Rock Island Argus. (Rock Island, Ill.) 1893-1920, 1915-05-15
ANALYSIS OF THE oRAToRIo "coLGoTHA"

him shall not perish. but have ever
quartet.
10. Lord, Remember Me-A simple
little prayer expressed in the words
OF the robber on the cross, given to
the bass. The tenor takes up the
beautiful gospel words of Christ:
Verify 1 say unto thee, today thou
shalt be with me in Paradise" The
main theme is first heard in the in
PRODUCTION; it is then taken up by the
bass and followed in the accompani-
ment 10 the duet. The bass now takes
up the words of the robber, "Fearest
thou not God?'' etc. In the octave he
faces Christ with the words, Lord,
remember me" The tenor now takes
up the main theme, and the number
closes with a quiet prayer by the bass,
Remember me-"
H. Jesus of Nazareth-This chorus
opens with demand from the Jews.
Write not King of the Jews; but
write that he said, Write not King
of the Jews" an imitation of the Yah
theei theme of the third chorus. Christ
declares himself in the tenor solo. 81
am King OF the Jews and PLATE
manifests his authority in the short
bass solo, ''Whate have written" etc.
Here follows the main chorus. Jesus
OF Nazareth, King of the Jews. not in
derision, hut expressed in the thought
which is heard at intervals through
out the chorus. He is our Lord and
King, Hallelujah."
IL. Eli Lama Sabaktani my Cod
My Cod. why hast Thou forsaken
me2)-The climax of the oratorio. We
are dazed, unable TO comprehend the
magnitude of the sacrifice. Christ,
himself, seems lost, cloud OF doubt
seems TO overpower him. The deep
mystery of it all is heard in the in
PRODUCTION. The sudden changes in
harmony in the solo is in keeping
with our feelings. Chaos reigns SUI
preme. sudden calm, We hear
Christ, the man, from the cross in the
words, L am athirst." 1t all returns,
we hear Christ in a loud voice call,
at is finished" The foundation of
the church of today is based on this
thought. The bases of the chorus take
it up in wonderment, but IL breaks out
in iubilant strains OF full chorus.
Christ still hangs on the cross, we
return TO this painful scene. In the
little tender melody, with chorus ac-
compartment, in the thought of his
great sacrifice, his patience, his love
we breathe silent prayer that we
may be granted more loving grace and
a forgiving spirit toward our trans
gressors. Our reflections again carry
us back TO Christ on the cross, his |
Eli lama sabaktani'' is still ringing |
in our souls; IL leads us 10 his soul |
string cry, his last cry, a cry which |
has gone through centuries, Father, |
into thy hands commend my spirit I
The tenor reaches his climax in those |
words Father unto thy hands I /
my spirit The last scene,
He bowed down his head and gave /
up his spirit" is heard in the orches-
ira. and in the closing peaceful major
chord, the spirit of Christ rises to his
Father above.
13. Over All the Land Was Deepest |
Darkness-The death of Christ is fol-
lowed by the deepest darkness. The |
basses in their deep tones and regular |
rhythm, force this dense darkness up
on u.s. The BASES in the chorus take
Il up, IL rises with the tenors and al
tos. becomes almost unbearable as it
swells with the sopranos. The dark
ness thickens again, when suddenly
the rent in the veil of the temple is
heard in the surprising-F'F- of the
chorus. the winds in the orchestra,
and the tear in the strings The earth
shook, the mountains were rent asun-
der, the whole universe is at war with
Itself The graves we're opened in the
mysterious passage, The graves were
opened. the dead arise" Previous
themes are worked out in the remain
Ter of the chorus and II closes with
he darkness theme.
ii. The preceding number is full of
despair. the powers of hell and dark
ness reign supreme, but in this closing