New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1869-04-30
MUSIC.
RossrNI's MASS.

GUS character From the select few nothing WAS hsa,.
but admiration but the multitude, who had exnsc,aS
sort OF gorihed "stabat Mater" even more melod,o,
and mere dramatic than that most beautiful but mos,
unecclesastical work, came away bewldered and a.
paFeDtly uncertain whether TO be rapturous or A..
pointed 1t is Mass not Cantata, and it IA deciaa
q solemn Mass breathing devotion and reverence 90
elevation Of the soul, ana rradiated by gleams NJ ,h
peculiar glory which belongs to the highest kind q, re
gous music, and to II alone At the time we eop
that cannot fully share the ectacies Of the Fren
critics There many commonplace passages IN "a.
composition to remind that Rossni was only n ma,
after ALL not angel and the most elaborate OF IN.
melodies indicate the decline Of that prolific gen,u
which so long entranced the world
The Kyrie opens with great solemuity and impress,,
effect, the male chorus leading with movement in.
minor key. A freer melody is taken up by tho .,
male voices and joined in by the whole chorus be snnp,
soto roce and rising to a splendid fortissmo The al
mrable suspensions In this movement will be generav
admired. The Christie eleison is genuine ola
fashioned canon, and then the Krs is "a
peated, but in major key. The effect Of IN,
whole number is that OF calm aud solemn beauty
The Gloria is ushered INDY bold choral outburs Of
more joyous character and this is followed by QUAR-
tette and chorus the bass solo leading with good pc.
OF defamation the Lduddmus more charmm,
number than this, however is the Gratias dgu which
i'm mediately aera trio for contralto tenor ars
bass in which the bass has the lead Tho melody
is delightful, and the religious sentiment very plainly
marked The tenor solo Of the Mass is the Donin.
Deus 1t presents in the first few bars one or two
subsequent portions, well in its general structure
a startling likeness 10 the Cus amman Of the Siabi
Mater" but it is vastly inferior to that popular air. and
too long drawnout for piece OF such thin Too
long and too thin we may also say is the one bass
solo, the Quoiam tu soius Between these two meager
numbers occurs however OF the gems OF the Gloria
the Q os duet for soprano and contrato. with harp
Io,fra fha II.
the famous duet in the St06at with which everybody
naturally impeled to compare it; but 1t
pathetic and delicate. The conclusion OF The
Gloria is the grand fugue which has created
such a profound impression wherever the Maa
has been performed It richly merits the praises thai
have been avished upon it. Here VIC find the grandeur
Of the old scholastic musicians, the mighty roll OF harmO
MES, the stately onward movement OF chorus following
chorus and breaking through it all the sunshine Of true
Rosslnian melody. The fugue is majestic but
not somber, grand yet cheerful, one IN
design and compact IN treatment bG.
varied in the most surprising land agreeable manner
An audience not much addicted. we should fancy
fugues heard it with almost universal delight
The Credo is still more religious In It's tore than the
Gloria and more homogeneous In treatment II Is nearly
all chorus The first few are especially beauu
full The chorus and Quartette together carry on the story
without interruption far the Crtcfrus. the linear
natus being as it usually Is separate number The
Crteifxus is delicious soprano solo, well suited to the
soIemnity OF the words. aud would probably have leit
deeper impression last night had not Inconcevs6k
donkey in the midst Of it sent the singer basAa
Of flowers We are delighted to say that h
was well Kissed for his palms. and the basket was nO
mniousy left at the feet OF the chorus The concua
Of the CredO lie mainly repetition OF the first part IA
as the FL ritam, where another fuRue introduced nj
so grand as that OF the Gloria, but well written and
effective.
The Oftriory IL organ solo. which we prefer not
crtcise until have heard IT, The liberal drectoOi
the Academy OF Music not having supplied that esiaA
lshment with an organ much such thing is needed
in every largo operahouse the organist was reduced
night to instrument Of the melodeOn species and
performance was consequently very ridiculous tlK
better be omitted tonight.
The Sdnctis chorus and quartette, without aeccu
paniment. and secured last night one Of the oDytW
encOres This movement is destined to become one Oih
most popular portions Of the Mass. The Sdor1s aeon
tralto solo, we believe not originally written as
part Of this work. nor Is its introduction animprovemen
1t Ia the only theatrical effect in the whole perform
ance, and beautiful IL is By ITSELF we do not tnkh
leaves agreeable impression, though it was last nigh
encored The A6nus Del, eOntralto solo with chorus
is fitting conclusion to the work 1t is pathetic aN
impassioned beyond description ending with grsnt
choral ontburst in which divine hope seems TO reach Ia
triumph and heaven TO open ITS gates 10 prayer
In tho manner Of the performance there VA
great deal to praise. The due effect OF the Mass Dc
ponds in great degree upon the chorus This was vi
drilled and only went much astray. which was
the fugue OF the Credo. IL numbered bOvew
only fifty voices About two hundred real
needed, not only to give proper expression
the music, but the balance the orchesln
which comprised at least so pieces This was none 70
many for the size Of the house and the work they bdn
do but the disproporuon between instruments and voice
ridiculous The principal solo part is the coniIaM
This was taken by Madame Tesla. II we say that =
was hardly equal to it, say only what eveFybo9 (
knows for the part which the best artists in b
world might be proud to fil Last night, however, y
agreeably surprised those who knew her best an
In the concluding part OF the AgHus Del especially -
was admirable She sings conscentiousy, intelligeniF
and with reverence for the music and for this she Dc
serves thanks Miss Kellogg. on the contrary seenedb
be oppressed with the comparative insigniheance OF he
position and treated the music and the audience VIII
impolite indifference There is 10 be sure, depth IN h
composition which she cannot sound; -
is safest IN shallow waters; but she ouH
always to do her best, and che certsili
failed to do that last night. Her voice was weak sH
languishng, giving out good rich note exoeiaH
her solo, and ard then quite naudibe eXeeF'
those who sat very near the stage. The Qui tolls I've
very ineffective, partly through her care sSneSs '.
partly also, because her voice Is not naturally eoiA
with Madame Tcsta's. The two ladies shoud mol ~
together. Signor Boeti and signor Antonucei t09s
other solo parts. The former gentleman sang Nth lu'
and force, The latter II faNotlle ol ouis
on this occasion seemed deficient ia energy
The audience OF course filed the Academy ana &c
nrsed much OF the most cultivated and the faslionse
society OF NewlOr, and liberal representation " ~
steal people from distant cities Tonight me peiu.a
will be repeated at the same place ana To-, on 'u"'
night the Mass will be given at stenway Han
NEW CATHEDRAL ORGAN.
The new organ of 80 stops just erected
Mr. Henry Erben in ST. Patricks Cathedral in hoi+
was exhibited last evening by corps Of our most os
guished organists Mr.. GustaNe schmtz organise or
Cathedral first displayed the beauties OF the new IT,
ment IN the overture 20 NabuccO." lie was ioi 81
by Messrs. A. II. Messiter. Geo. W Morgan, -.
Browne, g. p. Warren, A. =. Caswell C. W iramf' 81
j. NJ Loretz IT. Each OF these gentlemen eXhbiteds.
particular feature OF the organ, in various seeS
clnssicnl we'll nnnuar IL Is seldOm lndteu wv