Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1869-04-04
RossinI's Petite Messe.
,m The London Musical wOrldl.

From the LsndOn Musical World.
This eagerly expected work was
brought out at the Theater Italien on
Sunday last with unqualified success.
Mile. Krauss, Madame AlbOni, Sign0r
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 a profound impression" So far
good.
Some details of the performance ap-
pear 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 gratify
their natural curiosity about this Song
of the Pesaro Swan" lie HOHiteHr de
Z FOrpheon has opportunely reproduced
notice from the able pen Of Mons. A.
Elwart, written when the work was first
performed at the house Of NJ. Pillet-
Will in 1864. We shall translate lust
so much of this article as serves to out
line each number:
The Kyrie, says NJ. Elwart, "opens
with an introduction in severe style,
after which the instruments are silent,
while the vocal quartet sings Christe,
written in the manner Of Palestrlna.
The Gloria begins with soprano solo.
A very charming theme for the orchestra
accompanies the voices in the LaEddmus
Te. etc. The Gratias, a trio for con-
tralto. tenor, and bass, Is one Of the
finest things in the work. Its conclusion,
where ROssini employs the plagal ca
denee, must be heard for all its beauty
to be comprehended The Domino Deus,
a solo for tenor, is full of passion, while
the OH Tolls, a duet for soprano and
contralto, rises to an extraordinary eleya-
ton of style. The ono uiana, a grand
solo for bass, is followed by choral
fugue. Cisn1 Sancto Spiritu, distinguished
for profound science and melOdie beauty.
| A decrescendo on the dominant pedal IS
above all remarkable. The CfedO is
poem of picturesque design. After the
enuueiation of each article of faith, with
regard to the creation and the coming OF
Christ. the chorus answers CredO-' In
the GrucifrKs, the soprano voice re-
counts the Savior's sutferings with
pathos which brings tears to the eyes.
In the majestic Resurre1it there Is
} fugue of colossal dimensions. BOtn the
subject and counter subject are remark
able. and the whole effect is sublime
} The Ofertoire, for ochestra, reminds one
, of the eighteenth century by its mel
) ody. but the harmony is novel and strlk-
) ing. The SaHctus, which is preceded by
, a few instrumental chords, is written
t throughout for voices alone. The Ben
: sdietus is one of the most charming mel
2 odie creations of the master, and IS sec
ond only in the entire work to the Ag-
: nus Del, contralto solo with choral res
ponses. The latter is sublime" -.
To this brief sketch we can only add
at present certain items Of news with
regard to the work 1t appears that
a Sunday last, the day of the first public
: performance, was the seventy-eighth an
e niversary Of Rossini's birth, and that
# the mass would have been then per
Il formed at one Of the churches but 1or
IS the absurd prohibition against female
) voices. We hear, further, that NJ. Ull'
i mann has bought the right Of perform
.e ance in Italy for $4,000 francs, and that
!; under M. Muzio's direction, the worS
, will be given first in Milan, afterward II 7.
d the other chief cities of its composer
le native land. 1t viii be heard in the Six
tine Chapel on April 11th, on which &C.
r. easion the Pope celebrates the hftiett
10 anniversary Of his first mass With re,
m gard to England, the privilege Of irsi
le nerformance has, we understand, beer
i secured by the Sacred Harmonic Society
is The fitness of this arrangement nobody
Of will dispute.
sEosstri was born on the 18th Of Feoruary-s
:. = thar two years OUT OF tnree ne e1ni'ez-~.S p