The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-04-17
MUSICAL REVIEW.

j. N. Pattson Co. have just published the six
last works Of Charles Frade, which are far superior
to his general standard. Some OF them are salon.
like In character but all OF them show indubitable
evidence OF the cultivated musician and skilled
hand. Mayath's waltz, .The Return has become
quite favorlte, and Is In large demand.
Ditson 4 Co. publish the following
Niedermeyer's "Messe SOlennele, IN minor"
This is the work which win be performed at the last
on May 8. The composer, Swiss. Is little known
In this country. He was the friend and protege Of
Rossni, and achieved high distinction In Paris.
From DR.. James Pech's admirable brochure on this
work we extract the following remarks:-
The entire style OF this mass is smooth, Moving
science and it aspires to a pleasing soiemnIy
rather than to erndltion complication er elevated
and in tha particular we have on every repetition
passed through the work with increasing interest.
Regarding the most important number Of The mass
the same writer remarks:-
The Gloria opcrs with an Introduction Of eight
measures, piGiltsStDlO, the c1eSceQO leading up to
the voices which commence Jo'1issiuO. Alter
proceeding In q bold, though somewhat coarse man
ner to the forty-seventn measure, the soft parts
commence pleasant melodlc phrase on the words
ct IN terra par homtrtbus. shortly after fmtt,
saDs wS tsRea up fourth below and
followed out BY the tenors and BASES, carried
OF Inc same meodIc phrase on the g words ..adora.
mus Te.n After this the tsut on the words "glorI-
ncamus Te'' return to similar figure TO the one
pas age which follows at the end OF this phrase. on
the words 0rdtias dgfnsus; is one OF pecu-
sweetness. After some thry.two measures this
SUBJECT ~ taken up by the quartet second sub
ect then appears also allotted to the solo tenorc on
the words Domaine Deus, succeeded by repetition
OF the 1rst subject by the quartet on Domtne dsu
untgeutte Farther on the soprano has the previous
ten0re solo on the same words. Domino Deus. The
movement Is brought to close by the chorus re.
the prevos sol ~ ena H%en s w an
gradually subsidies into ptdntssimo The orches.
trial Accomplishments throughout this number are
The Qui toiias is OF mid and placid cast The
solo bass opens the movement which l. In u minor.
IL Is solemn and beautiful. Alter slight pause on
the seventh another subject Is given out by
the solo tenor on the word mtserere, leading back
to the melody arst started by the bass interwoven
by few detached phrases Tor the solo alto. AT the
subsequent tmu passage the entire chorus bursts
forth jorttsstn.o in the major mode ON the words
repeats q NTH below the strain on the ,1tss,srs
vsn oy the teeoGs enc be s ,n
tenor is exceedingly pathetic IN character. AZ
the twenty-fourth measure on the words de0recd-
ti0nen nosfrdD,, a striking effect Is given by the
conflict OF musical accent, arising from coupets In
the soil parts In contrast with tho trplcts forming
the subject n.st introduced by the solo bass Il per-
fectly charming At the close OF TINS movement the
Qu0niuDs III sons IS introduced tempo, ana
for which the phrase previously used for the
gloria Is re-lntroduced. This continues until we
has employed the ancient STYLE and in which are
displayed the beauties VI the old school without us
many deformtes
"rhe Woman OF samarla.u Sacred cantata. w.
Sterndale Bennett. WORK Of rare merit by the best
OF living English composers. 1t Is charming from
rst to last In setting the narrative OF the journey
OF our Lord into Samaria 10 music the composer
seems to have attempted no dramatic form, but has
contented himself with giving the story ex-
acy az 1t stands In the Bible; for the
most part distributing the text among three de.
Chalmers, the largest share OF the defamation beng
assigned to the contrato singer, whose music IS at
all times Of q grave and digniaed character The
words attributed to our Saviour are, with one ex-
cep,ion, assigned to the bass voice, the greatest
care being taken that the singer VINO rectes this
portion Of the text shall appear only as narrator
It was composed Tor and first performed at the
birmingham Festival august Tg 1897 sor female voices
Campana. A beautiful barcarelle. with catching
melodies and the parts well distributed. There are
FIRE hness and ring about It which recommend ~ at
..Tnree Dvertlmentos" for four hands. W. $.
Bennett. Most admirable exercises, iuii OF interest
~ Love 10 snr.D song. z. I. Hme. very
pretty melody, which, however does not seem to be
les Adieux Waltz" Gung'i Has an excellent
Introduction, but the waltz themes are uninterest-
"Tender and True" Song. CASTOR Lyle. de.
ligntful melody, with an accompaniment OF unusual
..in Time OF tribulationr sacred quartet. otto
Lob. A commonplace, trashy affair.
"Kindcr Sonate.n In Il. Herman Bereus.
charming work, but Mozart has supplied the IDEAS
for 1t.
"l.ttle Kitty. Nocturne. w. Busenius. Trntng.
Glove Me.r Song. Campana. very pleasing
melody In the Italian style.
J. Schuberth IL Co publish Tito Matters "GraDde
yalse dc Concert" very brilliant and objective
work.
Also one OF those uninteresting left hand fantasies
BY Coenen on ''rhe Last Rose OF summer and
"God save the Queen.' We cannot class them
amonR real musical COMPOSITIONS.