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Updated: May 26, 2025
I wish to hear you in grand opera or in oratorio I wish to see you a great artist that is something noble, something ambitious, something to work for day and night. Ah, Leo, when I hear Mr.
I could not conceive my absence from the concert the concert which I had been anticipating and preparing for during many weeks. We went out but little, Aunt Constance and I. An oratorio, an amateur operatic performance, a ballad concert in the Bursley Town Hall no more than that; never the Hanbridge Theatre.
M. Saint-Saëns tells us that "the past did not exist for him; he did not understand the old composers, as his knowledge of them was limited to what he had read about them." He did not know Bach. Happy ignorance! He was able to write oratorios like L'Enfance du Christ without being worried by memories and traditions of the German masters of oratorio.
In the seventeenth century we find Carissimi greatly advancing oratorio, and composing really noble music. You may remember a revival of his "Jephtha," by Mr. Henry Leslie, a few years back. Scarlatti, Stradella, and others also contributed to this period.
Longfellow's other titles to undying fame, such a destiny is surely marked out for him, and throughout the English portions of the world his name will always be associated with that of the great Florentine. June, 1867. For music-lovers in America the great event of the season has been the performance of Mr. Paine's oratorio, "St. Peter," at Portland, June 3.
This examination, for the first time made, together with the first careful and thorough search for whatever might afford a ray of light in the various periodicals of Handel's time, has enabled the author to correct innumerable errors in previous writers, and trace step by step the rapid succession of opera, anthem, serenata, and oratorio, which filled the years of the composer's manhood.
So that if the prophecies in regard to Christ might be called the "Oratorio of the Messiah," the writing of Isaiah is the "Hallelujah Chorus," where all the batons wave and all the trumpets come in. Isaiah was not a man picked up out of insignificance by inspiration. He was known and honored. Josephus, and Philo, and Sirach extolled him in their writings.
We see this if, looking at music in its ensemble, we enumerate its many different genera and species if we consider the divisions into vocal, instrumental, and mixed; and their subdivisions into music for different voices and different instruments if we observe the many forms of sacred music, from the simple hymn, the chant, the canon, motet, anthem, &c., up to the oratorio; and the still more numerous forms of secular music, from the ballad up to the serenata, from the instrumental solo up to the symphony.
Under such circumstances the Symphony was sure to have the preference. The long cherished plans for another oratorio, and for a Requiem Mass also insistently came up for consideration, crowding out all serious intention of an opera. The project of a Requiem Mass was of particular interest to him; it comes to the fore frequently.
But it must at least be said, as the net result of our impressions derived both from previous study of the score and from hearing, the performance at Portland, that Mr. Paine's oratorio has fairly earned for itself the right to be judged by the same high standard which we apply to these noble works of Mendelssohn and Handel.
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