Comala. Dramatic Poem after Ossian Op. 12 (full score)
Comala reveals several parallels to Schumann’s oratorio Das Paradies und die Peri, which Gade probably took as his model. Both works depart from the traditional cokncept of an oratorio, first in their unusual choice of subject-matter, second in their predominantly declamatory style. In Gade’s case, melismas are practically nonexistent; the text is set largely syllable by syllable, and the conventional tripartite subdivision is abandoned, turning Comala into a through-composed piece from beginning to end. The libretto was prepared by the Leipzig littérateur Julius Klengel. The composition falls into twelve numbers preceded by a brief instrumental introduction:
Introduction Molto moderato A mi.
No. 1 Chorus of Warriors and Bards Allegro non troppo A mi.
No. 2 Duet, Fingal and Comala Andante E ma./F ma.
No. 3 Chorus of Warriors Allegro non troppo A mi.
No. 4 Comala/Chorus of Maidens Andantino A mi/E ma./F ma.
No. 5 Ballad Dersagrena/Chorus of Maidens Andante D ma.
No. 6 Comala/Melicoma/Dersagrena/Chorus of Maidens Moderato/Allegro non D ma./Bb ma./G mi.
troppo/ Più allegro
No. 7 Chorus of Ghosts Allegro moderato C mi.
No. 8 Solo, Comala Andante C mi./C ma.
No. 9 Chorus of Warriors Allegro non troppo E ma.
No. 10 Fingal/ Chorus of Maidens Andante con moto C# mi.
No. 11 Fingal/Chorus of Maidens and Bards Andantino/Allegro maestoso E mi./E ma.
No. 12 Chorus of Bards and Maidens Allegro moderato maestoso C ma.
Full preface / Komplettes Vorwort > HERE