Parry Judith - WILLIAM VANN SARAH FOX soprano KATHRYN RUDGE mezzo-soprano TOBY SPENCE tenor HENRY WADDINGTON bass-baritone - Chandos Records
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Parry Judith
SARAH FOX soprano
KATHRYN RUDGE mezzo-soprano Crouch End Festival Chorus
London Mozart Players
TOBY SPENCE tenor
HENRY WADDINGTON bass-baritone WILLIAM VANNBy permission of Ian and Kate Russell Charles Hubert Hastings Parry, c. 1885
Sir Charles Hubert Hastings Parry (1848 – 1918)
premiere recording
Judith, or The Regeneration of Manasseh (1888)
An Oratorio in Two Acts with an Introduction and an Intermezzo
for Soprano, Alto, Tenor, and Bass Soli, Chorus, and Orchestra
On a libretto by the composer with additions from the Apocrypha
Manasseh, King of Israel.........................................................Toby Spence tenor
Meshullemeth, his wife......................................Kathryn Rudge mezzo-soprano
His Children..................................................................................Children’s Chorus
Judith............................................................................................. Sarah Fox soprano
High Priest of Moloch.................................... Henry Waddington bass-baritone
Messenger of Holofernes............................. Henry Waddington bass-baritone
Chorus of Worshippers and Priests of Moloch, Inhabitants of Jerusalem,
Assyrian Soldiers, Watchmen, etc.
Crouch End Festival Chorus
David Temple MBE musical director
London Mozart Players This recording is dedicated
Ruth Rogers leader to the memory of Elaine,
William Whitehead organ 13 January 1954 – 13 October 2019
William Vann
3COMPACT DISC ONE
1
Introduction 5:10
Allegro spiritoso – Meno mosso –
Act I [56:30]
Scene 1. Moloch 13:42
2
Processional Music of Worshippers. Allegro maestoso –
Worshippers: ‘Hail, Moloch!’. [ ] – 3:14
3
Manasseh: ‘Draw near and worship, O my people!’.
L’istesso tempo – 1:32
4
Worshippers: ‘Have mercy, dread Moloch’. [ ] – 0:41
5
High Priest: ‘Hear ye the word of your god!’. Ad libitum sostenuto – 0:53
6
Worshippers: ‘Hail! thou art highly favoured, King!’. Animato –
Manasseh: ‘My children Moloch’s!’. Agitato – Animando – 2:13
7
Worshippers: ‘Bring now the children!’. Allegro –
‘It is the god’s decree’. Con spirito – Poco più animato – 2:27
8
High Priest: ‘Hearken, O King!’. Lento pomposo – 1:07
9
Worshippers: ‘Hail, Moloch, hail!’. Allegro 1:31
4Scene 2: The Children 20:43
10
Dialogue. Andante sostenuto –
Children and Meshullemeth: ‘O mother, tell us once again’. [ ] –
Agitato. Più mosso – 5:31
11
Ballad. Meshullemeth and Children: ‘Long since in Egypt’s plenteous land’.
Allegretto semplice – 4:37
12
Chorus of Priests of Moloch, Meshullemeth, and Children:
‘Great Queen, the King calls for his children’. Maestoso moderato –
Più mosso – Tranquillo – A tempo più animato – 5:22
13
Judith: ‘Lady! thou Queen of Israel!’. Lento – Andante molto sostenuto –
Poco animato – Poco più animato 5:12
5Scene 3. The Sacrifice 11:40
14
Chorus of Priests: ‘Moloch! Moloch! give ear!’. Allegro comodo –
Manasseh: ‘My people, see, the holy children come’. [ ] –
Chorus of People: ‘Crown we the stainless victims’. [ ] – 5:26
15
Judith: ‘Stay your hideous mockeries!’. [ ] – Meno mosso – 1:34
16
Judith: ‘Now shall the Lord Jehovah visit you’. Alla breve –
Sostenuto – 2:13
17
Chorus. Worshippers of Moloch: ‘Who is this that raileth at Moloch?’.
L’istesso tempo, fieramente – 1:11
18
Messenger: ‘O King, give ear!’. L’istesso tempo. Agitato – 0:40
19
Manasseh: ‘Fear not, my people’. Sostenuto – 0:33
Finale. The Coming of the Assyrians 10:25
20
Chorus. Worshippers of Moloch: ‘The host of Assur is like a swarm
of locusts’. Allegro moderato – 1:19
21
Judith: ‘Jerusalem was loved of the Lord’. [ ] – Meno mosso –
Allegro moderato, marziale – 0:26
22
Chorus. Priests of Moloch: ‘Moloch, Moloch, hear us now’.
Allegro molto –
Chorus. Worshippers of Moloch: ‘Rise in might and scatter our foes’.
[ ] –
Chorus of Assyrians: ‘The heroes of Assur’. Allegro spiritoso – 3:24
23
People: ‘Fly! Fly! The host of Assur is come on us’. Più moto – Più moto – 3:25
24
People: ‘Jerusalem, that was Queen of the nations’. Maestoso –
Più lento 1:49
TT 61:40
6COMPACT DISC TWO
1
Intermezzo 5:23
Babylon. The Repentance of Manasseh
Lento espressivo –
Manasseh: ‘I will bear the indignation of God’. [ ] – Poco più mosso
Act II [64:09]
Scene 1. The Return of Manasseh 18:48
2
Maestoso. Sostenuto espressivo –
Jews of Jerusalem: ‘Wail! wail! ye solitary people!’. [ ] 5:51
3
Solo. Meshullemeth: ‘The Lord is long-suffering and merciful’.
Lento – Allegro sostenuto – Allegretto semplice – 3:50
4
Jews of Jerusalem: ‘Our King is come again from distant lands’.
Allegro al prima moderato, sempre accelerando al vivacissimo Tempo –
Allegro molto – 2:46
5
Manasseh: ‘Behold, how great is the mercy of our God’. Meno mosso –
‘When we rebelled against the word of the Lord’.
Allegro sostenuto quasi Andante –
Meshullemeth: ‘He brought us out of the darkness’. [ ] –
Judith: ‘O that men would therefore praise the Lord’. [ ] 6:19
7Scene 2: The Message of Holofernes 16:38
6
Messenger: ‘Hear ye the words of the captain of the great King’.
Allegro maestoso – Allegro – Più mosso – Più mosso. Animando –
Tempo I – 3:46
7
Jews of Jerusalem: ‘Woe, woe! Our city’s walls are broken’. [ ] – 3:06
8
Solo. Judith: ‘Let us give thanks unto the Lord our God’.
L’istesso tempo – Più moto – 2:27
9
Judith: ‘I pray Thee, O God of my fathers’. Lento – Più lento –
Più moto 3:12
People: ‘The God of our fathers give thee favour’. Allegro con spirito –
10
Meno mosso – Tempo I – Più lento 4:05
8Scene 3. The Exploit of Judith 19:01
11
The Walls of Jerusalem. Night. Lento tranquillo – Poco più animato –
Chorus of Watchmen on the Walls: ‘See ye the campfires of the host
of Assur’. Più mosso –
Manasseh: ‘Jerusalem is a city’. Meno mosso –
Chorus of Watchmen: ‘Look where the darkness deepens’. Tempo I –
Manasseh: ‘When Israel transgressed’. Meno mosso –
Chorus of Watchmen: ‘See, where the pathway windeth’. Animato –
Manasseh: ‘The night doth pass’. Più animato –
Women of Jerusalem, The Watchmen, and Manasseh: ‘God succoureth
His people!’. [ ] – 8:27
12
Judith: ‘Ho! ye upon the walls!’. Con spirito – Allegro – Meno mosso –
Allegro – Moderato – 2:43
13
Jews of Jerusalem: ‘Arise, O Israel! Smite ye your enemies’. Allegro – 3:43
14
Solo. Manasseh: ‘God breaketh the battle’. Allegro con spirito –
Animato – Poco meno mosso 4:05
Finale. Judith and Chorus 9:42
15
Allegro maestoso –
Judith: ‘I will sing unto the Lord’. [ ] – Animandosi – Poco più moto – 4:40
16
Allegro molto –
Chorus: ‘Put off, O Jerusalem, the garment of thy mourning’.
Allegro alla breve – Animato 5:00
TT 69:32
9Tom Medwell
Tom Medwell
Crouch End Festival Chorus Children’s Chorus soprano Emily Soppet Paula Miller bass Ravi Badale Naomi Arthey Julia Taylor Lesley Murphy Hugh Bowden William Brady Rosamund Bell Isabella van Braeckel Annemarie O’Callaghan Bruce Boyd Jasmine Chauhan Rosie Best Jenny Vernon Diana Parkinson Michael Brookes Zachary Gunzi Jenny Boyce Pamela Vernon Sarah Proudlove Julian Edwards Grace Gwynne Judith Clixby Lucy Whitman Louise Sarif Robert Gorrie Zahra Kafian Helen Collier Rosemary Zolynski Alankar Scheideler Robert Hainault Rowan Ratcliff Pamela Constantinou Karen Stead Bryan Hammersley Leo Sellis Margaret Ellerby alto Nina Weiss Paul Harden Lydia South, soloist Ellie Fieldsend Catherine Best Jenny Weston Carl Heap Hannah Stubbings Felicity Ford Alison Brister John Mindlin Maya Stubbings Liz Forgan Tina Burnett tenor Daryn Moody Emily Wood Tanya Forward Bethany Burrow Atherton Bob Bishop Bryn Popham Denise Haddon Jo Chapman James Brown John Rayfield Genevieve Helsby Chandrika Chevli John Featherstone Alistair Scott Sheila Holloway Becky Claye Tim Foxon Ralph Smith Marianne Johnson Katharine Duncan Matt Griffin Stephen Smith Emma Lindsey Natalie Fine Peter Herbert Geoff Walker Pinky Millward Mary Grove Steve James Peter West Sarah Niblock Sue Heap Colin McIntyre Christopher Wetherall Sarah Robinson Caron Hesketh Frank Norman Alistair Yates Davina Ross-Anderson Yola Jacobsen Clive Seale Imogen Rush Alice King John Vernon Roxanne Scott Emma Kingsley Adrian Warner Kate Screen Gaenor Kyffin David Williams Emma Secher Marie-Noelle Lamy Paul Winter Rachel Seghers Diana Leadbetter Steve Wright Melanie Servante Hannah Leonard 12 12
Paul Robinson
Crouch End Festival
Chorus, recording
the St John Passion
by Bach at the
Church of
St Jude-on-the-Hill,
2016London Mozart Players
violin I double-bass horn
Ruth Rogers Stacey Watton Andrew Littlemore
Nicoline Kraamwinkel Ben Daniel-Greep Caroline O’Connell
Anna De Bruin Tim Anderson
Nemanja Ljubinkovic flute Chris Larkin
Imogen East Anthony Robb
Edward Bale Pavel Mansurov trumpet
Caroline Bishop Jonathan Clarke
Jeff Moore oboe Peter Wright
Gareth Hulse
violin II Katie Clemmow trombone
Antonia Kesel Andrew Cole
Gemma Sharples clarinet Jeremy Gough
Clare Hayes Andrew Webster
Jayne Spencer Emma Canavan bass trombone
Lucy Waterhouse Ian Fasham
Rosemary Henbest bass clarinet
Lewis Graham tuba
viola Martin Knowles
Meghan Cassidy bassoon
Michael Posner Sarah Burnett timpani
Richard Cookson Emma Harding Scott Bywater
Joe Ichinose Ide Ni Chonnail
percussion
cello contra-bassoon Joley Cragg
Sebastian Comberti Rachel Simms
Sarah Butcher harp
Ben Chappell Skaila Kanga
Penny Bradshaw
14Tom Medwell
Sarah Fox
Grahame MellanbyParry:
Judith
Introduction understandably believed Elijah to be its
For such a possession art is the better and ‘property’, and the work served as the model
England the richer. of a grand Old-Testament oratorio, one that
Charles Villiers Stanford would occupy a whole morning or evening with
an interval between acts; it became a major
After the rejection of his opera Guenever by Carl artistic object of emulation for all aspiring
Rosa in 1886, C. Hubert H. Parry (1848 – 1918) composers, including such names as Julius
was overcome with disappointment, not least Benedict (St Peter, 1870), Arthur Sullivan
because others, such as Stanford, Mackenzie, (The Light of the World, 1873), George Macfarren
and Goring Thomas, had enjoyed a modicum of (The Resurrection, 1876), Max Bruch (Das Lied
success with their own operatic commissions. von der Glocke, 1879), Charles Gounod
Depressed and listless, he found some solace (La Rédemption, 1882 and Mors et vita, 1885),
in the premiere, at the Three Choirs Festival and Stanford (The Three Holy Children, 1885).
of his Suite moderne (1886), but a true revival Parry was much excited to receive his first
in his fortunes came with the premiere of his Birmingham commission but then he was faced
choral ode Blest Pair of Sirens, written for the with the problem of subject matter. Having
Golden Jubilee celebrations of the Bach Choir, rejected the tenets of orthodox Christianity,
in 1887. This was a major turning point in his Parry did not warm to the traditional notion of
career, for soon after, Parry received invitations oratorio and he gave serious thought to topics
to write choral works for both the Birmingham of a secular kind. Initially he talked the matter
Music Festival of 1888 and the Leeds Musical over with his mentor, Edward Dannreuther,
Festival of 1889. More importantly, Birmingham and considered varying subjects, such as
wanted a full-scale oratorio from him, in the Christopher Columbus, Karl Simrock’s Handbuch
tradition of those initiated by Mendelssohn der deutschen Mythologie, the Edda, the
at the Birmingham Festival of 1846, when Parsifal legends, and the Albigensian Crusades.
Elijah received its first glorious hearing But after discussion with the Birmingham
under the composer’s direction. Birmingham Festival Committee, he was left in no doubt that
17a biblical story was what the Committee really dear chorus shouted and waved their pocket-
favoured. Added to which, Parry had relatively handkerchiefs like mad.
little time to make up his mind. The work was The success of Judith undoubtedly
due for performance at the end of August 1888 consolidated Parry’s reputation as a choral
so he needed to begin work straightaway. composer after the triumph of Blest Pair of
After consulting Humphrey Prideaux’s The Old Sirens, and numerous performances followed,
and New Testament connected in the History including ones with the Edinburgh Choral
of the Jews and Neighbouring Nations, he Union and two major performances with the
chose to combine the stories of Manasseh, the Novello Choir, under the direction of Alexander
aberrant king of Judah, and Judith, who saves Campbell Mackenzie, at St James’s Hall and
Manasseh’s kingdom (see Synopsis, below). Crystal Palace, in London, during December.
Originally, Judith was conceived in four acts, Parry received rapturous letters from friends
but it was eventually condensed to two. A good such as Barclay Squire and Edward Burne-
deal of the libretto, especially much of the Jones, as well as his pupil Arthur Somervell.
dialogue in Act I, was provided by Parry himself. Singing in the Novello Choir were a future close
Other parts of the text were taken from Isaiah friend, Charles Larcom Graves, who would
and from the Psalms, but closer to the end of one day write the first biography of Parry, and
Act II, Parry drew substantially on the Book of August Johannes Jaeger, with whom, as a
Judith. As the festival approached, the Festival publishing manager for Novello, Parry would
Committee was concerned about the work’s develop a close working relationship.
length and recommended cuts. Hans Richter,
who thought highly of the oratorio, backed Act I
Parry’s wish to perform the work without cuts The robust diatonic opening of the prelude to
of any kind. Judith (which has much in common with the
Richter conducted the first performance opening bars of Parry’s Fourth Symphony, of
of Judith, in Birmingham, on the morning of the same year) has Parry’s stylistic fingerprints
29 August 1888. After the performance, Parry all over it, as does the lyrical response from
wrote in his diary, the wind. Indeed, there must have been an
The rule that no applause is allowed after infectious tension in the audience as the
separate numbers is rather trying, as it is hard energy of the prelude, notable for its rhythmic
to tell whether people are liking it or not. But drive, was unleashed in Birmingham Town
there was a good row after each half, and my Hall, and a sense of pleasure as this energy
18was becalmed by contrasting music of a settle in Israel through God’s help. Well known
deep lyrical character, referring to the work’s today as the hymn tune ‘Repton’, set to John
heroine, Judith. Act I opens with a sinister Greenleaf Whittier’s words ‘Dear Lord and
processional march in E minor; the chorus Father of mankind’, it first appeared in this
sings praises to Moloch and demands a form in George Gilbert Stocks’s Repton School:
sacrifice of children (by incineration). In a tenor Hymns for Use in Chapel of 1924, before it
role as the ‘anti-hero’, the king, Manasseh, became more publically accessible in Songs
acknowledges the impatient mood of his of Praise (1931) and the second edition of the
people (‘Draw near and worship, O my people!’) English Hymnal (1933). In the context of Parry’s
but is nevertheless horrified to learn that oratorio, however, we hear it as it was originally
Moloch can only be pacified with the sacrifice conceived: exquisite orchestral ‘ritornelli’
of Manasseh’s own, royal children. The priests between the verses, AABA form (with B in the
will not be denied and the scene ends with a relative minor), and a delicious coda featuring
vigorous fugal chorus in E major (‘It is the god’s Meshullemeth and her children together in
decree’) in which Parry demonstrates his fertile an unaccompanied trio before the ballad
contrapuntal powers. A second processional concludes with a wonderfully nostalgic clarinet
march (‘Hail, Moloch, hail!’) is also constructed, solo supported by muted strings. Inexorably,
Purcell-like, on a ground bass. the Priests of Moloch come to demand the
Scene 2, ‘The Children’, begins with a children and lead them away. Meshullemeth
dialogue between the condemned children protests (‘Ye are the priesthood of that
and their mother, Queen Meshullemeth (sung monstrous deity’), but they are impervious to
by a mezzo-soprano). It was this scene, Parry her entreaties. At this critical juncture, Judith,
commented, that ‘[seemed] to have affected a heroic soprano, enters; her aria (‘Though into
people most’. The children lament their fate the valley of the shadow of death’), inspired by
to their mother, who in turn bewails her weak Psalm 23, reassures Meshullemeth of God’s
husband’s rejection of Yahweh (‘My children, mercy and compassion. An expansive lyrical
He is Israel’s God no more!’) and the defiling paragraph, it reveals Parry’s fecund gift for
of the temples. At the heart of this section long melodic lines, rich harmony, and sonorous
is the most enduring part of the oratorio – orchestration.
Meshullemeth’s ballad ‘Long since in Egypt’s For the children’s sacrifice (Scene 3), the
plenteous land’ – in which Meshullemeth tells chorus, divided between the people and
her children how their forefathers came to the Priests of Moloch, combines with the
19conflict-filled acceptance by Manasseh of his Lord, because I have sinned against Him’) and
offspring’s horrible fate, only for Judith to step Psalm 118. For this penitential set piece, the
in (‘Stay your hideous mockeries!’) and deliver composer looked to one of his most cherished
a second powerful monologue to ridicule their influences, the music of J.S. Bach, and created
subservience. This has the effect of enflaming a poignant neo-baroque passion aria full of
the people’s anger even more, and Judith is contrapuntal ingenuity within an inventive,
fortunate not to be hurled into the furnace modified strophic form.
herself; but she is saved by the sudden arrival
of a messenger who warns that the Assyrian Act II
army is about to sack Jerusalem. Manasseh Act II, Scene 1 (‘The Return of Manasseh’) opens
attempts to reassure the people that Moloch with one of Parry’s finest choruses, a sturdy
will spare them, but all is in vain as the rondo in the form of a lament at the devastation
Assyrians attack. of Jerusalem (‘Wail! wail! ye solitary people!’)
The devastation that follows is represented in B minor, which, again, owes something to
by the Finale of Act I, an extended dramatic Bach. In a recollection of her ballad in Act I,
chorus in which the vain cries to Moloch are Meshullemeth reminds the people of God’s
met with silence; the people’s helplessness at mercy (‘The Lord is long-suffering and merciful’)
this terrible realisation is portrayed by a moving and the return of a chastened Manasseh to
five-part supplication (‘In vain we cry to him’), Jerusalem. To this the chorus responds elatedly
somewhat reminiscent of S.S. Wesley in its with a magnificent contrapuntal set piece
use of diatonic dissonance, and by a strikingly (‘Our King is come again’) in which, to rival the
elegiac closing gesture for six-part chorus ingenuity of the finale to Blest Pair of Sirens,
(‘Jerusalem, that was Queen of the nations, is two fugal subjects cleverly combine in a highly
brought low’) as the fate of Manasseh, exile, is imaginative and intricate form. The scene ends
determined. with an inspired, euphonious trio in C major for
Manasseh, Meshullemeth, and Judith in which
Intermezzo they celebrate the people’s return to Yahweh
The ‘Intermezzo’ between Acts I and II, entitled (‘When we rebelled against the word of the
‘Babylon – The Repentance of Manasseh’, Lord’).
was inspired by ‘The Prayer of Manasseh’ (in Unbeknown to him, Manasseh has been
Chronicles 2). Parry took his text from the Book followed to Jerusalem by General Holofernes
of Micah (‘I will bear the indignation of the and his Assyrian army, who demands tribute to
20his king. In Scene 2, Holofernes, a forceful role to leave. Seized with a new courage, the Jewish
for the solo bass, announces his message: if people pursue the astonished Assyrians and
Manasseh does not yield in three days, the army vanquish their enemy in a chorus of swift
will destroy the city, giving no quarter (‘then will movement and élan (‘Arise, O Israel!’), which
he smite and spare not’). As the people are once Stanford considered the finest number in the
again plunged into despair, Judith intervenes work. In a gesture of triumph, the style of which
and counters their anguish (in C minor) with Stanford considered closer to Alessandro
another uplifting aria (in C major: ‘Let us give Scarlatti than to Handel, Manasseh thanks
thanks’) to which the chorus reacts in a ternary God for Israel’s deliverance in an aria (‘God
structure of stirring rhythmic momentum breaketh the battle’) which looks forward to
(‘The God of our fathers’). the neo-baroque sounds of the ‘Lady Radnor’
Scene 3, ‘The Exploit of Judith’, which Suite (which Parry produced for the Countess of
arguably contains some of the oratorio’s finest Radnor’s all-women’s string orchestra in 1894)
music, begins outside the walls of Jerusalem at and to An English Suite (Parry’s last significant
night and opens with a rousing slow march of orchestral work, composed between 1890 and
great pathos, depicting Judith’s journey to the 1918). This proved to be one of the most popular
Assyrian camp. (How the young Edward Elgar – items in the oratorio and was often performed
who, as a budding violinist, played the work as an individual piece.
under Parry’s baton – must have been deeply The work ends in triumph with a final aria for
impressed with the power of Parry’s muscular Judith (‘I will sing unto the Lord a new song’)
theme and full-bodied orchestration!) The Chorus from Psalm 96, to which the chorus sublimely
of the Watchmen on the Walls, in the form of responds with a grand tripartite structure (‘Put
quasi-baroque chorale preludes, provides a foil off, O Jerusalem, the garment of thy mourning’).
to the march and to Manasseh’s supplication Vigorously fugal in its outer sections, it leaves
to Yahweh (‘When Israel transgressed’). As the impression that Parry himself was offering
they sing, the Watchmen little suspect, as the personal tribute to the great Birmingham
night passes peacefully, that Judith has killed tradition of Mendelssohn’s Elijah and to that
Holofernes (in this regard Parry adhered to the quintessentially English institution of choral
Greek principle of carrying out the violence music which delights in the sound and imposing
offstage). Advancing herself to the forefront magnificence of grand architecture.
with her high B flat, she presents the Assyrians
with the head of Holofernes and exhorts them © 2020 Jeremy Dibble
21‘Judith’ and its reception needed to be cast off in order that Parry’s
There is no doubt that, after its premiere remarkable music might live again.
at Birmingham in 1888, Judith scored a
© 2020 Jeremy Dibble
success with its public. It was widely sung
during his lifetime and its popularity almost
certainly persuaded the Birmingham Festival
to commission from Parry a second Libretto and Sources
oratorio, King Saul, in 1894. Stanford, who When he put together his libretto for
was at Birmingham to review the work Judith, Parry consulted the work of the
for the Fortnightly Review, produced a churchman and orientalist Humphrey Prideaux
lengthy, detailed, and carefully considered (1648 – 1724), one-time Dean of Norwich
critique which, Shaw’s asinine accusations Cathedral. Prideaux’s major biblical study,
of nepotism notwithstanding, was an The Old and New Testament connected in the
impressively balanced account of positives History of the Jews and Neighbouring Nations
and negatives. Nevertheless, Stanford, who (1715 – 17), focused particularly on the time
conducted the oratorio with the London between the writing of the Old Testament
Bach Choir and the Cambridge University and the New. In this work, Prideaux speculated
Musical Society, was in no doubt that it was that the ‘exploit of Judith took place during
‘the offspring not only of a finished musician the reign of the Jewish king, Manasseh’.
but of a cultivated thinker’; we also know Initially, in fact, Parry had designs on naming
that Elgar was an admirer of the work, as his oratorio The Regeneration of Manasseh
were Vaughan Williams, Gerald Finzi, Herbert because of the centrality of the king’s role
Howells, and Sir David Willcocks. Bernard in the story but, as Parry commented in the
Shaw, harbouring an ingrained prejudice preface to his vocal score, regarding Judith,
against the musical establishment and as the composition of the oratorio’s libretto
religion, was never likely to be sympathetic proceeded,
to the work, but, owing to his amusing prose I was partly carried away by the superior
and his delight in somewhat superficial interest of her personality, and partly
controversy, his negative views of Judith by the advice of friends in whose sagacity
(not least Meshullemeth’s ballad which he I had confidence, and her share in the
lampooned) endured for much of the twentieth action became at least equal to
century and formed part of the baggage which Manasseh’s.
22Ultimately, Judith won out as the most who demanded submission and payment of
important focus, though Parry retained a tribute to Nebuchadnezzar (though this, as
The Regeneration of Manasseh as a subtitle. we now know, was historically impossible).
The oratorio begins with the crowd Judith stepped in and exhorted the frightened
demanding a sacrifice to the god Moloch (by people to have confidence in Yahweh’s help;
burning a human offering in the furnace). she vowed to save the city from further
Manasseh, mentioned in 2 Kings (21: 1 – 18) and destruction. While Manasseh and the Jewish
2 Chronicles (32: 33 – 33: 20), was the King of people waited nervously, Judith made her
Judah (697 – 642 BC), and reigned during the way to the camp of the Assyrians and to
time of Sennacherib, king of Assyria. Having the tent of Holofernes at Bethulia. A clever,
restored the polytheistic worship of Baal in attractive woman (known for her very feminine
the Jewish Temple, and also supported the appearance), she dazzled Holofernes with
Assyrian astral cult throughout his kingdom, her beauty and, taking advantage of his
Manasseh was thought to have sanctioned the drunkenness, decapitated him during the night.
sacrifice of children as part of the sacrificial As the Book of Judith recounted:
cult of Moloch. In this instance it was his own Her sandal ravished his eyes: her beauty
children who were about to be sacrificed, taken captivated his mind: and the sword severed
unwillingly from their mother, Meshullemeth, his neck. (16: 9)
to the Valley of Hinnom to be killed. Judith The scene was the subject of fifteenth-,
intervened and tried to prevent the sacrifice, sixteenth-, and seventeenth-century
an act which might have led to her own death artists such as Gentileschi, Caravaggio,
at the hands of the worshippers, had not the and Mantegna. Having achieved her aim,
Assyrian army fallen on Jerusalem, sacked the Judith escaped back to Jerusalem and urged
city, and taken Manasseh prisoner to Babylon. the Jewish army to fall upon the Assyrians
Manasseh’s recantation and return to bewildered by the loss of their chieftain. Filled
Yahweh, detailed in 2 Chronicles (but which with new courage, Manasseh led the army
is now thought to be legendary), took place to victory as the Assyrians were scattered
in what is termed the ‘Prayer of Manasseh’, leaderless across Judah, and they returned to
a penitential prayer in which Manasseh Jerusalem, praising Yahweh, the God of Israel,
repents and begs for divine forgiveness in for their deliverance.
captivity. After being permitted to return to
Jerusalem, he was followed by Holofernes © 2020 Jeremy Dibble
23Acknowledgements her roles have included Micaëla (Carmen),
For the present revival of Judith we have Asteria (Tamerlano), Zerlina (Don Giovanni),
Stephanie Martin, Norman Martin, Pax Christi, and Woglinde (Der Ring des Nibelungen). She
a team of postgraduates from York University has sung Susanna (Le nozze di Figaro) at
in Toronto, research support from Brock Glyndebourne Festival Opera and The Royal
University in St Catharines, Ontario, and Danish Opera, and Mimì (La bohème) at Opera
Professor Jeremy Dibble of Durham University North, her repertoire also including Ellen
to thank for their initiation of a project to Orford (Peter Grimes), Servilia (La clemenza di
edit Parry’s autograph manuscript of Judith, Tito), and Ilia (Idomeneo). She has appeared
preserved at the Royal College of Music in in concert in Denver, Hong Kong, Melbourne,
London, for the first performance of Judith Minneapolis, New York, San Francisco, Tel Aviv,
in North America, on 3 May 2015 in Koerner and Tokyo, and on tour throughout the UK and
Hall at The Conservatory of Music in Toronto. the European continent. She works with many
The availability of the score and performing of the world’s leading orchestras, including the
materials made possible the revival of the work Berliner Philharmoniker, Colorado Symphony,
in London, at the Royal Festival Hall, on 3 April Gulbenkian Orchestra, Melbourne Symphony
2019, when the pioneering young conductor Orchestra, Oslo Philharmonic, Camerata
William Vann conducted the London Mozart Salzburg, and Hallé. She is a frequent visitor
Players, Crouch End Festival Chorus, Sarah Fox to the BBC Proms, Edinburgh International
(Judith), Kathryn Rudge (Meshullemeth), Toby Festival, and Three Choirs Festival, and a
Spence (Manasseh), and Henry Waddington regular guest with Classical Opera and at the
(High Priest of Moloch and Holofernes). Wigmore Hall, London. She has performed
frequently with John Wilson and his Orchestra,
© 2020 Chandos Records Ltd
is a regular guest on Friday Night Is Music
Night on BBC Radio 2, and has performed
Educated at the Giggleswick School, the concerts with Rufus Wainwright in Europe and
University of London, and Royal College of Hong Kong. Sarah Fox has built a substantial
Music, the soprano Sarah Fox is a winner discography, which includes recordings of
of the Kathleen Ferrier Award and the John the role of Aminta in Mozart’s Il re pastore,
Christie Award, and an Honorary Fellow of songs by Poulenc, The Cole Porter Songbook,
Royal Holloway College, the University of Mahler’s Symphony No. 4 with the Philharmonia
London. At The Royal Opera, Covent Garden, Orchestra under Sir Charles Mackerras and
24under Lorin Maazel, That’s Entertainment Orchestra, Manchester Camerata, and BBC
with the John Wilson Orchestra under John Philharmonic under conductors such as Carl
Wilson, English Lyrics by Parry, Mozart’s Davis, Paul Daniel, Vasily Petrenko, and John
Requiem with the London Mozart Players Wilson. She has given recitals at the Wigmore
under Malcolm Archer, and Vaughan Williams’s Hall and Bridgewater Hall, and at the Brighton,
A Sea Symphony with the Royal Liverpool City of London, and Cheltenham International
Philharmonic under Andrew Manze. festivals. She is prominently associated
with the world premiere of Michael Nyman’s
Born in Liverpool, the mezzo-soprano Kathryn Hillsborough Symphony, celebrations of the
Rudge completed her studies at the Royal 175th anniversary of the Royal Liverpool
Northern College of Music under Susan Roper Philharmonic, performances of Mozart’s
in 2011. She has been an ENO Young Artist, an Requiem for Raymond Gubbay, The Dream of
artist under the Young Classical Artists Trust Gerontius at the Rheingau Festival and Easter at
(2010 – 13), and a BBC New Generation Artist King’s Festival, A Sea Symphony and The Music
(until December 2017). She has won numerous Makers with the Royal Liverpool Philharmonic,
prizes and awards, including the Sybil Tutton and Messiah with the Huddersfield Choral
Award of the Musicians Benevolent Fund and Society. She made her BBC Proms début in
a Susan Chilcott Scholarship, and is a Samling 2016 and returned in 2019 for a performance
Scholar. Featured as The Times Rising Star of of Mozart’s Requiem. Kathryn Rudge released
Classical Music in 2012, she made her debuts her debut recital album, Love’s Old Sweet
to critical acclaim as Cherubino (Le nozze di Song, in 2014 and presides over an expanding
Figaro) at English National Opera and Sesto discography.
(La clemenza di Tito) at Opera North. Operatic
roles at venues such as Glyndebourne Touring Educated at New College, the University of
Opera, Opera North, Garsington Opera, English Oxford, and at the Guildhall School of Music
National Opera, and the Buxton Festival include and Drama, and recipient of the Singer of the
Cherubino, Annio (La clemenza di Tito), Zerlina Year award of the Royal Philharmonic Society
(Don Giovanni), Hermia (A Midsummer Night’s in 2011, the internationally renowned tenor
Dream), Dorabella (Così fan tutte), Rosina Toby Spence divides his time between the
(Il barbiere di Siviglia), and Nancy (Albert concert platform and the world’s leading opera
Herring). She has appeared in concert with the houses. Among others, he has sung with
Royal Liverpool Philharmonic, Philharmonia the Berliner and the Wiener Philharmoniker,
25Orchestra dell’Accademia Nazionale di Santa (Die Fledermaus) and Antonio (The Tempest) Cecilia, Orchester des Bayerischen Rundfunks, at The Metropolitan Opera, New York, Don Rotterdams Philharmonisch Orkest, London Ottavio (Don Giovanni) at Gran Teatre del Liceu, Symphony Orchestra, London Philharmonic Barcelona and Wiener Staatsoper, Anatol Orchestra, Los Angeles Philharmonic, San (Vanessa) at Oper Frankfurt, Henry Morosus Francisco Symphony, and Cleveland Orchestra, (Die schweigsame Frau) at Bayerische and at the Salzburger Festspiele and Edinburgh Staatsoper, and Captain Vere at Teatro Real, International Festival, under conductors such Madrid and Opera di Roma. as Christoph von Dohnányi, Sir Simon Rattle, Michael Tilson Thomas, Sir Antonio Pappano, Having studied at the Royal Northern College Valery Gergiev, Sir Colin Davis, Yannick Nézet- of Music, the bass-baritone Henry Waddington Séguin, Gustavo Dudamel, Edward Gardner, performs regularly with all the major UK opera Sir Roger Norrington, and Sir Charles Mackerras. companies as well as with Théâtre royal de On concert platforms all over the world he la Monnaie, Brussels, Gran Teatre del Liceu, has recently appeared in performances of Barcelona, De Nederlandse Opera, Amsterdam, Handel’s Messiah, Haydn’s ‘Nelson’ Mass, Teatro Real, Madrid, and Die Staatstheater Die Jahreszeiten, and Die Schöpfung, Stuttgart. His repertoire includes Baron Ochs Beethoven’s Choral Fantasy, Ninth Symphony, (Der Rosenkavalier), the title role in Handel’s Saul, and Missa solemnis, Liszt’s Eine Faust- Banquo (Macbeth), Colline (La bohème), Don Symphonie, Dvořák’s Stabat Mater, Bruckner’s Basilio (Il barbiere di Siviglia), Tutor (Le Comte Mass in F minor, Mahler’s Das Lied von der Ory), Geronimo (Il matrimonio segreto), Publio Erde, Orff’s Carmina Burana, and Britten’s War (La clemenza di Tito), Plutone (Orfeo), Valens Requiem. On the operatic stage Toby Spence has (Theodora), Soljony (Peter Eötvös’s Three been seen as Captain Vere (Billy Budd), Essex Sisters), Leporello (Don Giovanni), Don Magnifico (Gloriana), Tamino (Die Zauberflöte), Ferdinand (La Cenerentola), Don Fernando (Fidelio), Don (The Tempest), David (Die Meistersinger von Alfonso (Così fan tutte), Pallante (Agrippina), Nürnberg), Count Almaviva (Il barbiere di Siviglia), Frère Laurent (Roméo et Juliette), as well as Ramiro (La Cenerentola), and Tom Rakewell Quince and Bottom (A Midsummer Night’s Dream). (The Rake’s Progress) at The Royal Opera, Covent His list of operatic engagements also includes Garden, Ghandi (Satyagraha), Paris (La Belle such venues as Glyndebourne Festival Opera, Hélène), Lensky (Eugene Onegin), and Gounod’s Garsington Opera, The Grange Festival, Aldeburgh Faust at English National Opera, Eisenstein Festival, Deutsche Staatsoper Berlin, Opéra 26
Comique, Paris, New National Theatre, Tokyo, and performed Messiah for the first time, singing
Den Norske Opera, Oslo, and roles such as Jupiter ‘How Beautiful Are the Feet’ with the Lincoln
(Castor et Pollux), Sacristan (Tosca), Lieutenant Chamber Orchestra under the direction of Aric
Ratcliffe (Billy Budd), Maestro Spinelloccio Prentice in a packed Lincoln Cathedral and was
(Gianni Schicchi), Dr Bartolo (Le nozze di Figaro), a finalist in the BBC Young Chorister of the Year
Kothner (Die Meistersinger von Nürnberg), competition. Outside choir, Lydia plays flute
Lodovico (Otello), Priest (The Cunning Little and piano and enjoys meeting up with friends,
Vixen), Barone di Kelbar (Un giorno di regno), reading, shopping, and playing with her cat,
the title role in Falstaff, Swallow (Peter Grimes), Luna.
Gobbias (Handel’s Belshazzar), and multiple
parts in Martinů’s Julietta. Henry Waddington Founded in 1984, Crouch End Festival Chorus
has also appeared in concert performances (CEFC) has established a reputation as one
of Wozzeck with the Philharmonia Orchestra of the country’s leading symphonic choirs,
under Esa-Pekka Salonen, Messiah with the repeatedly commended for its communicative
Philadelphia Orchestra, Ulster Orchestra, Royal power and versatility. Under David Temple MBE,
Northern Sinfonia, and Cleveland Orchestra, its musical director and co-founder, the choir
Beethoven’s Ninth Symphony with Classical gives concerts that illuminate the choral world
Opera, and Die Schöpfung with the Huddersfield with imaginative and bold programming, in
Choral Society. which established choral works are mixed with
commissions of great variety and innovation.
In 2013, Lydia South followed her father and The Chorus is much in demand among the top
brother into the Cathedral Choir at Lincoln, orchestras in the UK and performs regularly
where, now in her seventh year, she is a ‘Cope for the BBC, most recently participating in
Girl’. At the age of eleven, she sang the aria the UK premiere of John Luther Adams’s work
‘Ich folge dir gleichfalls’ in the Cathedral’s for massed choirs In the Name of the Earth
performance of Bach’s St John Passion; in the at the 2019 BBC Proms. It has appeared in
performance given in 2019 she sang ‘Zerfließe, recent concert performances of Prokofiev’s
mein Herze’. She has performed the part of the Cantata for the Twentieth Anniversary of the
youth in Mendelssohn’s Elijah, with the Beverley October Revolution under Vladimir Ashkenazy
Chamber Choir under Jeffrey Makinson, and and Berlioz’s Grande Messe des morts under
‘Hear My Prayer’, with the Lincoln Chorale under François-Xavier Roth, among others. In
the direction of Mark Wilde. Also in 2019, she constant demand for recording work and
27live promotions, the Chorus has worked with most recently Dubai and Hong Kong, and
musicians from the rock and pop world and has developed an extensive discography.
with television and film composers; recent The orchestra performs at such prestigious
highlights include recording the Grammy- London venues as the Royal Festival Hall,
nominated soundtrack for Rocketman and the St John’s Smith Square, and Cadogan Hall, as
music for the TV series Good Omens. It has well as cathedrals and concert halls across
also enjoyed regular collaborations with Ennio the UK. It has been the resident orchestra at
Morricone and Hans Zimmer, both of whom are Fairfield Halls in Croydon for thirty years and in
patrons of the choir. The discography of Crouch September 2019 celebrated the reopening of
End Festival Chorus for Chandos Records this venue after refurbishment. Its commitment
includes the first recording for forty-five years to the cultural life of Croydon has been
of J.S. Bach’s St John Passion sung in English, consistent: during the refurbishment of the
which was released in 2017 and continues to Halls, it relocated its office from Fairfield Halls
garner critical acclaim. www.cefc.org.uk to St John the Evangelist, Upper Norwood,
undertaking an award-winning programme
Founded in 1949 by Harry Blech to delight of initiatives within the local community,
audiences with the works of Mozart and for example bringing stars such as Nicola
Haydn, the London Mozart Players celebrated Benedetti and Sheku Kanneh-Mason to
its seventieth anniversary in February 2019 Upper Norwood in world-class performances.
and is thus the longest established chamber A pioneer of orchestral outreach work,
orchestra in the UK. It has developed an the orchestra has maintained a host of
outstanding reputation for adventurous, relationships with schools and music hubs
ambitious programming, from baroque through across the UK (and recently in Dubai and
to genre-crossing contemporary music, Hong Kong), working with teachers and heads
and continues to build on its long history of music to inspire the next generation of
of association with many of the world’s musicians and music lovers. Among the many
finest artists, including Sir James Galway, young musical virtuosi whom the orchestra
Jane Glover, Howard Shelley, Nicola Benedetti, has championed early in their careers, pursuing
John Suchet, and Simon Callow. While it is a long tradition of promoting young up-and-
known for its unmistakable British roots, it coming musicians, are Nicola Benedetti,
enjoys an international reputation, having Jacqueline du Pré, and Yan Pascal Tortelier. The
toured throughout Europe and the Far East, London Mozart Players is the only professional
28orchestra in the UK to be managed both accompaniment, including the Jean Meikle
operationally and artistically by the players, Prize for a Duo (with Johnny Herford) at the
and since 1988 has enjoyed the patronage of Wigmore Hall Song Competition, Gerald Moore
HRH The Earl of Wessex. Award, and Accompanists’ Award of the Royal
Over-Seas League.
A multiple-prize winning and critically William Vann has collaborated throughout
acclaimed conductor and accompanist, the world with a vast array of singers and
equally at home on the podium and at the instrumentalists, among them Sir Thomas
piano, William Vann is the founder and Artistic Allen CBE, Mary Bevan, Katie Bray, Allan
Director of the London English Song Festival. Clayton, James Gilchrist, Thomas Gould, Guy
He is a passionate advocate for neglected Johnston, Jennifer Johnston, Jack Liebeck,
works of British music and thrilled to have Aoife Miskelly, Ann Murray DBE, Matthew Rose,
spearheaded the project of the LESF to revive Brindley Sherratt, Nicky Spence, Andrew
and record Hubert Parry’s oratorio Judith, the Staples, Kitty Whately, Roderick Williams, the
performance of which, at the Royal Festival Navarra Quartet, Royal Philharmonic Orchestra,
Hall, was described by Seen and Heard Academy of Ancient Music, and London Mozart
International as ‘an unalloyed triumph for Players. His discography includes recordings
William Vann... he had complete command of for numerous labels. He is the Director of Music
the score and evident belief in the music’. Born at the Royal Hospital, Chelsea, an Associate
in Bedford, he was a Chorister at King’s College, of the RAM, a Fellow of the Royal College of
Cambridge and a Music Scholar at Bedford Organists, a Trustee of the Ralph Vaughan
School. He subsequently read law and took Williams Society, a Samling Artist, a Freeman
up a choral scholarship at Gonville and Caius of the Worshipful Company of Musicians, a
College, Cambridge, where he was taught the Co-Chairman of Kensington and Chelsea Music
piano by Peter Uppard; at the Royal Academy Society, Artistic Director of Bedford Music Club,
of Music he studied piano accompaniment and a regular conductor and vocal coach at
with Malcolm Martineau and Colin Stone. He the Dartington and Oxenfoord International
has been awarded many prizes for his piano Summer schools.
29Kathryn Rudge
Sussie AhlburgToby Spence
© Mitch JenkinsParry:
Judith
Einführung des Komponisten seine erste glorreiche
Solch ein Besitz hebt das Niveau der Kunst und Aufführung erlebte. Birmingham betrachtete
macht England umso reicher. Elijah verständlicherweise als sein “Eigentum”,
Charles Villiers Stanford und das Werk diente als Vorbild für ein
prachtvolles alttestamentliches Oratorium von
Dass C. Hubert H. Parry (1848 – 1918) im Jahr morgen- oder abendfüllendem Format mit einer
1886 mit seiner Oper Guenever bei Carl Rosa Pause zwischen den Akten. Dieser Anspruch
keinen Anklang fand, war für ihn eine herbe geriet zu einer bedeutenden künstlerischen
Enttäuschung, zumal andere Komponisten, wie Herausforderung für alle aufstrebenden
Stanford, Mackenzie und Goring Thomas, mit Komponisten, wie Julius Benedict (St. Peter,
ihren eigenen Opernaufträgen bescheidene 1870), Arthur Sullivan (The Light of the World,
Erfolge verzeichnet hatten. Deprimiert und 1873), George Macfarren (The Resurrection,
apathisch fand er Trost in der Premiere seiner 1876), Max Bruch (Das Lied von der Glocke,
Suite moderne (1886) beim Three Choirs Festival 1879), Charles Gounod (La Rédemption, 1882
jenes Jahres, doch wirkliche Linderung brachte und Mors et vita, 1885) und Stanford (The Three
erst die Uraufführung seiner Ode Blest Pair of Holy Children, 1885).
Sirens, die 1887 zum Goldenen Thronjubiläum Parry war hellbegeistert über seinen ersten
Königin Viktorias für den Londoner Bach Choir Auftrag aus Birmingham, aber nun stand er
entstanden war. Das Konzert war ein wichtiger vor dem Problem der Thematik – denn da er
Wendepunkt in der Karriere Parrys, denn persönlich die Grundsätze des orthodoxen
nun lud man ihn ein, Chorwerke sowohl für Christentums ablehnte, interessierte ihn
das Birmingham Music Festival von 1888 als das traditionelle Konzept eines Oratoriums
auch das Leeds Musical Festival von 1889 zu wenig; stattdessen hatte er sich mit ernsten
schreiben. Mehr noch: Birmingham erwartete weltlichen Themen auseinanderzusetzen.
von ihm ein großes Oratorium in der Tradition, Zunächst zog Parry seinen Mentor Edward
die Mendelssohn 1846 beim dortigen Festival Dannreuther zu Rate und erwog diverse
eingeleitet hatte, als Elijah unter der Leitung Stoffe wie Christoph Kolumbus, Karl Simrocks
32Handbuch der deutschen Mythologie, die Edda, Am Morgen des 29. August 1888 dirigierte
die Parsifal-Legenden und die albigensischen Richter in Birmingham die Uraufführung von
Kreuzzüge. In einer Aussprache mit dem Judith. Nach der Uraufführung schrieb Parry in
Birmingham Festival Committee wurde ihm sein Tagebuch:
jedoch klar gemacht, dass man von ihm Die Regel, dass nach einzelnen Nummern kein
wirklich eine biblische Geschichte erwartete. Applaus gestattet ist, belastet die Nerven, da
Zu seinem Leidwesen war er auch noch nur schwer zu sagen ist, ob die Leute Gefallen
gezwungen, sich schnell zu entscheiden, finden oder nicht. Aber auf jede Hälfte folgte
denn die Uraufführung war für Ende August schöner Trubel, und mein lieber Chor johlte und
1888 angesetzt, und er musste eigentlich schwenkte die Taschentücher wie verrückt.
die Arbeit ohne weiteren Verzug aufnehmen. Nach dem Triumph von Blest Pair of Sirens
Nachdem er Humphrey Prideauxs The Old and festigte der Erfolg von Judith zweifellos
New Testament connected in the History of Parrys Ruf als Chorkomponist. Viele weitere
the Jews and Neighbouring Nations konsultiert Aufführungen folgten, so etwa durch die
hatte, beschloss er, die Geschichten von Edinburgh Choral Union, und in London zwei
Manasse, dem abtrünnigen König von Juda, bedeutende Darbietungen durch den Novello
und Judit, der Retterin seines Königreichs, Choir unter der Leitung von Alexander Campbell
zu verknüpfen (siehe Handlung weiter Mackenzie in der St. James’s Hall und im Crystal
unten). Ursprünglich war Judith in vier Palace im Dezember. Parry erhielt begeisterte
Akten konzipiert, bevor die Form zweiteilig Briefe von Freunden wie Barclay Squire und
gestrafft wurde. Einen Großteil des Librettos, Edward Burne-Jones sowie von seinem Schüler
insbesondere weite Strecken des Dialogs im Arthur Somervell. Im Novello Choir sangen ein
Ersten Akt, verfasste Parry selbst. Andere Teile zukünftiger enger Freund, Charles Larcom
des Textes wurden Jesaja und den Psalmen Graves, der eines Tages die erste Biographie
entnommen, aber gegen Ende des Zweiten von Parry schreiben würde, und der spätere
Akts stützte sich Parry stark auf das Buch Musikverleger August Johannes Jaeger, mit
Judit. Während das Festival näher rückte, dem Parry bei Novello enge Arbeitsbeziehungen
äußerte das Komitee aber nun Besorgnis über aufbauen würde.
die Länge des Werks und empfahl Kürzungen.
Hans Richter, der das Oratorium sehr schätzte, 1. Akt
unterstützte Parrys Wunsch, das Werk völlig Die robuste diatonische Eröffnung des
ungekürzt aufzuführen. Vorspiels zu Judith (die viel mit den ersten
33Takten von Parrys Vierter aus dem gleichen (gesungen von einer Mezzosopranistin).
Jahr verbindet) verdeutlicht ebenso wie Diese Szene, so Parry, schien “die Leute
die lyrische Reaktion der Holzbläser die am tiefsten berührt zu haben”. Die Kinder
stilistischen Eigenheiten des Komponisten. beklagen ihr Schicksal, woraufhin die Mutter
In der Tat muss eine fieberhafte Spannung die Lossagung ihres schwachen Ehemanns
im Publikum geherrscht haben, als sich die von Jahweh (“My children, He is Israel’s God
Energie des Vorspiels in der Birmingham Town no more!”) und die Entweihung der Tempel
Hall mit bemerkenswertem rhythmischen bejammert. Im Mittelpunkt dieses Abschnitts
Schwung entfesselte – abgelöst von einem steht der nachhaltigste Teil des Oratoriums:
Wohlgefühl, als diese Energie durch zutiefst Meschullemets Ballade “Long since in Egypt’s
lyrische Kontrastmusik für die Titelheldin plenteous land”, in der sie ihren Kindern erzählt,
gebändigt wurde. Der Erste Akt beginnt mit wie ihre Vorfahren mit Gottes Hilfe in Israel
einem finsteren Prozessionsmarsch in e-Moll; das gelobte Land fanden. Heute bekannt als
der Chor singt ein Loblied auf Moloch und die Choralmelodie “Repton” zu John Greenleaf
verlangt eine Opferung von Kindern (durch Whittiers Worten “Dear Lord and Father of
Feuer). Als “Antiheld” in einer Tenorrolle mankind”, erschien das Stück in dieser Form
akzeptiert König Manasse die Ungeduld seines erstmals in dem Schulgesangbuch Repton
Volkes (“Draw near and worship, O my people!”), School: Hymns for Use in Chapel (1924) von
erfährt aber dennoch mit Entsetzen, dass George Gilbert Stocks, bevor es in Songs of
Moloch nur durch die Opferung von Manasses Praise (1931) und der zweiten Ausgabe des
eigenen, königlichen Kindern besänftigt English Hymnal (1933) der Öffentlichkeit
werden kann. Die Priester lassen sich nicht zugänglich gemacht wurde. Im Kontext von
verweigern, und die Szene endet mit einem Parrys Oratorium hören wir es jedoch so, wie es
energischen Fugenchor in E-Dur (“It is the god’s ursprünglich gedacht war: exquisite Orchester-
decree”), in dem Parry seine schöpferischen Ritornelle zwischen den Versen, AABA-Form
kontrapunktischen Kräfte demonstriert. Ein (mit B in der relativen Molltonart) und eine
zweiter Prozessionsmarsch (“Hail, Moloch, bezaubernde Coda mit Meschullemet und ihren
hail!”) ist nach dem Vorbild Purcells ebenfalls Kindern in einem unbegleiteten Trio, bevor die
auf einem Basso ostinato aufgebaut. Ballade mit einem wundervoll nostalgischen,
Die Zweite Szene, “Die Kinder”, beginnt von gedämpften Streichern getragenen
mit einem Dialog zwischen den verdammten Klarinettensolo endet. Unaufhaltsam nahen die
Kindern und ihrer Mutter, Königin Meschullemet Priester Molochs, um die Kinder einzuverlangen
34und fortzuführen. Meschullemet begehrt Anrufungen Molochs auf Stille stoßen; die
auf (“Ye are the priesthood of that Hilflosigkeit des Volkes angesichts dieser
monstrous deity”), aber die Priester bleiben schrecklichen Erkenntnis findet Ausdruck in
erbarmungslos. An diesem kritischen Punkt einem ergreifenden, fünfstimmigen Bittgebet (“In
tritt Judit, eine heldenhafte Sopranistin, ein. vain we cry to him”), das in seiner diatonischen
Ihre Arie (“Though into the valley of the shadow Dissonanz ein wenig an S.S. Wesley erinnert,
of death”), inspiriert von Psalm 23, überzeugt und in einer bemerkenswert elegischen
Meschullemet von der Barmherzigkeit und dem Abschlusserklärung für sechsstimmigen Chor
Mitgefühl Gottes. Dieser expansive lyrische Teil (“Jerusalem, that was Queen of the nations,
offenbart Parrys unerschöpfliche Begabung für is brought low”), als das Schicksal Manasses
lange melodische Linien, reichhaltige Harmonie bestimmt wird: Gefangenschaft in Babylon.
und klangvolle Orchestrierung.
Für die Opferung der Kinder (Dritte Intermezzo
Szene) verbindet sich der aus dem Volk und Das “Intermezzo” zwischen den beiden
den Priestern Molochs bestehende Chor Akten trägt den Titel “Babylon – Die Buße
mit Manasses konflikterfüllter Hinnahme des Manasse” und wurde vom “Gebet des
des schrecklichen Schicksals seiner Manasse” (2. Chronik) inspiriert. Parry
Nachkommen, bevor Judit eingreift (“Stay your entnahm seinen Text dem Buch Micha (“Den
hideous mockeries!”) und in einem zweiten Zorn des Herrn muss ich tragen, denn ich
eindringlichen Monolog diese Unterwürfigkeit habe gegen ihn gesündigt”) und Psalm 118.
verspottet. Das Volk wird dadurch noch stärker Bei diesem Bußstück folgte der Komponist
aufgebracht und fordert zur Vergeltung den einem seiner höchstgeschätzten Einflüsse,
Flammentod von Judit selbst. Doch dies wird der Musik von J.S. Bach, und schuf eine
ihr erspart, als plötzlich ein Bote eintrifft und ergreifende, neobarocke Passionsarie voller
verkündet, dass die assyrische Armee im kontrapunktischem Einfallsreichtum in einer
Begriff steht, Jerusalem zu plündern. Manasse innovativen, modifizierten Strophenform.
versucht, dem Volk zu versichern, dass Moloch
sie verschonen wird, doch der Angriff der 2. Akt
Assyrer ist nicht zu verhindern. Die Erste Szene (“Die Rückkehr Manasses”)
Die folgende Verheerung wird im Finale des beginnt mit einem von Parrys schönsten
Ersten Aktes dargestellt, ein ausgedehnter Chören, einem kraftvollen Rondo in Form einer
dramatischer Chor, in dem die verzweifelten Klage über die Verheerung Jerusalems (“Wail!
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