The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-04-22

tened 70 with pleasure and delight By the vast con-
gregation. 1t was no easy task FOR an organist to
sjstants on such great occasion, but Mr.. Schmitz
successfully accomplished It, The Mass, No. 9, by
and best forms OF ecclesiastical music, with certain
dramatic spirit that wildly illustrates the meaning
Of each divine mystery and prayeriul petition EN-.
with due regard for the capacities Of the different
voices not being one OF those works that rack and
strain the lungs OF the singer as well the OF the
listener. choir might sing II every Sunday without
being fatigued or Overstrained. The "kyrie"
opens with an andante movement in 6-S time a
short instrumental introduction preceding the en-
trance of the voices. The volins and vioas then
glide into beautiful, unduatng melody IN semi
arpegglO form, while the fundamental narm0nles
are given, broad and solemn, by the voices. Ihen
comes change into another key Qmnorl, Win
new figure for the viOns, the voices continuing as
before ana the movement comes to a close, plants
stfaO and raUentdnd0, the chorus coming III u. IN
tervals as an echo with the WORD eIeison, anu .,ic
violin melody disappearing measure by measure.
The 'sChriste'' commences with an unaccompanled
vocal quartet In choral STYLE which Il answered by
between the voices and instruments In dialogue
form is characteristic feature III the mass and has
The .Giora" begins in a singular manner with
unresolved chords by the instruments, m0duatng
ut length into the key OF major in fun harmony,
while the voices give out the dominant in unison,
and then break into
BOLD, JOYOUS AND IMPOSING MOVEMENT,
strings The altos and BASES then up take theme,
and are Immediately followed by the sopranos and
tenors in canon form until the key suddenly changes
to sharp major, and dialogue, "Et in terra pax"
follows between the voices and the instruments,
ending by series OF chromatic modulatons in +
erect Is produced by the introduction Of
four themes at once, one for each voice,
moving moving together in r harmony ,,a and merging
'-Glorincamus To-" In the .Gratiasn occurs bold,
dramatic phrase OF recitatve given by all the in
tbn
triumphantly, 'Domineln The "Deus rex cGestis"
rs detained by the chorus in staccato form, the
effect Of this entire movement being admirably
suited to describe
THE AWFUL MAJESTY OF GOD.
'tQui TOLLS" Is bass solo in nat major, and one
Of the best numbers in the mass. The chorus comes
In occasionally as an accompaniment. The suppli-
cation for forgiveness Is dramatically besOught by
the bass In short recitative without accOmpani,,
meat. The bass voice then continues the theme.
while the chorus answer at intervals, "Miserere
n0bis," and the movement gradually slackens
with the pizzcatO OF the contra basses. The 'Quo-
MANI is a long, elaborate and well written soprano
The finale "Amen," IL, In an artistic point OF view,
the gem OF the entire work. 1t Is entirely out Of
altos, tenors and basses give the fundamental har
m0nies which are constantly changing; the So
pranos sing brilliant, telling tneme and the in,
norid passages. very happy idea is the sudden
change from to 9 major, the voices singing
3Gloria In excelss" in the common chord Of the
latter key without accompaniment The 'Amen"
Is then resumed, and in one passage the voices
sing In unison in plain chant FORM while the har-
mOny is given by the instruments.
The "Credo," the most important musical num-
Der In the mass, opens with a iorid figure for the
organ and string Instruments, all In unison, while
the chords are given by the voices. ''Deum de
Dec" is an unacc5mpanied chorus in rather
SEVERE ECCLESIASTICAL STYLE,
and 'Et Incarnatus' is an alto solo OF SURPRISING
lOveliness, full of passionate tenderness and eX-
precision, with brief introduction by the CELL and
vtOlaS The chorus comes in at intervals during
the 'Urucifxus' In harmony, which Is kaledO-
scopic In its variety and effect. The end Of this
and tender. Then comes "ht Resurrexit, joyous
and blatant, with voices and instruments aternat-
Ing IN dialogue form, and eft in Spiritum,"a trio
followed by the bass, in different key and then
the soprano repeats 1t in q another form. They
all come together in close harmony at the end.
"Et vitam" Is chorus without accompaniment,
and "Amen" similar in form to the corresponding
movement In the Gloria, with this difference that
A novelty is the introduction here OF sixteen bars
Of cnsatsls frnaus for the soprano and alto
The "Agnus Del" from beginning to end Is a con-
eerted piece OF the style Of those magnificent esen
Dies 80 popular In opera. The theme Is given out
rfched by the other voices and the orchestra. The
theme for the viOns is ltalianike IN its sensuous
beauty and touching expression; c<
prano; Mrs. Gross, soprano; Mrs. Unger, alto; Mr..
Denhof, tenor, and Mr. Urchs, bass; and the chorus
chestra assisted the organ, at which Professor
Hchmitz presided The performance OF the mass
was we nigh laultless the chorus giving an ese
met with in this city. The orchestra was carefully
selected from the Philharmonic Society, and the
firm guiding hand and excellent organ playing Of
Mr.. Schmitz were felt in the precision and spirit
with which each movement was rendered. Madame
ChOme gave an effect to the 'Quoniam,' her prin-
cipaI solo, which placed it in it's most favorable
hight and to an 30 Salutaris," by Rossini, which
she sang at the oertory, she brought the training
and resources of thorough artist Mrs. Ungers
beautiful, sympathetic voice found congenial sub
ject in the ''ven Creator" arranged from the we'll
know prayer from "Stradella," which Immediately
sang 80 Jesu Mi" lively theme by Weber, and
showed that she was possessed Of soprano voice
Messrs Demon and Urchs were in excellent voice,
and contributed small share to the successful
rendering OF the mass. Seldom has such grand
musical programme been carried out at one of our
churches with such completeness and without
naw