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

win be among the most interesting. They have
been entrusted to the care OF very distinguished
! and experienced musician, Mr.. Gustave 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 eminently appropriate, consisting Of the
master work OF Cheru0ni 'Messa Soeinnia
in MINOR" and tie Deum." especially com.
posed for the occasion, Although Mr.. Schmltz has
already distinguished himself as q composer,
notably In the grand mass sung at the consecra-
ton or Bishop McNierney. yet, after careful Pc
rusal of the score, we can unnesitatingly state
that In this .sTe Deumv he has Tar surpassed al
his former efforts. 1t unites grandeur and SIM
plicity OF idea and style. 1t will be interpreted
to-day by . chorus OF seventy singers, among
whom are the most eminent church soioists In
New York ana o judiciously selected string or
chestra, numbering twenty. The absence. OF reed
and brass instruments, which are entirely out OF
place in church. must be regarded as iortuitouss
The 'Te Deumn is one Of the oldest hymns In
the liturgy of tne Catholic Church, daIing back to
ST. Ambrose in the fourth century. IL has been q
fayorite theme with musicians IN all ages, go-
rious anthem OF triumph and praise to God. Soma
OF the best thoughts of the great minds devoted
TO music found expression in illustrating In
Joyous strains this sublime acknowledgment OF
the Deity. The colossus OF composers, Handel
mas left the DeEtingen "Te Deumn as o noble
| monument Of his genius
THE HYMN PRAISE.
The work OF Mr. Scnmitz ID divided into three
parts the first CONNIE nclng with the opening
verse .Te Deum audamus y the second with the
| line "Te ergo qugsumus luis famulns subveni,"
| and the last with the words "Inte Domino spes
| ravi.n The selections from the muslcai score
/ which we present to-day will give an inteligent
idea or the character and treatment OF the new
sTe Deum.u They indicate the principal features
| in the work aud the change OF theme, am earh IL
continued only as far as necessary 10 marx the
point OF departure from the preceding line OF
thought NO. presents the opening measures OF
the hymn. -
The BASES give the nrst outDurst OF praise ana
| are followed by the other voices, with brilliant
passage Tor the strings. The movement Is spirited
ana worthy OF its sublime subject. There - nothing
complex or aughs OF straining alter eject In l.
simplicity and power combine In It's massive
measures and every voice and instruments tells.
At the nitn verse OF .tne hymn. "Sanctus,
sanctus Sanctus. Dominus Deus Sabaotn," tne
music changes from its triumphal character TO q
more subdued spirit. The selections marked
No. and No. represent this portion OF
the work. The change from the Key OF Y 70 tnas
OF natural, by an abrupt modulauon, with
rtissfmo passage for the viollns, Is very effective
The movement then returns 10 its former tempo
but remaining In the key OF major until the versef
announcing the various cnoirs or saints and angels
who sing tue praises or the Deity In hesven ara
reached. Here there Isl
REMARKABLE DRAMATIC EFFECT.
The principal pass voice commences IN recitativa
FORM re glorlousus apostoorum chorus" de
claiming It on the tonic with the common cnord
sustained by the instruments. The chorus answer
"Te Deum laudamus" in like harmony. Then the
recitatlve Is resumed in the verse; "re propheta-
rum laudaoIis numerus," a semi.one higher, with
the chord OF the seventh or sharp, leading into
the KEY OF sharp minor, in which the chorus re-
peat aTe Deum laudamus.n The bass then sings
stnl a semi;one higher 'sTe martyrum canddatus
exerctus," in the same KEY as that OF the chorus,
[ and harmony finally modulates into the key OF ID
| major when the chorus comes in with an abrupt
| chord by the orchestra with tue word 'Patrem."
An the voices thunder forth, without accompanf-
ment "Immense majestalis.m This part OF ths
movement is in tempo ruo1to. similar effect
occurs In the last act OF "Aida,n when Radames
Is accused BY the nigh priest
the nrst allegro Is then resumed from the verso,
memorandum tuum verum &c unicum Fnium," to
the end OF the movement. This Is very happy
imitation OF canon form, consisting Of TWO themes
| In contrary motion. The sopranos and tenors be-
gin the first subject and are followed blythe tenors
ana basses with the second. This continues to the
verse .Judex esse crederis ventnrus," and brings
tile nrst part or this magnificent work 70 bril-
liant close -. .-o,,,,, 80
begins with the verse, tie ergo quasumus tuis
famulis subveni,u an add0fo In nat, shown In So.
lection marked No. 4 solemn chord or two, and
then the strings muted and trem0Idndi, followed BY
the chorus, soto roCe 10 the prayerul invocation
20 the Most High. The principal soprano sings
'savum fac populum tuum, Domino" very
beautiful anu touching melody, with string &C
compartment in trplets, and Of sostsntito char.
acter capable or being rendered with passionate
expression and tenderness.
A CLIMAX Is REACHED
as the verse; 'Dignare, Domino, Ole isto sine pee
cato nos ,ustodlre,r as represented by the selec-
ton marked No. 5. The soprano and tenor taxa
MP the melody in unison, with the full chorus In
harmony, massive chords by the organ and an
elaborate figure all the strings-vlolins, vloas,
vioIoncellos ana passes. the effect here IL very
dramatic, reminding one OF grand ensemble By
MeyerDeer or Verdi; but the religious character
or the work is not lost for moment but rather
intensified. At the word 'misereren the chorus
sopranos commence the melody already sung on
the soprano and tenor. and the latter continue IN
new phrases or the same, the close Seing OF the
most imposing kind. Tnen, as q contrast to tna
preceding, there Is quiet, suDdued recitatlve,
motto sostenaao, for the Soprano leading rom the
key Of nat 70 tnat OF @ few closing bars OF sna
movement. as q calm after the storm.
THE THIRD PART
Of tho Work Illustrates the last OF the hymn
lin te, Domino, speravl; non confundar in @tur
num- 1t comm noes with an onddnte, as shown b.
selection marked No. 0, consisting Of few measures
without accompaniment. followed by an allegro
con brio with tremolo Of strings. Then, as tha
work draws 70 close, very beautiful harmonic
effects are introduced, and the parts respond "a
each other Ike In dialogue, as shown by selec.
ton marked 40. Z Tie opening theme ''Te
Deum audamusu - resumed, and with 1t the en-
tire work IL brought 20 a gnals. II Is % work that
Il destined - be q louglivcd hvorito In the
honndlnaa rfnRrk0rf az the mnalc Of the Catholic