio should be performed
once more at Vienna, near which city he
resided in snug little villa. "a hundred
and sixty musicians met for the pur-
pose. The audience numbered more than
fifteen hundred people, filling the palace
Of Prince Lobkowitz, in which the con.
cert was held. The poor old man in.
sisted, Notwithstanding his weakness,
upon once more seeing that public as.
sembled for whom he had labored SO
much. He wss conveyed in his arm
chair into the magnificent saloon, where
every heart was affected. The Princess
Esterhazy, and Madame Kurzbech,
the friend of Haydn, met him. The
flourishes of the orchestra and still more
the agitation of the spectators an
nounced his arrival. He was placed in the
middle Of three rows Of Seats. occupied
by his friends and the principal persons
in Vienna. Before the music began, Sal
ieri, the director Of the orchestra, came
to receive Haydn's orders. They en-
braced. Salieri then fastened to his
place, and amidst the general emotion OF
the assembly the orchestra commenced
The effect produced by the sacred music
added to the sight of its great composer
on the point of quitting this world, may
be conceived. Surrounded by the no
bility of Vienna and by his friends
by artists, and by lovely
women, whose eyes were all fixed
on him, listening to the praises of God
which he himself had imagined, Haydn
bade glorious adieu to the world and
to life. So much glory and love fire.
quently caused him to weep, and he
found himself much exhausted at the
conclusion of the first act. His chair
was then brought in; and as he was
about to leave the concert-room, order.
ing those who carried him to stop, he
first bowed to the public, and then tnrn.
ing to the orchestra with real German
feeling he raised his hands to heaven,
and with tears in his eyes blessed the
former companions Of his labors."
In this brief reminiscence Of Haydn
we see how he was loved and how his in
spired composition was the center of thai
love, sending out its rays in every direc
ton; sometimes in vocal beauties, and al
other times in grand instrumental repre-
sentations of creative wisdom. Who has
not experienced the thrilling effect of thu
well-declaimed recitative, "And God ere
ated man, and breathed into his nostril.
the breath Of ife," followed by the un
surpassed melody, "In native worth" and
further where the descriptive sentence
seems prolonged. to listen to the musical
emphasis, 'To Heaven erect and tall-he
stands-a man-the Lord-and King Of
Nature all" How sweetly also vocal
and instrumental music blend in the
description of mans higher intellectual
faculties, thus, "And in his eyes with
brightness shines, The seul-the breath
and image of his God" And then the
grandeur Of this individual creation ID
acknowledged in the magnificent chorus,
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