The Portland daily press., 1880-06-17
THE HAYDN CONCERT.
First Performance in America of Spohr's
Fall of Babylon.


side the river Euphrates, is impressive and pa
| thetic. After few measures occurs fine
fugue passage, interrupted by tuneful phrase
for the soprano solo and spirited choral re-
| sponse The fugue subject is resumed and,
briefly treated, closes the chorus. To this
number succeed recitative and fervent and
noble air for tenor The theme Of the chorus,
| The Lion rous'd, is marked and effective, the
enharmonic change at the words Gin storm and
in whirlwind" is notable for ingenious writ
ing, and the number is extended and powerful
in treatment The air of Cyrus, Mighty God,
| thy awful mandate, is melodious and earnest;
and the following number in which he inctes
the Persians to the conquest of Babylon, is
admirably written, the exalted zeal of the
chief and the warlike cries of the soldiers ris-
| ing to great climax of musical expression.
The cradle-song of the Jewish woman,
watching her child, asleep, is graceful and
slngable,with charming accompaniment; and
the duet OF the man and wife rejoicing in the
hope OF their nations freedom is fine in melody
| and richly harmonized. The first measures of
| the chorus of Persian soldiers are common
| place, but some interesting and skilful har-
mony soon redeems the number, which be-
comes forcible and imposing. In the great
chorus, Lord before thy footstool bending, the
first part of The oratorio touches its height.
The theme, larghetto, is extended in an elabo-
rate and solid fugue, with an exquisite episode
| for solo voices with soft accompaniment in
| four-part harmony for the chorus, after which
| the fugue is resumed with fresh effects, closing
with passage for soil repeated by the che rus.
The large and spontaneous beauty of this
number it is not possible to overpraise The
recitative of Daniel, The day approached, in
| PRODUCES superb trio for contralto, tenor and
bass, notable for fine flow Of melody and bal
| ance Of parts. The soprano song, No longer
| shall Judea's children wander, is an express
sive and noble air. The prophetic chorus,
Come down, recalls Handels choruses in its
massive strength of structure With this
number, the first part of the oratorio ends.
The second part of the work begins with a
chorus of jewellers, bright and effective. The
chorus of the priests of Bel has quality at
once fierce and luxurious. In the succeeding
number the song of the Babylonian dancers is
scored with solemn chorus of Jews, giving
most dramatic effect by means of legitimate
musical treatment. The composer has blended
the two themes, each one distinct melody in
itself, with ease and balance which are tri-
umph of skill. The insults of Belshazzar, the
pleadings of his mother, Nitocrs, the soft and
mystic chorus of priests and the proud cries of
the Babylonians mix with striking effect and
the recitatives of the king, the soothsayers
and the prophet, with the strong and varied
modulations of the agitated accompaniment,
are thrilling. A distant sound of warlike in
struments, and the words of frightened messen-
gers, announce the coming of Cyrus In the
chorus Shout aloud, a notably fine effect oc-
ours in the passage, The ghosts of our slaugh-
tered warriors, and this hollow cry for ven
geance takes instant hold of the Imagination
The majestic and meditative song of Cyrus, o,
what is man, is followed by quartette, Strike
the harp, and grand chorus in which fugue
passages are contrasted with fourpart choral
harmony. A rapturous song of the prophet
and joyful soprano air precede the final
chorus Give thanks unto God, strong and
finely written number of which the tranquil
and solemn ending is very satisfying The
general impression left by a hearing of the
Fall of Babylon is of strong and spontaneous
musical and dramatic treatment, mu IN variety
and a constant and unwearying succession of
appropriate melodies and vigorous and natural
recitatives. Its harmonic structure is solid.
elaborate and scholarly, requiring care and
quick apprehension of chords on the part of
the singers. Spohr's use of chromatic modu-
lations-fHquently to most admirable purpose
at times appears somewhat excessive, giving
the effect of over-subtle and restless harmony.
.e
fairly take their place among the MASTER
pieces of oratorio composition; and the power,
originality and learning of the work should
secure for it frequent presentation, now that
thanks to the Haydn Association has had a
hearing in America
The chorus achieved a genuine triumph.
The pure and united tone, admirable crescen-
do, distinct and delicate piano and imposing
forte constantly to be noted i'll the singing of
the Haydns, prove their careful study and in
telligent work. 1t is rare to hear chords
struck with such precision and finished so
smoothly and crisply; it is seldom one finds
chorus that sings with such unanimity of ex-
preston. Among the many fine points made
by the chorus may be noted their sureness and
sieadiness in certain chromatic passages, and
the exquisite beauty of tone in the choruses of
the priests of Bel, which sounded yelled and
mysterious, as if sung behind tine waving cur
tain OF heather temple. The few moments
in which the chorus failed to do its best, are
no: worth mentioning, and may be set down
to the account of a heated atmosphere against
which singers cannot always struggle success
fully. Taking into consideration the great
difficulties of the oratorio its continual
meditation (much more exacting for singers
unsupported by an orchestra. and dependent
upon the equal temperament and approximate
chords of the pianoforte)-it may justly be said
that the Haydns have rarely done them
selves greater credit than in their victory over
this oratorio. 1t need not here be said in how
large measure honor is due to Mr..
Kotzschmar's inspiring leadership and untiring
care.
Mr.. Coyle's large and admirable defamation
ana rich Odsso cdntante were very effective in
the part OF Belshazzar, and he gave his trying
sce''a with genuine dramatic power. Mr.
Mather-Porteous, as Cyrus, sang with vigor
and feeling, thoroughly filled with the spirit
OF his music. His fine baritone promises to
reward assiduous study, and he sings freely
and with natural good taste. Mr.. Stockbrdge's
round, sweet tenor and smooth phrasing; Mr..
Pencils clear voice, heard mostly in con-
certed pieces; Miss Goudys effective contralto;
and Miss Millikens fresh and charming
soprano, which appeared to especial advantage
last evening-all deserve more praise than
present space permits. But a word must be
said of Miss Ada Kennards expressive sing
ing of the lullaby, and of the pleasure she
gave with her pure and clear soprano and
careful rendition. The minor parts were ac
ceptably given. Miss Fannie Jordan accom-
panied witt effect and precision. The concert
was in every way successful; and the second
performance to be given this evening will be
no less enjoyable.
Waite, the Defaulter.
A gentleman of this city says that Waite,
the defaulting president of the Brattleboro