Daily globe. [volume] (St. Paul, Minn.) 1878-1884, 1882-12-22

description of G0MM0d's Grand Ne,U Triz-
o0y.---A Great ArgMnent Powerfully
Treated.
Gounod's trilogy, "The Redemption"
lately produced in New York, Toronto and
one or two other cities, has proven a great
success. The composer gives the follow
ing summary of the work: "This work is
lyrical setting forth of the three great
fact on which depends the existence of
the Christian church. The facts are I.
The passion and the death of the Savior.
:. lis glorious life On earth, from his
resurrection to his ascension. 5. The
spread of Christianity in the world through
the mission of the apostles. These three
parts OF the lpresent trilogy are preceded
by prologue on the creation, the fall of
our first parents and the promise of Re-
deemer.
THE PROLOGUE.
AS in Haydn's Creation SO in this
work the opening number is an
instrumental description of the evolu.
ton of order and light from chaos and
darkness. This is neither soilong nor so elab-
orately treated as the s'Chaos'' of Haydn,
but is yet effective; the peculiar creeping
motion OF the strings gathering force as it
proceeds, and eliminating in ponderous,
syncopated chords that lead throughvarying
dlscords to harmonious closets very sug-
gestlve. The close of this number is in
the key of G, and Immediately the bass
strings give out the dominant of E, which
the other strings repeat in successive oc-
taves, while the tenor narrator, taking up
the same tone, describes the condition of
the first man. He is followed by the bass
narrators, who announce mans fall, and
the tenor again takes up the story and
tells OF the promise of the Redeemer. The
orchestral accompaniment is very rich
throughout, and at the announcement of
the promise the peculiar and sadly sweet
melody known as the Redemption theme
Is tlrst heard as solo by the first violin.
Atithe close of the narration this melody is
gwen out in octaves by the strings, and
then follows the beautiful choral by the
celestial choir, ''Lo Come" The flute
then takes up the melody, followed by the
clarIonet, the intention being to signify
the Annunciation.
THE FIRST PART
commences with the bass narrative of the
condemnation of Jesus, and is followed by
the ''March to Calvary" an agitated move
ment IN march time, signifying the brutal
ity of the Roman soldiery hurrying Jesus
to the Mount. Then comes the lamenta-
ton of the women, repetition of the
march, and further lamentation at seeing
Jesus fall. The words of Jesus, sweep not
for me-" addressed to the women, are then
sung by the solo bass, and the number
closes with the march and lamentation
combined. The tenor then takes up the
narrative of the preparations for crucifx-
ion, the stretching upon the cross,
and the insults that follow. The
hooking chorus of priests is then heard,
"Come Down from the Cross" followed
by the prayer of Jesus, "Father Forgive
Them and the "reproaches," given as
a mystic chorus, beautiful wailing Choir
al in D minor. Then comes the very af-
fecting scene of Mary at the foot of the
cross, narrated by the tenor, the Savior's
charge to John intervening and mystic
lamentation as quartet for the principal
solo voices, accompanied by the ''Stabat
Mater" in the orchestra, which latter
theme is taken up by the voice represent
ing Mary, and then by the chorus in uni
son. The scene of the two thieves is mar
rated by bass and tenor alternately, and is
closed by a beautiful choral The death
of Jesus is very effectively orches
trated number. The tenor announces the
darkness which the orchestra then de-
scribes. The narrator then portrays the
last agonies and death, and at the words,
1.-THE earth did quake" the full power of
organ and orchestra unite to give effect to
the announcement. The bass narrator
then relates the effect on the centurion,
and the number closes with very effective
choral.
THE SECOND PART
begins with very grand chorus, in which
the entire resources of the choir, orchestra
and organ are brought to bear, and the eff
feet is heightened by two pairs ofitrumpet
ers placed above the choir, who answer
each other by persistent trumpet calls in
the tonic and dominant throughout the
oh L.