Edward Elgar - The Apostles - A Study Guide
PART I Section IV
Jesus and the disciples in Caesarea Philippi and Capernaum
We leave Mary Magdalene momentarily for a relatively brief portrayal of Jesus revealing his full identity to the Apostles, and his founding of the church with Peter (whose name means “rock”) as its leader (seen here with in a representation with the keys to heaven). Jesus sings the familiar "church" theme at this point in the score.
Jesus reveals his true identity to Peter, John, and the others, with text this time taken solely from the account in the gospel of Matthew. Both Jesus and Peter are given generous, soaring lines.
Only the grand choral declamation “Proclaim unto them that dwell upon the earth…” (sung to the melody for “Christ’s Prayer” heard earlier) comes from elsewhere: the majestic book of Revelation. This climactic phrase with full orchestra and chorus concludes with the “Apostles” theme in the strings and “Gospel” theme in the brass heard simultaneously after the words “the everlasting Gospel.”
Elgar introduces a new theme of solemn, descending chords called “Judgment,” under Jesus’ declaration to the apostles that “whatsoever thou shalt bind on earth shall be bound in heaven.”
Listen to the scene while following the text below:
(start at 55:15)
IN CAESAREA PHILIPPI
Narrator 1
When Jesus came into the parts of Caesarea Philippi, He asked His disciples, saying:
Jesus
Whom do men say that I, the Son of man, am?
The Apostles
Some say John the Baptist; some Elias; and others Jeremias, or one of the prophets.
Jesus
But whom say ye that I am?
Peter
Thou art the Christ, the Son of the living God.
Jesus
Blessed art thou, Simon Bar-Jona: for flesh and blood hath not revealed it unto thee, but My Father which is in heaven. Thou art Peter, and upon this rock I will build My church; and the gates of hell shall not prevail against it.
Soloists, Apostles Chorus and Chorus
Proclaim unto them that dwell on the earth, and unto every nation, and kindred, and tongue, the everlasting Gospel. (Rev. 14:6)
Jesus
And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed in heaven. (Matt. 16:14-19)
IN CAPERNAUM
Following this scene of stalwart, solemn affirmation of faith and commitment to the future, we again encounter Mary Magdalene, and her more complex response to Jesus, this time face to face. The text is drawn primarily from the account in Luke 7 of the unnamed woman who washes Jesus’ feet with her tears.
But before Mary meets Jesus, Elgar creates an extra-biblical conversation of great tenderness and forgiveness between Mary of Magdala and the other Mary, Mother of Jesus (using words from Deuteronomy and I Samuel!). The Blessed Virgin Mary’s first phrase is a warmly embracing “leitmotif” melody of her own:
Mary motif:
George La Tour’s 1640 portrait of “Mary Magdalene with the Smoking Flame”
Jesus proclaims that “Thy sins are forgiven, Thy faith hath saved thee” using the same “Forgiveness” melody Mary sang in the previous scene.
Elgar brings back the all-important 3-chord “Christ the Man of Sorrows” motif for Jesus final words to Mary, “Go in peace.”
Listen to the scene while following the text below:
(start at 1:00:32)
Mary Magdalene
Thy face, Lord, will I seek; my soul followeth hard after Thee; help me, desolate woman.
Mary (Mother of Jesus)
Hearken, O daughter:
When thou art in tribulation, if thou turn to the Lord thy God, and shall be obedient unto His voice, He will not forsake thee. (Deut. 4:30-31)
Hearken, O daughter;
Come thou, for there is peace to thee. (I Samuel 20:21)
Narrator 1
She stood at His feet weeping, and began to wash His feet with tears, and did wipe them with the hairs of her head.
Chorus (Women)
This man, if he were a prophet, would have known who and what manner of woman this is that toucheth him: for she is a sinner.
Narrator 1
And kissed His feet, and anointed them with the ointment. (Luke 7:38-39)
Mary Magdalene
Hide not Thy face far from me; put not Thy servant away in anger. (Ps. 27:9)
Jesus
Thy sins are forgiven; thy faith hath saved thee;
go in peace. (Luke 7:47, 50)
Following this beautiful, intimate scene, Elgar brings Part I of the oratorio to a satisfying conclusion with an extended finale for the full chorus and all four soloists. However, rather than bringing back the resounding majesty of the brief choral section just heard following Jesus’ scene with Peter, Elgar has the chorus sing softly and lyrically for an unusually long time, with only one, short full-throated proclamation of the line “Blessed is he who is not fallen from his hope in the Lord.”
Even the traditional “fugal” passages that come in a concluding chorus like this are restrained themes for texts rejoicing in forgiveness for the “afflicted,” “oppressed,” and “weak,” hearkening back to Elgar’s choice for the opening text of the oratorio where Jesus comes “to proclaim the gospel to the poor.”
Thus the first half of this massive oratorio ends with an understated, choral pianissimo (‘as soft as possible’) for the words from the prophet Zechariah: “Turn, ye prisoners of hope….turn you.”
Choral fugue:
Listen to this closing chorus of Part I while following the text below:
(start at 1:06:20 end at 1:13:40)
Soloists, Apostles Chorus and Chorus
Turn you to the stronghold, ye prisoners of hope. (Zech. 9:12)
To the Lord our God belong mercies and forgivenesses,
though we have rebelled against Him;
Turn you to the stronghold, ye prisoners of hope.
The fear of the Lord is a crown of wisdom, (Prov. 9:10)
making peace and perfect health to flourish;
both which are the gifts of God:
and it enlargeth their rejoicing that love Him.
Turn you to the stronghold, ye prisoners of hope.
Thou art a God of the afflicted,
Thou art an helper of the oppressed,
Thou art an upholder of the weak,
Thou art a protector of the forlorn,
A Saviour of them that are without hope.
Turn you to the stronghold, ye prisoners of hope.
Blessed is he who is not fallen from his hope in the Lord.
For He will forgive their iniquity, (Jer. 31:34)
and He will remember their sin no more.
Turn you to the stronghold, ye prisoners of hope.
Questions to ponder:
Consider the great contrast between Elgar’s portrayal of the scene Jesus and Peter and the scene between Mary Magdalene with Mary, Mother of Jesus, and then Jesus. What is Elgar suggesting about the range of faithful responses possible to Jesus’ person and message?
The encounter between the two Mary’s is completely independent of any biblical account. Why do you think Elgar took this creative liberty?
With a large chorus and full orchestra at his disposal, Elgar chose to end the first half of his major oratorio with a chorus full of restraint and reflection. Does his music add a dimension to our understanding of the nature and role of forgiveness and mercy in the mission of Christ?