- Abimelech (oratorio)
"Abimelech" is an
oratorioin three acts written by Christopher Smartand put to music by Samuel Arnold. It was first performed in Haymarket theater in 1768. A heavily revised version of the oratorio ran at the Covent-Garden in 1772. "Abimelech" was the second of two oratorio librettos written by Smart, the first being "Hannah" written in 1764. Just like "Hannah", "Abimelech" ran for only one night, each time. It was to be Smart's last work dedicated to an adult audience.
"Abimelech" retells the biblical story of
Abrahamand Sarahwhen they met the King of Gerar, Abimelech, and he tries to take Sarah as his wife. After God intervenes in a dream, Sarah, who was previously barren, is restored to Abraham and made fertile. The oratorio emphasizes the sexual jealous and the sexual fidelity of spouses.
Years before, Smart wrote a libretto for an oratio called "Hannah".Sherbo p. 245] Like "Hannah", Smart most likely wrote the work out of a need to earn money.Anderson p. 49] However, his previous oratorio only lasted a few nights, and Smart hoped that his second could succeed where the other failed. This would be the last work in Smart's final years that was written completely for adults. [Anderson p. 109]
An advertisement for "Abimelech" ran in the "Musical Intelligencer" section, of the "Public Advertiser", on 16 March which said:
"YOUNG Abimilech will be "exercised" on "Foote's" Theatrical "Heath" on Wednesday next, when he will run "three Trial-heats". He was bred by the celebrated "Kit Crazy", who rode "flying Pegasus" the great Match round the "Hop-Garden" and who is universally allowed to be a SMART Fellow, and a tolerable "Psalmodist". "Abimilech" is "half Brothers" to "Saul", which beat "Sampson" on Friday 19th of February, tho' the Odds "in the upper half of the Scaffold" were "Three and a Half to One". "Abimilech" has been a long while in Training under little "Arnold", a Man of "sound-Knowledge", who tho' of a diminutive Size, hath such amazing "Strength" in his "Composition", that, when he "gets with his Airs", he will seize on any Man alive, and "take him by the Ears"." [Mounsey p. 270]
"Abimelech" was performed once at the Theatre Royal on 18 March 1768 and once, after Smart's death, at Covent Garden on 25 March 1772.Smart (1983) p. 160] There are no surviving scores for "Abimelech", but the libretto was sold during its run at the Theatre Royal, Haymarket, in 1768 and the run of the revised version of the oratorio at the Covent-Garden in 1772.Smart (1983) p. 161] These works were published anonymously but
Charles Burney, Smart's friend, attributes the libretto to Smart and pasticcios from Handel in his "General History of Music". [Burney, Charles. "General History of Music". Vol IV, London: 1789. p. 666] The "pasticcios" were musical selections from Handel used by the composer Samuel Arnold.
"Abimelech" tells the story of Abraham and Sarah at Gerar (Genesis 1:20) in three acts. [Smart (1983) p. 158] Although there are multiple versions of the story with different characters, Smart relies on the version in which Abraham pretends that Sarah is his sister, and the the king of Gerar, Abimilech, wishes to marry her.Smart (1983) p. 159] God intervenes by telling Abimelech that Sarah is married and should be returned to Abraham; Abimelech returns Sarah to Abraham but criticizes Abraham for lying. The oratorio leaves out the final portion of Abimelech's biblical story in which Sarah is made fertile by God along with Abimelech's women.
There is an emphasis on the sexual jealousy sexual jealousy of Abraham over Abimelech's treatment of Sarah. [Dearnley p. 215] This was partly done for "theatrical effect". [Dearnley p. 218] However, there is also an emphasis on the impious actions of the Gentiles of Gerar and of their inability to love properly, [Dearnley p. 223] especially when Hagar sings::Lo, her ears:Have suffer'd profanation from the lips:Of an enamour'd Gentile - Couldst think,:That men remoter from the truth of God,:And more of brutal nature, should controul:Their appetite from such a form as Sarah's?::("Abimelech" 94-99)As the oratorio continues, there is emphasis that only those who follow the true God are capable of understanding the proper ways to act. [Dearnley p. 224]
* King Abimelech
* Phichol Chief Captain
* Queen of Gerar
* Officers, Soldiers, and other Attendants
After the second version of "Abimelech" ran at the Covent-Garden, a reviewer in "The Theatrical Review" claimed that the oratorio was changed "greatly for the better". ["The Theatrical Review", Vol. II (1772) p. 219] Another review in "The Theatrical Review" claimed that "Abimelech" was "a very pleasing Oratorio, though there is great sameness in the songs, but the chorusses are mastely and grand". [Stone Jr., G. (editor). "The London Stage 1660-1800: Part 4, 1747-1776". Carbondale, 1962. p. 1619] Later, Thomas Busby claimed that "the applause obtained by this his second oratorical production [Abimelech] , established the reputation of its composer [Arnold] ". [Busby, Thomas. "A General History of Music". Vol II, London: 1819. p. 468]
The "Monthly Review" and "Critical Review" ignored "Abimelech", which prompted Arthur Sherbo, a later critic, to claim that they "were kind to Smart and Arnold" for their silence.Sherbo p. 246] Another later critic, Moira Dearnley, said, "devotion and human relationships is uneasy, not to say ridiculous." [Dearnley p. 217] Another critic, Frances Anderson, puts it bluntly: "it was not reprinted and seemed of mediocre quality". However, this turned out to be untrue.
* Anderson, Frances E. "Christopher Smart". New York: Twayne Publishers, Inc., 1974. 139 pp.
* Dearnley, Moira. "The Poetry of Christopher Smart". New York: Barnes & Noble, 1969. 332 pp.
* Mounsey, Chris. "Christopher Smart: Clown of God". Lewisburg: Bucknell University Press, 2001. 342 pp.
* Sherbo, Arthur. "Christopher Smart: Scholar of the University." Michigan State University Press, 1967. 303 pp.
* Smart, Christopher. "The Poetical Works of Christopher Smart, II: Religious Poetry 1763-1771". Ed. Marcus Walsh and Karina Williamson. Oxford: Clarendon, 1983. 472 pp.
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