Next to the " Messiah," "Judas Maccabaeus," in this country at least, is the most popular and frequently per-formed of the Handel oratorios. It was composed in 1746 when Handel was sixty-one years of age, at the suggestion of the Prince of Wales, to commemorate the victory of his brother, William, Duke of Cumberland, over Charles Ed-ward, the Pretender, at the battle of Culloden, in April of that year. The text is especially appropriate for an occasion of the kind. The story was taken from the first book of Maccabees, and the twelfth book of Josephus' "Antiquities of the Jews." The author of the libretto was the Rev. Thomas Morell, D.D., a scholar of the day. To judge by an extract from a letter written by Dr. Morell, it would appear that collaboration between score maker and librettist entailed the same difficulties in Handel's time that it does today. Thus runs the letter : "And now as to Oratorio: ' There was a time ' (says Mr.' Addison) ` when it was laid down as a maxim, that nothing was capable of being well set to musick that was not nonsense.' And this I think, though it might be wrote before Oratorios were in fashion, supplies an Oratorio-writer (if he may be called a writer) — with some sort of apology; especially if it be considered, what alterations he must submit to, if the composer be of a haughty disposition, and has but an imperfect acquaintance with the English language.
"As to myself, great a lover as I am of musick, I should never have thought of such an undertaking (in which, for the reason above, little or no credit is to be gained) had not Mr. Handel applied to me when at Kew in 1746, and added to his request the honor of a recommendation from Prince Frederic."
Notwithstanding, the collaboration continued until the close of Handel's life, Dr. Morell arranging the librettos for several other oratorios, namely "Alexander Balus," " Joshua," " Theodora," "Jephtha," and " The Triumph of Time and Truth."
" Judas Maccabaeus " was first performed at Covent Garden Theatre, April 11, 1747, several months after its completion at the composer's hands. No mention of this musical event is found in contemporary newspapers, but it is known to have been repeated six times during the season. Owing to the gratifying fashion in which an incident in Hebrew history was treated, it was in high favor with the Jews of London, and their patronage was most fortunate, for " Judas Maccabaeus " appeared when Handel had not yet recovered from his second bankruptcy. Handel wrote the oratorio at the time when the menace of blindness could no longer be disregarded. Burney says that the duet, " Zion, now her head shall raise," was dictated by him after his total loss of sight.
The principal characters of the oratorio are Judas Maccabaeus; Simon, his brother; an Israelitish messenger, and Israelitish men, women and youths.
The time of the action is the Second Century B.C. It opens with the mourning of the Israelites over the death of Mattathias, the Asmonian, the father of the five doughty sons, among whom are Judas Maccabaeus and Simon. In his lifetime, the Jewish patriarch has endeavored to rouse the people to resist, and if possible to throw off the tyranny of the Syrian king. In his loss the people find great discouragement, and the recent burning of the city Solyma has added to their apprehension. Simon, wise and optimistic, reminds them that they are the Chosen Nation and that as such, doubt and desperation ill become them. Thereupon, the divine favor is invoked and a leader asked for. Simon suggests his brother, Judas is forthwith recognized as leader in the defense of nation, religion and law.
Simon appeals to the patriotism of the people, and thoroughly roused from their dejection they pledge their support. Judas invokes his father's memory, referring to his great desire for Judah's freedom and promising to execute his commands. The people express their trust in God and their resolution either to conquer their enemies or to perish.
Israel conquers, and Part II. opens with a celebration of the victories gained over the armies of Apollonius, governor of Samaria, and Seron, deputy governor of Coeli-Syria, agents of the Syrian king. The valorous might of Judas is praised and he is acclaimed to be " first worthy in the rolls of fame." Rejoicing and expressions of gratitude to heaven continue to be heard. Judas Maccabaeus thanks them for their homage but gives the glory to heaven, reminding the people that "A hand unseen directs and guides this weak machine."
An Israelitish messenger comes to warn the people that a division of the Syrian army has been sent from Egypt under the command of the valiant Gorgias and is marching against them. Their courage ebbs and they are once more plunged into dejection. Again sage Simon reminds them that such reverses are sent only to try them, but that in God's hands they may work wonders. Judas adds his admonitions to those of his brother and, by his confidence that they will again prove victorious, wins them back to courage, and they follow him out to meet the foe. Those remaining behind utter their destestation of the heathen gods Jupiter, Bacchus with his ivy crown, and Ashtoreth which have been set up in the temple in Jerusalem, and urge the worship of the true God only.
Part III. begins with the dedication of the recovered temple at Jerusalem. A messenger comes to tell how all undismayed Judas has met the enemy and his hosts and is now returning a conqueror, bearing upon his spear the head of the vanquished. A chorus of youths salute his arrival and Judas appears from his final victory over the national enemy. The oratorio concludes with a splendid pan of thanksgiving over the re-establishment of peace and freedom. " Judas Maccabaeus " is distinguished for its patriotic fire, but suffers in interest from the fact that there is too little variety of emotion expressed.
There are sixty-eight numbers, several of which are frequently omitted. The arias are very dramatic and rather more numerous than usual. Prominent in the score is the opening chorus, " Mourn, ye afflicted children," in which Handel's mastery of pathos is disclosed; the duet, " From the dread Scene ;" the grief-laden chorus, " For Zion lamentation make ;" the soprano solo, " Pious Orgies ;" the choral prayer, " O Father, Whose Almighty Pow'r;" the great bass aria of Simon, "Arm, arm ye brave;" and the chorus, " Hear us, O Lord." The second part contains, according to many critics, the finest number in the oratorio, the great chorus, " Fallen is the Foe ;" the tribute of the Israelitish man to Judas, " So rapid thy course is ;" the beautiful duet and chorus, " Zion, now her head shall raise ;" the lovely aria, " From Mighty Kings he took the Spoil," sung by the Israelitish woman; the stirring trumpet song of Judas, " Sound an alarm;" one of Handel's best known arias; and the majestic and original chorus, " We never will bow down," with its great finale, " We worship God and God alone." The third part opens with the prayer of the Priest, " Father of Heaven, from Thy eternal throne," which after a few numbers is followed by the famous chorus of youths and maidens, " See the Conquering Hero comes," which has ever since been sung in England as a welcome to victorious warriors. This number was originally contained in " Joshua," but was transferred as was so often done by Handel. Also of note
are the chorus, " Sing unto God ;" the pastoral duet, " O Lovely Peace ;" and the final exultant Hallelujah chorus, which, addressed as it is to an earthly hero, is distinctly different in spirit from that of the " Messiah."
The choruses in " Judas Maccabaeus " are always cordially received, whether in connection with the oratorio itself or as separate concert numbers, and next to the music of the " Messiah" they enjoy greatest fame. Because they are so tuneful and yield so easily to popular interpretation, they have become great favorites with choral societies, whether large or small, and are very effectively rendered by them. Next in popularity to the inspiring " See the Conquering Hero comes," is the well-known " We hear the pleasing, dreadful call," another short bright chorus. Had Handel never written the " Messiah," the choruses of the " Judas" would perhaps have satisfied the music lovers just as completely.
