New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-12-07
MUSIC AND DRAMA
1.-THE REDEMpTIoNy

80. .t,r w Composition ~
'reaIs 'ne nignest OF themes sincerely and mel
an'iy'ahu furthermore IS wholly, indesap ara a-
aru VoA, quo ias' ana, as the author himsss
.iaio'' 'ne richest iruit oil genius long knox, W.
nono,eo' froduced as 1t was last evening
Ior the nrSt time, without the usual preli,.,'y
puoiic rehearsal The Redemption had The sa1V
anu 'ne weakness, OF utter novelty BY hi, t'.s'
ness OF apprehension we fancy it lost mora ,h'a
gained 1or although some alike Of 4. an
oeNca'e ana more imposing features -"
slngly Affect most strongly "by the first ,, nag
ZION" yet IL can scarcely be doubted .s'.
the entire work, with its broad nu ""
ana deep feeling, its singular form Nss
somewhat complex manner, and richne.. .-
variety OF erect demands repeated hearing rs' a
Is probably the opinion Of tho conductor g., 'as
trllogy is to be twice given during the nav. va
days. What we may find to say is, then no, . Na
tribute to an important work upon tho a.. a0's
Torrance than a preparation for after.ha...pN''
during which, If we mistake not greatly. il il s
grow In public appreciation and regard W.
the way by saying we believe The Redsnr.' s"st
may easily be overrated. N, Gounod -.
we are sure, overrates it, So do some foreign
So probably may our public, in not unreasoni0. ~
light. One cause Of this is In the subject ubioS
peals to the religious sentiment SO common w,., "
Any work which presents the Man of sorrow, -.
tender reverence especially in the sunrsm. w Va
ments of Ills Passion, and after that show. n
received into glory, so that compasso, =.
touched and sympathy Ia gratifel. bas =.
enormous advantage to begin with n. Gopror.
work has the further advantage of a text wh.h.s
design is distinctly work of genius These adv
tages go far, but in art 1t Is not enough 10 oo,.a
noble subject noblyj and in his text and IN AZ.
exploitation of it NJ. Gounod has himself .nnn,.s
the lines BY which the adequacy of his musical Az
preston must be measured. Applying them n.
work will not appear entirely greatn But !, !.
fne in a high sense full Of ingenuity and.reson,,.
kept pure and free from trick and small deyios-.,
we have already said, sincere, serious. sign,s,
cant. We may be gra tefu for so much. renemhsr.
ing how rarely masterpiece is wrought. The ira.
division of the prologue is a short orchestral in,n
duction of forty-seven bars, descriptive Of Cbao,
and the Creation, the brevity of which indicate,
tho restraint which limits the manner az well AZ N.
scope of the movement TO mere suggestion Bu.
the suggestion is most full, and very strong. Thu
chrOmatic figures from the ninth bar proeeadnS
after three bars in contrary motion, express with
singular force the brooding lmeraohepheth, gather.
ing, woodworking operation Of the Spirit. And
this first procession from the Father is fur.
thermore Immediately related not only TO the
second procession at the AnnuncatOn toward tina
chaos of humanity, when, God said again. "LAt
there be light" and " his Son stepped down into
creation, and light was in the world; but also 10
the third procession, Of the Penteeost, when "The
dove returned not, because she had found that on
which she could rest" in the earth. There are few
things in Gounod's work finer than the joluei
restraint and fulness of allusOn of this first nun.
Der, In which, after the stress is over,
the work of evolution is Swallowed in dis.
cords of varying intensity on the tonic
pedal until an octave of chromatic descent in tho
bass leads to the final chord OF completion and salts.
faction, when the tenor Narrator Immediately be-
gins description of the first oabbaths rest, Of ths
headshlp of man over Creation, and of his natural
condition, from ED and death exempted" Fol.
lowing this texquisitely sung by Mr. Simpson, tia
bass Narrator (Mr. Winch announces the Fall, and
the shadow of sin and death, with the insuiciency
of natural or ritual atonenent. The tenO,
voice thereupOn utters the prophecy
or assurance of provided saenhcs
{" My son. God will provide Himself lamb" W Ia
the accompaniment of which first occurs the typical
melody (Leitmotiu) the Neutrality-suspicious., des-
tined to frequent appearance IN the score Though
sometimes occurring In affecting conjunction.
GounOds use of this single leading motive is upon
the whole very simple, or even rudimentary. Az
the conclusion of the prophecy the typical melody
again appears in q brief orchestral prelude OF
thirteen bars introducing the mystic chorus
the Annunciaton, sung by the celestial choir WHICH
IN q soft and exquisite chOrale, at distance IRON
the stage, by few voices with light accompanl-
ment, gives forth the burden OF the Good trday
psalm, "Lo Come" At the end of the chorale, taa
typical melody the flutes of the orchestra SOUNDS
the Are Maria Of the Annuuciaton, and, continued
in the carinets, conveys the submissive answer
Fiat miki secuadum YerJam tRum," and the pro-
logue ceases.
With the beginntngof the historic narrative (Par'
|. of the main work. the bass Narrator announces
the condemnation of Jesus. The Lord Himself ar
peals to his judges IN painuve passsss
of eight bars length, sung with great purV"
Mr.. Remmertz The Narrator then further Dc
scribes the Lords submissiyeness at the END OF IN
recital the March 10 Calvary breaks IN, with fM
strongest contrast This is an instrumental mAioA
of the Roman soldiery, and the fierce vgof OF ~
dramatic effect is incOnceivably heightened "nea
at its conclusion the soprani Of the chorus Jas W.
women on the way of the Cross take up the anc''u
Latin hymn, TeriHa Regis This is suppor''
by rich accompaniment OF stflnss
and at its close the contrast OF ".
March Is repeated The bass Narrator reiertns
to the wailing women. is interrupted oy ,nsa
plants lin semi-chorus of sopranl after when ~
describes the Lords turning to them, aud the ,iVa
bled beauty of the accompaniment, changing AZ"
gives marvellous effect to the words Oh inc =.
deemer, "Ye daughters of Israel, weep We hOs
me-" sung by Mr. Remmertz with the mos. -
and feeling. short progression leads TO Tue A~
again. and this time as accompanies. ~
Veriila Regis now given out by the full Gnu ~.
in unison of ootaves, and accompanied WIN ~
full power of the orchestra ana 0it
With such tremendous effect this striking sui'eesss
and the scene Of the Crucifuon Is announcer
the tenor Narrator The orchestral passage iO"D.
ing comes far short fthe due intensity OF eAp'os
and we should prefer TO pass directly 70 .n0 o.