Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-10

not satisfied with his place in art until he
had tested public approval by the Redenp-
tion. 1t is by this, perhaps, that he is TO be
best known in time 10 come. Many Operas
as rich az Faust have already been put away
only to be recalled on occasions OF musical
revivals, when the honeyed lore Of collectors
or Libraries is culled for novelty. It
is 90 with nearly all the operas
of GIuck, for whom Gounod has
often signaIizsd his preferences. Not
30 with those sacred dramas that every year
grow more snd more popular, and in all
countries find increasing audiences of enthu
siastic admirers. The RedemptiOn will live
when Faust is forgotten or is only recalled
by surviving melody. In Eogland, the
home Of the oratorio, it created the most eI-
traordinary interest upon its production, az
composition Of the deepest reverence and
most profound thought. In it Gounod T.
Illustrates the human ss well as divine traits
of the Redeemer. "He approaches the
Savior" says an eminent English critic, "as
chiId-sees only the qualities OF Intense
love, tenderness and graciousness, aud these
qualities are expressed vividly in this elo-
quent melody, which, as it consists of just
detached phrasep, lends itself early to expan-
sion by modulsiion, without perceptible
break of outline; and as its lineamenis thus
appear in new keys, they seem to possess ever
incressing brightness and intensity of ex-
pression." The poetic features are most prom
insut in the choruses: Forth the Royal
Banners Co." "Tke Rsproaches," Beside the
Cross Remaining" with the sole, "Whilst
Ny Watch / am Keeping" and the final
chorus, "For Us the Christ is Made Victim
Availing." Those portions which are treated
more realistically are the Condemnation, the
Going to Calvary (the choral portion OF the
march eIcepted), the CruciGxion, Mary at
the Foot OF the Cross (the chorus and solo
terminating this scene excspted), the episode
Of the Two Thieves, the Death of Jesus, and
the Centurion. By these different literary
attitudes, corresponding differences in the
music are produced. The music to the real
istic part consists OF very plain style of
recitation, of purely dramatic chorus, and Of
independent orchestral music at once rich,
suggestive and graphic. The Redemption, it
will thus be seen, is a great choral work,
worthy to stand with Elijah, and it is with
something more than ordinary pride we an
nounce that il will be produced here on Mon
day next for the first time in this country,
when the Mozart Society of $50 voices will
sing the choruses, the solos to be sung by
Mrs. E. Humphrey-Allen and Mrs. Annie
sopranos; Mrs. Belle
Cole, oontralto; Mr.. Fred Harvey, tenor;
and Mr.. Franz Rsmmeriz, bssso-artists of
repute and high position. A rich and
rare treat, the production of two such
works as Elijah and the Redemption,
under the very exceptional circumstances of
Mr.. Thomas's leadership, is an event in the
history of Memphis that proves the useful
ness of aud the necessity for solidIy estab-
lished ard properly conducted musical Or
ganization like the Mozart Society, through
which the musical sentiment of the commu
nifty can fad intelligent and adequate ex-
preston, and by which all that is exaltipg
and beautiful in the works of he great mas
ters of muric may, in time, be produced as
we'll as they are in Birmingham or Cincin-
natl, or in London, Paris or New York.