The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-09-25
ST. FRANCIS xAyIER,S CHURCH.

Great Musical WOrk-ScrmOn by Rev
Father MOrrick, s. j.
Rev. Father Merrlck, $. j., pastor OF this beautiful
little church, preached an eloquent sermon at the
Gospel OF high mass. on the text from Matthew
XXI, 36-"Thou shalt love the Lord thy
God with thy whole heart, and with thy whole
soul. and with thy whole mind, and thou shalt love
thy neighbor as thyself" He strongly recommended
the constant practice Of charity; and now that all
have returned from their summer vacation and
commenced new year Of labor and business pur-
suits, the wants OF our neighbOr and sympathy with
those around US who may be In afilict0n or surer.
ing should be guiding rule in lives Charity TO-
ward all Is the fundamental principle Of the Gospel
BERaE's THIRD MASS,
the best of that eminent composers WORKS. con
stituted the musical services in the morning 1t Il
Intensely dramatic In character-that Is, 1t gives
most vivid musical illustration OF the sublime
words OF the mass. 1t Is also sui OeneriS-un
like even in Its construction any other work
ancient or modern. The introduction alone is
grand work OF art. Tue Kvrfe opens in tho key O.
minor, with solemn and religious movement
well adapted to the prayerful character OF the
words. It is somewhat OF the medieval Church
school. grand ani impressive Astounding In artistic
modulations and alternating phrases for the DIFF.
ferent voices, recalling the days when dark
robed procession OF monks wendell their way from
their coisters to some Gothic cathedral, chanting
the Kyrte In subdued tones.
AS HUMBLE PETITIONERS
before the Throne Of Grace. The Christie is an alto
solo IN G, and has very peculiar accompaniment,
which in orchestral setting would be very effective
This Is q solo OF the most exquisite character In
point Of expression of mingled humility and hope
1t ranges but an octave, and comprises the best
notes of the contralto voice. The opening theme
Kv,fe, is then repeated as q sort OF echo of the
tender pleading OF the contrato. The erect is Of
one penitent begging Tor mercy, with the suDdued
A TRIUMPHANT FANFARE
ushers In the Gloria This part OF the mass Is writ
ten IN four and eight parts, aud Is great work IN
ITSELF The opening theme Is bold and joyous, as 1t
should be- and then come some Interesting and
novel phrases especially at the Laudana,ss, where
repeating the words as il in trumpet tone. Further
down In the score we have two distinct melodies for
soprano and bass while the tenor continues its SIN
gle fanfare and the alto sings second to the soprano
The one note repeated so frequently by the tenor
lends strange character to the music The ~Gra-
grand declamatory recitative. A lovely, plaintive
anddnte In fiat follows, which is full or tenderness
aud expression me succeeding allegro, "Domine
oUTsPoKEN DECLARATION OF BELIEF
In the existence Of Supreme Being; but there Is
who died to save US. "Qui Tollis," trio for So
prano, alto and tenor, commences with the alto
alone; then the soprano takes up the subject
with the alto In harmony, and the tenor moves in
contrary motion. producing in the various moduia.
T an % Inc
In unison. and the words. Jesu Christie are in dIa
logue form for the different parts: The finale
ala brere time, with very melOdious subject.
When the "Amenn Is reached there are eight parts
Die. After the fugue comes q pause ana all the
voices cry out che opening phrase, ''Glorta I" The
"t redo begins with spirited subject for the organ
alone In canon FORM the bass being the first voice to
make the profession OF belief The chorus assent
III the most emphatic manner to the various articles
in the creed. "Et ex Patre" is one Of the most
beautiful selections In the mass 1t Is a septet for
soprano alto, two tenors and three BASES: .'Qui
Prop!er Nos' Is duet for soprano and an alto IN
voice, as the parts move IN contrary motion. The
'Et lncarnatus' comes in this duet, the only exam
ple we have seen OF such an arrangement. The
reason Is good one, rs the
MYSTERY OF THE INCARNATION
is inseparabiy connected with the love Of God for
and tenor, with six different voices as accompanl
ment Nothing can exceed the passionate grief,
nouncement Of the Crucinxion. The voices die
away in plaintve tones IN the words sepnttus EST:
pa Of Il mass Tne s W
q startling chromatlc passage, typical of the burst
ing open OF the tomb. The BASES then announce
the great event and the other voices come In one
chord Of the diminished seventh. A broken
merging into eight parts, which give a succession
OF abrupt, startling discords, producing an indie
calm and grave Sedei ad dertram is in the key
OF r. 6S time in four parts, for female voices alone
Ell aerum rentrenes csc is in eight parts ala brepe
time and the words Ell aO1tuS, are for four voices
SOLEMN AND SLOW IN MOVEMENT.
eft in Spirltum" IS a soprano solo in minor,
with peculiar accompaniment in 6-S time.
1t is grand theme treated in broad and religious
manner. Next follows trio Tor tenor aud basses
~ ae foness for Contrary NOTION u aSas
brought out rendering II very diicult for the sing
ers and less effective. The expectation Of future
10 ffrQf nvNrA hV 10 In nf hnn
full and calm delight and then the voices break into
q brilliant ala oreUe movement, in which occasion
ally
TWO DISTINCT MELODIES
can be heard. The ''SanctuS,u the next number In
The mass begins With iui GnS9ns n Of Joyous
tenor and bass In unison, with female chorus &C.
compartment. followed by an entirely new subject
Then the female voices repeat their melody, while
the male voices sing the first subject both themes
being entirely distinct. Beredtctus is quartet in G.
changing to nat, with subject for the tenor, and
ending abruptly in D. Agnus Del is In nat, triple
time, and opens with canon for soprano and bari.
tone, the chorus answering at the end OF each
phrase, Mtserere. Then we have quartet In G,
changing back to the original key, with subject for
chorus In which the BASES ask alone for
peace and are answered by the other voices Such
mere words can convey an idea OF its many beau
tess II Is vet in manuscript FORM and certainly Mr..
Berge owes i as duty toward art and the public
orchestra it oers special advantages in the accom-.
paniment on account OF its intensely dramatic cha
racter There we're
SIXTEEN VOICES IN TEE CHOIR
Yesterday, the solo quartet being as before, the
Misses Werneke and Messrs. TamarO and Bacelli.
The last mentioned gentleman possesses q nne
baritone voice, but he does not always 1t Judi
ciously, nor pay strict attention 10 the music A
little care on his part would remove most OF the
defects in his singing. At the 0nertory Cherubinis
lovely anthem vent Jesu was sung as solo quartet.
Rev. Father DAILY, s. j., was the celebrant at high
mass. Solemn vespers were given IN the afternoon,
during which Variants SdlUe Regina was rendered
with rare eject. On Sunday next the choir sing
MOzart's Twelfth Mass without any alterations or
omissions. Or. Berge, the 0rganist played the
brilliant style.