The Portland daily press., 1875-06-25

1
cellence. The Society, under Mr.. Kotzschmar''
skillful and inspiring leadership, is not content
to rest upon its laurels, but steadily advances
towards musical perfection. The remembrance
| of an evening so pleasant, and in every way
satisfactory, will afford enjoyment during the
| summer adjournment both to performers and
| audience; and the Haydns will be sure of &
| hearty welcome when in September they begir
| again their rehearsals.
The first part (miscellapeous) of the pro
| gramme opened with Schumann's fine chorus,
| 'Gipsy Life" Anything more essentially
| dramatic than this can scarcely be imagined
| the confused rustic Of leaves and tread of feet
| that heralds the coming OF the wandering folk
| to the beech wood; the alternate passion and
languor of these strange people who sing mys-
| tic song, learned in far-off ages on the banks
| of the mysterious Nile; the flashing fires; the
| night that passes; the morning that comes; and
| the departure of the gipsies to new and I'M
| known wood-departure silent as the folding
| away of the darkness of the night-al this il
| told in musical phrases at once brilliant and
| sombre, strongly yet delicately drawn.
| 9Following the chorus came Bebignani's
| sang with taste, expression and intelligence,
and her rich, sympathetic voice was a surprise
| to most of the audience The warmth of their
appreciation was expressed in most impor-
tunate encore, which was gracious]y responded
to.
The s'Preghiera' of Stradella, which con-
cluded the miscellaneous programme, was
given by Mr.. Will Stockbrdge with more than
ordinary expression He too was accorded a
recall, the listeners being anxious for another
chance to hear his sweet, velvety tenor
Schumann's pilgrimage of the Rose" lis
widely different from the stately and severe
music Of Handel and Haydn, to which the
chorus has, for the most, devoted itself; and it
is fresh proof of the versatility of the Hay
dns; of the genuine intelligence and apprecia-
ton that they bring to their work, that first
performance of the pilgrimage of the Rose
should have been so successful. The compost
ton shows the beauties and defects of Schu-
mann's talent Throughout the composers
life, until its tragic ending, it seemed his fate
to conflict more or less successfully with form
and outside circumstance His lack of severe
contrapuntal knowledge hindered his thought
over-zeal to acquire technical skill on the
piano-forte disabled his hand; the hard sur.
roundings of his artist life exhausted his
courage In the case of the present compost
ton, it was the libretto that fettered him. 1t
is one of those coldly fantastic combinations of
the impossible and the actual; of fairies, and
bluebells filled with dew; of peasants and
beer mugs, in which writer's of the lbretti of
operettas seem to delight. This vapid theme
Schumann's genius had not sufficient of the
practical element to reject, though his fine
poetic sense was able to elevate and adorn it in
a very great degree. His writing is, as usual,
full of earnestness, tenderness and beauty,
sometimes over-refned and introverted, but
always true to his ideal, and without reference
TO external praise. Without entering into de.
tails of each number, few especially interest
ing points may be noted: A tuneful and spon-
famous little canon passage in the opening
duet, and the dreamy aria for tenor soft and
mist-hung as spring night, are first in order
upon the programme. The chorus of fairies
is imaginative, and the accompaniment is
graceful; but the movement is somewhat too
involved to express the perfect play of the
little beings, and the tessitura of the voice
parts is not we'll adapted for performance. The
dirge, for chorus and soprano obligato, is simple
and impressive. The prayer of Rosa is ex-
pressive, and the following chorus of FAIRIES is
delicate, aerial and charming. The duet,
SIN the Smiling Valley" is naive, but q little
commonplace Perhaps no finer number
occurs throughout the work than the four-part
song for mems voices, SIN the thick wood hast
MO nd r iS a6p INV md
ten, filed with the spirit of the woods, the
changing gloom and CLEAN, the strength of
the forest, the low song of many-voiced leaves
while the accompaniment suggests the call of
the hunting-h horn when sthe wild boar spies
around'' In this noble chorus natural and
real sentiment prevails, undisturbed by incon-
gruities of subject The duet of Max and
Rosa is very graceful. The chorus 20 Blissful
Time" is poetic and feeling. The duet
''Why, Mill, thou'rt looking bravely," is viva
cious, but not especially interesting The
succeeding chorus is very animated, though the
composers want of acquaintance with the
physical capabilities of the voice IS apparent,
particularly in the opening measures for the
tenors The next chorus is realistic, and finely
expressive of rustic fun at its height Rosa's
final solo and the concluding chorus are beauti-
full and full Of meaning. The Haydns, as
always, sang with irreproachable shading,
expression and point.
Of their soloists, each and all, the Haydns
have reason to be proud-on this occasion much
reason, for despite the heavy, sluggish atmos-
phere so trying to their voices. the soloists ac-
quilted themselves admirably. Mrs. Wether-
bees royal soprano made itself felt from the
opening air. Mrs. Flint's distinct pronuncia-
ton, and rich and striking voice, reminding
one of the best type of French contralto voices,
gave due prominence to the part of the Queen
Of the Fairies. Mr.. Thurston's voice, so round,
sweet and powerful, especially in the upper
notes. found its opportunity id the role of Max.
Mr.. Pennell showed that he has acquired force
and freedom, and that too without losing in
delicacy. Mr. Coyle's noble voice and broad
style was excellently suited to his sombre
Characterization Mrs. Gosse gave character
and life to the Millers Wife, while Messrs.
Thomas and Fernald added not inconsiderably
to the success of the cantata. The superb
qualities of Mr.. Kotzschmar as conductor
showed to striking advantage in the manage
ment of the chorus, while Miss Blanchard as
pianiste added measuraby to the delight of the
large audience.