New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1881-05-04

Il NAV afford Of an Incident IN Bible history, Is
not ant to have the strength and impressive
ness of TIE Deum written in commemora-
ton of glorious victory and Rubinstein's genius,
however admirable il may be- is still far below that
Of the Saxon giant On the other hand the work does
not prove effective by force Of contrast. There are
certain parts Of which every beautiful and they
are in the main those which are the simplest and
most expressive parts; but 30 much of the work Is
made up of what intended to be strong effects,
and which might perhaps prove to be such If the
memory Of the more imposing choruses of Handel
were not fresh in minds that the contrast is not
sufficiently striking and the work suffers in conse-
quence.
The "Tower OF Babel which is intended to form
of series of sacred operas-for Rubinstein con-
templates it is said the creation Of sacred operate
stage-is by means one of the highest expressions
of its composers genius II does not exhibit
great depth OF lofty and brilliant imagination,
or descriptive power Of the first order, such'
for instance, as is found in Berliozs REQUIEM"
1t gives evidence of great command over the
Of the orchestra. which is used, however,
in comparatively conservative fashion, Of origi-
naliy in poetic ideas, of fine meOdic power Of in
genuity and of earnest musical feeling. Certain OF
the movements. moreover, possess very striking
beauties But the average of achievement is not
rank among the best religious pro-
auctions, even of the prcacnt day. Por
tons OF it will be likely to gain popularity but the
difficulties in the way gifts performance, which are
many and great. will prevent it from being fire.
quently heard, and it is not probable that 1t will
ever be widely known in It's entirety. The story is
that of the destruction of the Tower of Babel.
short instrumental prelude is followed by the call
of the Master Uorkaan bass TO his fellows who
arouse themselves. and in the first chorus call on
each other to begin their labors. Nimrod bass APP
pears and exults over tho approaching completion of
the tower which is to permit him 10 speak
face TO face with the Almighty. AJrG-
ham tenor warns him against the impiety Of his
Undertaking. and is, TO punish his boldness,
cast into one Of the blazing furnaces. Here a chorus
of angels appears and drives the flames back from
him. and finally cxtnCuishcs them After a double
hOrus in which the people dispute between them
selves as TO whose God il is-Jchoyah or Baal-who
has performed this miracle. they fall 20 work
again. but are interrupted by fearful storm
which destroys the tower Next come the
confusion OF tongues and the di-pcr-
sion of the tribes who in three short chor~cs
tell the story OF their future home, and occupations
and then follow in turn short chorus ,fangels who
rejoice over the destruction of the tower, an mpor
tant air for Abraham. and Tecitatiyc for NpToa,
who aC knONlcf4c7 me power OF lut AtlihkHt4 iii'
work closes with powerful triple chorus sung by
a triumphant chorus Of angels, penitential chorus
of mortals and a chor as Of cXual evil spirits, who
boast that they viii triumph 50 long as NOR
tails trust in themselves. This last is by far the
most powerful number in the whole work il Is
strong and majestic and full of striking Ell, cts.
Next 10 It, perhaps among the choral numher~ lnnY
be ranked the opening chorus "hich hAS
vigorous marUh movement, the chorus oi
angels, represented by choir OF boys,
whose hymn in the fiery furnace -
charmingly fresh and graceful and the ch0ruses Of
tn three tribes they move away from the site OF
the tower 10 their homes IN distant quarters oi the
world. The local color Of thcse ~ very elective.
The rst, that Of the Semies who live by the RIVER
Jordan, u quaint Eastern AR. IN The MINOR that
of the Hamites, who are nomadS. Is picturesque
Eastern march that OF the JBphcttes, who i've hy
the sea, Is smooth hOWlng movement III
six-eighihs time which has, curiously enough,
a strong likeness to sunday school hymn.
The treatment of the orchestra Is ALWAYS admirable,
and though there are no purely instrumental num-
bers, II Is often given great prominence. ne scene
of the destruction of the tower by thunder storm
is virtually Instrumental for the chorus only ac-
companies It IN few broken phrases, and II II one
of the strongest and most effective passages IN the
whole work while oil through the opera arr scattered
clever orchestral ELECTS ike that III thr hIst 'hoTs'
for instance where the cracking OF the nalncs IN
the furnaces IL initiated by similar TO those
employed by Wagner in the teuerzauber
scene in " Die Malkure.n
I'm the Tower OF Babel DR.. Damrosch's choral
forces acquitted themselves rather better, on the
whole, than in the lie Deum. The spirited opening
chorus went capitaly, and the cnoruses Oi The
| three tribes. which instantly caught the fancy
OF the public, were sung with perfect
| smoothness and with mucn expression,
quality which Was too often wanting
! in the ch0russ work during the evening
! The choir of boys sang admirably IN tine chorus of
angels, and their short number too was very chect-
tive Campaninl did vastly better with the solos ~
| this work which he sang IN Italian. than be did
J with those in the lie Drum, and Whitney sang MIN
| rods reCitatiyos magnlh, entity.
| The acoustic properties oi The armory proved
| perfectly satisfactory. Those who sat on the
/ sides heard but impoIicctly for being mach nearer
| one side OF the band and chorus than the other
I sounds emitted at the time did not reach
/ them simultaneously, and IN RAPID las-
/ saCes the music sounded blurred. but
this must necessarily happen IN all very large build
ings and those no rat m tine centre 0i the hA OF
IN direct line behind the conductor, had no trouble
whatever.