The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1881-04-21
JUDAS MACCABHUS.
It's First Presentation in Portland.

Judas Maccabeus in the vigor and variety
Of its music, is one of the most interesting o.
Handel's works, as well to the general public
as to the musical student 1t occupies place
with several other oratorios of the composer
midway between the lofty and sacred manner
of his Messiah and Israel in Egypt, and the
style of his operas which was according to the
fashion OF the time, while supported by the gi
gantic genius OF Handel. Judas Maccabau
may be regarded rather as an epic; although
from the nature of the wars it celebrates, a
once patriotic and religious, it is fairly classe6
among sacred music 1t affords opportunity
Tor the grand choruses which tower to the very
heaven OF harmony; its valorous sentiment
gives rise to some of the spirited and brilliant
airs, with their vigorous and stirring naotiUi and
exacting rouades-in which the vocal heroes Of
that day were wont to prove that they could
run as well as fight: and the lighter numbers
preserve for us admirable examples of favorite
melodic forms of the period.
The opening chorus and the four numbers
succeeding are in the style of the Samson cho-
ruses, and are extraordinarily impressive. The
soprano air, Pious Orgies, is one of Handel's
most fortunate melodies, exquisitely and simp-
| lyharmonize6. 1t has always delighted hear
ers, since the days when Catalani, Mara and
| Ellington sang it with traditional glory In
| the chorus, o Father, the contrast of the two
movements is striking, and the fugue is thor
| oughly Handelian. The inspiring air for bass
| Arm, ann ye brave, is succeeded by an appro-
pirate chorus; and from this strong episode the
martial character of the work, relieved by ele-
CANT and brilliant songs, replaces the solemn
and eegiac strains of its first portion. The sopra-
no air, Come ever-smiling Liberty, is delicious
its spontaneous ami rich melody, and-inter.
rupted by a superb contralto song, IT'S Liberty
is later developed into an admirable duo for
these voices. Disdainful of Danger contains
the vigorous upward runs in the bars which
Handel liked to score against the harmony
carried by the upper parts, and which give
an amazing effect of lionlike force. Hear us,
0 Lord, is an extended and i'm )ortant chorus
with which the first part of the oratorio closes
In chorus, notable for its striking modula-
tions and thematic treatment in Handels rich
and exhaustless manner, the Israeltes celebrate
their victories. The duet, Sion now her head
shall raise, introduces brilliant and tuneful
chorus. The recitative and air for soprano. o let
eternal honors, and From mighty kings are ma
jestic; aud exact solid and intelligent singing,
as we'll as skill in the characteristic Handelian
embellishments. The magnificent tenor song
How vain is man. contrasts strong and effec-
tive theme with an admirable and serious move
ment. The air and chorus, All, wretched Is
rael, are dramatic and charged with a nations
sorrow. The great bass song, The Lord work
eth wonders, is one of the Titanic airs that pile
mountainous note on note, and roll rocky roat-
ladies' up harmonious heights; sturdy in their
great strength, and taking an audience by
sheer stress of superb power. Next, as if ten
or and bass were in fair rivalry, comes the Gel
ebrated braourd song, Sound an ALARM and
the succeeding chorus is inspired by this great
cry of the patriot. The air, With pious
hearts, and the lovely sardbdnde for soprano.
Wise men flattering, present interesting forms
of melody and delicate and learned harmony
The duet, o, never bow we down, has singu-
larly pure harmonic effect, and introduces
fine chorus with NOBLE and important finale
The third part of the oratorio opens with the
air, Father of Heaven. To this succeeds the
and its brilliant and delicious divisions are ra-
diant and luxuriant as sunlight 1t we'll
might have been the song that drove the night.
ingale to despairing death. The familiar cho
rus, See, the conquering hero (of which
Handel himself robbed Joshua to pay Judas
Maccabaus) fine chorus, Sing unto God; the
important tenor song, With honor let desert be
crowned-which is essentially Handelian in
theme; fine chorus; the lovely duo pastorale
o, lovely Peace, and noble air for bass, with
the Amen chorus, conclude this oratorio which
depicts in the richest and liveliest coloring the
varied history of the Israelites nnder their
warlike leader, Judas Maccabeus
The audience which assembled to hear Judas
Maccabeus last evening tested the full capaci-
ty of Union Hall. We have often had occa-
sion, in connection with the Haydn concerts,
to regret the inconvenient size of their hall
which so severely tries the patience of the au-
dience and temper of the singers, but in spite
of this great drawback the society has never
before surpassed their performance of last eve
ming in uniform excellence of finish, express
sion and precision To render oratorio fifty
without an orchestra or organ is impossible,
Haydns in giving the best expression vocally
to the thoughts of the composer.
In the first chorus, Mourn ye afflicted chill
dren, perfect electrical effect was produced
when the Jews, mourning for the death of
Mattathias. almost overcome by their profoun
grief, suddenly burst out in uncomfortable woe
in the word mourn woe that is full of
despair. In the succeeding chorus, For Sion
lamentation make, that grief was most admir-
ably expressed, which eliminated in firm re-
solve to make a bold effort for freedom. The
almighty power, followed by the fugue And
grant leader bold and brave, was grandly
given. The chorus, Hear US o Lord, which
ends part first, only needed larger numbers to
make it seem as if the hosts were storming the
gates of Heaven for help.
In part second, whose choruses are more sui
dued in character than the other two, those
which deserve special mention were "Tune
your harps, All wretched Israel, We hear the
pleasing, dreadful sound, and the expression of
firm determination, We never, never will bow
down, which closes this part.
In part third the chorus, tSee the conquer
HOIO Coilco was given with Cn0 greatest
vigor, that seemed communicated to the re-
naming numbers, which end in the short but
very effective Hallelujah Chorus with which
the work ends. The close attention of the au j.
dience was kept through the whole perform
ance, which last three and a half hours
With regard to the soloists one would say
that they had an enormous difficulty to con-
tend with in the oppressive atmosphere of the
ill-ventilated hall, as well as the nearness of
the audience, the front ranks of which are di-
rectly in contact with their platform. They do
not ask, however, nor do they need, any ex-
cuses for the manner in which they performed
the parts assigned them Mr.. Coye's earnest
and vigorous dramatic style was apparent in
all his work, especially in the air ''Arm, arm
ye brave" and "The Lord worketh wonders"
Mr.. Pennell shows constant improvement and
sang with great strength and admirable refine
ment of style. His How vain is man, in the
second part, was a particularly finished effort,
as was "Sound an alarm. Miss Mlliken al
ways sings sweetly and correctly, and when, as
in the great air. From mighty kings, she ex-
hbits so much Judgment and expression she
shows herself capable of very fine work. This
was evidenced in the air So shall the Lutte and