tenor
has a single aria, while the bass, with one exception, has the part of
Narrator, the words of our Saviour being attributed to him and invariably
introduced in the third personal form,--which is a striking proof of the
devotional spirit of the composer, as in all other instances, after the
announcement by the Narrator, the Woman sings her own words. The chorus,
as in the passion-music of Bach, has the reflective numbers and moralizes
on the various situations as they occur, except in one number, "Now we
believe," where it declaims the words as a part of the narrative itself.
The text for chorus is selected from appropriate parts of the Scriptures
which are in keeping with the events forming the groundwork of its
reflections.

The story is taken from the fourth chapter of the Gospel according to
Saint John, and follows literally the narrative of the journey of the
Saviour into Samaria,--his rest at Jacob's well, his meeting with the
woman who came thither to draw water, and the conversation which
followed; the only interruptions being the reflections, not only by the
chorus, but also by the contralto and tenor, these episodes being taken
mostly from the Prophecies and Psalms.

The oratorio opens with a brief instrumental introduction and chorale
("Ye Christian People, now rejoice") for sopranos alone, the melody of
which first appeared in the "Geistliche Lieder," issued at Wittenberg in
1535. The words are a translation of the old hymn, "Nun freut euch,
lieben Christen G'mein," to which the tune was formerly sung in Germany.
The treatment of this chorale, by combining it with the instrumental
movement in opposing rhythms, shows the powerful influence which the
composer's close study of Bach had upon him. Its effect in introducing
the scenes which follow reminds one of the grace before the feast. It
dies away in slow and gentle numbers, and then follows the opening
recitative of the oratorio proper ("Then cometh Jesus to a City of
Samaria"), sung by the contralto, and leading up to an arioso chorus
("Blessed be the Lord God of Israel"), the words taken from the Gospel of
Saint Luke. The next number is a very graceful and artistic combination,
opening with recitative for contralto, bass, and soprano, leading to an
adagio solo for bass ("If thou knewest the Gift of God"), and ending with
a closely harmonious chorus in the same rhythm ("For with Thee is the
Well of Life"), the words from the Psalms. The dialogue betwe