New-York tribune., 1876-05-22
MUSIC AND THE DRAMA.
AcREp CONCERT AT ST. ANNs CHURCH.

SACRED CONCERT AT ST. AIMS CHURCH.
A sacred concert of much more than ordinary
interest Importance given last night under the
direction OF Mr.. Louis Dachauer at st. AIMS R CO.
Church East Twelfhs for the benefit OF the Assoca
ton for -friending Children and Young Girls. In spite
of the bad weather the worthy charity In whose aid the
concert was arranged must have derived considerable
proAt from the enterprise. The singers comprised the
excellent quartet OF So. AIMS Church, Miss COrrad
Miss Gomien, Mr.. Romeyn and DR. Blum, with the
addition of Mr. Fritsch and efficient chorus and In
the first part Of the programme Mr. Dachauer also had
the assistance OF Mr.. s. b. Mills Mr. Kowalski. sefor
Joseph White and Mr.. Charles Werner. Messrs. White
Werner Mills and Dachauer first heard together In
an Oerory for VIOLIN vioOnceo, piano, and organ by
Mime de Grandya one OF the very few women who have
made respectable reputation in the larger forms OF mu
sca composition; this however, Is not one Oh the Oest
specimens OF her skill. Miss Corradi sang the Bach
GOunod "Ave Mana," accompanied Dy Messrn "mIe'
Mills, and Dachauer and Miss Gomien had charming
hymn for contralto ( Air dc Beauyas'), with cello
obbligato by Mr. Werner, and piano and organ
accompaniment by Messrs. Kowalsh and Dachauer'
There was also an effective hymn Of Mr. Daohauers,
Bone Pastor" for bass solo and chorus, ana seA'eI
and chorus OF Kowalskis VeDi Creator, WIN ae-
compartment for piano and organ and the Drst part
closed with an arrangement OF ChopD's Funeral March
for piano and organ played by Messrs kowaisAi anu
Dachauer.
The second part consisted OF Gounods oratorio Oh
"Tobias performed by the quartet choir and chorus,
with organ accompaniment by Mr. Krpal This Is some
thing very different from the ordinary oratoro IL pre-
serves little or nothing Of tho conventional forms OF tho
class OF composition whose name 1t bears, departing
even more widely from the old patterns of
Handel than Faust" departs from the more
artificial operas Of Beini. The set divisions
OF chorus air. and recitatve not observed There
ia indeed fine reel atiye for the alto soprano solo
beautifully sung by Miss Corradi and striking ar Tor
tenor and there many solo for the different
voices; but solo, duet trio, and chorus nOw naturally
into one another they carry ON the highly dramatic
tory in short Gounod has followed his poetic impulse
and disregaried the set forms which the oldor mas
ters confined their genius. The Introduction, Sorrow
no more" is given to the alto, with background Oh
chorus Then follows number, The truth they tell,
for bass and alto with chorus part OF which Is re-
markabe for the fOrd eounterpoint OF the aceonpan
ment Both these in gentle and mysterious Veln'
with strong ecclesiastical color But with the alto reca-
tive Hark! sound the music breaks into new life and
the rest or the work abOunds in contrasts sometimes
vigorous sometimes dreamy and elegant, always In
tensey dramatic. Among those portions which made
the best impression we may mention No. 4, Lo, lie
cones;" No s. BY the hand Of thy son" (both quar-
ets the Invocation for the organ alone, which would
doubtless be highly effective II it were relieved by
orchestral accOmpanments the rest OF the work; anu
The soprano solo, "Thanks be to GOd which serves as
a sort Of prelude " the Finale