Part 1

"Down by the River Side"

Part 2

"Crossing Jordan"

Part 3

"Girding for Battle: A Love Story"

Part 4

"And the Walls Came A-Tumblin' Down"

Part 5

Part 6

"Make War, Not Love"

Part 7

"Dividing the Spoils"

Part 8

"Living Happily Ever After"

Extra!

"Joshua is on the Way!!"

Part 1

"Down by the River Side"

After the very short overture (# 1), JOSHUA opens with a chorus of Israelites (# 2), near the banks of the River Jordan. After forty years of wandering "in the desert", they have made it to the borders of the Land of Canaan. Moses, having been forbidden by God from setting foot on Canaan soil, had gone up to the top of Mount Nebo, where God showed him the Promised Land, and then the great leader died. He had passed on his leadership to Joshua, son of Nun (Deuteronomy 34), who now has led them to this place, so far without incident. The real danger was ahead of them. Thus, all the tribes had been assembled at the banks of (the) Jordan. The Israelites rejoice at the success of the journey thusfar ( a celebratory segment of the chorus, (including those first five notes of "that famous chorus") and then a new section, introduced by the altos ("In Gilgal and on Jordan's banks proclaim..."), setting their sights on the town of Gilgal, the first inhabited area across the river, where the One Lord Jehovah would be proclaimed, in a land where many gods were still being worshipped. (The end of this chorus is one of those typical Handelian endings, of which there will, of course, be more in the oratorio.) But first, the river must be crossed.

This moment was not lost on the American slaves, who were looking toward their own "promised land" of freedom. In their spiritual "Deep River", it's pretty obvious that the Ohio River, which separated "slave states" from "free states" was their Jordan:

"Deep river, my home is over Jordan. Deep river, Lord, I want to cross over into campground.

Oh, don't you want to go to that Gospel feast? That promised land where all is peace?

Deep river, Lord, I want to cross over into campground."

(# 3) Joshua appears, rather full of himself, contrasting his people and his leadership to those who disobeyed God's will and perished in the desert. Those people and their leaders could have been here, too, had they obeyed God.

(# 4) The warrior Caleb (mentioned in Numbers 14:30) flatters Joshua with flowery praise for his wisdom and the happiness he has brought to his people ("Oh, first in wisdom, first in power:). Not many bass arias are so jaunty and upbeat as this one.)

(# 5) Achsah, Caleb's daughter (mentioned in Joshua 15:15) also praises Joshua, but wistfully recalls the captivity in Egypt, in a lovely aria with many runs, accompanied by solo violin and cello. (She is quite young, so she must have heard about the Egyptian captivity era from her father or the elders.).

Part 2

"Crossing Jordan"

(# 6): Joshua, who is very good at delegating authority, orders Caleb to select one good man from each of the twelve tribes to pick up a rock from the Jordan. Joshua obviously expects a miracle reminiscent of the Red Sea parting.

(# 7): The miracle occurs: Joshua wants future generations to forever remember what took place. In the remarkable chorus that follows, the choir and orchestra describe a frightning sight: a wall of water has formed, stopping the river's flow to the Dead Sea, and provides the Israelites with a path to the other side. Musically, Handel does this: with no orchestral accompaniment, the choir sings four bars of chords, ten chords of exactly the same notes, denoting a stoppage. Then, each voice part sings a rolling passage, denoting water being rolled back to its spring up north. For much of the rest of this chorus, some voices sing those ten-note chords and others, the rolling-the-water-back runs, and then the theme of "the wondrous passage" through the gap provided, to the other side. The entire unaccompanied ("a capella") ten chords are repeated, followed by ten orchestral chords, and again, the flowing waters. The chorus ends with ten notes, but this time, no repeated chords: a grand Handelian ending.

This incredible story is told in the Book of Joshua, Chapters 3 and 4. The Ark of the Covenant plays a central role. The priests carrying the Ark will step into the river, and, at that moment, the waters will recede. The Ark will be placed on the dry riverbed, and the Israelites will follow, pass by the Ark, and cross to the other side. Twelve men, one from each tribe, will take a stone, or rock, which they will pick up from the now-dry riverbed, carry it on their shoulders, and bring them to the Promised Land, to be placed in Gilgal.

(There seem to have been twelve other rocks. They were placed, apparently one on top of another, in the middle of the Jordan. {Josh. 4:9} )

As soon as all 40,000 Israelites had crossed safely, the priests were instructed to bring the Ark to the campground. When that was done, the waters returned and overflowed its banks, as usually happens in the spring-time.

Can this story be believed? Those who believe that the Bible is God's Word obviously believe this. Others question it, or dismiss it as a legend. But it is interesting that twice in the 20th Century, the Jordan flooded and caused a collapse of the marl cliffs at the town of Adam, 18 miles north of where the Israelites crossed. The river was blocked, and the riverbed dried up, once for more than 21 hours!

(# 8): In his recitative, followed by a lovely aria, Joshua seems overwhelmed by God's mercy. His aria (solo), full of runs that portray gently-flowing waters, possibly a depiction of God's ever-flowing mercy.

A word here on "recitative". As the word implies, it is a musical account of what is happening or what is said. It moves the story of an oratorio along. (An aria is a reflection upon the recitative) Now, there are two types of recitative: "secco" and "accompagnato". Numbers 3, 5, and 6 are examples of "secco" ("dry"), accompanied only by chords from the "continuo", which are harpsichord and cello. # 8's recitative is "accompagnato": accompanied throughout by members of the string section.

Part 3

"Girding for Battle: A Love Story"

(# 9) We meet Othniel, who is Caleb's nephew (Josh. 15:17). Someone is with him, and Othniel, who is a very young man, doesn't quite know what to make of him. In a recitative (secco), he describes this being as either a great hero, or an angel. "Are you a friend or foe?", he asks. Handel took dramatic liberties here: in the Bible (Josh. 5: 13,14) it is Joshua who meets with this being first, and only he.

(#10) It is an angel, and he speaks now to Joshua. (Handel wrote the part of Othniel for a male alto, and the part of the Angel for a boy or a pure-voiced soprano, but a tenor has often sung it since Handel's time.) The Angel orders Joshua to remove his shoes, for he is on holy ground (again reminiscent of Moses's act at the Burning Bush). Joshua, humble at last, does what he is told to do (Josh. 5: 14-15) The Angel delivers a blood-thirsty message: the Lord decrees that Jericho must be destroyed: the walls and towers must be decimated, all the citizens and their king must be slain, and their ashes scattered. Nothing must remain, not even the name, not even the memory. (This recitative is accompanied, first by majestic strings, then by sets of sixteenth chords: a graphic musical depiction of total destruction.)

(#11) Joshua obeys. The Angel disappears. Joshua prepares for battle in a brilliant tenor aria. Its speed paints a picture of urgency. Dizzying vocal runs abound. Were JOSHUA an opera, the audience would stop the show with loud applause and cheers at the end of this aria.

(#12) A vigorous chorus now is sung by the Israelites as they prepare for battle. (Due to subtle language differences, the words here do not describe the battle: rather, they state what is about to happen: Jericho will fall and the tyrant will bleed.)

(#13) With all these warlike stirrings in the air, here come an interval of much-needed relief. Othniel and Achsah are in love, and they meet in the quiet countryside. (Here is where JOSHUA differs greatly from JUDAS MACCABAEUS, which rarely, if ever, strays from battle.)

(We are in for a bit of a cultural shock here: the two lovers are related: first cousins! {Josh. 15: 16,17}, but this was not that uncommon at the time.)

Anyway, it's a beautiful moment: lovely exchanges between the pair, and an exquisite solo for the soprano (#14), complete with bird-calls from orchestral soloists ("Hark, 'tis the linnet and the thrush") and even she imitates the avian sounds.

(#15) Othniel is most poetic in the expression of his love (Recitativo secco), and the two lovers sing a duet of idyllic sweetness (#16)

(#17) The spell is broken by the loud blaring of trumpets (possibly awakening a few dozers in the audience!) Othniel himself shaken from his amourous haze, reverts to militaristic action. He warns Jericho that a man in love is a dangerous foe, especially if the winner could marry Caleb's daughter!

(#18) The choir sings a joyous chorus, wishing good fortune in the upcoming battle ("May all the host of heaven attend him round" {who the 'him' is, is not clear: I assume it is Joshua, but we've been fixed on Othniel for the past fifteen minutes...}) Part One ends with this chorus.

Part 5

"The First Supper"

(#22) In a shockingly violent Recitative, Caleb orders the soldiers to slake their thirsty hands with the blood of the foe, and destroy everything. But Rahab must be spared.

That brings up a tale told earlier (Josh. 2) of a prostitute named Rahab who had sheltered two Israelite spies who were casing the territory, even before Jordan had been crossed. In turn, she was promised safety for her and her family when the inevitable destruction would come, and thus it was done. (Josh. 6: 15-25)

The aria that follows continues the vindictive tone, with rapid runs describing flames and a "day of wrath."

(#23) Achsah, that sweet girl, once again brings us a moment of serenity. In a lovely aria, she sings that the world's glory is temporal, but the "firmest rock is confidence in heaven."

(#24) Joshua (in a recitativo secco) calls the Israelites together to celebrate the first-ever Seder (Passover meal), and calls on all future generations to do likewise.

In the Biblical account, the Passover Seder took place in Gilgal, before the battle of Jericho took place (Joshua 5: 10-12), and before Joshua met the Angel (Josh. 5: 13-15).

(#25) Now follows one of the finest choruses in the oratorio: over a ground-bass in the orchestra, in a type of quick passacaglia, the chorus of Israelites recalls the history of the exodus from Egypt, the Red Sea miracle, the wandering in the desert, the water and manna provided, and, the climax: the receiving of the Law (The Ten Commandments) at Sinai. It is a musical history lesson! (It is, in a sense, Handel's version of the answers given to a child's questions in every Jewish home at every Passover Seder).

Tomorrow evening (March 29), the Passover Seder will be celebrated by the Jews. The questions will be asked, and the Haggadah will be read. The symbolic foods will be eaten: hard-boiled egg, bitter herbs, a green vegetable, "karpas," and a mixture of chopped nuts, apples and wine, "charoset," a bowl of salt water, glasses of wine (one reserved for Elijah, whose place is always set), a lamb shankbone, and, of course, matzot, the unleavened bread.

(#26) Caleb has bad news: the scouts he sent out underestimated the strength of the next target: the kingdom of Ai, and the Israelites have been repulsed.

(#27) The chorus of Israelites mourn the defeat ("How soon our towering hopes are crossed!"). The people fear that they'll be in bondage again. They must surely have to lay their arms down, sheathing their swords and loosening their bow-strings. It is a dirge of great pathos, beautifully constructed.

Handel was very good at creating contrasting moods in his oratorios. "Mourning choruses" are a trademark of his. Remember in JUDAS MACCABAEUS, soon after a rousing victory, the Jews are defeated and the choir sang "Ah, wretched Israel!" Musical contrasts like this are essential in oratorios and operas, bringing us changes of emotions. (Nothing but happy music becomes tedious . . . )

(#28) And, just as in J.M., the title hero scolds the people for their defeatism, and rallies them in a rousing aria (in J.M. it was "Sound an Alarm!"). In JOSHUA, it is "With redoubled rage return," and the Chorus (#29) repeats those words in an energetic battle-cry, which recalls the chorus, "We hear, we hear the pleasing dreadful call," in JUDAS MACCABAEUS.

Part 6

"Make War, Not Love"

(#30) Now that the Israelites have found their courage again, Othniel decides to take a time-out and pursue his other interest: Achsah. In a delicious aria, he voices his opinion that heroes are better fighters when they have someone to love.

(#31) Achsah, overjoyed that Othniel is back, compares his return to a flower that is revived by the sun after a shower. Another delightful solo, accompanied by downward runs by the violins.

(#32) The old warrior Caleb, Achsah's father, is furious that Othniel seems to prefer love over war. He sends Achsah away, and gives Othniel a stern lecture. He recounts that their allies, the Gibeonites, are in danger from the Canaanite league under the king of Jerusalem, and have pleaded with the Jews to aid them. Would Othniel desert an ally? "Perish the thought!" cries Othniel, who pledges to be a warrior again. In an aria of noble character, he opines that "friendship is the road to fame," i.e., nations which honor their allegiances will be remembered (#33).

(#34) Joshua is most pleased that everyone is on the same page again. He predicts that the shining sun will seal Canaan's doom.

(#35) Loud martial music by the orchestra (It may be an entire march, or just a fanfare, but it's loud!), as Caleb gives a pep talk (#36).

(#37) I'm quoting verbatim from the Hyperion booklet accompanying their recording of JOSHUA, written by Robert King (as I think I couldn't possibly do as good a job as he):

" 'Oh, thou bright orb' is one of Handel's most original movements. Over a soft accompaniment of violin semiquavers, Joshua, seeing that bad light may stop the battle, commands the sun to stop in its course: as it does so, all orchestral movement ceases, with the violins holding their high A for nine bars. Then, addressing the slower-moving moon, represented by the violas, he commands that too to halt. Now the whole string section is motionless, and the chorus exclaims in wonder 'Behold! the list'ning sun his voice obeys.' Over increasing choral movement the sustained high A still continues, first in the oboes, and then, for nine long bars, in a solo trumpet: disbelieving nineteenth-century orchestral editors re-scored Handel and spread this thirty-second 'tour-de-force-de-poupom' between two players! At 'They yield, they fall, they die,' the solo trumpeter, too, gratefully expires (Handel evidently had a sense of humour), and then the tutti brass enter for 'Before our arms the scattered nations fly.' Once again the enemy are routed and flee, and, as section by section the voices and instruments expire, Act II ends quietly."

Part 7

"Dividing the Spoils"

Before we continue with JOSHUA, we should look at more of the Scripture passages that inspired the oratorio, as well as those that Handel chose to omit.

The reason for the defeat at Ai (# 26) is found in Josh. 7: 2-9.
The victory that followed the chorus: "We with redoubled rage return" (# 29), is found in Josh. 8: 1-29. Handel chose not to set this to music; but, after reading that passage, we know that Ai was captured by Joshua, after all.

The famous story of the sun and moon that stopped (# 37), is found in Josh. 10: 12-14.

Also, another reason for the initial defeat at Ai is what happened at Jericho, when the soldiers took as spoils that which had been forbidden by God (Josh. 6: 18-20), (Josh. 7: 1), (Josh. 7: 10-26): the "devoted things." Handel does not include this story.

(# 38): Following the miraculous, sun-stopped victory, the Israelites hail Joshua as a man who'll forever be remembered in tales told by future generations, from parent to child: "our children's children." (Interestingly, Benjamin Britten, in his "St. Nicolas" also uses the same words, "our children's children," describing Nicolas's miraculous deeds!) and the erection of statues ("marbles") in his honor.

(# 39): Achsah is overjoyed ("Happy, ah, thrice happy we!"). "Happy" is one of Handel's favorite words: ("Happy, happy Solomon!"{"Solomon"}, "Happy we!" {"Acis and Galatea"} ) Achsah is the happiest of all. This is about as cheery as one can be: an almost comical forerunner of future pure-voiced-English-innocent-soprano renditions during the Victorian Era.

(# 40): Joshua asks Caleb to send for the high priest Eleazer for the purpose of dividing the conquered territory amongst the Twelve Tribes. Caleb reminds Joshua of his valuable services for over forty years, and his part in taking Hebron, and Joshua, without the priest having a say-so, hands the territory over to Caleb. (Josh. 14)

For Caleb's special place in God's plans, along with Joshua's, it would be enlightning to read the following Scripture passages: NUMBERS 13: 6; 13: 17-33; 14: 1-45, 26:65.

Part 8

"Living Happily Ever After"

(#41) Having received the reward (Hebron), after four decades of loyal service, Caleb is very grateful for the honors bestowed upon him. The often-irascible old general looks forward to some good years in his time remaining. In a lovely melody ("Shall I, in Mamre's fertile plain the remnant of my years remain?"), he obviously has mellowed, a not uncommon condition of aging men after a lifetime of action.

(#42) The chorus echoes his words in a most beautiful hymn of praise.

(#43) Only one stronghold, Debir, remains to be conquered, Caleb is reminded by Othniel. Caleb tells him that, from now on, he will not fight, but will counsel a younger general with his wisdom of old age. Whoever will lead this battle, and win, will be rewarded with marriage to his daughter, Achsah. Othniel immediately accepts the challenge.

(#44) In a brilliant aria, Othniel is thrilled by this challenge ("Place danger before me"). His youthful bravado is stunningly displayed.

(#45) The Israelites pray for the boy in a moving chorus ("Father of mercy"). The future of their country lies in this battle.

(#46) Joshua enters to announce that the young general has achieved the final victory.

(#47) Children, youths, women, and men all greet the victorious Othniel in the most famous of choruses ("See the conquering hero comes!"). So popular was this tune that Handel incorporated it into his earlier JUDAS MACCABAEUS and just about everyone thinks it's the chorus from JM. (But we know better, now!)

(#48) Happiness is complete: Caleb lavishes praise upon Othniel, and gives him his daughter. Achsah is overjoyed. This whole section: 43-48, is described succinctly in Joshua 15: 15-19.

(#49) Achsah sings another joyous song: "Oh, had I Jubal's lyre or Miriam's tuneful voice". She recalls two famous musicians mentioned in Genesis 4:21 and Exodus 2: 4-8 and 15: 20, 21. This is likely the most well-known aria in JOSHUA.

(#50) A lovely duet ensues, sung by the newlyweds. Their joy is complete.

(#51) Caleb praises Joshua's long leadership, and calls on the people to praise God.

(#52) The great, but brief, final chorus ("The great Jehovah is our mighty theme") begins with block chords, then morphs into a fugue, then reverts to block chords and a final Hallelujah, with ringing brass fanfares.

EXTRA!

"Joshua is on the Way!!"

After some twenty required rehearsals with Ed Kingins, countless hours of self-practices at home, many voluntary sectional rehearsals, five hours of heavy lifting (putting up the risers and setting up the chairs), the Fort Street Chorale is preparing for a final week of piano and orchestral rehearsals, with vocal soloists and orchestra members spending hours of tweaking, co-ordinating, and perfecting. A staggering amount of "man-hours" will have taken place before a 2 1/2-hour performance on Sunday, May 2, at 3:00, in our sanctuary of a rarely-heard masterpiece, the oratorio Joshua by Handel. Even our regular guest-conductor Valeriy Leonov, has been cooling his heels for days in Kiev, waiting for the volcanic ash to thin out, so he can get on his flight to Detroit!

I'd like to think that every Fort Streeter would be there to enjoy this event, and invite friends. After all, how many times in your life will you experience a musical racket loud enough to bring the walls of Jericho down, and the sun and moon standing still, and a river rolling back to its origins so that thousands of people could cross it? And to see and hear a real Shofar? This is your moment!

What an incredible coincidence that this very winter and Presbyterian Church Bible groups all across the U.S. were studying the Book of Joshua! (There's a Greater Power at work here!)

Those people who studied the Book of Joshua realize that it is an often disturbing and violent story. Handel was aware of this, and, while much of the music is martial, a love story is woven into it, making it a very enjoyable listening experience.

Each of our soloists portrays a character in the story. Pablo Bustos (tenor) is Joshua; Steven Henrikson (bass) is Caleb; Dorothy Duensing (alto) is young Othniel; and Margaret Rees (soprano) is his love, Achsah. Chorale soprano Rebekah Ahwood is the Angel. The entire Chorale portrays the Israelite people.

When the final Hallelujah! sounds, you'll realize that this was an afternoon well spent.

—Josiah Tazelaar