David, The Shepherd Boy.

Daily Telegraph (Napier), Issue 5664, 24 October 1889, Page 2

David, The Shepherd Boy.

Root's cantata, to be presented in St. Paul's Church on Friday evening, is founded on scenes in the early life of David, the ehapherd king and sweet psalmist of Israel. The music, although presenting no elaborate f ugal passages and " contrapuntal perplexities" so dear to the enthusieatio admirer of Bach, or the complicated, intricate instrumentation and interweaving of parts and motifs, vainly tribd to be understood but nover mastered by the ambitious aspirant of the advanced Wagnerian school, contains some really pretty music. A rich vein of melody rune through the whole work, whilst in the concerted music some excellent part writing is evolved, which would grace the score of some of the great masters. Scene the first presents to the bearers the " Feast of Trumpets" at Bethlehem, when Samuel, the seer of old, appears to Jesse, and announces Jehovah's rejection of Saul as king of Israel, and of his choice of one of Jesses sons as Saul's successor to the Crown. Tho calling of David from the sheepfolds, and his anointing, is portrayed by suitable music, one of the most melodious songs, "I come from the fields, oh my father," falling to David. The next eoene depicts Mount Carmel, '• bathed in the blue light of the ekiee and laved for ever by the seas." Abigail, its beauteous Queen, with her attendant shepherds and shepherdesses, are allotted some very graceful and elegant solo and part songs, beautifully descriptive of twilight and nightfall on Carmel fair. Saul* despondency, faithfully described in the mournful plaint, " Sad is the heart whoso prayers no more tho ear of God will hear," and his daughter Miohal's appeal, "Fair shepherd wake some tuneful air, some lay which breathes of peace, once more," with David's harp's eweet low strain and mystic chords, which occupy the third scene, are all well written numbers. Then follow in the next two ecenes the shepherd boy's victory over the boasting and defiant Philistine giant, Goliath of Gath. David's triumphal return to the King's palace, whero Saul's jealousy is aroused at the Mm hero's reception, with tabret, song, and dance, the jubilant outburst of the admiring multitude wringing from the enraged

to me but thousands, and what more can ho have but the kingdom." David's flight and exile in the wildernees of Engedi, where in his misery he "longs to drink of the cool well of Bethlehem by the gate; " his valiant warriors bold rush through the Philistine host. returning with, as trophy, a pitcher of the much longed for water of Bethlehem, in the sixth scene are nil very appropriately scored. In the seventh David's difficulty with Nabal, Abigail's intercession and prayer for peace, followed by iv the next scene tho betrothal of David and Abigail, are marked by prettily written music, the Bridal March and chorus being very effective The evening before tho coronation is next depicted and commences with a soliloquoy and song with harp accompaniment by David. The multitude who have assembled for the ceremony and who are encamped urar by close the day with mi evening hymn, the low etrains'of which " in murm'rous vmuos fade away " The coronation, with a vigorous finale for double chorus, with oblimito for Abigail and David, is extremaly well scored and forms an effective climax to a most melodious and delightfully dramatic cantata which might well rank amongst the minor oratorios.