The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1883-01-28
..,ur REDEMPTION"
xowe Account Of Gonnod's Sacred
Trilcgy.

..s1l
,ogv. in which the music-lov'ng fn'laoe'-
,bi,ns are deeply interested, gives the SUD
,',mod account Of the composition. We
,s,ut Il win prove acceptable TO the gene
=, der ~ well as 10 our musica circles:
co,nod,s sacred h1logy Of "The Re-
,a,'r.;on" j. described by the author ms
,,.tcsl setting forth Of the three great
-, on which depends the existence OF
~ Christian Church the passion ana
tn of the Saviour. His glorious llie on
LII from His resurrection 20 His ascen-
sion and the spread Of Christianity In the
,,'orid through the mission OF the apostles.
The poom was written and part OF the
,nusic composed fifteen wears ago. The
,,,o,L has doubtless been forming itself in
,bo composers mind ever since, and when
no finished II for the Birmingham Festival
~ lisa he wrote upon the score, opus
,.;ifr sea,''--s' The work Of my life.' The
world nav not give il this high place. but
of n, importance, Its dignity. It's Selemnity,
and beauty there cannot be dispute.
From the statement OF lis subject II VIII
NJ once appear that The scope OF this trllogy
i something more than or different from
that a the ordinary oratorio. and except
Tor convenience IL were better not TO call u
lv This name. In is fundamental structure
ufbas nearer resemblance 70 The Passion
music. from which il il in some respects a
modern development. The Passions
Of Bach. for example, were IN elaboration
upon The ancient liturgical custom OF
chanting the Gospel in the churches IN
HOLY Week. where the narrative Of the
passion is solemuly intoned, with the
words spoken by the Saviour sung in the
bass ana the words Of the Jews in 4
different voice. Upon this simple founda-
ton the musician built, varying the nara
tive with concerted music, interruptinS 1t at
fines with choralcs or hymns for the con-
creation and adding the rich accOmpani-
ment for orchestra and organ. Evidently
il was this that suggested 10 GOunOd the
form he should give 10 his poem OF the Pas
sion. which consists primarily OF para
phrase Of the Gospel narrative, sung nearly
i'm monotone by two narralOrs alternately,
a t.nor and a bass. interpreted with dra-
matte aud reflective passages, all OF which
j. united with the most elaborate and beau
tiful orchestral treatment. Thus there are
few Of the set aIils of the conventional
oraiOriO and the choral numbers are not
separate and detached, but occur rs the
climaxe, in one large composition. in which
the voices ana the instruments bea. equal
part.
preceded by q prologue on the creation, the
ian Of man, and The promise OF the Re
deemer. Whether or not the instrumental
introduction successfully convey the idea
Of chaos, the learcr viii recognize at once
tho mlsteriv handling Of the orchestra, and
the impression thus made at the beginning
will deepen with the progress OF the work.
The prologue. however, seems designed
only 10 bring the hcareI into some sort OF
relation with the spirit Of the composer.
and particularly 80 intro3uce 90 melody
typical Of the RedeemCr, 10th God and
man." which is 10 have an impGrian, place
in the musical treatment Of the first two
parts.
CALVARY"
The first part Of the tn'ogy, Calvary"
stands out from tlc rest Is a distinctly dra-
matte composition. Attera short narrative
Of the condemnation and sentence OF Jesus
il opens with the very important scene,
which the composer tells Us was written
long before any Of the other music, except
single fragment Of the third part, "the
going up 10 Calvary" This whole scene
j. conceived in a thoroughly dramatic
spirit. II begins with \ brilliant march
subject. full OF harbaric ylgor, against
which the ancient lituTgic hymn "NCXilla
reyi," r. introduced with extraordinary in-
gcnuty and force, sung in SOmbre setting.
first by the sopranos alone and afterwards
by the whole choir. Between the two Oc-
currCncCs OF this chOrale the incident Of
the weeping women is described. the re-
sumption Of the march combined with the
choral theme bringing the scene 20 a most
a al. ~. I.l.f.l
narratcs, "Whcn they are come 10 the place
appointed they extend on the cross the Sa-
yiouI's slcred limbs aud there i, a solemn
instrumental passage suggestive OF the
scene. Aglin q few words OF narrative,
which keep the hearers mind upon the
scene which the music Is intended TO
illustrate; the crowd insults and re-
yilcs Him, and there is a hooking chorus
oi The PRIESTS remarkably interesting num-
her. The saviour pray, for his people, and
here Tccurs the typical melody, which is
used many tunes during this scene. After
the solemn chorus OF the Reproaches fol-
lows the very beautiful and pathetic scene
Of the Virgin az the cross. for contralto
solo, qUartette, chorus, and orchestra.
where q mysllc lamenAtiOn j. combined
with the chant % the Stabat Mater, and
after this the impressive dialogue OF the
two thieves. The death, The darkness, the
earthquake are entrusted 10 the orchestra.
with the few words OF narrative; the cen
turion conitsscs. "This man then was i'm
truth the Son OF Cod and the part ends
with devotional ehorale.
DRAMATIC MUSIC.
10 will be seen that this treatment OF the
subject Is essentially dramatic, and yet its
reyerential solemnity will impress itself
strongly upon the hearer. Ii will be no.
ticod also that the expression Of some OF
the most solemn musical thoughts pertain
ing 10 the subject is entrusted TO the in
Struments rather than TO the voices. But
lei it he observed further that NJ. Gounod
i not led far away ny the popular delusi0n
OF descriptive music" IL is not the pro-
vince Of music TO describe; il can only sug-
gest, and the same music alone may suggest
one thing 10 one nearer and an entirely dli-
ierent thing to another. But music which
Is properly dramatic accompanies either Il
verbal or pictorial setting forth OF the sit-
uation. The action in an opera, the words
in song, The narrative in Tie work before
Us, convey the necessary description; the
music IS only suggestive Of the scene or OF
the emotions which the scene calls forth.
n'h W. N'hhy0 1AitihpiS hih>iSdt w
scfiphon without the aid Of words. rs III
The darkness following the crucifXion, he
ialls back upon simple musical device
the succession OF chords Of the diminished
seventh played in different degrees Of the
scale-wlici has been so often employed TO
suggest a physical disturbance that il has
acqureda sort OF conventional significance
that l. not inherent, an association Of ideas
That grows out a constant use in connec-
lion with an obvious situation. IL Is in
iuii recognition Of this limitation upon the