The New York herald., 1873-12-26
ST. ANN's ROMAN CATHOLIC CHURCH.

Solemn Celebration of the Feast OF the
Nativity-Dechauer'sD Dedication Mass.
The great festival OF the nativity was celebrated
at this church with all the pomp solemnfty and
grandeur that characterizes the true Catholic OBJ
servance Of great feasts. The affairs were almost
hidden in a forest OF evergreens and conserva-
tory OF flowers, and hundreds OF tapers made the
sanctuary refuigent with light. The body Of the
church was festooned with evergreens, and the
chimes rang out merrily for the vast congregation
that attended the solemn high mass. The first
Christmas mass took place at midnight and was
followed by many others, until the tones OF the
organ in the "Adeste hdelesn announced the COM
mencement Of high mass. The mus cal portion OF
the services was most interesting. NJ Louis Da-
chauer, the organist, has for years enjoyed the
highest reputation In Europe and America as COM
poser and virtuoso. His best work, mass written
specially for the dedication or st. Ann's church,
three years ago, was selected by him to do honor
to the festival OF yesterday. The solo choir, con-
sisting OF Mle Corradi, Mile. Gomien, Herr Pnueger
and Signor Succio, was strengthened by chorus.
Tne mass il very remarkable composition,
uniting the severe religious character or the old
Italian school with the most vivid dramatic effects
in the illustration OF the sublime words OF the mass.
Those effects are principally produced by a rare
skill in the use OF contrapuntal changes, which lend
constant variety to the work without marring the
gravity and simplicity OF the general treatment.
IL would be difficult to point 70 another WORK OF the
modern school OF church music In which the har-
monies so startling diversified and yet In
strict accordance with fundamental laws The
"Kyren commences with grave instrumental
phrase, followed Dy roll OF the tympani ending
with suppncatory phrase Tor the voices. The
"Christer is a contrato solo tsung with intense
expression by Mile. Gomlen) In the old style OF
solemn chant, but enriched with harmones In
the accompaniment OF the most elaborate cnarac-
ter. The moduiatlons all through this number are
both novel and effective.
A fanfare OF brass instruments ushers In the
"Glorla," the voices giving the word 'Gorian pian-
issimo a strange erect Tne fanfare is repeated In
a different KEY, and the tremolo OF the strings
gives a peculiar coloring to the words "in excelsis
Deo,n and the first exultant phrase Ii reached in
"Laudamus Te.n The voices die away, p. p., In the
words "Benedicimus Te,r alter some ingenious
moduiatIons are conveyed in the Instrumentation.
The soprano then sings "Gratias Agimus,n a solo
full Of devotional spirit and the word "Omnipo-
tens'' Is thundered forth by the chorus. The mys-
terry OF God made man, "DOmine Fin unigenite,n
is announced by recitative In minor key for
the soprano, and abounds In instrumental enhar-
mOnlc changes, very diflicult Tor the voice, as IL
leads from one key 70 the other OF the most Oppo-
site kind. "Qui Tosn is dialogue between the
male and female voices the effect Deing similar TO
chanting alternately the words ''Who takest away
the sins OF the world.n An unacc0mpanied quartet
OF male voices In the "Quonlamn and brilliant
finale, "In Gloria Del PATHS, ABen,n brings the
"Glorla" 10 a close.
The .'Credou opens with a stately professional
march for the instruments, coming TO a sudden
stop after a few bars, v hen the voices cry out
'CTedo.r singular modulatiOn occurs here from
scribabe effect. dialogue Jnen follows between
the sopranos and tenors on tue one side and the
altos ana basses on tie other. Then the tenor
commences to narrate the awful mystery or the
redemption ol mankind. IL Is the most dramatic
and vivid Illustration OF this portion OF the mass
that has ever been gwen In any modern work. The