The New York herald., 1871-01-02
opening theme forms an appropriate ending to this

opening theme forms an appropriate ending to this
work.
IL peculiar in its construction. Two bars OF tppdnt
alone give gloomy Introduction, after which come
the celli horns and bassoons in quaint little
phrase. preceding the voices which chant KYrte
Gleason without In o sort OF Paestima-like theme
gradually increases in strength and loudness bring
ing In instrument after instrument TO swell Its
measures and when the climax is reached the first
vocal theme Is repeated, tutta The cOntralto sings
the C7p'tSte, accompanied by brass quartet, the
themeand accompaniment having Meyerbeerish
coloring IN its soinbre measures. The Kprie first
theme, Is tnen repeated.
TIE GLORIA
is si peculiar in It's construction. Two horns
and two bassoons, followed by two trumpets give
the usual triumphant beginning, and then the
voices without accompanment sing Gloria IN Excel
SIS Deo twice. Let0 and p. y. The enects very good
although this rs departure from the usual style.
E IN 7erTa PdI Is bass chorus with string ac-
compartment. Then follows highly dramatic pas
sage. The words LaudGnltls Beflediclnaus, Ad0ya.
mus GiorUicdrnus are given forth with full power,
each being semitone higher than Its predecessor.
the words, which Is appropriate. A short brilliant
and effective fugue ends the Gloria. In
besides the beautiful tenor solo which announces
the incarnation, and the dramatic effect produced
by the constant outburst OF the chorus, CructNrus
at intervals during the tenor air. most remarkable
passage Ia the announcement OF the mystery OF the
Resurrection: 1t commences with roll of the
tyhipdn and the voices burst forth In ejaculat0ry
phrases, each half tone higher than Its predeces
sor. Judging from the score this can be made
stdItiiHS uHu cHcCllVe out JuuBlnR lTom tHe per-
formance yesterday 1t was chaos. The Credo ends
with movement In the Palestima school, with the
most difficult progressions of harmony This move
ment, contrary to the usual custom is very slow.
AT THE OFFERToRY
Miss Wells fine, cultivated soprano voice was
tested to It's utmost capacity by the brilliant and
highpitched soprano solo OF the Regina ecu. The
test showed what store Of artistic talent she
possesses.
BEFORE THE SERMON
the rich expressive voice OF Nine. Krebs found
subject worthy OF 1t In q tender, prayerful Are
Marta, which she invested with all the wealth OF ex-
preston and devotion that an accomplished artist
Is capable Of But we were not prepared for such q
surprise as was given by the exquisite singing Of
her daughter whose fame in this city has been that
OF great pianist. The Agnus is the best solo, we
Oplne, In the mass, and the effect OF the chorus in
the Dona no6is ls similar to that OF one OF those
grand ensembles thai close an act OF some OF the
operas. Miss Krebs' voice is fresh, sympathetic and
cultivated to a high extent in the German school.
There Is not weak point in any OF its registers.
THE BENEDlCiUS
Is trio for bass voice. horn and viOoncelo, accom-
panied by string p,z1tcdto. We cannot accord the
same praise to the performance OF the mass as to
the work ITSELF The choir itself Is too contracted in
space TO accommodate chorus and Orchestra In fact,
the organ seems to monopOlize the entire space.
Accordingly singers and instrumentalists were
adjoining pew where they could catch glimpse OF
the conductors baton. Again, the want Of sull-
cent rehearsals was apparent, and III the beginning
OF the Gloria the trumpets came in at the wrong
place Unexpectedly nearly upsettlng all the Others
The chorus were much better than the orchestra,
acquitted themselves satisfactorily. In fact we
think that orchesras are in general unsuitable ol
the church. and good organ Is preferable TO ali the
bands III the world.