The New York herald., 1870-04-18
ST. ERASC,s X.vlEa,s CHUn Gu.

Berse's Pnsclnl Observation-Disclosures Ora
tOriO of ssThe Kesurrecti0n''--larand Musi-
cal vespcrs.
1t w0uld be difficult to match the musical services
at this church yesterday. Dr. william Berge, the
organist, has no superior and very few equals In
directing, arranging ana composing music for the
Catholic service. lie nfuses life vigor into the
choir by his wonderful command over the organ,
and In his accompaniments he Is not only
sure ana sefreant but ne throws Ia
unex pectedly dashes of color and expression, which
set or the voices to the greatest advantage The
choir consisted Of large and enclent chorus from
the Berge Choral Union, with Misses Teresa and
Mary Werneke and Messrs. Samaro and Bacelli as
sooist5.
is work OF dramatic effect and power, and II
was sung In the most admirable style. The effects
introduced are startling, but all characterized by
the utmost taste and art. The Kyfe alone Is q
complete naTs naose In every sense OF as
in It, ana 1t commences win tympani
a chime OF Dells and the voices In the key or ID
minor. One OF these melodies Is given by the bells
and the other by the voices, botn moving together
IN narnony, yet entirely distinct IN character. Two
verv large bells strike the keynote and dominant
alternately during the piece, wnle the smaller bells
shower scale Passages, IKE rays OF lgnt on the
solemn measures OF the voices The Cnrtste
passionate ana tender The Kyrte Is then re-
peated In this extraordinary manner. The voices
sing six eight movement, the oells chime In two.
1Our time, ana the tympanl count four Ia bar. TLe
organ Is only used towards the end, and then as q
foil 10 the large bells. IL would be impossible 10
conceive without hear lg 1t, the wondrOus eject OF
this kUrie There IS nothing IKE 1t IN any sacred
music we are acquainted with. After 1t came the.
GLORIA IN EXCELSIS
ushered in with trumpet fanfare, tympani and
eip part chorus The Et IN terra ILr is for ladies'
from the Otner vslces IN a lovely duet, Laudansus
and were followed by The tenor III solo, Gratias
AjunuS, winch 1or melodious beauty can scarcely
be eXceled. Bacel had another stlrrlng OasS SOLO in
this part OF the mass. Toe QnOnttna ~ SOus SanctuS
long, eaboratey written ana effective duet and
the nnate Is worked up IN the most brilliant and
dashing style.
cREDo IN uNUM DEuM
opens strangely, with bass solo, followed by each
the Otner SOLO parts In canon form, constituting
the most emphatic declaration OF the faith that
music can express. Two soprano solos-E Ia Anun.
DOnaenuha and Qut PrOpteT Nos are melo1c 1ea-
lures this number Another strIKlng novelty IS
the Geattatin Non Factunn, chorus OF maze voices
without accompaniment. extremely difficult aud
aUOunding IN ennarmOnlc changes.
The tenor announces The CrucihXiop, and then fol-
lows musical photograph OF the convulsOn OF ma
ture and The rending asnnder OF the tombs The
silent tenants OF the grave seem TO arise IN their
ceremenIS as the voices surge In their stormy
measures. After another quartet for mixed voices
and grand Et IN Imam Sd,ictuDt ECcieSidnl the
CredO came to an end In flood OF harmony. The
HoSanna IN Eccelsts Is the most noticeable OF the
rest OF the mass
Lambiotte's grand oratOrio OF the Resurrection,
one oI the most dramatic descriptions OIL tfat SUB
lime mystery which cOuld De gwen in music, was
sung The introduction for the organ alone Is very
brilliant. The voices come In In march movement,
stately and triumphant, which Is suddenly broken of
by the entrance OF the Redeemer ten0rl announcing
his resurrection. duet for soprano and alto. with
tremuio accompaniment, inqulrcs, 'Wno has rolled
back the from the entrance to the tohbp' and
Mary MagdaleD altol walls In touching strains
over the disappearance OF the body OF the saviour
After few questioning measures by the angel
(bass) the Saviour pronounces ner name In the same
sweet palntive tones that Jeremias calls on Jeru-
salem IN his lamentations. cry OF Joy escapes her
lips ana then Christ bids her 20 and tell IFS dlscl
pies what she has seen. Tue melody In which this
mandate Is embodied Is lnexpressiply tender and
beautiful. narrator lDassO) in recltatlve tells now
Mary went to seek the d sciples, and she de-
llvers her message Ill accents oil love and
devotion. The disciples listen with de-
hight, and break forth into joyful pIan,
winch is rudely broken Ia upon by st. Thomas
basso, who energetically eXcains Non Credln
Tins ejaculation blrss fdtth at intervals in the cno-
rus, aud when all the voices OF the disciples come to
a sudden close a final Non Is heard from the un-
believing Thomas The Saviour then appears and
The dlscipie eAcIaims, IN sudden outpurst OF JOY,
Ded5 issI,i Deus UieUS /! The Hn1e IL worked up
IN the grandest and most brilliant manner imagina-
bic. After the OraEorlo came Berge's RsJind cB I,
soul-lnspIrlng work. every measure OF which Qows
with sacred fire. An elaborate soprano solo, TOntn1
ergo, with chorus as accompaniment, concluded tho
musical services at this church. Tney Will be long
remembered by those wac heard them