Evening star., 1938-02-27

which are associated with large gath
erings. But in this case it is unique
and contributes, although it does not
assume any importance on the disks,
to the atmosphere of a great drama
performed before spectators. It makes
for a very human touch in this NOV
ing story, in which all humanity was
included and will be included for all
time
The singing of the chorus and the
soloists Is especially fine, although
the quality of voice of the bass TAX
ing the part of Jesus has not the
warmth and benevolence in it which
one would imagine necessary to the
character. The entire sacred story
moves along with dramatic intensity,
sustained by the efficient work of the
singers and the genuineness of their
emotional impulses. And the listener
cannot remain unmoved even when
assisting at this mechanical repro
duction. by the gripping musical pic
ture of the Passion" which Bach has
written.
IN THIS greatest of all Passion"
music, and one of the greatest of
Bach's writings. the composer has left
an imperishable monument to him.
self and kind OF biography which
no other composer has unconsciously
written. For the Passion" gives
glimpse into the soul of Bach at
which one must marvel. All the rev.
erence, the deeply rooted faith and
the melting tenderness of his nature
are written into this composition.
Through the entire work the inner
substance of the great composer re-
veals itself at every interval.
One is overwhelmed at the quality
of his religious feeling. 1t has taken
hold of. or perhaps released, all the
power of musical expression in his be-
ing. And that religious sense could
put to shame all that most of us could
muster, in its depth and sincerity. 1t
overshadows the stubborn musician
who insisted on doing just what he
wished and who refused to be bound
by regulations laid down by his en-
ployers, and the man who loved
plain. ordinary kind of humor and his
little jokes 1t dwarfs the genius of
the great writer of The Art of the
Fugue" and his many glorious organ
and choral compositions, yet it ele-
Yates the man himself to height not
gained by other spiritually minded
musicians.
zach had no desire to write
drama when he composed The
Passion" or to emphasize any of its
dramatic moments in theatrical way.
What he has left us, however, is in
tense drama made doubly so by the I'M
questionable spontaneity and depth of
his emotional feeling. His object was
to serve his congregation and his art,
following along the lines of the ever
popular writing about the last events
of Christ's life. He used Is chorales
which his public loved and he planned
the form in accordance with what had
been prescribed, more or less, for
many years He himself had had
much practice in the composition of
music for the same theme, yet he has
surpassed himself in this particular
work.
The great genius was accepted coolly
by his townspeople as just another
citizen of outstanding talent. For
goodly number of years after his
death, his name counted for very little,
and when it was heard it was mostly
in connection with one of his gifted
sons. But within the last few years a
cult of Bach has arisen, and at last
the musical world is beginning to
grasp the enormous extent of his
genius and its inexhaustible character.
But it is only beginning, and most
serious musicians recognize it as such.
What Bach has given to the world in
his prolific output will probably last
forever or until another genius is born
who can reach further into the great
source from which music is drawn and
meet it with the same glorious out
pouring of his own soul as has Bach in
THE Passion According to st. Mat
thew"