The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-04-15
RossINrs "MEssE sOLENNELLE.'


him. Rossini called his latest work petite" The
term will not hold Neither in dimensions nor
in character is the "Messe Solennelle' a little
thing In sacred music it is its authors master
piece.
Written at Passy in 1863 this work was first
performed on March 13, 1864, Mt the house of
Count Pillct-Will, before an invited audience of
some two hundred and fifty persons. The sisters
Marchsio, Signor Gardoni, and Signor Agnesi
were solosts the Conservatoire pupils acted as
chorus; NM. Matthias, Peruzzi Cpiano-fortes) and
Lavignac (harmOnium) accompanied, and VI.
Jules Cohen conducted A lively writer in
lie Figaro gives us a glimpse of the bankers
salon while the performance is taking place.
We see ROssini turning over for NJ. Matthias,
with Carlotta Marchsio on his right, and her
sister Barbara his left. In a corner sits
Auber, calmly listening, and, whenever the music
ceases, chatting with Mario, who stands leaning
upon the back of his chair. Meyerbeer is near
Rossini, applauding with vigor, moving rest
lessly upon his seat, like st. Lawrence upon his
gridron," and once jumping up to embrace the
hero of the occasions while behind him Duprez
shows what are called 'sOn torse dHercule ct sa
face Rabelaisienne." The work, then per-
formed, had a success great enough to bring
upon Rossini one of his fits of industry and
he promptly scored it for full orchestra. Why
he did not publish it is hard to tell Assuredly
nobody has benefited by the delay. save, per-
haps Madame Rossn whose sale OF the Mass
to NJ. Strakosch quickly followed her husbands
death.
From the ''Stabat" to the ''Messe Soennelle"
is a long stride in the direction of orthodox reli-
gious music Rossini once told Ferdinand Hitler
that he wrote the former 'mezzo serio, and
never intended it for public use. However this
may have been, we know that just then the
master had not forgotten his old vocation There
is truth i'll the familiar criticisms that he intro
duced the theatre to the sanctuary. His Mother
of Sorrows" weeps i'll the glare OF footlights
before property cross. The man must be bold
who would now say word against the Stabat'
music, but religious music it is safe to
assert that the religious element is in great part
wanting Happily Rossn did not pass away
without showing himself able to supply this
lacking feature. In nothing is the "Messe So
lennelle so remarkable as in the sacred dignity
of style to which it here and there attans.
While permitting us to recognize the master
with whom everybody is familiar, it shows him
partially clad in the sober garments of church
composer. With undOubted Rossinianism is
mixed up that which we did not before know to
be Rossinian at all. The latter is Il genuine sur
prise and almost justifies Paris for raying about
one particular iugue though no such thing
had ever before been written. 1t is strange in
deed, to see the man whose early breaking away
from cOntrapunta studies foreshadowed the
character of his music, and who lived to flood
the world with melody, at the last producing
work rich in scientific DEVICES, The composer
of "Semiramide" and 'Cenerentola' writer OF
fugues and double canOns such is the revela-
tiOn of the "Messe SOlennelle." At least
good result will follow Those who say Rossini
was a mere maker of tunes from necessity rather
than from choice must forever hold their peace.
To such detractOrs "Guillaume Tell and the
'Stabat' were severe blows. The Mass COM
pletes what those works began. 1t proves that,
had ROssni chosen. he might have taken his
place with the greatest scholastic writers. The
proof comes late, and its cogency may lie more
tNon gI,p int nlnH
but the question of ability is settled. We have
already intimated that good deal of the Mass
is in its composers familiar style Yet even
here, certain exceptions apart, we recognize un-
usual elevation and dignity while the entire
work shows that, at seVenty-two, Rosslnl made
a serious effort to write music worthy of the
highest object to which music can be applied.
As now published the Mass consists of four
teen numbers including an so Salutaris' not
heard at the first performance, having since been
made part of the work. With the instinct of an
operate composers, Rossini has freely used the
solo voices. Out of thirteen vocal numbers six
devoted exclusively to them, and they are
also largely employed in conjunction with the
chorus. Few will complain of this, since il
answers concert-room purposes not less than il
increases effect. As a work of constructive skill
the Mass has at least one fault Like Mendels-
sohn's "St Paul. it begins in one key and ends
in another. Apart from this, the general design
is excellent and its carrying out is marked by
novel features of a special value.
The "Kyrie" CA minor, divided into two parts
after common fashion. begins with eight bar,
of instrumental prelude chiefly remarkable fol
an agitated bass, which is a striking and expires
siye feature of the number. The voices ente
successfully in imitation, but the contrapunta
character of the opening bars is not sustained
and we soon recognize the sensuOus harmonis
of the "Stabat" The movement, however
extremely interesting, and sung soto UoC
nearly throughout has an impressive effect. /
the hChriste" &C minor Rossini altogethC
changes his style. 1t is II short double canon O
the octave for voices alone, such rs might hay
been written by the most facile Of early Italia
masters. Noting its ingenuity and the easy flo
of its parts, one would imagine the compos
had devoted years to musical scholastlcs. Ih
finished "Kyre" is resumed in 9 ma jor, with
amplifcaton in major, IN which key 1t end
The six numbers of the ''Gloria" make one con
plete design admirable in its unity A brie
vigorous and broadly harmonlzed allegro
mSior( proclaims ''Gloria in eXcelsis Deo,' al
is followed by an andantinO of peculiar co
struction because built almost wholly up
alternate tonic and subdominant chords, viii
nass nv abrupt mOdulations from key TO Ike
the effect is strange and somewhat forced. 1t
sncb i'm fact as we should have looked for in
work by NJ Gounod rather than in one
Rossini But the master reasserts himself
he uGratiasn "a major) n trio for contra
tenor and bass A melody of true Rossini
heantv is given out by the last-named voice n
snccessiyely taken up by the others. Repeat
in fnII harmony, it yields place to a second 81
jact moi less marked by elegant treatment. III
his number will have an immense popular
we do not doubt, nor will we say thlI IL does
deserve popularity even as rellglous music:
any rate it is the perfecuon Oh SIecoluni, Su anu
5Jssiye writing The ''Domine Deus Is Il 10
pa omMtious tenor solo in ID major, Tor wm'
aooti.e rhoueh il be when well sung, we do !
ostat tIo triumnh of "CujuS anlInam. III