New-York tribune., 1877-03-16
MUSIC.
THE-ORATORIO SOCIETY.

came descent into hell and q dance OF dsemboded
spirits. But the performance far less somber than
the programme. All the pieces were remarkable for the
close accord between the music and the text the abso
lutte fidelity with which the composer had devoted him.
self to the expression of the sentiment of the poem
and yet found the concert either gloomy
monotonous-sO immense is the variety which genius
can give TO the treatment even OF the most restricted
themes. At all events Dr. DamrOsch deser es our
warlnest acknow Judgments for arranging programme
such interest ard value and the Oatorio Society have
established strong claim to public respect Tor the en-
thusiasm which enabled them to master its great diff
cultes. The order of the performance was follows
Cantata, Gods Time is the best "..."...J s. Bach
al Scena, OrpheuS and chorus.
b. Dance of Happy Spirits.
c) ARA. Orpheus.
German Requiem. .........................-.B Brahms
The first aud third of these works announced as
having been performed last night for the first time in
America This is probably mistake, so far as the " Re
QUEEN" is concerned Informed that 1t was given
Western city after its publication In Germany
The canaa 'GOttes Zeit ist die aerbeste Zeit % which
Bach styled Acs roQicaS, funeral anthem, is one
of the nobest and beautiful Of his shorter choral
works. and is distinguished among the compositions
OF this wonderful master for its dramatic truth and its
deep feeling There sentiment even in its instrument
tation. Bach wrote II for small and very peculiar
orchestra He banshed the bright tones of the voln
and made up his string quartet with two volcdaGanpa
he employed only flutes The present arrangement
Of the score that Of the iudcious Robert Franz He has
replaced the obsolete viOda gambia by the viola, and
added two clarinets and two bassoons Nothing can bc
more paintve than this combination In which the lead
ing part il generally given either 10 the lower ana MD
die tones Of the flute the equally mellow notes OF
large instruments of the violin family. The cantata be
gins with little prelude which Bach styles sOnatna
marked motto adagO, and characterized by extreme ten
derless and certain gentle simplicity in which Bach IA
altogether unique. The chorus enters with movement
in canon FORM Gods time is the best and surest
and this is marked by calm, resoute spirit singulary
appropriate to the At the passage In Him living
moving and breathing" the time quickened, and at
the words "In Him all shall die" the parts
come together in an impressive adagio, CLOS
ing with highly original cadence whose poid
harmony must have been generally remarked
Next is solo, 90 Lord, so teach us to remember
extremely pathetic and graceful which leads directly
into commanding aria the bass, Come, order thy
house," marked in some copies t but given last nsht
as a solo in the charming accompaniment the vioas are
omitted No is of the most deghtfui parts OF the
work. The altos tenors and basses begin a solemn
chorus, in free canon form ON the text III Is the law ol
old man thou must PERISH" and presently the sopranos
interrupt them with a strain of heavenly peace and
longing YEA come, my Jesus Gomez; the two motives
answer each other with exquisite effect of contrast
aui there is still third melody introduced III the ac-
commandment (where many of the audience prob
ably failed TO recognize it, for While the
,opranos are breathing their touching ejaculation
ms flutes play the air of Old German funeral nynn
have lett ev rything to God" The movement dies
away with singular cadence by the sopranos alone We
have then pathetic alto solo, To Thee, Father No
is introduced by fine passage for the bass solo, This
iay shalt thou bc with me Paradise" and the bass Is
answered by the alto chorus with the melody OF anotef
old hymn, With peace and JOY shall depart inter
woven with the aria in the most charming way inaGina
hlp md ceased,
il is lost in deep dccrcscendO The finale Of the canta'a
srcmendous. 1t opens boldly with hymn OF praise the
four parts moving generally together, with orchestral
ntcllues, and then changes to quick fuSue Ill when
the work reaches fitting and magnificent Climax No
one with soul fOr music have failed To be impressed
nv tins great chorus or to perceive the poetic feel
ing which sUnrscs the whole composition The perform
ance was excellent. The choruses were firm and spl
itcd MI Stoddard delivered the bass solos admirably
Miss Drasd gave beautiful Interpretation of The mag
nifcent alto solo and Mr. Henry Brandeis was less
completely successful with the tenor air. the difficulties
Of the Part may we'll excuse him.
The selections from Gluck's Orpheus" comprised
first superb of Orphcus at the gates Of Hadc
in which hardly know which to admire most. the
prccsOn and supeTb volume of the chorus, The solo pa
sages of Miss Drasl the fine work of the orchestra
secondly, the beautiful Dance OF Happy Spirits in Ely
sjun; and lastly the famous air, "Chc faro Euri
dice" TO which Miss DIasd gave all the proper eXpre'
sion. And Then the Brahms Requiem"
The "Doutchcs Requiem" is esteemed the greatest
choral work Of OF the strongest and in0st original OF
living composers II is not Mass as its title might cad
one TO suppose hut II is like the Acts trdGesS sort OF
funeral anthem cantaa the words being selected from
scIipurc II is written entirely for fOuIpart chorus,
except that OF tue chOIuscs ia strung upon thread
Of soprano solo, and two Others are penetrated III th'
same way by SOLO for baritone. The accompaniment Is
for full orchestra, with organ part I'D hbum
which was not used at Steinway Hall. We think of
liz 4, ,yh
might he Htly compared novelty meets us at every
page The motives resh the harmOnieS are rich and
ingenious the Treatment OF the orchestra is constantly
varied and always mastery and the work Is remarkable
for thorough individuality 1t is perhaps hardly less
remarkable for the poetic adaptation OF the song
TO Tie sense and the same profound religious feeling
which distinguish the Bach canta;a. The colornG OF
course is always sbdued and grave but is not always
0mber; the music breathes OF peace and triumph as
well as OF sorrow. IT opens with quiet and beautiful
chorus Blessed they that go mourning in which
the accompaniment copies the device used 50 effectively
in the Bach cantata, for the vions are silent aud the
nrnsvc melody finds expression IN the appropriate tones
Of the yi0as and 'ceos The next number Behold all
flesh is as the grass" funeral march for
the orchestra, accompanied by simple choral melody
sung IN unison and Octayes. At The phrase, Gods word
endureth forever" it changes from the Key of i Nat mi
nor to Il nat major, and then 1T passes into free
fua1le The baritone solo leads in No. with
the words, "L0rd, make me TO know tne meas
nre OF my days." tho chorus echoing and
answering sentence by sentence, with a steady in
crease Of intensity in the vocal parts and of elaboration
in the instrumental harnuncs, until at last enter upon
one OF the most remarkable fnges in modern music The
nhrase ont OF which this movement is woven is very long,
~ But the righteous souls in the hand of GOdj, and
the accompaniment differs from that Of most of the Ro
ouicn in being in lorid cOunterpoint The chief sngu
ary of this ugue, however, is the fact that II is all
built upon pedal point D) held by the instrumental