‘The Rose of Sharon,’ a dramatic oratorio by Alexander Campbell Mackenzie (born 1847), was first produced at the Norwich Festival, Oct. 16. 1884, the composer conducting. Mackenzie speaks of the production of this work as the ‘turning point’ of his career. The first performance met with enormous success and it was received in all parts of the United Kingdom with extraordinary marks of approval. The text by Joseph Bennett is based upon the Song of Solomon and the persons represented are the Sulamite (the Rose of Sharon), a woman (the narrator), the Beloved and Solomon, the chorus being variously made up of princes, nobles, officers of the court, elders, villagers and soldiers. It is in four parts in addition to a prologue which indicates the parabolic character of the drama and an epilogue which points its moral. The four parts are: (1) Separation, (2) Temptation, (3) Victory, and (4) Reunion. The principal motive of the work is revealed in the words which the Sulamite sings--‘Love is strong as death and unconquerable as the grave.’ The story relates how the Sulamite is seen by Solomon, who at once becomes enamored of her and tears her away from her Beloved, placing her in his own harem, where, although surrounded by every luxury which royal favor can devise, she still remains loyal to her Beloved. After every effort on the part of Solomon, the nobles and the women of the court, the Sulamite continues to sing ‘My Beloved pastures his flock among the lilies’ and she is finally restored to him, after which they return together to the vineyards. The score is heavily loaded with beautiful passages--lyric, pastoral and dramatic--for choral and solo parts alike. The composer uses with great skill and effectiveness four motives--the Love motive associated with the above quotation and a motive associated with each of the three principal characters. Some of the loveliest parts of the work are the long dialogue between the Sulamite and her Beloved in the first part; the simple ‘The Lord is my Shepherd’ which the Sulamite, alone in Solomon’s palace, devoutly sings as she longingly remembers the scenes from which she has been parted; the stately chorus, ‘Make a joyful noise unto the Lord,’ accompanying the procession of the ark; the chorus of shepherds and vine-dressers; the jubilant chorus, ‘Sing, O Heavens! be joyful, O Earth!’ as the villagers greet the returning lovers, which chorus leads into a rapturous duet that prepares the way for a chorale-like finale in which all join.