The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1873-06-04
Pnine's ST. Peter.

ed general high culture in art; and partlcu
larry in music, which in the worlds history has
ever been a later result of civilization, than
painting or sculpture. 1t is only within ie"
years that music has been recognized heic 'A
its higher significance, and the great 'n1 .-.;th
mortal works of the masters listened u wa"
eyer-incraasinp enjoyment and auiii
Nothinr conld more distinctly indicate the great
-, ID than the successful attempt
h., . ,otivo oomposer in the high and austere
do,,or.n,ont of the oratorio; and its intelligent
I'D ,deonate performance and cordial recep
ton in his native city. Without the aids, ad-
ventitous and distracting, of scenery, costumes
and theatrical situations; without the excite
ment of powerfully portrayed human passion,
an oratorio mutt depend wholly upon its merits
OF sincere thought and feeling, expressed by
means OF appropriate and learned musical
forms OF writing In this, we do not hesitate
to say that Mr.. Paine has succeeded IN his ora.
torio, ''St. Peter
The overture would seem to express the
mighty unfor" ed longing of the people, led by
pre- SCENT instinct to look for dvner and
clearer knowledge Beginning with an adagio
movement in B b iminor, the melody-of which
the accentuation is most expressive-socn be-
comes more agitated. A powerful motif in the
bass, emphasizes the reiterated questioning.
Like q prophecy of coming COED, as yet I'M
known, is the brief caatilend of the wind instru-
ments, recognized by the eager upward rush OF
the strings, until the repeated dominant of C.,
commented upon by an earnest bass subject, is
at last accepted as the long sought solution.
int tha nj nd cf;r OH
rus, expectant of triumph, 1.-THE time is fulfill
ed" The second theme of this number, re-
pent and believe" is exceedingly well written
the striking intervals TO which is set the word
Repent" contrasting with the elaborate fig
ures of the words, sand believe the glad tidiugs."
This first chorus would alone be enough to
prove that the composer was familiar with the
traditions of the great contrapuntists, and knew
how to adapt his resources to the just expire ssion
of his ideas. The important aria for soprano,
THE spirit OF the Lord is admirable and ex-
presSivs. The representation of the twelve dis
ciples by individual singers, instead of the vol
ces of the whole chorus, forms a very dramatic
feature of the work. The first chorus for these
twelve voices, tenori and bassi divided begins
dPanisono, with melodIous and clearly detin-
ed theme, "We go before the face of the Lord"
AT the words ''By the remission of their sins,
the voices separate in skillfully written four
part harmony, to which is soon added the mix
ed chorus. After lovely chorale-of which
the harmonic progressions and instrumental ton
given to it by Mr., Paine, are well fitted to the
grand simplicity of its melody-a brief phrase
of soprano recitatve precedes the question Who
do men say that amp" answered by very
expressive and original passage for the disci-
ples and by the emphatic phrases of Peter.
After noble tenor drioso, occurs the grand
aria for bass, "NIy heart is glad, a song of re-
ioicing and hopeful strength. "The church is
built" is very solidly written chorus in two
well-contrasted movements, in which, as in
many other numbers, the composer displays
great command of the resources OF his art This
exalted and powerful number closes the first
scene of the sacred drama.
A soprano recitative begins the scene upon
the Mount of Olives, and is followed by most
expressive drioso for the tenor The recitative
Before the cock crow" is answered by Pc
ter's confident words, repeated a fourth higher,
with increased emphasis by the disciples The
lovely aria for tenor, ''Lst not your heart" is
exqus' tely tender and peaceful. The beau
tiful quartet and chorus ''Sanctify us, seems
to us, rather written upon the models afforded
by Mozart. in his masses, than upon the sever
er types of sacred music; and is a very attract
i've number Of the work. A coEtralto recta-
tive narrates the coming ofJudas with the null
titude. and the desertion of the disciples. In
the succeeding chorus, "We hid our faces
from him" the composer has arrived at most
pathetic expression of worlds woe and con-
triton. The accompaniment to the second
theme, she was brought!asa lamb. "is noticea-
BILE for the mastery management of counter
point and its original and admirable harmo-
MES Next follows the highly dramatic scene
where Peter denies his Lord. The orchestra
tion of this passage is exceedingly vivid. After
the lamenting interlude which depicts the re-
morse and despair of Peter, comes the repent
ant pleading aria 30 God my God, forsake
me not" To this succeeds solemn and beau
tiful chorus of angels-soprani and contralti
divided thus complementing the similar chorus
of bassi and tenori The notes of the harp alone
accompany the voices, until the entrance of the
vigorous and cheering allegro theme for full
chorus, "And he that overcometh." A seri-
GUS and expressive contrato aria "The Lord is
faithful and righteous precedes the chorus
awake thou that sleepest" (which is very pow
erfully written, including fine fugue passages
With this climax the first part of the oratorit
closes.
The Ascension forms the sub ject of the sec
ond part, which begins with the chorus "The
Son of Man," telling the story of the crucifx-
ion. Nothing more profoundly pathetic NOR
simply touching in its utter grief, can be imag.
inad than its opening phrases. 1t recalled u
us the tender heartfelt strains full of love ant
sorrow, with which Bach in his marvellous
"Passion Music" mourns for the dead Saviour
as for one to whose life and sufferings he had
been an eyewitness. After the first mournful
phrases, aP unisono in f minor, closing on the
dominant chord of which the fifth only is taker
By the voices. giving an indescribable effeut Of
vague fear and wonder, to which no solution
presents itself-for the brass instruments is SEQ
ed finely managed and strongly accented sue.
| cession of harmonies, while the voices narratt
| the crucifixion. Like burst of sunlight, come
the chorus And on the third day." in the Ike,
| of f major, and to which the prominence o
the chord of imparts peculiar vigor ant
| brightness. Another chordle expressive o
trust ard hope, is followed by beautiful seen
for tenor and bass, of which the recitatives an
ariosi are full of life and expression a sopra
no recitative and the chorus ''If We then b,
risen," somewhat in the modern style of writ
ing, and exceedingly spontaneous and tuneful
! After contralto recitatiye and an impressive
and majestic soprano aria, so man of God,
the scene of the Ascension closes wi h beauti
full quartet, Feed the flock of Cod
J The tenor recitative relating the miracle O
the Pentecost, is remarkable for its wildly de
scriptive orchestral accompaniment. To thi
succeeds the chorus 'The Voice of the Lord
The theme is admirably Indicated and thi
number seems to us among the finest and mos
original of the work. The wondering choru:
''Behoid! are not all these Galileans?', precede
soprano recitative, and an aria for Peter, {
the highest dramatic interest both in its voc;
and orchestral parts. To this is ontrasted tn
sombre, meditative aria for contralto "As fc
Man" which is written liz a large and mob
manner, with very beautiful accompaniment
| To the agitated and intense questioning of I'll
| ,ooo1o syUhot cba II VIC flo IN 10 saved - Pot,