s: Part I. The
Divine Call; The Denial and Repentance. Part II. The Ascension;
Pentecost. The overture, a short adagio movement expressive of the
unsettled spiritual condition of the world prior to the advent of
Christianity, leads directly to the opening chorus, "The Time is
fulfilled," which develops not only this subject, but also a second,
"Repent, and believe the glad Tidings of God," in a masterly manner. The
chorus, written in a very noble style, is followed by the tenor
recitative, which describes the divine call of our Lord to Simon and
Andrew as "He walked by the Sea of Galilee." It prepares the way for a
soprano aria ("The Spirit of the Lord is upon me") which announces the
glad tidings they are commissioned to deliver. Twelve male voices,
representing the Disciples, accept the call in the chorus, "We go before
the Face of the Lord," which is beautifully accompanied by and interwoven
with the full chorus, closing with the smoothly flowing chorale, "How
lovely shines the Morning Star." Then ensues the first dramatic scene. To
the question of the Saviour, "Who do men say that I am," the twelve male
voices first reply, followed by Peter in a few bars of very effective
recitative, "Thou art the Christ." A tenor arioso, declaring the
foundation of the Church "upon this rock," is followed by a noble and
exquisitely chaste bass aria for Peter ("My Heart is glad and my Spirit
rejoiceth"), the scene ending with the powerful chorus, "The Church is
built upon the Foundation of the Apostles and Prophets." The next scene,
"The Denial and Repentance," opens with the warning to Peter that he will
deny his Lord, and his remonstrance, "Though I should die with thee,"
which is repeated by the Apostles. These brief passages are followed by a
very pathetic aria for tenor ("Let not your Heart be troubled") and a
beautifully worked-up quartet and chorus ("Sanctify us through Thy
Truth"). A contralto solo announces the coming of "Judas with a great
multitude," leading Jesus away to the High Priest, and is followed by the
very expressive chorus, "We hid our Faces from him." The scene of the
denial is very dramatic, the alternating accusations of the servants and
the denials of Peter being treated with great skill; it closes with a
very effective contralto recitative, illustrating the sad words: "And
while he yet spake, the cock crew. And the Lord turned, and looked on
Peter; and he remembered the word of the Lord, and he went out and