Charles Gounod - Mors et Vita
2CD | APE + CUE + cover | CD1 78'34" - CD2 77'30" | Classical Opera | 1992
A Sacred Trilogy
Part prima - Mors
Part Secunda - Judicium
Part Tertia - Vita
Part Secunda - Judicium
Part Tertia - Vita
Barabra Hendricks - sopran
Nadine Denize · alt
John Aler - tenor
José van Dam - baritone
Orféon Donostiarra · Capitole de Touloues
Michel Plasson - conductor
Nadine Denize · alt
John Aler - tenor
José van Dam - baritone
Orféon Donostiarra · Capitole de Touloues
Michel Plasson - conductor
Mors et Vita
It was the ambition of Gounod to write a great sacred trilogy. He counted the " Redemption " the first part, " Mors et Vita" (" Death and Life") the second, and was engaged upon the third at the time of his death. Both the " Redemption" and " Mors et Vita" are in turn themselves trilogies.
" Mors et Vita" was dedicated by Gounod to Pope Leo XIII. The text is arranged from the liturgy of the Catholic Church and the vulgate, and is throughout in Latin.
In his preface Gounod thus explains his purpose : " This work is a continuation of my sacred trilogy, the " Redemption." It will perhaps be asked why, in the title, I have placed death before life. It is because in the order of eternal things death precedes life, although, in the order of temporal things life precedes death. Death is only the end of that existence which dies each day; it is only the end of a continual 'dying.' But it is the first moment, and, as it were, the birth of that which dies no more."
The first part of the work, " Death" is nothing more or less than a Requiem Mass; the second part is termed " Judgment ;" the third deals with Eternal Life.
Again Gounod employs the guiding theme of which this time there are four. The first expresses " the terror inspired by the sense of the inflexibility of "Justice;" the second is " sorrow and tears," which by the use of the major key and the alteration of a single note is changed into "consolation and joy;" the third typifies the " happiness of the blessed;" the fourth " announces the awakening of the dead at the terrifying call of the angelic trumpets, of which Paul speaks in one of his Epistles to the Corinthians."
This work, like the " Redemption," was produced at the Birmingham Festival Aug. 26, 1885. Gounod was absent and Herr Hans Richter conducted in his stead. It was first heard in Paris at the Trocadéro in May of the following year, three performances being given for charity. It is said that Paris was not greatly impressed. To quote from the biography of Marie Anne de Bovet : " What possessed Gounod to seek his subject in the Apocalypse? asked the public. Neither the symphonic piece of the Judex (the Judge), where the violins give an echo of the introduction to 'Faust,' or the soprano solo with chorus, ' Beati qui lavant,' (' Blest are those who wash '), of truly angelic sweetness, reconciled the audiences to the solemnity of the whole."
The work is far too lengthy; the mysticism rather loose and hazy; and the scheme overwhelmingly broad. However, the composer thus anticipates criticism : "I do not wish to expose myself to the reproach either of pretension or of subtlety. I shall therefore confine myself to pointing out the essential features of the ideas I have wished to express; that is to say, the tears which death causes us to shed here below; the hope of a better life; the solemn tread of unerring Justice ; the tender and filial trust in eternal Love." He has incorporated in the score two parts of a Requiem Mass writ-ten by him in 1842 for use on All Souls' Day in the Church of St. Charles, Vienna. The gratified young composer wrote, " Mendelssohn has shown me the honor to write to me that this piece might be signed Cherubini." He has re-employed this in " Mors et Vita," as well as the "Lux eterna " (" Everlasting light ") of the earlier work.
The short prologue begins with the dramatic declamation, " It is a dreadful thing to fall into the hands of God everliving," in which is heard the first motive. This chorus is followed by the voice of Jesus in the solemn words, " I am the Resurrection and the Life," and after the choral reiteration of this, begins the Requiem which forms the first part. After the intonation of the " Requiem," an interpolated text, " From the morning watch to the evening," is sung by double chorus. This leads to the mass proper, which is divided into various numbers, of which the hymn, " Dies Irae," (" The day of wrath"), is probably the most important part. This in itself is divided in the usual fashion into eight portions such as choruses, quartets, duets and solos.
A very effective quartet and chorus, " Quid sum miser," (" Why am I wretched "), is as melodious as only Gounod knows how to be, and the same is true of the number following, a soprano solo and chorus, " Felix culpa," (" Happy fault"). The quartet, "Oro supplex" (" Suppliant prayer"), is noteworthy, but the " Dies Ire" reaches its highest point in its last number, the chorus " Lacrymosa dies illa" (" That sorrowful day "), which is of great beauty.
The offertory immediately following has four divisions, of which the most important are a soprano solo, " Sed signifer sanctus" (" But preeminently holy "), with a lovely accompaniment of strings, and based on the motive of happiness, and a chorus in fugal form. The "Sanctus" is a tenor aria of that warm and ecstatic character typical of Gounod ; the "Agnus Dei " is given to the soprano voice and is very delightful, and the chorus, " Lux aeterna," is one of the finest parts. The second part is called Judicum (Judgment) and in it the orchestra plays an important role. This opens with a long orchestral prelude in three parts. The first, " The Sleep of the Dead," is interrupted by number two, the call of the celestial trumpets, and the awakening.
Number three is the " Resurrection of the Dead," ending in a brief barytone solo, "Cum autem venerit Filius Hominis" (" When the Son of Man hath come"). This is followed by another orchestral piece, "Judex" (" The Judge"), which is one of the most admirable pages.
In the division called "Judicium Electorum" (" The Judgment of the Elect"), is found a soprano solo, " Beati qui lavant," which is the finest solo number in the work. This is followed by an effective choral number, " In memoria aeterna" (" In everlasting memory ").
The division called "Judicium rejectaneorum" ("Judgment of the condemned"), consisting of several solos and choruses, closes the second part.
The third part, which invites us to look upon the New Jerusalem as described by Saint John the Divine in the Twenty-first Chapter of Revelation, is the antithesis of the Requiem in spirit. A short descriptive instrumental prelude is entitled "A new heaven and new earth." The barytone recitative, " Et vidi Coelum novum" ("And I have seen the new heaven"), is followed by a glowing orchestral piece called " Heavenly Jerusalem." Among what follows, the Sanctus Chorus, the Celestial Chorus, " Egosum Alpha et Omega" (" I am the beginning and the end "), and the final " Hosanna in Excelsis" are noteworthy.