New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1870-12-27
FRANCIS A. CLARRY.
music
TIE MESSIAH.


The annual Christmas performance of "The
Messiah was given by the NewYork Harmonic Society
last night az Steinwsy Hail. before rather slim audi
encc, and with slim orchestra and chorus About
one hundred members Of the society took part In
the performance. Prof Ritter who has been their con
ducOr several years past resigned short time ago,
and Dr. James Pech was borrowed for this occasion;
Miss Brainerd Miss HutchDgs, Mr. simpson, and Mr.
Joseph Jewett the solo singers-al of them old
ffends espectve parts that criticism
upon them is uncalled for. We thought all showed
trace in their voices OF the hard work they
were probably called upon perform in various churches
on Christmas day. The orchestra was not only weak
but coarse and careless The chorus was unusually cor
rect but also unusually ineffective. and its performance
never above the level of respectable dizziness The
only point that calls for special notice in the representa-
ton is a change in the order OF some OF the
numbers TO bring the lialeluiah chorus at the
very end and know that my Redeemer liyeth" imne
datey before it, Why the solo should he taken from its
proper place do not know The transpostion of the
chorus is probably the purpose OF winding up the
evening with the Oudest and most effective piece on
the programme. We not aware that anybody
has yet undertaken TO reconstruct Beethoyens sym
phones on this plan, or Meyerbeers grand operas,
or shakespeare's plays, or Millions Paradise Lost
but If the effectiveness or even the merit OF
a particular passage is 20 determine it, place
in the composition of which it forms part-with0ut
any reference 10 its meaning-we see no reason why all
the great works OF genius should not he twisted and
turned upside down. The absurdity OF this change IN
sThe Messiah is so plain that we have hardly the
patence 20 discuss IT, Handles oratorio is not patch
work Of songs and chOruses, but sacred drama
constructed with elaborate art 1t ia logically divided
into three parts-we almost three acts The first
represents the coming OF the SAVIOR the second his mis-
sion Oh earth and the establishment and triumph Of
Christianity the third the gOred reign of the Messiah
in heaven after the trumpet has given forth its final sound
l.a
It's appropriate and peculiar music imbued with color
ing distinct from the Others In the first have the
comforting voice the prophet announcing the fulfill
ment the desire OF all natons the JOY OF the faithful
who have held fast TO the promises; the exquisite
simplicity in which Handel tells the wonderful
story OF the Nativity and the tender invitation TO the
weary aud heavily laden TO unto Him who will
give them rest In the second part are shown the
Lamb Of God despsed and rejected bearing griefs.
and cut off for our traDsgressiOns We how
beautiful are the feet Of them that preach the
gospel which be has left us, and we are
reminded that though the nations furiously rage to
eetber the Lord will break them with rod of ron and
the kingdom OF this world shall become the kingdom Of
Christ Then it is that the splendid "HalelWah! for
the Lord God omnpOtent reigneth," bursts forth,
10 celebrate the triumph OF the Christian Church.
The last part is devoted entirely 10 death and the
resurrecton-the final triumph Of all IL begins with the
soprano air 81 know that my Redeemer veth." ten
der and tnOugntful mcuIhtlOu upon Tue lHaI II
beyond the grave and the thought grows through
cessye numbers becoming and more ecstatc until
If breaks into exutng strains Of Thanks TO God who
eyeth US the victory through our Lord Jesus
Christ" and the oratOrio closes with the song TO
the Lamb that sitteth upon the throne-the cong
which the apostle ia his vision heard the redeemed
sous chanting in the New Jerusalem. This Sc
ouence OF ideas is perfect, both In the text and
the music What shall say, then, OF the Vsnda who
believes he understands the meaning OF this drama bet
ter than Handel-one OF the most dramatic OF all COM
noser-and dsfgures the second and third parts TIL
there il no meaning left in themi Just look at
the preposterous arrangement After the tenor air,
Thou shalt break them with rod Of iron"
describing the overthrow OF the enemies OF the Church
the author OF the reformed Messiah places the quartet
"since by man camel death (which, In such po-
ston has no sense and musical effect either-and then
goes on with the other fragments OF the Resurrection mu
sic even TO the song OF the gored saints and the amen
chorus which, there any significance In words or in
musical phrases ought TO end the performance. The
close is 40 obvious after this chorus that IL Is positive
shock 10 see the conductor take up his baton and
on Having led US into heaven, he now goes back
10 sing Of death CT know that my Redeemer
liyeth - which was rghtfully the introduction TO
the quartet and then goes back still further TO sing
"Haleluiahg at the triumphs OF the faith! little
saved him from these gross absurdes IL Ia quite safe
10 infer that Handel was good Judge OF his own call.
ing and understood what ho wanted ~ express great
dei better than the gentlemen who afe nov ~ au1Ouh
o. speak Tor hlm