New-York tribune., 1874-11-18

Suddenly the instruments are silent and the
bass chorus breaks into the dying cadeno
with an abrupt change of key, setting us fugue in
major. the 1'e deceit Hvmnus," sober, vigorous
and strictly ecclesiastical which the choir gives
without accompaniment. Then the whole introduce
ton is repeated, and come to the real business OF
this first DIVISION the Kyre eeison.' Its motive
is given out with great dignity and elegance
by the tenor and taken up by each of the principal
artists in turn. The quartet is soon Joined by tho
full chorus; this gives place to double sestet. and
the movement closes with fine ensemble. The
ford counterpoint in this number, supplied by the
instrumental bassos will be generally admired
The second division of the Mass is by far tho
most important as well as the longest, and 1t
is here in the illustration of the great Jndg-
ment Hymn, that Verdi has been most Law
ish of his melodies and most ingenious in tho
arrangement of grand effects. The whole hymn
comprises nine distinct numbers, several Of which
ara conceived in the most majestic spirit. 1t opens
fortissimo with an astonishing chorus IN minor.
Bass aud tenor first proclaim the Day of WRATH"
then the full choir bursts forth in cry
of terror and amazement four parts shout
ing in octaves, on note sustained through
four bars, while the second sopranos, second altos.
and second tenors have rapid undulating passage,
and striking agitato is executed by the strings.
The rest Of the strongly accented by the Dass
tuba. is forcible rather than grand. and the uexs
verse "Quantus tremor." borrows from It's thin,
trisky and jerky accompaniment theatrical char
acter which does not belong to the vocal parts.
Theatrical also but unquestionably brilliant Is tho
ALLEGRO which ushers in the Tuba mrum" The
blast of Judgment is figured by trumpes in the or
chestra. supposed to be answered family oy.
others at a distsice. To the clangor OF trumpets
are added gradually the rounder voices Of the horns
and the movement goes on gaining constantly In
animation and gathering force until it reaches .
climax in q passage marked ~ tuttd forsd Here.
in the only orchestral episode Of the whole work.
Verdi had magnificent opportunity, but be Is nos
a symphonist and consequently no was not equai 70
it, The effect of the trumpet passage was marred.
to be sure. last night bv an imperfect performance
but one cannot look at the without surprise a
the weakness Of the harmonics and the common
place combinations Of the climax The trumpes
scatters its "wondrous sound" all through
the succeeding short chorus, until tho
music breaks off suddenly, and single
bass voice represents the stupefacton of death and
ma ure r. Mors supsbit ct natura y at the spectacle
of til resurrection. The idea IS conveyed by mo
simple sxpedient of q long pause between Iepea-
tions of t. sword Morsy the interval being partly
filed by a broken accompaniment on the lowest
of the contrabassi. The "Liber Scrptus" is fueue
which calls for no special attention The last part
of the Dies ire' is repeated after it, and then we
come to the trio, "Quid sum miser," an adagio in
minor. which opens with the following phrase for
the alto: