The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-04-27
THE MUSIC.

4 IatrlckB CathGdral To-Day, lht beTNCok
viii be among the most interesting They have
been entrusted to the care OF very distinguished
and experienced musician, Mr.. Custavc scnmitE,
organIst OF the Cathedral, who has given abundant
/ evidence on former important occasions OF his en-
/ tire fitness for such an arduous task. His selec-
lions are cminently appropriate, consisting of the
| master work OF Cherubini, "Messa Sole.nna
/ In ID mnorn and "Te Deum.n especially com,
posed for the occasion, Although Mr.. Schmtz haa
already distinguished himself as composer.
notably In the grand mass sung at the consecra-
ton OF Bishop McNierney yet, after careful pe-
rusal of tho score, we can unnesltatlngy state
that In tns 'sre Deumv he has far surpassed al
his former efforts. IL unites grandeur and SIM
pliclty OF idea and style. IL will be interpreted
to-day by y chorus OF seventy singers, amona
whom are the most eminent church soloists In
New Yo.k, ana Judciously selected string or
chestra, numbering twenty. The absence OF reed
and brass Instruments, which are entirely out "
place in church. must be regarded a. fortuitous.
The go Deumv is one of the Oldest hymns In
the liturgy OF tue Catholic Church. datlng back to
St. Ambrose In the fourth century. II has been
layorite theme with musicians IN all ages, a glo-
rious anthem OF triumph and praise To God. some
| OF the best thoughts OF the great minds devoted
10 music found expression In illustrating In
| Joyous strains this sublime acknowledgment oil
the Deity. The colossus Of composers, Handel,
has left the DetIingen "re Deum" AZ . nople
| monument Of his genius.
THE HYMN PRAISE
| The work OF Mr.. scnmltz Il divided into three
| parts tho first CONNIE nclng with the opening
verse, "re Deum audamus;' the second with the
\ line, "Te ergo quesumus tuis lamulus subVeni,"
ana the last with the words "lnte Domino spe-
\ rayiu The selections from tho musical score
| which we present to-day will give an inteHigent
/ idea or the character and treatment OF the new
4 ~
| In the work aud the change OF theme, anu eaeh 10
| continued only as far "a necessarr TO marx the
/ pont OF departure from tine preceding line oil
4 thought NO. presents the opening measures OF
1 the hymn.
i TIE DEUa LAUDAMus.
The BASES give the irst outourst OF praise ana
| are followed by tho other voices, with brilliant
passage Tor tho strings. The movement 10 spiriteo
ana worthy OF It's sublime subject. There Is nothing
| complex or aught or stralning after effect In IL
simplicity and power combine In It's MASSIVE
| measures and every voice and instruments tcl9.
At the nlth verse OF .tne hymn. ''sanctns.
sanctus, sanctus. Dominus Deus Saoaotn," tns
music changes from ts triumphal character 70
more subdued spirit The selections marked
No. and No. represent this portion OF
the work. The change from tue key OF TO tnat
or natural by an abrupt moduaton, with
Drssfno passage Tor the yiolns, 10 very enectlye.
\ Tne movement then returns 10 its former tempo
but remaining In the key OF major until the verses
announcing the various cnoirs OF saints and angeh
who sing tue praises OF the Deity In heaven ara
reached. Here there isa
REMARKABLE DRAMATIC EFFECT
The principal uass voice commences Ia reeltativs
form, "Te glorousus apostolorum chorus" do
claiming Il on the tonic. with the common cnord
sustained by the instruments. The chorus answer
| .Te Deum laudamusp IN ike harmony. Then the
recitatiye Is resumed in the verse, re propheta-
rum laudaoius numerus." a semi.one higher, with
the chord or the seventh OF @ sharp leading Into
the key OF G sharp minor, in which the chorus re.
I peat ssTe Deum laudamus." The bass then sings
sim scmiione higher Tie mariJrum candidatus
exercitus,r In the same KEY that Of toe chorns,
| and harmony nnAly moduates into the KEY Of u
major, when the chorus comes In with an aorupt
chord by the orchestra with tue word "Patrem."
All the voices thunder forth, without accompani-
rnent. nImmens9 majestais.u This part Of the
movement IL in tempo ru01to. similar effect
occurs IN the last act OF "Alda,p when Radames
Is accused by the nign priest.
| Tne nrst allegro Is then resumed from the verso,
memorandum tuum verum Ct unicum Fnium," to
me end OF the movement This IL very happy
Imitation or canon form, consisting Of TWO themes
In contrary motion. The sopranos and tenors be-
gin the first subject and are followed blythe tenori
and BASES with The second. This confines 70 the
verse, ,Judex esse crederis vensurus," and brings
the nrst part or this magnificent work 20 bril-
liant close.
begins with the verse, TIE ergo quasumus tuis
famus subveui,p an Gdagio IN nat, SHOWN in 50.
lection marked 50. 1. A solemn chord or two, ana
then the strings, muted and Eem0tandl followed by
the chorus soto Uoce, In the prayeriu invocation
70 the Most Hgn. The principal soprano slngs
"savum mc populum tuam, Domino" very
beautiful anu touching melody, with string &C
compartment "a trplets, and o. sostsn,'to char.
acter. capable or being rendered with passlonaS
expression and tenderness.
A CLIMAX 10 REACHED
a. me verse, Dlgnaro, Domino, die lsto sine pee
cato nos ,ustodlre,r as represented By the selec-
non marked 40. 5. Tie soprano and tenor taxa
up the melody ia unison, with the full chorus In
harmony. massive chords Dy the organ and an
elaporate figure Tor all the strngs-vIonns, voias,
yioloncellos and passes. The effect here 10 very
dramatic, reminding one or grand ensemble -
MeyerUeer or Verdi; but the religious character
or the work is not lost for moment but rather
intensified. AT the word ''misererer the chorus
! soaranos commences the melody already sung OF
! the soprano and tenor and the latter continue IN
! new phrases Of the same, the close Seing OF the
most imposing kind. then, contrast to the
preceding. there IL quiet suDdusd recltative,
motto sos,enuto. for the Soprano leading from the
KEY OF nat 10 that or G. few closing bars OF tns
movement, as a calm aner the storm.
rBE THIRD PART
or the work illustrates the ast verse OF the hymn
| in te, Domino, speravi; non confundar IN atur.
num- It commsnces VITA an dnddnte, As shown b.
selection marked 80. 9, consisting Of few measures
without accompaniment, followed BY an oRevrc
con brio, with tremolo OF strings. Then, as the
work draws TO close, very oeautifu harmonic
effects are introduced, and the parts respond "a
each other IKE In dialogue, shown by selec-
tion marked 40. I. The opening theme, ssTe
DeUm audamus," - resumed. and with 1t the en-
tl-e work i brought to ysnats. Il Is work thas
Is destined 10 be = loagiived favorite In tue
boendAess REPERTOIRE OF me music Of the Catnono