The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1874-12-08
The Haydn Concert.

ue xhayuu OOMCcTts
The private concert given to their season
ticket holders by the Haydn Association last
evening was, as anticipated, delight to lovers
Of music. The audience was large and select,
there being present nearly all those in the city
who are prominent in the study of music.
The concert opened with the choral ''To God
on High" from Mendelssohn's st. Paul, Sc
lection which was excellently adapted to dis
play the admirable sostenuto and fine, inteli-
gent shading, which are specialtes Of the
HaydnF
Miss Staples fresh, sweet voice found scope
for the display of its qualities in the song 'Del
Cel Regina" She was warmly received by
the audience, with many of whom she had
previously established herself as favorite.
Miss Blanchard's piano solo, a ballade in A
fiat from Chopin, was an admirable interpreta-
ton of the passion and languor so characteris'
tic of Chopin's compositions.
Mr.. G. III. MLellan's hearty, robust render
ing of Memberships 'I'm a Roamer," pro-
voked hearty applause and an importunate
encore, which was gracefully responded to.
The first part of the concert acceptably
closed with a quartette by Mrs. Wetherbee,
Mrs. Goudy and Messrs. Pencil and Coyle-
Pinsuti's ''The Sea hath its Pearls compo-
sition whose varied and expressive melody and
richly colored harmony always cause its favor
able reception. The finished manner in which
it was rendered called forth an enthusiastic
encore, which was graciously responded to by
the Quartette
Beethoven's Mass in G formed the second
part of the programme. The "Kyre" is not
the prayer that hopes almost against hope, the
agonized entreaty of trembling men-as it has
been often made by other great composers-but
seems rather to be the expression of pious re-
pentant meditation. The opening phrases are
tuneful, simply harmonized, and most ex-
pressive. They seem to give, as it were, the
keynote of the whole compost tion-a calm, no.
BILE and finished work. The constant employ
ment of double thirds gives to the first part Of
the "Kyrie'' an effect of harmonious purity and
richness. After an earnest episode introduce
ing keys a little remote from that of G the
original theme returns, succeeded by a few
measures which terminate the number The
'Gloria'' is vigorous and exalted; the forcible
scae-passages of the accompaniment seeming
to lend wings to the soaring voices. After the
hiShs oeAohSiJ eeNSOutCo puittoCc WIN GAlSh ~
begins, the soft notes of set in terra pax
smooth the way for the announcement of
good will to men" which is briefly treated in
fugue style, and is interesting in subject and
manner. To the contralto solo are allotted the
first measures of the ''Qu tollis''-and these
sombre tones, the calculations of the chorus,
and the pulsating notes of the accompaniment
are highly emotional. The ''Quoniam tn So
lus'' contains superb fugue. The ''Cred0''
opens with fine effect, and one characteristic
of Beethoven's genius. After two instrumental
measures, in which the exclusive use Of the chord
of G leaves no doubt in the mind Of the nearer
as to the key in which this number is written
the four vocal parts aH 'unisono, supported by
the continued chord of e in the accompaniment
sing in long, not loud, tones the words 81 be-
lieve." After this simple, emphatic statement,
the voices pause-soon to resume with height
ened accent the triumphant recital of their
faith. The striking intervals, the powerful
harmonies and the admirable figures of the ac-
compartment, combine to form noble effect
one that must be heard repeatedly to ensure
full appreciation. The 'Crucifxus'' contains
fine harmonies, notably some chromatic pas
sages. The effect is gloomy, tragical-lacking
perhaps little the tender. even personal, grief
with which parallel passages in the works of
Bach and Haydn are penetrated. The voices
repeat one to another the word which has set
the seal to their sorrow. The fugue set vitam
ventura seculi'' is very elaborate, and of marked
interest to the musical student. After the Wig
orous "Pleni stunt coeli'-which presents very
noticeable points to the musician-occurs the
more TRANQUIL "Benedictus,' ending in short
but remarkable fugue, of which the strongly
accented theme, intricate counterpoint, and inn
portant accompaniment recall somewhat Han
deps manner. The "Agnus Def is magnifi
Gently written and it is with diffidence that we
venture to think the first notes too high for the
voices, consequently detracting from the ease
and expression. The wonderful pathos and
fine contrapuntal effects compel throughout
this number the attention and admiration Of
the nearer. As the finale of the "Dona nobis
pacem' reappears the gentle entreating theme
of the 'tKyre;" and softly, peacefully, as it be-
gan-ends this rich, thoughtful. and earnest
work of the great composer who has so truth
fully expressed the deepest feelings of human
spirits-and has translated into music the I'M
transatable into words.
The chorus of which our musical public are
so justly proud, is too well and favorably known
to call for extended comment. 1t always
proves itself equal to the tasks, often arduous,
imposed upon it. The soloists, Mrs. Wether-
bee, Mrs. Pratt and Messrs. Pencil and Coyle,
acquitted themselves in an eminently satisfac-
tory manner. Mrs. Wetherbee's voice is like
the strong, sweet, black wine of southern
Spain. Mr. Kotzschmar approved himself
once more model conductor. Miss Blanchard,
the piazaiste, discharged her duties to the gen.
eral acceptance, producing the marked and
favorable results which always follow upon
| earnest and aDpreciatiye study