Vashon Island news-record. [volume] (Vashon, Wash.) 1919-1954, 1929-07-25
500 VOICES TO PRESENT WORKS
OF GREAT ARTISTS

sung by chorus Of 500 voices, will
form the majectic and impressive back
ground against which the All-English
production OF the Passion Play viii be
presented. The Passion Play is being
sponsored by the Associated Students
OF the University Of Washington at the
University Athletic Pavilion. July 26
to August 8.
experimenting the chorous Will be
orchestral effects from the combined
orchestra OF thirty-fiye pieces. recruit
ed from the city's best musicians. and
led by Harold Loring. noted Eastern
musician and conductor. While the
chorus will present works OF the great
est lyrical composers known in the
history OF music, the orchestra Will
draw on composers of every type, from
simple un-authored folk songs TO ma
jestic tone poems of Wagner's "Parsi-
fall, Beethoven's Fifth" and Seventh
Symphonies, Tschikowsky's later
works and Chopins well loved Pre-
lude n C Minor. In all there will be
thifty-one selections. all of which are
famous as established numbers in the
list Of the worlds great musical
scores.
Heralding the opening action Of the
dramatic story Of the last week Of the
life of the Christus will be fanfare
Of trlmpets, brilliant and ringing in
their opening notes then muted in
respect to the dignity of the Play as
the huge curtain on the 100 foot stage
swings open and the drama commences.
The stage action proper Is preceded by
the orchestral prelude to 'Parsifal" by
Wagner. followed by the first chorus
number OF the evening. This is
Stainer's well-known anthem Of praise
and thanks, For God So Loved the
World" inspired by verses sixteen and
seventeen of the third chapter Of st.
John.
this time Sokoloff's "Islamic Chant"
carries on the theme Of the previous
rendition and builds UP the atmos-
phere of hope and JOY with which the
opening words are spoken.
A brief dialogue scene then locates
the action, and as the Christus begins
his triumphal entry into Jerusalem
the massed chorus breaks out In the
beautiful praise hymn, 1.-THE Palms,
by the great French lyric artist, Jean
Baptiste Faure. Presentation OF this
piece marks the musical high point in
the first scene Of the Play.
| Actual entrance of the Christus with
in the gates of the ancient city Is
hailed by Handels tuneful chorus,
See, The Conquering Hero Comes"
from his great oratorio Judas Mac
caboreiis'' Jubilant estasy greets this
historical entrance and this attitude
is only altered in tone when the music
of an excerpt from Wagner's Parcifal,
the multitude turns from the figure OF
the Christus and follows the priests of
Judea off the stage
| Word music alone, the poignant
music of simple Biblical phraseoloey
tells the story of the Christus decision
to leave Jerusalem, his commands for
the preparation Of the Last Supper,
and also the plans of the priests for
his betrayal and trial.
During the solemn and moving scene
of the Last Supper the orchestra plays,
at the opening of the scene, the
Dresden Amen" from Parsifai and as
one of the greatest scenes in the entire
play is finished-that of washing Of the
disciples feet by The Master
Beethovens universally liked Fifth
Symphony" Then as the disciples and
Master stand for the final blessing be-
fore the sacred board, the huge chorus
feelingly intones Mozart's sacred work.
Ave Verum."
Music OF the most ethereal kind
accompanies the moving scene on the
Mount of Olives A repetition of the
Dresden Amen" from Wagners Parsi-
fal opens the scene. and a violin solo
with organ accompaniment-!Tschai-
kowsky's Andante Cantabile--is played
when the Christus leaves the disciples
to pray apart. Then as the Christus
is INTERESTINGLY led away by the arrest
ing Judean soldiers, one OF the great
est soprano obligatos with choral &C
compartment ever written in musical
lhistory--the "Inflammatus' from
"Stabat Mater" by Rossini--swclls up
from the massed chorus off stage
In the last two parts of the Play,
three mighty musical rendltions stand
out for comment. These come in the
dramatic betrayal scenes, and during
The crucifiction of the Christus follow
ing the trial. Bach's Choral No. s."
Is given by the chorus and orchestra
during the tabeau scene showing the
Christus, crowned with thorns, being
scourged by the Roman soldiers Then
as the march to Calvary is undertaken,
with Simon Of Cyrene carrying the
Cross Of the Master, the orchestra and
chorus present that great work OF
Gcunods The March To Calvary
opening with the words known to every
4