The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-04-28


altar, whose wealth OF mowers aud their tender
hues was quite lost in the dazze ana blaze q the
armament 81 candles; the sober yet magnificent
decorations or the altar and the whole sanctuary,
ana the storm Of music that swept over al; this
VIII not readily pass out OF the memory OF the
generation tnat was present.
At eleven O'CLOCK precisely the celebration or
the mass began.
THE MUSIC or THE MASS.
whoa the drst OF the long line OF surpliced
priests emerged from the sacrsty the organ and
the string orcnestTa-the latter consisting OF Sc
lected members from he Philharmonic Society
gave forth the inspiring strains Of the march or
the priests from Mende,ssohn's "Athalle" very
appropriate musical introduction. he grand
mass OF Cnerubini, No. 2, in ID MINOR, followed
next, and proved 10 be, both as work OF art ana
IN It's rendering, fitting tribute FOR such an oc-
casion. o. the many gifted composers who nave
framed the sublime words OF the mass IN sweet
strains Cherubini ranks foremost lie shows In
his work on this subject an intimate acquaintance
with the meaning OF every word contained In
the liturgy, and not only are his powers as
great composer displayed TO advantage, but a
deep devotional feeling an earnesJncss ofthought
and enthusiastic desire to express his belief in
the lalth Of which the mass is sucn grand expo
nent, is breathed forth In every measure. The
mass was written when the composer was but q
STRIPPING; Tor like Mozart, the divine fre OF genius
commenced TO glow within his soul &C an early
age. In fact, his first mass was written when he
was but thirteen and was followed by ten other
Aesses Sote,lelIeS. two requiem masses and vast
numper OF detached works designed for the Catho-
lie service.
The mass in minor 10 key which seems
to be favorite one with composers
In their grandest works, as for in
Of
and the dramatic symphony OF RubinsveInl COM
mencss with the "Kyrie," lar0hetto, a solemn,
majestic movement OF very impressive charac-
ter. The solo quartet then give the "Christe
Eleison.u Gnddllte, In major the -FOUR parts hav-
ing each different melodic character. The
"Kyrien is resumed, and the most beautiful enect
Is produced In the long-sustained Dloresdo ras-
sageS u the close.
GLORIA IN ExcEIsIs."
or the sCloria" 1t may be said tnar IL 10 such an
overpowering expression OF Joy and triumph as
can scarcely be found in any other mass
1t Is In the resonant key OF major,
and the first part, as far as act in terra
pax" sweeps along like mighty torrent OF
harmony. The announcement of peace to men is
made in soto uoce, the voices in prayerfu earnest
stratus and the rich Instrumentation. seemingly
instinct with the true spirit OF devotion.
A trio for soprano, tenor ana bass occurs in the
next part, "Gratias agmus'' in major, lGr0Ietto.
Tender expression is its chief characteristic and
the gratitude OF the Church to the Lamb Of God is
conveyed in the most touching manner The
tenors and BASES then declaim in the key OF u
minor the words 'Qui TOLLS peccata mundi," with
q short, emphatic figure for the strings as an ac-
compartment, and long, sustained chords for the
Instrumental BASES. The prayer, 'Suscipe
deprecationem nostram.n is passionate in It's
Iao4 IL f1u
terlstic Of Cnerubni who delights In the Daorendo
eiYec. at the close OF solemn phrase. The voices
whisper softly in their lowest tones the prayer for
mercy and the Instrumentation glldes along in
subdued strains, gradually ascending in the scale.
Is il were bearing TO Heaven the applications OF
the faithful.
scum Sancto Spiritu the finale OF the "Gloria.u
is a double fugue the second subject first given Uy
the passes. forming "a counterpoint to the nrst,
commenced by the tenors. The other voices enter,
and the tempo becomes more rapid and In har-
monte storm OF amens the second part OF the mass
Ia ended.
cREDo IN USUM DEUM.
The 'iCredou is In the key OF major, 81
time The instruments begin In unison
with o brilliant phrase, after which the voices
thunder forth On emphatic declaration OF belief
very happy effect Is produced In the sentence,
"Genltum non lactum,n by the repetition OF the
word snonu several times. The descent from
Heaven or the Son OF God Is expressed IN the most
dramatic manner.
TIE mystery or the incarnation is illustrated by
q sextelie, consisting OF two sopranos, alto, two
tenors and bass. IL Is conceived in the spirit OF
the old Palestrina school, and possesses charm In
the skill with which tse six parts are interviewer,
without any one losing Its Individuality.
All the voices join in the "Cruciix us,u the music
conveying the idea OF horror at toe deed peTpe-
trated by the prosecutors OF The Redeemer on
calvary and awe at the greatness OF the sacrifice,
a Cod dying for man. The Resurrection Is ushered
IN by triumphant strains Interrupted for the
moment by the thought OF the day OF judgment,
the second coming or the Messiah, at winch the
voices al sink down TO suodued murmur. wnne
around them are wreathed the most exquisite
narmones and modulatIons. solo quartet in
PRODUCES the declaration or belief In the Holy
Ghost and the aCredo'' enos with double fugue
In which the counterpoint Is ingenious and I'M
mensely effective.
''sAHcrUsu AND "AGNUs DELI
The fourth part OF the mass, "Sanctus,u Is par
ticularly impressive, on account OF the wealth OF
instrumental effect poured into It from the fertlle
brain OF the composer. The last part. "Agnus
Del,n begins with the solo quartet, the chorus
coming In on the words "Qul tolls peccata
mundi.n In tho "Dona nobis'' o remarkable
s5orSando effect Is produced in Tome OF tue
closing passages, and the voices and instruments
seem 70 die away In the distance In the last beau
iiful prayer for peace.
TIE BEGINNING OF THE CEREMONY.
The last strain OF tue mass had scarcely died
away, the exquisite information Of the "Ite alssa
Estn was lingering In the ear and there was q
rustic and movement OF the multitude, which
seemed to breathe win the eagerness or living
human being. Prayer BOOKS we're closed. and the
prelates slowly arose and grouped as It we're upon
q stage, impercepuby forming into a tableau. Rich
in years OF ecclesiastical experience. and lamll-
lar we would think that with church ceremonies
there could be nothing new in any service. the
venerable and reverend gentlemen seemed to
nave as deep an interest In tne historical scene
before them az the youngest iaIr-faced lads IN
white and crimson VINO were clustered on tho