chorus of Nobles ("O King, live forever!"), set to a brilliant
accompaniment, calling for the most ample orchestral resources. The next
number is a chorus for male voices ("Lo! the Daughter of Herodias cometh
in, she danceth!"), set to a dance rhythm with tambourines, the themes
being bits of Oriental melodies skilfully treated. We then have the
banquet-scene, the admiration of the Nobles for Salome's beauty, Herod's
oath, and Salome's joy expressed in a showy song ("I rejoice in my
youth"). Then follows the dramatic scene of Salome's request,--a
concerted number of great force in its treatment. Herod sings a mournful
aria ("Alas! my Daughter, thou hast brought us very low"). The Narrator
explains how the King was compelled to keep his word, and is followed by
the Nobles in a stirring chorus ("Lo! the Wrath of the King is as a
Messenger of Death"). The scene now changes to the dungeon, where the
Prophet sings his farewell song ("A Man can receive nothing"),
accompanied by orchestra and organ. The final tragedy is told by the
Narrator, and the work closes with two reflective numbers,--the beautiful
unaccompanied quartet, "Blessed are they which are persecuted," and the
chorus, "What went ye out into the Wilderness for to see?" The
above-mentioned critic, who was present at its first performance, says of
the work:--

"It is a strange thing that John the Baptist has not often attracted
the notice of musical composers in search of a subject. No more
remarkable personage, with one great exception, figures in Bible
history than he whom the Master described as 'more than a prophet.' His
striking appearance, stern asceticism, wrathful denunciation of
'wickedness in high places,' and tragic fate,--not to speak of his
relation to One whose shoes he professed himself unworthy to
loose,--throw his form into bold relief, and mark him as of heroic
proportions. Yet, save that he holds a subordinate place in a very
limited number of works, among which is Sir Julius Benedict's 'St.
Peter,' the great forerunner has been passed over till now. At length,
however, in that 'fulness of time' which ever brings forth the best
results, the Man and his Life have found a musical illustrator. There
is now an oratorio of 'John the Baptist,'--a work worthy its theme, and
to which the stamp of enthusiastic approval has been affixed by the
unanimous verdict of an audience competent to judge."