The art of music, Vol. 06 (of 14) : $b Choral and church musicCole, Rossetter G. (Rossetter Gleason)
History
The art of music, Vol. 06 (of 14) : $b Choral and church music
Cole, Rossetter G. (Rossetter Gleason)
Music -- History and criticism; Musicians
The musical treatment is melodious, opening, after a short orchestral
prelude, with the joyous, though reflective, chorus, ‘There is joy in
the presence of the angels of God,’ preceded by a brief soprano solo.
The parable then opens with tenor recitative and aria, ‘A certain man
had two sons,’ and armed with the good counsel of his father, the
prodigal son starts away. He is heard from in the chorus of revelry,
‘Let us eat and drink; to-morrow we die.’ The admonishing contralto
solo, ‘Love not the world,’ is well known, having found its way to
concert programs. After an orchestral prelude the soprano declaims in
recitative the Prodigal’s experience as a swineherd and his struggle
with famine, closing with the aria, ‘O that thou had’st harkened.’
The repentance of the Prodigal is beautifully expressed in the tenor
aria, ‘How many hired servants of my father.’ A chorus, ‘The sacrifices
of God,’ is followed by the Prodigal’s return--the joy of the father
being expressed in the bass aria, ‘For this my son was dead.’ One of
the finest choruses in the work, ‘O that men would praise the Lord,’
is soon followed by the unaccompanied quartet, ‘The Lord is nigh,’ and
the final chorus, ‘Thou, O Lord, art our Father,’ closes with a joyous
‘Hallelujah.’
‘The Light of the World,’ the second of Sullivan’s oratorios and much
longer than the first, was written for the Birmingham Festival and
performed there on August 27, 1873. The composer’s plan is set forth in
the preface as follows: ‘The work has been laid out in scenes dealing
respectively, in the first part, with the nativity, preaching, healing
and prophesying of our Lord, ending with the triumphal entry into
Jerusalem; and in the second part with the utterances which, containing
the avowal of himself as the Son of Man, excited to the utmost the
wrath of his enemies, and led the rulers to conspire for his betrayal
and death; the solemn recital by the chorus of his sufferings, and
the belief in his final reward; the grief of Mary Magdalene at the
sepulchre; and the consolation and triumph of the disciples at the
resurrection of their Lord and Master.’
Public-domain text, read in full here on John Shaqi.
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