Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1871-09-14

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statement they involve; but in the
EE i55c0g7idttEs the great master of mu
sic has reached the very combination
of musical expression. The words
are given to the solo Quartette, the alto
I aiding of, followed by the soprano
and other voices in a solemn andante,
while at the close the chorus repeat
pidniSSiB1O, as if lost in piOus wonder,
the mystical announcement, Et iacdr.
1ldtus est de SDiritu SdIlotO &c Maria
| pfrgine. Very touching, too, are the
low notes for all th1 voices on the
words, Et SeDlEltIis est; while imme-
diately after the tenors shout forth on
upper g the ReSurreritl After these
magnificent passages, the next few
pages of the music, though mastery
as works of musical skill, do not seem
quite equal to that which just precedes
them.
The iSdnctus is a low, whispered
breath, tinged with holy awe; and
then after the HOSdflnd comes that
WOndrous composition, the Be5edic-
IJtS, to which the composer has pre-
fixed g brief instrumental prelude,
which serves to afford rest to the
highly-wrought emotions which the
marvellous Mass suggests.
The BenedicttEs is an exquisite, flow
ing composition, with an introduction
for solo violin, which is scarcely
brought to an end before the solo alto
voice takes up the theme, the bass
shortly joining, while soon, as if una
BILE to resist the divine influence, the
soprano and tenor float in upon the
stream of melody. All this time an |
exquisitely delicate O6ligdtO, played |
by the solo violin, is heard mingliug
with the four voices, while the Orches-
ira keeps up q smooth legdtO sc |
compartment. Several times the |
composition appears to be approach |
ing to an end, when, after Unsccom-
panied phrases for the voices alone, |
one of them viii resume the theme, |
as though it were too lovely to leave. |
I don't know what angels sing; but |
after hearing this BenedictILs as il was
given at this centennial festival, it is /
easy to know what they ought to.
In the closing passages of the Mass
there are two very striking and dra-
matte bits of recitative for alto and /
tenor in the words A0RHs Del, while /
the MjSerere nO6iS is worked up to a
point in which sgOnizing entreaty is
with all the power of musi.
cal inspiration. The final DOHu nO5is
contains some very remarkable Orches-
tral effects.
The cultivated musician will prob
ably think these brief analy-
teal remarks on this Mass quite
but there are many
amateurs who do not pre-
tend to be cultivated musicians, and
who ought to know what an attractive
work this Mass really is. There is
lne sOcietyin New York-the Church
Music AssOciatiOn-which would find |
his great composition within its
3cope, and within its ability, too, II II
he members would only take the
are and trouble which these German
gentlemen and ladies have done in
hus producing BeethOven's greatest
in z manner worthy of
Is author.
or the three symphonies performed {
It this festival, that in c seemed to
lave the most favorable reception. {
Conductor Hitler certainly showed orr
'inality in the tempo in which he took I
ne of the movements, quite depart
ng from the usual traditions. The {
welve cOntrabassi in the orchestra ! '
uite distinguished themselves in this /
and in the famous passage | (
where they have several bars to them s
elves, there was a nervous force and [
igor in their tone which created a
Teat impression. The shouts of ap- g
lause which followed this perform 7
nee showed how thoroughly the s
udience enjoyed it. :
The EoOics symphony attracted less g
ttentiOn and its performance was 5
larred by the swapping of violin 5
trIngs under the effects of the :
ltense heat Of the room. The
1inth symphony, with which | '
be third concert closed, was v
success, the intoxicating C
aiety of the second movement | f
the hearty enthusiasm of Z
be listeners; while the tender pathos L
the third was me- lOre distinctly | a
the " y melancholy OF the =
iOlas and viOlOncellOs seeming to d
nter the very soul. The vocal PARTS 5
the symphony were sung with ! q
lore readiness and sDOntaneity than a
usual, and when Hitler laid down | 7
is baton the whole house rose to ap- | g
laud him. IT was a glorious sight to 9
se this enthusiastic audience render c
lg its homage TO art.
THE ORCHESTRA,
While the chorus numbered 373
ngers. divided into 1O6 sopranos, 90 !
tOs, 70 tenOrs and 96 bassOs, the or y
lestra boasted Of Ill members, dis !
ibuted as follows:
ryan .........-.'...... Horns .............. !
iolips -...-.... IS Trumpats | =