Read Online Edward Elgar and His World by Byron Adams - Free Book Online

Foster, Coates, and Ffranggon Davies); Dalton Baker sang St. Peter, 47 and Harry Plunket Greene, who had sung the Angel of the Agony in the premiere of Gerontius, sang Judas. 48 As was customary for the festival, the cathedral organist (in this case A. H. Brewer) appeared on the program as well, conducting the Beethoven symphony. 49
    The Gloucester Festival
    Musical News 27, no. 708 (24 September 1904): 259
    The author of this article, G. H., has not been identified .
    [ … ]
    The chief interest centred in “The Apostles,” which was given, under the composer’s direction, on the Thursday morning and afternoon. Since this work was first heard at the Birmingham Festival, last year, much has been written about it in these columns and elsewhere. The scheme and treatment of this oratorio, if such it can be called, has aroused much discussion, and created a variety of opinion. Those who are accustomed to and prefer the old orthodox style for oratorio would, doubtless, be disappointed at a first hearing of such a work as “The Apostles.” Those, on the other hand, who are fascinated by a novel and vivid treatment of an old story will hail it with pleasure, as they will see in it a new method of oratorio. But whatever may be the opinion, both sides must be struck by the magnitude of the work, its intricacy of treatment, and its novel effects, and both cannot fail to admire the genius of the man who created it. A detailed account of the work is superfluous, as it has now been performed in London and important musical centres, and has frequently been described and analysed. Briefly, it is the story of the “Calling of the Apostles,” ending with the Ascension. This is presented in a series of musical pictures which are vivid in colour, varied in treatment, and dramatic in character. A broken chain of events rather than a connected whole. A story told by brilliant and picturesque episodes rather than by a continuous sequence of events. Hence it has not the structural finish or continuity of the composer’s “Dream of Gerontius,” but, technically, it is in advance of it, as, though the design is not so satisfactory, the details are more intricate. The composer’s use of leit motif is peculiar and excessive. Some of his themes—notably the harsh progression of the “Christ-motif”—are startling. The orchestration is very complex. It needs only an examination of page 15 to see how closely the texture of the score is woven. 50 The main characteristic of the work is the curious blend of mysticism and realism. This, though very ingenious, has, occasionally, a disquieting effect. The “Fantasy” where the Magdalene bewails her sins, while the chorus suggests her past life in music of a different character, is daring and original, but it is doubtful if it produces the effect intended. Among many beautiful scenes, those that are memorable are the peculiar pathos of the “Betrayal” scene, the dramatic force of the “Judas” section, the peaceful beauty of the “Sepulchre” section. All these arrest the attention, either on account of their emotional depth, or by the power of their forcible dramatic presentation. As regards the performance, it was, on the whole, a satisfactory one. It was only natural that in a work making such exacting demands on chorus and orchestra, there should be some awkward moments. But they were few. The tone and precision of the chorus were splendid, and the fine playing of the orchestra was equally noticeable. The soloists performed their parts effectively. Mdme. Albani, as The Blessed Virgin and The Angel , sang with that devotional expression with which this great artist always interprets sacred music. Miss Muriel Foster sang the part of The Magdalene with rare emotional and dramatic power. Mr. Ffranggon Davies, as Jesus , delivered the impressive music with due solemnity. As Judas , Mr. Plunket Greene was forcible and