The Rutland daily globe. [volume] (Rutland, Vt.) 1873-1877, 1875-01-06

bans, on Friday evening the 1st inst, by
the convention of the Northern Vermont
Musical Association. As musical pro-
ducton it is worthy of great praise. aud
having been introduced under sIch favor
able auspices in tins state, we give q bliet
sketch of the story, together with some
comments upon the manner in which it
was rendered at ST. Adams. It's distin-
guished author was present and directed its
performance. The chorus numbered over
two hundred voices, and showed excellent
drill, giving their part Of the caotata with
splendid effect.
The story is from Washington Irving,
and is of the time of the Moorish wars in
Spain. The dramGtis pers9aae, as taken at
st. Adams, were as follows "Don Munio
de Hinojosa,' b. ID. Hopkins "Donna
Maria,' his wife, Mrs. II. +. II. Carter,
soprano "Abadil," Moorish Prince, DR..
John Sheerar, tenor "Constanza," his be-
trothed, Mrs. Agnes Giles Spring, con-
tralto ''Rodergo,' Il messenger, A. J.
Phillips, tenor and huntsmen AMI women,
both Spanish and Moorish, by the chorus.
The work begins aitll dramatic overture,
full of life and variety was played
by the orchestra, the Beethoven Quintette
Club of Boston. The first choral number in
PRODUCES chorus, by the tenors and bassos in
the court yard Of the Spaniard, cxtolling
the delights of the hunt, very lively and
| free Then appears donna Maria in her
chamber, who INDUCES in melancholy
musings, in Rotations and arias. There
follows the sound Of worship the chap
| lain, women and servants sing Gloria,
then an Ave Maria, both of which arc
charming compositions, the latter truly de-
votlonal. This is followed by solo by
"Don Munio," while morning opens IN the
forest. A Moorish march is heard, then a
song of Moorish women meantime the
Spaniards are supposed to be gathering and
suddenly surrounding the Moors, their song
of triumph, blended with the Moors' de-
spair take up the story The latter yield,
however, and then their chief, "Abadil, -
makes known to "Don Munio" that he has
interrupted wedding cavalcade. The
Don at once greets him and his bride aud
guests, and offers them the hospitality of
| MS Cuhtic, tucic W tcleDIult lutlI Hupluuls
and then to so free. With united chorus
of praise to nlagnanimous Don Munio, part
first ends. The second begins with reel.
tative by "Abadil,' on a terrace of the
castle, followed by song that in verse and
music is exQuisitely tender and graceful
The chapel chorus is then heard chanting
the evening hymn "Jesus Dulcis Memorial
A delicious duet between the Moor
ish lovers closes the ensuing scene.
Then festal chorus, after the marriage,
opens the morning, Il bolero for the orches-
ira follows, and the host and hostess and
their guests part in quartet. The next
number shows "Don Munio" and his wife
parting, in duet which is grandly pathetic,
many years having passed and the call to
war against the Moslem summoning the
Don from home. A clashing battle hymn
follows. The next number is n requiem
by the chapel choir, succeeded by recita-
tive and chorus revealing that " Don
Munio" has died by the hand of his friend
"Abadil." After that comes the messen-
ger, "Rodergo," from Palestine, telling
the wondrous tale of "Don Munio' and his
seventy warriors fulfilling their vow OF
kneeling at the Holy Sepulchle and fading
into empty air as there they kneel. The
finale Is powerful hymn of religious tri-
umph.
AS will be seen by this brief sketch the
story is full of coloring and would elabo-
rate easily into an opera. The music
throughout is free and very effective. On
Its merits alone, 1t ranks its author, as he
Is now becoming universally acknowledged
TO be, the best Of American musical COM