The Portland daily press., 1876-05-12
The HAYDN Concert.
First Performance of "Thoodora'' in
America.

| uDJust rate. Inc cOrdlal thankS OF all VINO Wer
fortunate enough to hear it are due to the mu
| sical knowledge and enthusiasm of the frien
| of good music at whose suggestion the Hay
dns studied "Theodora" to Mr.. Coyle, who's
| genuine love of what is best in his art an,
prompt, wise and vigorous management con
stantly encourage aud direct the efforts of tn
society; to Mr.. Kotzschmar, whose appre
citation and delight in music instantly com
municate themselves through bis spirited bato,
to the forces under his control; and, finally, t.
all of the performers who acquitted themselves
so faithfully and we'll.
The overture, in G minor, is admirable 1t
consists of four we'll contrasted movements, a
stately and impressive naeStoSo, an interesting
fugue, simple but exquisitely lovely passage
in e flat, which though marked "Tro" has
neither of the technical traits of that form of
composition, but is in the minuet manner
The Courante which, returning toIthe original
key, concludes the overture, is energetic and
entirely Handelian in style. The opening reci-
tative and air are allotted to Valens, and des.
cription OF these applies equally to all the music
of his part. 1t is large, forcible and warike, in
the grdndiose manner, full Of superb storms of
rage of HandePs "Polyphemus, "or Harapha-
it is indeed in Circles vein, the tyrant's vein, :"
and gives Rembrandt-like shade to the pure
coloring of the solo music of the other charac
ters.
The part of Theodore is exceedingly beaut-
full in its dramatic effect; and the pathos,
delicacy and strength of the music allotted to
her is one of the most finished delineations of
the composer. Her first aria, "Fond, f1atter-
ing world,'' is dgnified and exalted. CANCELS
ever bright ndIfair,' is too we'll known to need
praise here, for it has long been appreciated as
one of the most beautiful of sacred songs.
"With darkness Deep is filled with pathos
and the accompaniment enforces the express
sion of the vocal part with full-scored and ex-
pressive harmenies. 80 that on wings could
rise" is more elaborate air; and, although
beautiful in itself, has less interest than the
preceding one. In the prison scene with
Didimus, Theodora's song "The pilgrim
home is at once intense and pathetic, plead
ing and forcible. The duet ''To thee is full of
courage and exalted tenderness. The duet of
Theodore and Irene is we'll contrasted in its
fervor of dramatic Characterization, the loving
solicitude of Irene and tbe hope and resolution
OF Theodore are beautiful sketch which Han
del was not slow to color with matchless skill.
The closing duet of Theodore and Didmus has
an expression of repose and unshaken trustful-
ness; the voices move together for the most in
parallel thirds, giving harmonic effect of
singular sweetness and purity
The part of Irene contains the fine air "Bane
of virtue;' the pleasing GAS with rosy steps
the morn" defend her, heaven" the express
sion of which seems at times delayed by nu-
merous notes, and consequently lacking in
point and spontaneity. The air ''Lord, to
thee" is one Of the noblest and most beautiful
of the many that Handel has written for con-
trato voice-a part to which he has allotted
much OF his most intense and pathetic music
In the part of Didimus the air "The rap
tured SOUP is powerful and exalted, embel-
lished with the roulades that are familiar
to lovers of Handel. "Klud Heaven, if
virtue" is an air somewhat in the manner of
the composers operate writing at once tune
full. strong and natural in the highest degree.
Sweet rose and lily is tender and melodi-
GUS.
Among the airs OF Septimius descend, kind
Pity is notably fine; "Dread the Fruits of
Christian folly is a florid song, an excellent
specimen of its kind. "Though the honors''
is vigorous aud manly. "From Virtue Springs
is earnest and expressive.
Of the numerous rectatives of the oratorio
it is enough to say that they are full Of the dig
nifty, variety of Characterization, and beauty of
defamation by means of appropriate intervals
that are always to be noted in Handel's writing
in this department..
The choruses are in general less elaborate
as they are less numerous, than those of the
composers weighter oratorios-the "Messiah". /.
Samson" &c. The first chorus "And Draw
BlessinglDown' is spirited. That in which is
declared the penalty of refusal to sacrifice to
the heather gods, has singular interest apart
from its merit. The first measures of it are
nearly identical with those of the "Pastoral
Symphony in the Messiah which the dis
covery swithin few years of a manuscript
bearing in Handers autograph the significant
note, ''Noven0"-as well as the internal evidence
OF its peculiar measure and rhytLm-proves
to have been derived from the hymns, which
for countless years. it has been the custom of
the mountaineers of the country around Rome
to sing before the yside shrines of the virgin,
during the nine days (nooena) preceding Christ
mas. These days are precisely those, it is we'll
known, of the old heather Saturnalia-whose
pagan license became later Christian liberty, and
whose songs of revelry. it is by no means impos
sible, were retained-as were some of the curious
superstitions of that period-unchangeI in
form but converted to higher meaning How
far this theory of ours is to be credited, it is at
this time, of course, impossible to say; but one
thing is sure, that Handel had profound kpowl-
edge of musical history, and a sublime sense of
the fitness of things which gave to his work
much of its eternal weight and authority. The
remaining choruses of Romans ''Queen of Sum-
mer and Venus, laughing from the
skies" are spontaneous, brilliant and full of
luxuriant gaiety-fit hymns to celebrate the
golden myth Of the goddess born of the light
foam of the sea- Among the choruses of Chris
tians, "Come, mighty Father" and All power
in Heaven above" are serious and contain much
admirable writing. go, generous, pious
YOUTH is exceedingly beautiful, sympathetic
and forms fine close to the first part of the
oratorio. The most important number OF the
work is the chorus 'sHe saw the lovely youth"
This is written in three distinct movements ::
the first of which, plaintve and woeful, re-
lates the death of the widows son at Main.
The lamenting voices follow each other as if
in sad procession, fearful and unlit by any
hope-until after little silence with sudden
change of key and tempo, occurs the words
"Rise youth, he said" This brief passage,
like ray of sudden sun-precedes superb
fugue "Lowly the matron bowed" Too much
admiration cannot be given to this wonderful
chorus, which the scope of dramatic expires.
Sion and technical treatment combine to make
one of Handers greatest inspirations. The
concluding chofuses Chow strange their ends"
and "Oh, Love Divine" blend loving grief for
the sad fate of the martyrs, with hope and re-
joicing for their strength and faith
The part of Theodore was precisely suited to
the pure, large voice and dignifed, sincere style
of Mrs. Wetherbee. She is sin ger who pos
sesses the "grand manner of the traditiona
school of singing; and her exquisite finish of
execution and noble voice were heard to great
advantage.
Mrs. Goudy, to whom was given the part of
Didimus, sang with marked dramatic effect,
Her rich co1tralto improves constantly in the
using, and has warm shadowv uua1itv tbat 10