The New York herald., 1871-09-18
ST. ANN'S CHURCH.

Opening of the Musical Season-R ossini's
Messc SOIennclie.
4 The quartet choir OF this church, having had a
long vacation and good rest, resumed their labors
yesterday. The quartet consists OF Mrs. De Braux,
soprano, Miss Gomen, contralto Signor Errani
tenor, and Signor Remi, bass Mr.. Louis Dachauer
presidcs, as before, at the organ. For commence
ment of the long season before them, the choir Sc.
lected most ambitious work, the Messe SOlennelle,
OF Rossini which was first performed here at
the Academy OF Music April -, 1869.
The Messe Is trying work, with
large, well-dred chorus ana TO a quartet II pre-.
sents immense difficulties. Every one VIII remem-
Der the .dGsco male when it was first presented to
the American public, owing to those dreadful peo.
pie, the Italian Opera company, 10 whose hands 1t
was entrusted and the very important fact that the
Orchesratlon was not Rossinl's, but the nandwork
OF an obscure German ndder in the Bowery. The
Messe was originally written with an organ and
piano accompaniment, and it was given in tins
manner yesterday, Miss Marie Krebs beng the
pianist.
The "KyrIe" gives very favorable introduction
to the work, Tue "Agtato' in the bass, which, by
the way requires 10 be distinctly marked by the in
struments contrasts beautifully with the large
pure, ricn harmony Of the voices The contrapuntal
character is simple enough in appearance, hut be-
meath IL Is a rich mine OF expression. None but
grandeuy oT the composers ideas can do this
opening justice. The 'Christer IS a real Old.
fashioned canon which the quartet sang charm
ingiy. and winch an ordinary chorus would butcher
unmerciuy. The ''Kyrie' Is then repeated in
major KEY, corresponding with the opening minor
theme.
rhe 'Ciorian opens strangely and, to our way OF
thinking, weakly. IL Is rather commonplace
The dinerent voices enter into the DOMAIN OF har-
mony The succeeding anddntlnO, "Et IN terra
paX,n - bass solo, with very enective IRON It's
peculiarity) accompaniment, built upon alternate
tonic and subdominant chords, which pass from key
TO Key aUruptiy. but with singular effectiveness.
Aglmus,' Is Rossinian In every sense OF the word,
and more delightful ody never emanated from
the fertile pen Of the composer, The tenor solo,
"DOmne Deus.N Is Oi the same rObUStO character as
The 'CuJus Anlmam,n from the ''StabaJ Mater" and
ike II Is better suited for the opera than the church.
The Qni tOufs duet for soprano aud Contralto Is
real gem ard inter esting IN every measure Next
comes rather labOred bass SOLO, QAOJ.tdn. cu sous
| SdHctds, winch Is rather unnecessarily spun out.
The great double fugue at the end OF the cora can
| only bc made effective with large chorus. The
drowned by the other VOICES. The C,edO opens IN
MASSIVE, broad dgnided style for the voices alone.
| The C17lciErus soprano solo, Is another OF thOse
| exquisite RosslnIan melodies OF rare grace anu
| beauty but rather inappropriate Tor the suUect-
| the tremulous mystery OF the Redemption. AS
''Swan Of Pesaro.u Immediately before IL came tne
"Et Incarnatns." strong, effective illustration Oh
the Incarnation and one that calls Tor all lhc eA.
preston and artistic spirit or the singers Tne Ell
| Resunexit' opens tamely aud without producing
| the effect desired IN illustrating sucn tnemc'