The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1879-05-16
N ~ THE HAYDN CONCERT.
Oratorio of John the Baptist.

III 1lils country, OF MacfarrenS oratorlo, John
the Baptist, was greatly appreciated last even
ing by large and cordial audience Union
Hall was fairly crowded, and some of the hear
ers could find standing room only. The per-
tormance was spirited and satisfactory, and
the chorus proved, as usually, equal to the de-
mands of their work. They sang with under
standing and feeling, and were apt in follow
ing the indications of the baton. Their
promptness, fine tone and shading were nota-
BILE. The crystal quality of the high notes of
the soprani in the angel chorus, the admirably
even tone in the .fer7ndte in Crofts tune, the
expression of the male chorus which comments
upon the dance of Salome, and the superb
strength, eXactness and balance OF the final
chorus are among the points which merit es-
peclal praise. Mr.. Kotzsehmars conducting
was, as always, magnetic and full of the high
difficult part-written for the extraordinary
voice OF Mr.. Santley-with rich and adequate
voice, and great fervor. The difficult embel-
lishments were given with accuracy and eff
feet, and his enunciation was notably clear
Mr.. Pencils voice has gained much in
roundness and strength his style is excellent
and he sings easily and with vigor In the
duet with the baritone, some of his notes were
little forced and metallic, but in the air.
Alas my daughter, the best qualities of his
voice and manner were displayed, and he sang
with genuine dramatic effect. Miss Milliken's
sweet and fresh soprano was very agreeable in
the song,I rejoice, her execution was facile and
graceful and her phrasing was charming. In
the dialogue with baritone and chorus, her
singing was very effective. Mrs Goudy sang
the narrative with feeling and point, and gave
her song, In the beginning, with breadth, fervor
and line voice. The quartette, Blessed are
they, was sung with rare beauty of voicing,
perfect balance, and fine expression. 1t was
repeated in compliance with an encore. Miss
Fannie Jordan merits praise for her careful
accomplishments. The performance was
shortened by the omission of the overture,
which, however, is so finely written and so in
innate portion of the plan of the oratorio
that it shall be briefly described in this notice.
OF the two forms suitable to overtures-a
resume of the course of the whole composition,
or prologue for it, expressing the state of
things before its action takes place-Mr
Macfarren has chosen to adopt the latter.
This overture is very effective and well writ
ten. The orchestration, which can be merely
indicated by the pianoforte, of course gives
color to the music; and the prominent trum-
pet motif, though easily recognized, would be
greatly heightened in effect by the tiVabre of
the brass. There is much excellent thematc
writing in the overture; the phrase, expressing
the desire of the people for the coming of their
Lord, is capable Of and receives, fine modula-
lations, and recurs at various points, contrasted
with the trumpet theme, alternating with sew
eral fine episodes and with brief but ex-
pressive passage that seems as if doubt
ing whether these images of the future
King were not falsely formed, and that his ap-
pearance should be far unlike the ideals of the
people. The Jewish scale, with its two aug
mented degrees, is clearly given out in the
overture, and reappears in the body of the
work. notably in the dance music of Salome
The seeking theme which began the over
ture, also closes it, repeated with emphasis
The opening chorus, Behold, L will send
messenger is impressive, and contains an ex-
ceedingly fine fugue treated in manner which
proves the composers appreciation of the
great models which Handel's work affords, and
the freedom and skill with which he uses his
knowledge. The counterpoint is remarkably
clear and we'll managed. The close of the
chorus is powerfully written. The recitative
of the Narrator (contralto) is the next number
and is fair sample of the composers work
in that very difficult and somewhat thankless
form of writing. Mr. Macfarren has evident
ly formulated theories of musical declama-
tion, and, for the most, they appear just; but
his recitative is not precisely singable-it lacks
the irreproachable poise and satisfaction of
Handel's recitative; although carefully and
feelngy written, it misses in ease of effect. The
baritone song, Repent ye,' is triumph to
havewritten; it is vigorous, solid, Astounding in
fine effects-for instance, the passage, 80 gem
Grafton of vipers,' the fine climax of expression
which follows it, and the robust rouldde which
ends the song The dialogue for baritone and
chorus "What shall we do then?'' is fairly
dramatic in the simplicity and naturalness of
its conception. The characteristic and even
businesslike questions of the publicans and
soldiers, the replies of John, and the excited
demands of the people form striking musical
picture. Another fine air for baritone
precedes the Narrator's recitative which
includes singularly lovely drioso pas
sage. The voice from heaven is represented
by an angel chorus, soprani and contralti
divided, with harp accompaniment. The
reserve and fineness of sentiment of the treat
ment of this passage are praiseworthy A
contralto air in the beginning, is serious and
well written. Next occurs the chorus, which
for learned and effective writing fine CONTRA
puntal work, and musical interest is perhaps
foremost in the oratorio. The old tune by Dr.
Crofts, My soul praise the Lord, is sung as a
choral in 80 time; then given out by the
soprani in "a time, becomes the theme of an
elaborate and solid fugue, nobly developed,
and with force that is imposing from its very
ease This fugue would of itself suffice to es-
tablish the composers place as among the
foremost of modern oratorio writer's. Thus the
first part of the work closes.
The second part of the oratorio opens with
a dramatic duet for tenor and baritone in
which the volatile, pleasure-loving king and
the earnest denouncing prophet are finely
characterized. 1t contains noble drioso for
the baritone; and theme which awakening
the resentment of the queen, appears later
III Tile uluSlC lllClucuU W OdlOul6 lcdTlul IT,
| quest The chorus o King live forever (basSi
| and tenor0 is rather bizarre than powerful,
and leaves no distinct impression. Salome s
| dance music, with the comments of the chorus
is effective and singularly frank in treatment
| Her braUara air is very brilliant and exacting,
an admirable opportunity for legitimate display
| of the soprano voice. The succeeding dialogue
| is extremely original in design, but slips here
! and there past the bounds of severe musical
taste, and becomes even little comic; for
example the eager table-talk of the jewellers
when Salome goes to take counsel with her
mother; and again in the cantilena of Salome-
| which is exquisitely languid and tuneful-the
| phrase to which are set the words "by and
| by and the repetition of the kings response
| somewhat parody the situation. The
tenor air, Alas my daughter, is telling and
| finely imagined song. The chorus, Lo the
wrath, is vehement and effective. A fine all
| for baritone, and contralto recitative precede
the meditative quartette, Blessed are they, a
well-balanced and very beautiful composition,
sung without accompaniment The closing
| chorus, What went We out into the will