The Portland daily press., 1875-09-30
THE FIRST PERFORMANCE OF
BELsHAZZAR.
A Successful Opening Might.


ten to the cantata of Belshazzar and evince,
their enjoyment by cordial and Discriminate,
applause. The performance was deciGe
success; there were, it is true, the occasional
roughnesses, lapses of information, etc., almos
nseparabe from a first performance; but thes
were readily overlooked 10 the general excel
ence and spirit of tie rendition. The per
formers evnced careful and musician-lik
study; and the action of the chorus as we'll a
of the soloists, was good In brief, the result
of the evening must be most gratifying to tn
composer, Mr.. Butterfield; to Mr.. Fitch, unde
whose steady and intelligent leadership the
cantata has been studied; and to Mr.. Stock
bridge, to whose efforts its production in Port
land is due.
Mr. Stanley Felch. as Belshazzar, displayed
smooth and we'll managed baritone, little
lacking in strength. His method and phr sins
are good. Mr.. Towards round and mellow
tenore robusto was effective in the part of Re.
rubbabe, and his action was vigorous and un
constrained. Miss Norton's rich, reedy and
vibrating voice and essentially dramatic action
were effective in the role of Shelomith. Miss
Mary Moody, as Ntocris, displayed an excep
tionally pure and expressive soprano. Mr..
Persons singing. and action in the part Of
Daniel were dignied, and his fine bass tones
were we'll suited to the Interpretation scene
Miss Leavitt, as Antonio, sang with sweetness
and vivacity. In the part of Cyrus, Mr. Jor
dams delicate tenore di grazia was enjoyable if
not especially warlike-which latter trait he
supplied by vigorous and manly action. The
curious. weird music of the Mag was, for the
most, very well given; and the accompanying
action was good. The minor parts were well
taken. The.orchestra, under the leadership of
Mr.. Fitch, added appreciably to the general ex-
cellence; aud the pianiste, Miss May Leach
merits much praise for her able accompani.
ments. The costumes and scenery were care.
fully designed, and the grouping of the various
tableaux was good. The scene in the Assyrian
court was noticeable for its coloring and design
and the letters of fire were skillfully managed.
The composition is operate in style, rather
than severe; and lacking somewhat in strict
unity of treatment, is, however, full of variety
and interest.
The libretto is we'll arranged and the dra-
matte situations that the story afford are clear
ly defined. The score. vocal and instrumental,
is written with skill and sincere appre-
citation of the varied and strongly marked
characters and scenes, while the composer dis
plays good sense and musician.like moderation
in the unexaggerated manner in which he has
treated points that offered temptation for SEN
sational writing, and has used his materials
with taste and legitimate effect. The overture
begins with an exceedingly we'll harmonized
passage representing the perplexity and sorrow
of the Israelites in captivity. and the two plain
tive measures preceded by an arpeggio passage
with which the movement closes, suggest the
harps hung on the willows. The chorus of sol
ders "To arms," and BeIshazzars solo with
chorus, "Now let the red wine," supply the
other naotlvi Of the overture, and are spiritedly
written-transposed from the keys of E fiat
and Fin which, as vocal numbers they re-
spectively occur-into D.
The theme of the first chorus, Shy the rivers
we weep" is pathetic and tuneful. The air of
Zerubbabel, "Who shall abde," is expressive
and melodious, and with the chorus which fol-
lows it, should become popular as selection
for church cboirs. The next chorus is common
place. The air with chorus, sob God of our
fathers" is we'll written and effective, the sup
pressed toDes of the chorus forming sombre
foil to the song Of the tenor The second scene
contains lively but not specially meritorious
soprano air with flute obbligato. Belshazzar's
song, "Let US be merry" has vigorous theme.
The aria Gentrdta of Nitocris is very expires
of the best passages of the work. The scena for
Shelomith is very singable; as is also the sue.
ceeding trio, which is well written.
In the second part of the cantata, the chorus
of Persian soldiers is powerful and martial.
The brief symphonic passage that precedes the
entrance of Zerubbabel in the second scene is
beautiful and finely expressive, aad, with the
rectative aud air of which it forms the prelude,
is surpassed in real musical worth by no num-
Der of the cantats. The orchestral passage,
naistertoso, that closes the scene, is also good.
The prison scene is interesting and gives room
for varied and expressive composition. The
dirge is solemn and beautiful, the harmonies
are we'll managed and the Instrumentation is
quite effective and skilful.
The third part is devoted to the banquet
scene which is, of course, the central point of
the work; and the one in which the composers
merits are most severely tested. The first
chorus is powerful; the incantations to Baal
are dramatic and in good contrast to the wild
gaiety of the choruses. Solos for three female
voices, with chorus, and quartette precede the
drinking song of Belshazzar which appeared in
the overture. In the chorus "Behold Grea
Baal," the long chords Of the voices with the
dramatic dgitdto accompaniment are fine and
striking. The recitative of Nitocris 20 Kingp
is beautiful; the modulations of the accompan
ment to the phrases "For an excellent spirit
&c., are noticeably good, The remainder o.
the scene is genuinely written, with the reserve
aud moderation that beft the treatment of thu
Biblical story, and with considerable dramatic
force, that does not approach the realm of thu
merely theatrical. The most important scene
of the cantata-that of the interpretation
| finely written in digufed manner. The re
citative is impressive and the accompaniment
in the climax of the scene is of marked merit
the theme in the bass being very dramatic an,
well worke out. The phrases for chorus
| soto yoce, are pathetic in their amazement
/ After the song of Nitocris and the chorus o
| revellers-to whom few words have suffice
to remove their fears-occurs an orchestra
| passage denoting the downfall of Belshazzar'
| reign.
The fourth part opens With a repetition o
| the dirge already heard in the second parl
| The entrance of the army of Cyrus and the con
sequent liberation of Zerubbabel, and spirite
chorus precede the final ascription of praise
whose excellent theme would have afforded or
portunity for really fine fugue treatment, bu
which the composer has contented himself
| develope more simply, though with force an
| effect
AS a whole, Belshazzar will take a good ran
among American compositions of the day. ]
contains many elements of popularity; is nc
too difficult abstruse for the representation
and enjoyment of musical people of averag
culture; and, written in the form of cantata,
appropriately ia lighter style than BELTS th
larger proportions of an oratorio. Not aspirin
to emulate the scholarly and profound rs
Peter of Mr.. j. K. Paine, or the romantic an
modern German work of Bristow and others
it possesses the merits of an honest desire
popularize good music; appreciation of the Vi
rious situations TO he depicted; and although
times showing the composers acquaintanc
with the compositions of Mendelssohn, {
Verdi, of BellinI, and the German leder wri