Edward Elgar - The Apostles - A Study Guide
Overview of Part II
Judas’ Betrayal and Peter’s Denial
The first half of Elgar’s grand oratorio is devoted to the calling of the apostles to found the church for the purpose of carrying out Christ’s mission to preach good news the poor and the outcast, with Mary Magdalene and to a lesser extent Peter held up as examples of lives turned around by faith and the power of forgiveness.
The second half of the oratorio is devoted to the central events of Christ’s Passion, resurrection, and ascension. The Passion alone had been the subject of lengthy treatment by Bach and other lesser composers. But Elgar’s purpose is not to portray the Passion events in detail, but to put the Passion into the larger context of Christ’s sending the Apostles out into the world after his resurrection and ascension.
Peter and Judas
Before this glorious destination is reached with the finale of The Apostles, one of his most transcendent choral movements, Elgar also chooses to focus on individual apostles, as he did in Part I, in order to probe more deeply the personal struggles of faith. Peter is again one of the subjects, but this time through his fearful denials of Christ at the time of greatest danger. But Elgar’s overriding interest is in the character of Judas.
Orchestral introduction
As with Part I, Part II begins with a brief orchestra introduction, starting with a new “Passion of Christ” theme frightfully declaimed by the brass:
Judas Iscariot, by William Etty (early 19th C. English)
After repeating this theme again softly, the major themes associated with Christ from Part I are recalled:
Christ's Loneliness theme:
The Prayer of Christ theme (preceded by the three chords signifying "Christ, the Man of Sorrows"):
Christ the Son of God theme:
In the middle of these are heard the hopeful strains of the “Church” theme:
Listen to the orchestral introduction:
(start at 1:13:40 stopping at 1:18:00)
Now the scene of Christ’s betrayal begins, with the tenor soloist and choir carrying the narrative forward. Peter, joined by a choir of the other apostles, protests that he will never deny the Lord, foreshadowing his denial in the next scene.
For the announcement “Then entered Satan into Judas” a new theme is introduced, a series of ominous ascending chords called “Judas’ Temptation” immediately followed by a mournfully descending melody suggesting the “Earthly Kingdom” that is the obsession of Judas.
When the council of the Priests and Pharisees is introduced and offer Judas 30 pieces of silver, we hear a number of new themes of lighter mood than we have heard before, suggesting the busy-ness and vanity of the world:
Resolution motif:
Captors motif:
The rising chords of Judas’ “Temptation” theme come again when he asks what the council will give him for leading them to Jesus; their answer is accompanied by a theme involving the bright sounds of glockenspiel, triangle, and cymbals representing the “Silver Pieces:”
These themes recur throughout this colorful and dramatic scene.
A rare extra-Biblical line of text is added by Elgar to make clear the purpose of Judas in showcasing Jesus’ power to the world: “Let Him make speed, and hasten his work, that we may see it…the great King the Lord of the whole earth.”
Listen to the scene while following the text below:
(start at 1:18:00 stopping at 1:23:10)
IV: The Betrayal
Narrator 1
And it came to pass that He went throughout every city and village, preaching and shewing the glad tidings of the kingdom of God: and the Twelve were with Him; (Luke 8:1)
And He began to teach them, that the Son of man must suffer many things and be rejected, and be killed. (Mark 8:31)
Chorus
'I will smite the Shepherd, and the sheep of the flock shall be scattered abroad.' (Matt. 26:31)
Peter
Be it far from Thee, Lord: this shall never be unto Thee. (Matt. 16:22)
Though all men shall be offended because of Thee, yet will I never be offended. (Matt. 26:31)
John, Judas and Apostles Chorus
Though we should die with Thee, yet will we not deny Thee. (Matt. 26:35)
Chorus (Men)
Then gathered the chief Priests and Pharisees a council, and said:
'What do we? For this Man doeth many miracles.' (John 11:47)
So from that day forth they took counsel that they might put Him to death. (Matt. 26:59)
Then entered Satan into Judas, and he went his way, and communed with the chief Priests and Captains. (Luke 22:3,4)
Judas
What are ye willing to give me, and I will deliver Him unto you? (Matt. 26:15)
Chorus (Men)
And they weighed unto him thirty pieces of silver. (Matt. 26:15)
Judas then, having received a band of men and officers cometh with lanterns and torches and weapons. (John 18:3)
Judas
Let him make speed, and hasten His work, that we may see it;
He shall bear the glory, and shall sit and rule upon His throne, the great King, the Lord of the whole earth. Whomsoever I shall kiss, that same is He: hold him fast. (Matt. 26:48)
Caravaggio, Denial of Saint Peter (1610)
As the scene shifts to the Garden of Gethsemane, the focus moves from Judas to Peter and his three-fold denial of Christ. One of the most memorable passages in the oratorio is a response by the women of the chorus, without orchestra, to Peter’s realization of his perfidy: “And the Lord turned and look’d upon Peter, And he went out, and wept bitterly.”
Listen to the scene while following the text below:
(start at 1:23:10 stopping at 1:28:45)
IN GETHSEMANE
Judas
Hail Master!
Jesus
Whom seek ye?
Chorus (Men)
Jesus of Nazareth.
Jesus
I am He: if therefore ye seek Me, let these go their way.
Narrator 2
And they all forsook Him and fled; but Peter followed Him afar off, to see the end.
Chorus (Men)
And they that had laid hands on Jesus, led Him away to the High Priest.
IN THE PALACE OF THE HIGH PRIEST (Peter’s denial)
Servants
Thou also wast with Jesus of Nazareth. (Mark 14:69)
This man was also with Him. (Luke 22:56)
Peter
I know not what thou sayest. (Matt. 26:70)
Servants
Art not thou also one of His disciples? (John 18:17)
Peter
As thy soul liveth, I am not.
Servants
Did not we see thee in the garden with Him? (John 18:26)
Surely thou also art one of them.
Peter
I swear by the Lord, I know not this Man of whom ye speak. (Matt. 26:73)
Chorus (Women)
Then led they Jesus unto the hall of judgment. (John 18:28)
And the Lord turned and looked upon Peter, and he went out, and wept bitterly. (Luke 22:61,62)
Questions to ponder:
This is one of the more theatrical scenes in the oratorio; between the reflective orchestral introduction recalling Jesus’ various themes and the closing consolation chorus of the women with Peter, the music depicts action rather than thought. Music can suggest aspects of character and personality in more complex ways than words alone – what does Elgar’s music tell us about:
- Peter?
- Jesus?
- Judas?
- the disciples?Is there a connection between the “Jesus” music of the orchestra and the women’s chorus at the end that frame this scene?