s permit. The part of Salome, who is the
only other dramatic person, contains no more amplification of the Bible
narrative than was exacted by the necessities of musical treatment. In
structure, the libretto is partly dramatic, partly narrational, the
dramatic form being employed in all the chief scenes; and as little use
is made of 'Greek chorus,' the story marches without the halting
rendered necessary by efforts to 'improve' its incidents as they
arise."

The overture, which is very dramatic in character, is followed by a
powerful fugued chorus ("Behold! I will send My Messenger"), a part of
which is set to organ accompaniment. The Narrator (contralto) recites the
coming of the Prophet, in the orchestral prelude to which is a phrase
borrowed from an old church melody which Mendelssohn also used in his
Reformation Symphony, and which serves throughout the work as the motive
for the Prophet, in the genuine Wagner style. Saint John is introduced in
a rugged and massive baritone solo ("Repent ye, the Kingdom of Heaven is
at hand"), accompanied by very descriptive instrumentation. A dramatic
scene ensues, composed of inquiries as to the Prophet's mission by the
People, a short chorus by the latter ("What shall we do then?") which is
very melodic in style, and the resumption of the dialogue form, set to a
very skilful accompaniment. This scene is followed by a characteristic
aria for the Prophet, "I indeed baptize you with Water." The story is
once more taken up by the Narrator, who describes the baptism of Christ.
The words, "This is My Beloved Son," are given to a female choir, with
exquisite accompaniment by the violins and harps. A song for the Narrator
("In the Beginning was the Word") follows, and leads to the chorus, which
closes the first part, the words taken from the first verse of Psalm
civ., and the melody borrowed from the familiar old tune "Hanover," which
the composer has worked up with great skill and effect.

The second part opens in Herod's palace with the rebuke of the Monarch by
the Prophet. In this scene, as well as in others, the composer draws a
strong contrast in the music assigned to the two, the one being strong
and stern, the other sensuous, in style. In the duet, where Herod
confesses the error of his ways, the voices unite in a genuine religious
strain. The Narrator is once more introduced, and describes the feast
given by the Monarch to the Galilee estates, followed by a jubilant