The Apostles (Elgar)

Roles#

The Apostles is written for a large orchestra, of typical late Romantic proportions, with the addition of a shofar (usually substituted by a more conventional instrument, such as a flugelhorn), which announces the dawn. There is a double chorus with semichorus, and six solo singers representing:

Synopsis#

The work is in two parts and seven sections, each played without a break. Words were selected by Elgar from the Bible and Apocrypha. # (Part 1) “The Calling of the Apostles”. The music begins just before dawn; the sun rises, and one by one the Apostles are chosen. # “By the Wayside”. This depicts Jesus’ teaching, and particularly evokes the Beatitudes. # “By the Sea of Galilee”. Crossing the sea is incidental; Mary Magdalene is the focus here. After a stormy night scene, her conversion is portrayed, and the scene moves to Caesarea Philippi and Capernaum. The scene is followed by a choral epilogue, “Turn ye to the stronghold,” added late in the composition of the piece. # (Part 2) “The Betrayal”. Although it follows the Passion narrative, the section is chiefly concerned with the character and motivation of Judas. He is shown as trying to maneuver Jesus so that he is forced to show his divine power and establish his kingdom. The events of the trial and condemnation happen “off-stage”, with occasional contributions by the chorus (in the roles of singers in the temple and the mob). In the end Judas gives way to despair. # “Golgotha”. The scene of the crucifixion is, in Elgar’s words, “a mere sketch”. Jesus’ dying words “Eli, eli, lama sabachthani” are declaimed by the orchestra alone; after which the chorus respond pianissimo, “Truly this was the son of God”. # “At the Sepulchre”. The story of the Resurrection is briefly told by the narrator and a chorus of angels, in a blissful, spring-like interlude. # “The Ascension”. The miracle is almost incidental; the point is that the Apostles, though here joining in praise with the angels, are about to establish the church on earth. This idea informs the final climax of the work, scored for the full forces of soloists, chorus and orchestra.

Instrumentation#

;Strings *Violins I, II *Violas *Celli *Double basses ;Woodwind *3 Flutes (one doubling piccolo) *3 Oboes (one doubling cor anglais) (In movement I, rehearsal figures 14–24, first oboist and cor anglais briefly play offstage) *2 Clarinets *1 Bass Clarinet *2 Bassoons *1 Contrabassoon ;Brass *4 Horns *1 Shofar (Offstage) *3 Trumpets *3 Trombones *1 Tuba ;Percussion *3 Timpani (32", 29", 26") *Bass Drum *Crash cymbals *Suspended cymbals *Crotales (Pitch C4) *Large tam tam *Gong (Pitch Eb2) *Tambourine *Snare drum *Triangle *Glockenspiel ;Other *2 Harps (2nd ad lib) *Organ ;Voices *Soprano solo *Alto solo *Tenor solo *3 Bass soloists *SATB choir Elgar specified that the Semi-Chorus, at the fourth bar after rehearsal number 201, should consist of 24 voices (6 to each part) and should sing from the front row of the chorus. The Semi-Chorus could also be a separate body of voices (Boys’ voices to produce the most ideal effect) elevated above the chorus. If it is not possible to have a Semi-Chorus without weakening the Chorus, the Semi-Choir should be sung by the front row of the Chorus.

External links#

• The Apostles - 1902-03
• THE APOSTLES - Synopsis
• Elgar - His Music : The Apostles
• Complete performance of Elgar’s The Apostles by the London Symphony Orchestra, Richard Hickox conducting, 1990