The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-04-15

themes
almost unanimously passed quickly over this air,
and I'VE shall not accuse them OF injustice. But
thew dwell long and lovingly upon the "Qui toll
lis, says M. Jouvin, OF the TtJdro nous ouyre
Ie monde des anges. Quelle melodie quelle
suayite I" and addressing Votary OF strict church
music who is supposed to ask 'Suis-je sur terre
on dams les cieuX ?' he exclaims, "Vous
etes sur terre, mails dams cette contree on
Dieu plaza son Eden, ct lie pommier de notre
mere Eve porte, non des pommes, mais des melo-
dies" Beneath this extravaganza there is, how
ever, not little of justice. The "Qu TOLLS is
a beautiful creation. Clearly the work of him
who wrote "Quis est homo" it is more elevated
in style and expression than that famous duet.
There are few things in music more intensely
earnest than its plea for mercy and few changes
more happy than that into the tonic major,
which well depicts the clearing away of doubt
and fear. We might say something about the
"Quoniam," an elaborate bass air in A major
were it no followed and overshadowed by the
"Cum sancto.' Taking thought for unity, Rossini
commences thelatter with the short allegro which
opens the Gloria This leads to the figure Of
major) already mentioned rs having set Paris by
the ears We are apt to over-estimate an unex-
pected good, and it was natural for the French
critics to exhaust their copious vocabulary of
praise in this instance. Here are some of the
expressions used--"Page monumcntale, "une
'vrament colossal, "quelle fugue, grand Deu!
Depuis quill y sur la 'terre deso fugues ct des
luguistes on men Wit Jamais de parelle'
These terms are but little too
effort. Truly, the ''maker of melodies was a
maker of melodies and something more. He
here works his subjects with the ease OF an ac-
complished fuguist and with admirable effect.
Moreover, he appears thoroughly in love with his
task. When a dominant pedal ushers in long
dminuendo, and as long succession of rich and
solid harmonies, the master seems drawing to an
end. Not so, however; few bars before COM
ing back to the tonic crescendO begins, and upon
a full close the fugue starts again rs vigorously
as ever, finishing at length with a magnificent
coda heralded by the voices alone repeating
GLORIA in eXcelsis." The "Credo" (E major)
shows even greater felicity of design that its pre-
decessor. As a rule this part of a mass consists
of several movements each distinct in ITSELF
Rossini's "Credo" is also in several movements,
but each is closely associated with the rest and
the act of faith is kept well before the mind by a
frequent repetition in full chorus of the word
"Credo." Nothing could be better rs a matter
of construction or effect. As far as "Consuo-
stantaem Patri," passages OF dignfed char
acter are given to soil and chorus, with repeti-
tions in various keys. A short double canon on
the octave follows, after which the
story of the Incarnation is grandy
told, the long silence ut its close,
broken only 10y ftful chords from the orchestra,
being one of the masters most impressive de-
vices In the air for soprano, "CruciiXus' "a fiat
majOr), profound sensation is produced by
means the most legitimate, while the choral out
burst (On an enharmonic change to the domi-
nant of f MAJOR announcing the Resurrection is
admirably effective. Thence to the fugue "Et
vitam,' we meet with little save repetitions
Though not equal to its predecessor, this fugue
shows some excellent points The second
theme, a complete ascending diatonic scale, has
all the stately gravity of early Italian church
music, and well tempers the freedom of certain
epsoda passages. The coda is harmonized with
considerable grandeur, and the entire tugue
strengthens the impression left by its greater
companion. Like the Gloria" the "Credo"
ends with repetition of its opening words,
'.Credo in unum Deum." For the offertory Ros-
SIM has supplied an organ movement of extreme
beauty, well suited to the Instrument, and inge-
niOusly harmOnizcd after II scholastic fashion.
The "Sanctus,' coming after brief prelude, and
given to voices alone, displays all its composers
charm of manner. Especially striking is the
contrast between the vigorous unison delivery of
."HOsanna in EXcelss, by the soil, and the
| smoothly flowing pianissimo phrases in which
| the chorus responds "Benedictus." The move
mcnt though short, is likely to become n public
favOrite. In the 80 Salutaris," an air for
cOntraltO (E MAJOR, there two widely diffe-
rent subjects, the first smooth and melodious if
not specially beautiful, the second Con the words
bella premunt hOstila, etc. declamatory, and
accompanied by harmOnes which pass abruptly
from key to key. There is power of a certain
kind in this air, and its contrasts effective;
nevertheless VIC doubt the policy of Incorporating
it with the Mass. The step had not Rossini's
sanction, and has brought an increase of the
dramatic rather than OF the religious element,
In his "Agnus Del" a cOntralto solo with chorus
(E minor) Rossini gives himself full liberty Of
action. The result is charming. No music
could express more overmastering passion,
and the intense feeling of the solo would be
almost painful but for the unaccOmpanied choral
phrases which and then break in with a
prayer for peace. This Mass, so full of contrasts
has none more effective than that between the
agonizing 'Miserere" of the former and the calm
''Dona nObis' of the latter. We here recognize
a stroke of genius. Working up to the coda by
series of bold progressions Rossni then makes a
transition to the tonic major, and ends with a
triumphant burst of harmony.
An adequate notice of the mass, without aid
! from music type is impossible, but enough has
been said to convey an idea of its character.
| We have nothing to add save repetition of the
statement with which we set out, that, faults
Notwithstanding the work is a masterpiece
| Pal Mall Gazette.