had no other aim but that of making verses for a composer;
the latter, no other motive than the ordinary creative impulse
prompting him to try his powers in a different and important sphere.
The result on both sides could not therefore be other than phrases,
although the better of the two proceeded from the composer, and that
composer was Beethoven. To conceal or palliate this would be derogatory
to the reverence which we all owe to Beethoven; he stands too high to
be in need of extenuation."

This is Marx's judgment; and yet it must be said that the world for the
most part has found more in the "Mount of Olives" than he has.

The oratorio is written for three solo voices (Jesus, Peter, and a
Seraph), chorus, and orchestra. The narrative opens with the agony in the
garden, followed by the chant of a Seraph reciting the divine goodness
and foretelling the salvation of the righteous. In the next scene Jesus
learns his fate from the Seraph, yields himself to approaching death, and
welcomes it. The Soldiers enter in pursuit, and a tumult ensues as the
Apostles find themselves surrounded. Peter draws his sword and gives vent
to his indignation; but is rebuked both by Jesus and the Seraph, and
together they conjure him to be silent and endure whatever may happen.
The Soldiers, discovering Jesus, rush upon him and bind him. The
Disciples express their apprehension that they too will suffer; but Jesus
uncomplainingly surrenders himself, and a chorus of rejoicing completes
the work. From this brief sketch the artificial and distorted manner of
treating the solemn subject will be evident.

The score opens with an adagio introduction for instruments which is of a
very dramatic character, and, unlike nearly all of the sacred music of
that time, is noticeable for the absence of the fugue. Barbedette, the
great French critic, pronounces it the _chef-d'oeuvre_ of introductions,
and a masterpiece in the serious style. The first number is a recitative
and aria for tenor, sung by Jesus ("All my Soul within me shudders"),
which, notwithstanding the anomaly of such a scene in such surroundings,
is simple and touching in expression. The Seraph follows with a scene and
aria ("Praise the Redeemer's Goodness"), concluding with a brilliant and
jubilant obligato with chorus ("O triumph, all ye Ransomed"). The next
number is an elaborate duet between Jesus and the Seraph ("On me then
fall Thy heavy Judgment"), which is still more a