Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1869-04-05
Rossini's Petite uosse.


This eagerly-expected work was
brought out at the Theater Italien on
Sunday last with unqualified success.
Mile Krauss, Madame Alboni, Signor
Nicolini and Signor Agnesi were the solo
singers. Speaking of its rehearsal, the
Gazette Musicale says: The entire
work bears the impress of genius, and
made profound impression" DO far
good. ff
Some details of the performance appear
in another column, but for an analysis of
the music our readers must wait with
what patience may be possible. We are
able, however, to partly crafty their nat
ural curiosity about this Song OF the
Pesaro Swan" lie Moniteur de rOr-
pheo,, has opportunely reproduced no.
tice from the able pen of Mons. A..
Elwart, written when the work was first
performed at the house Of M. Pillet-Will,
in 1864. We shall translate just SO much
of this article rs serves to outline each
Number:
"The Kyrie," Sys NJ. Elwart, "opens
with an Introduction in severe style, at
ter which the instruments are silent,
while the vocal quartette sings Christie,
,sritien in the manner OF PGlestrina
The Gloria begins with a soprano solo.
A very charmiLg theme for the orchestra
accompanies the voices in the Lduddn-
ius Ie, etc. The. Grotids, trio for con-
tralto, tenor, and bass, is one of the finest
things in the work. Its conclusion,
where Rossiui employs the plsgal CO.
dance, must be heard for all its beauty to
be com pretended. The Domino Deus.
a solo for tenor, is full of passion; while
the Qui Tolls, duet for soprano and
contralte, rises to an extraordinary ele-
vation of style. The Quo MAN, grand
solo for bass, is followed by choral
fug ue, Cum Sdncto Sptritu, distinguished
for profound science and melodic beauty.
A decrescendo on the dominant pedals
is above all remarkable. The Credo is
a poem of picturesque design. After
the enunciation of each article OF faith,
with regard to the creation and the
coming of Christ, the chorus answers
'Credo. In the Crucitirus the soprano
voice recounts the Savior's suferings
with a pathos which brings tears to the
eyes. In the majestic Recurrexit there
is "a fugue of colossal Dimensions. Both
the subject and counter-.ubject are re-
mar kabIe, and the whole effect is sublime
The Offertoire, for orchestra, reminds one
OF the eighteeth century by its melody,
but the hsrr,ony is novel and striking.
The Sanctum, which is preceded by q few
instrumental chords, is written through
out for voices alone. The Benedictus ia
one of the most charming melodic crea-
tions of the master, and is second only
in the entire work to the Agnus Del.
contralto solo with choral responses. The
latter is sublime"
To this brief sketch we can only add
ct present certain items of news with re-
gard to the work. 1t appears that Sun
day lest, the day of lite first public per-
formance, was the seventy-eighth ami
versary of Rossini's birth, and that
the mass would have been then performed
at one of the churches but for the absurd
prohibition against female voices. We
hear. further, that N. Ullmann has
bought the right Of performance in Italy
for so 900 francs, aud that, under NJ.
Muzo's direction, the work will be given
first in Milan, afterward in the other
chief cities of its composers s native land.
It will be heard in the Sixtine chapel on
April lllh, on which occasion the Pope
celebrates the fiftieth anniversary of his
first mass. With regard to England, the
privilege of first performance has, we
understand, been secured by the Sacred
Harmonic Society. The fitness OF this
arrangement nobody will dispute.