New-York tribune., 1874-11-18
MUSIC.
vERDps REQUIEM. MASS.

NEhDIS hEQUlEM. MASS. .....-..,..
The Requiem Mass composed by sig VERDI IN
honor of the memory Of his friend Manzoni has
been performed we believe only in Milan where II
was first produced on the 22d Of last May the ami
versary of Manzonis death in Paris, where 1t was
given under the composers direction at the Opera
Comique on the 10.h Of Juno; and in New York,
where previous to the complete representation last
night, it had been sung twice by choir under tho
charge Of Mr. Louis Dlchauer, with organ accom-
paDiment. Both in France and Italy 1t was heard
with enthusiastic delight. In some other countries
wbero it has not been heard at all, it has
sharply reviewed Such differing judgments wero
only to be expec ted. The Mass abounds in charming
mclodc phrases and startling dramatic effects which
were sure to fascDate the French and italian TASTE
and it betrays besides many surprising crudities .
contempt for scientific Journalism aud the solemni-
ties of genuine church music which could not readily
be- forgiven in Germany Won Btilow called IL ian
opera in ecclesiastical costume y lOper I'm Kirchen-
gprond and the phrase was an opt one ferdl Is too
gcat a master even OF stage proprieties TO
forget the somber and awful Spu't OF bis tbeme'
and his poetcal appreciation IL too correct 10 per-
init him TO decorate 1t with such light ana eIe@ant
fancies as Rossini bestowed upon kindred subject
The composer of the "Blrbere' took up tho
pathetic text of the "Stabat Mater" with as bthe
Beaumarchais' comedy. The author Of tho Mesa
da Requiem" has reverently striyen to preserve at
least the outward forms of devotion, sDrrow,
and religious awe. But deeply though
some of us may be moved by his solemn
and at times magnificent strains. we cannot resist
the conviction that this il work for the stage and
not for the sanctuary IL is sacred musical drama,
not text for religious worship The fugue and ths
cantileua the majestic roll of choral hamOnics the
blare Of rich orchestral passages, and the hord
ornaments of a free accompaniment, are mingled
after fashion which purists viii call scandaous.
Although the fugue form is frequently taken up it's
never long sustained and of the writing In this
style. except tho double chorus at the end,
especially ngeni >us. But every page in the com
position is Electrically efeetive There are no Gun
passages 1t is all fresh. original. unhackneyed.
Following the requirements OF tho Missai, the
Re1uiem is written in seven divisions: !. Requiem
and Kyrie; 3. Dies IRE; 3. Oiertory; L. Sanctm;
). Agnus Del; 6. Lux 9terna; 7. Libera. IL begins
with solemn and beautiful phrase in minor.
given out by the violoncell and bassoons as softly
as possible The voices chime in on the seventh
measure, tenors and BASES murmuring the prayer
for rest almost below their breath and sopranos aud
altos answering on the same chord. The beauty OF
this introduction is chiefly in the orchestral part
the chorus utterng little more than broken and
dreamy interections. A few measures OF rather
peculiar construction are assigned to four soprano
voices, on the words "Dona els D)mine." the voicea
giving merely the middle part in a series of har-
monic resolutions which are fully wrought out by
the orches ra; and then. with change into the Key
of major, the muted violins play the following
charming little fragment of melody, while the
chorus still pianissmo, continues "Et lux per-
petua":