New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-05-01
Music AND THE DRAMA.
THE FESTIVAL MUSIC.

ton for skill ingenuity and wisdom. Every one Of
his prog rammes has a reason for beng and this
reason not Ony reflects the light of ripe experience
in catering to the public but also discovers several
guiding principles which might be formulated
into law. Dignity, harmony of spirit yet variety
Of FORM absolute artistic worth, symmetry, intel
lectual excitement relieved by intellectual repose-
these are the qualities which are always sought
after and hence il is mat his concerts leave after
them singular a sensation of satisfaction and
perfect enjoyment. The highest effectiveness IS the
aim of every scheme, aud the highest Judgment is
employed in seeking it. For this reason he does
not hesitate to repeat programme
that has been approved. and it
happens that the first concert OF the Festival viii he
almost Identical with the first concert OF the Gin
cinuati Festival of 1880. the only difference being
that here a few of the minor numbers Of the
Bach cantata will he omitted and the great soprano
scena from "Fidclo" will he introduced. The
reason of this change it is not difficult TO see
Madame Materna must be heard on the opening
night and III a piece of music worthy of the large
works the programme, and of her eminent TAI
ents. The programme stands as follows;
Cantata. Elm Feste Burg "............-.: Bsen
Jupiter symphony Mozart
Scena and Aria, "Abscheulcher'
tFidehol 80. .------..------.----b ee IItI
Utrecht Jubliate. -h""'ioi
val orchestra, choir composed of the New-fork
Chorus. Brooklyn Philharmonic Chorus, Worcester
County Musical Association, and Reading Choral
Society lin all about ! 700 voices, and Madame
Materna. Miss Annie Louise Cary, William Can
ddus. Theodore j. Toedt, NJ. w. Whitney and
GeOrg Henschel.
The Bach cautata was provided with additional
Accomplishments by Mr.. Thomas FOR the Cincinnati
Festival two years ago. 1t has for its basis the
old Lutheran chOrale, of which both words and
melody came from the mind Of the Reiormer.
" whose words az somebody has said and Carlyle
repeated were half battles In lis original
form it voices with marvellous fidelity the rugged,
aggressive, indomiable spirit OF the religions storm
and STRESS period in which 1t had lis BIRTH Inc
setting which Bach gave it intensified
This spirit, by providing for 1t more varied
and a more eloquent mode of expression.
The forms which he employed o not differ mateu-
ally from those of the OF his church canIatas.
The cLorlie melody Is retained without change,
aud at the close Of the work one stanza OF tie
hymn is sung just the choralcs ere sung nova
days in the German churches In other parts Of the
work the melody is used, sometimes Ms caHtas fr-
mus under a fugue, once in tie opening NUM-
ber a. a fucue subject, and in various shapes in the
Accomplishments to the settings Of the solo
pieces which are hreI~prsed through the
work. These solo pieces have q text
consisting OF reflections on the sentiments Of the
chorae ana the lesson for the church festival al
which the cantatl was performed-in tins case the
Reformation Festival. This was generally tie
structural form If the church cauiaiaS which COM
posed so Important feature in the German service
two centurie, ago. that Bach is supposed TO have
written nearly three hundred Of them during his stay
Of twenty-seyen years in Leipsic. Including frag-
hmm, Ir.I a ton ,f iis
been preserved.
The element which gives this cantata an interest
greater than its fellows is besides the intrinsic
beauty of the chOrale the fresh AMI vigorous man
ner III which Bach treated the instrumental accom-
paniments Of two of It's three choral numbers. He
seized upon the dramatic spirit Of he text and de-
velOped il with forceful energy which Is unique al
most even for this giant among composers. Gut OF
the first stanza he made tremendous fugue through
which at intervals the melody Of the
hymn is heard coming from the wind
Instruments Out of the third stanZa he
constructed piece Of absolutely terrifying realism,
treating It as practically an instrumental number.
In harmony with the text, which in this stanza
sounds ike paraphrase of Luther's own. Were
there as many devils IN Worm, as there are roof
tiles. would on" Bach composed a piece of music
for his band which depicts a really diabolcal rage,
above the din Of which the choir sings the words OF
the hymn IN unison like proclamation 81 defiance;
And were this world all devils Ger
And watching To dtVOur U.s.
We lag i. not To heart 80 sore,
NOj they can Oyerpower u.
Il is in these two choruse5 that Mr. Thomas
work tells Bach scores them pretty heavily for
his time. employing three trumpets, kettedrums.
two oboes string quartet and organ. Mr. Thomas
for the reasons which have often been stated ia
connection with the restorations of the Old vocal
scores, adds flutes, English horn four clarl-ets
three bas.oons. contra-blssoon. three trombones
and tuba. A complete apparatus like this Is de
handed in this music by the III odern ear. AID there
IL no question that the effectiveness of both pieces
has been heiehtene without violence to the lntcn
lions of the composer.
The caatata viii open the Festival in the spirit
which Will characterize It, every achievement. ne
symphony which Will follow II VIII give tine audI-
ence an opportunity to ju ige Of the resonance and
richness and power Of the orchestra. Besides II VIII
show the grace and beauty OF tue instrumental
music OF the beethoven period OF which 1t was
the elimination, as etiectually "a the cantata and
Utrecht Jubilate VIII exhibit the strength and
grandeur of prc-Beethoven choral writing. The
transition from this music 70 the nineteenth century
art Will be foreshadowed III the great aria from
Beethoven's opera.
THE FESTIVAL SOLO SINGERS
The illness of two of the principal performers
threatens to compel few changes II the distribu-
ton of parts al the Music Festival Miss Cary for
more than month has been suffering from acute
l.ryngits. contracted in Chicago and aggravated
BY a visit to Boston during period of raw weather.
She placed herself Immediately in the hands Of