New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-03-17

brought Sir Edward Elgar from England
month in advance of the Carnegie Institute dedi-
cation in Pittsburg at which he had already
promised to be a guest. Sir Edward has estab-
ljshed cordial relations with the chorus Of the
Oratorio Society. and his suggestions as COM
poser at rehearsals have been readily followed.
In studying "The Apostles" he has aimed above
all TO secure expressive utterance Of the text
For example. in the beautiful passages for solo
lists and chorus in which Christ enunciates the
Beatitudes Elgar has told the singers something
of the feeling that inspired him when Compos-
ing this music, how he had sought 70 suggest
the overwhelming effect on the original hear
ers of the then revolutionary ideas set forth by
the Saviour He asked the singers to forget that
the Beatitudes had long been familiar to them,
ana 10 eHteavor 10 look upon them as new. fresh
truths. in singing them in The Apostles"
III the music of The ApostIes' Flgar makes
even larger use OF the Wagneran system Of
typical themes than he did In The Dream Of
% 'i.'luS, ll'iuulH6 many lhat are employ Cd
Qhll IL passing Elsars Official ANALYST a. j.
Jaeger discovers no fewer than eighty distinct
musical motives in this complex score. The prof.
osCe, for chorus. orchestra and organ, epito-
mixes The whole oratorio. The opening theme.
mystic and OF slow utterance az once creates an
atmosphere for the work II is used when re-
ferriug 10 the spirit OF the Lord and 1t reap
pears often under various guises in the score.
Another important theme Of only three chords.
including a ekfully managed dissonance. typi-
rs 1"'lS'. inc Man OF sorrows.
me Nr"io%u" also contains motives CORE
paHdihE 10 the Gospel. 70 ChrlSts mission. to
ne -uea or the preachers going forth, 10 tho
Church and to Christ the Son OF God These
anu the many that follow developed and
transformed. like WaEner's 10 accord with tha
changing conditions IN which they are used
The characters by which the story OF The
Apostles is carried on include Mary the Vir-
SIN and an angel. sung hy n soprano solo voice.
Mary MaVdalenc given 10 contralto. ST John
sung "} % tenor. who IS also the narrator and
j.- - = u'"s AM. anu Jesus each part sung by
q -. a1Iola- me chorus ~ almost constantly
employed, sometimes 4s a BACKGROUND against
-. S,roilsE conlrasted music or text is set.
o.i'l'luc@ tis an explanatory agent. often as an
active participant in events. The choruses that
enc The two main divisions OF The Apostles
arc especially characteristics of FIgar's s11 IN
writing for large groups OF voices "
ne .@.o.sis taking part in The Apostles and
81, ne nlhs1oH VII be Mrs cornne Rider-Kei-
George Harulin Claude Cunningham Edwin
Evans and Frank CroXton
Anton HekkIne the Dutch 'cellist. ana lose.
phiHe swickard. soprano, Will give Joint 70.
cital AZ Mendelssohn Han, on Saturday evening
The Programme will be:
R a5s, H.el IA ne Fsrs a5 g. Br. Na IL
1-,nru.. Miss svickara D1''a
Andaurr Fun1brs .... ''''.''..., l,-,,--
In WaltesausarnheIt '-'---- schubert
Anaa"te syrPhoaiQue r,rl,rr,,
PranmeTei oy requesp - s IgoTak
Aria ser,, ,vr,., Mr. leehns ''''e''a'
Miss swickara ana Mr. Heik,nr.. s., Handel
Mss Lille Smelling. the contraIto soloigt ~,
,i'9 fli'h Avenue Baptist Church VIII give a
. recital at Mendelssohn Han on Frida,.
evening. Her programme:
t6ehet