The Portland daily press., 1874-06-23

tiful setting of Longfellows poem, 10y the
maestro Pnsuti. The delicate pidntssi,no pas
sages and the finely contrasting dgitato episode
were given by the Haydns with their accus-
toned beauty of tone and finish of style.
The debut of Mr.. Fisher as soloist was de-
cided success His voice is mellow and power
full, and his style refined and feeling. He
| needs only to be head to ensure him a place
among our best singers.
Misses Dyer and Russell played the fine
| overture by Killiwoda, very brilliantly, and
| with fine expression.
Mr. Whitney sang pleasing song by Abt
| with point, smoothness and sentiment. He
has acquired, however, the fashionable man
| nerlsm of the constant use of the Crenaolo,
which Is, as Mendelssohn wrote of a certain
note of the bassoons-only appropriate Gin the
| case OF witches or great grief" Mr. Whit
| ney's voice is rich and well developed, and the
| audience became at once enlisted in his favor,
| giving him an enthusiastic encore, to which he
| responded with "Alice, where art thou
Miss King is already an established favorite
| with Portland audiences. Her rich contralto
is always enjoyable, and Mr.. Marston's charm
ing song was warmly received, both for its own
| merits and that of the singer
Mr.. Pencils sweet, clear tenor, and unaf-
fected style gave pleasure to his hearers.
When time and experience have given him the
| confidence in himself that his voice and talent
justify, he will, no doubt, give out more of the
voice that he seems at present inclined to hold
in reserve He was enthusiastically received
aud in answer to an encore gave ''The Prayer
to Winona," by Spohr.
The second part of the programme consisted
of Haydn's Third Mass in D. In common with
the other works o. this composer it abounds IN
examples of skillful and learned writing, as
well as in the exhaustless wealth of spontane-
| GUS melody through which is expressed Hay
dyn's ever-young spirit, fresh and childlike as
| from Paradise. A brief instrumental passage
| introduces the opening chorus "Kyrie Eleison."
trumpet-like figure accompanies the voices
| in the first phrase-alp unisOno upon the key
note-in which the sudden descent of an octave
| gives an impressive and powerful effect. After
few measures the voices divide in four-part
harmony, and, constantly increasing in force
and pathos, ascend by means of an admirable
harmonic succession to the fern,ata ON G
minor. To this essentially emotional passage
succeeds an instrumental phrase, tender and
| pleading-already heard in the prelude-while
| the soprano solo suggests again the first vocal
| theme, repeated in the dominant by the chorus.
| A brilliant though brief soprano solo is follow
| ed by an extended chorus passage, in which
vocal and instrumental parts are alike charac-
terlzed by the wonderful perfection of detail
aDdi vigorous, natural expression of which
Haydn's compositions are models. The final
portion of the 'Kyre'' presents as it were,
resume OF its various motiUi, heightened in ex-
preston, and closing with solid and impress
| sve cadence, in which the trumpet-ike figure.
| as in the first measures of the chorus, appears
| as accompaniment The theme of the Gloria
| given out by the soprano solo and repeated lby
the soil and chorus in turn is clearly defined
and joyous. The accompaniment is remark
| able for its wonderful counterpoint; and here,
| as indeed throughout Haydn's works, is dis
| played an exquisite variety and fitness of ac-
cent. The "Qui Tolls is written for bass solo
with chorus, of which the sombre notes are
lighted by brief, thrilling phrase for the
| soprano solo. This number, beginning in the
| key of B flat, closes with pause upon the
| domi nant chord Of d, thus leading without
| prelude into the ''Quoniam tn solus," of which
| the first part is repetition of portion of the
"Gloria,' and which terminates in magnifi-
cent fugue. The ''Credo, which, 1t seems to us,
! is one of the finest numbers of the works.
| written in strict canon form and is exceedingly
| interesting to the musician as fine example of
| this difficult species of composition, while at
| the same time its beauty is apparent to the
| ordinary nearer. Not less beautiful, though
| differing from the 'tCredo" in its form-is the
GET Incarnatus' 1t begins with melody for
soprano and chorus, medtative, pure and devo-
tional, that tells of the earthly coming of the
| Saviour. Contrasting with this, is the SORROW
| full heaviness of the passage-at first U'anisono
that relates the cruciixtion, death and burial.
In1the final measures, the voices seem inter-
rupted as by sobs, and the throbbing accom-
paniment becomes fainter until the closing
chord-in which the third taken by the soproni
| gives singularly beautiful effect, as of faith
that all is not ended, of a hope held out of
coming good. The "Et Resurrexit'' abounds
in striking and noble effects. The powerful,
brilliant opening, the solemn tones that fore
tell the Judgment of living and dead; the
varied and effective harmonies and elaborate
| contrapuntal treatment combine to excite the
| highest admiration in the mind of the nearer
The ''Sanctus,' beginning with the sustained
notes of the ascription, changes TO rapid and
exalted allegro movement. The "Benedictus.'
for quartette of soil with chorus is exceedingly
beautiful and characteristic of the composer.
The.'Agnus Del, "a serious and highly impress
i've quartette containing solos for the contralto
and soprano, precedes the final chorus, ''Dona
nobis pacem." of which the treatment is large
and spirited, and which includes grand fugue
| passages.
The soloists were, with the exception of Mr.
James Whitney, the new tenor of the First
Parish church, well known to their audience.
Mrs. Wetherbee, as usual, sang with the per-
| lection of phrasing and accent in which few
| prime dome equal her; and her brilliant, pure
voice was heard most advantageously in the
music assigned her.
Mrs. Cloudy displayed a full and sweet con-
tralto voice, and sang conscientiously and with
taste. ...-t -.f
| Mr. Whitney's strong, equal tenor and ex-
perence in singing proved a valuable addition
to the artists connected with the society. In
ensemble singing, as we'll as in his solos, his for
tunate qualifications were noticeable.
Mr. Shaw's manly voice ana style, and evil
dent appreciation of music, always ensure him
| tuc COIVldl TeCcptlOu Ut 50 well ucStTteS.
Miss Dyer's Accomplishments were sympa-
thetic, accurate, and brilliant, as is always to
be expected from musician at once SO thor
ough and facile.
To the scientific and practical knowledge,
exquisite taste, and unfaling enthusiasm of
Mr.. Kotzschmar the Haydns very largely
their distinguishing traits. No words of ours
are needed to point out to the public the worth
of such an artist, not only to those directly I'M
der his musical influence; but as powerful
means of elevation of the musical sense of the
community.
We offer our best wishes to the Haydns for
pleasant summer vacation, and shall welcome
gladly their autumn reassembllng.
The Industrial Exhibition.
The eleventh day of the Industrial Exhibi-
ton showed no decrease of interest. During
the morning and afternoon the pupils of the
public schools visited the hall, and the day was
given up to a highly successful parody on
Pandemonium. In the evening the hall was
crowded on the:occasion of the benefit to the