Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-15

part was ALEC omitted, and recitatives were
strung along, q tiresoms series Of declamatory
passages, tedious, cold unrelieved, without
color, bald, bleak and barren. 1t was a
great disappointment that 80 much really
injudicious cutting was deemed necessary,
especially in view Of the educational value
OF the Festival. The march to Calvary
sad and pathetic reminder OF the Incidents
preceding the Cuci6xion-would have
been great relief, and would have been
q connecting link binding the parts
a. Gounod intended. 1t recalls Cbrist's toll
come journey to the hill Of death with the
burden OF the cross, followed By the jeeripg
and mockiDg crowd who had witnessed and
cheered on the buffstings with words of con-
tn nelly and hate; who bad derided the man
whose psssiviiy and dociliiy were a remark
able contrast 10 their brutal excess Of passion.
| THIS we lost, and all that fol-
lows of the finale OF the dreadful
drama which is described az "eou-
meucing with tenor narration, sympaiheii-
| cally accompanied, the redemption theme
agsin breaking in with touching effect Oh the
| words, 'He, though His eyes were dim.'
TIC bass takes up the narration, describing
how they blasphemed Him. and then, after
an ascending chromatic passage, an orchestral
figure occurs, evidently intended 10 be iden-
tilted with the events Of the cruci6 xion, as
we find it aiterward in another key intro-
duce the scene OF the two thieves. Then
cham. If u,noba.a h. E
the incidents being admirably represented by
the varied coloring OF the orchestration,
| as well 50 by the taunting character of
the vocal parts. Toward the close the words
OF the impenilent thief, preceded by the pas
sige identified with the crucixion, are twice
interrupted by portion of the redemption
theme inverted, and those OF the penitent
thiei, followed by the consoling assurance Of
the Savior, are 30 excellently contrasted in
c,lor SIS to place the scene, with all its pa
thelic details, most wildly before the audi
ence, the choral we'll expressing the
feeling of faith and hope inspired
by the solemn tragedy enacted.
The narration OF the death of Jesus,
commenced by the base, is followed by a
graphic instrumental movement representing
the darkness; the narration is then contin-
ued-interrupted by the appealing words of
Jesus from the bsss-by the tenor and bass,
who unite during the representation of the
earthquake, the orchestration OF which is
mastery in the extreme. After the incident
OF The conversion Of the centurion q beauti-
full choral in the key Of E major 6tly brings
to an end the fret part of the work." Itisto
be regretted that 30 much of the surprising
tragedy Of Christ should have been omitted,
but The length of the frat part Of the pro-
gramme and want OF time 10 rehearse il no
doubt compelled it, but even with this good
excuse, We must demur to 80 iujudicious a
stringing of recitative. Beginning with the
second part, we have the chorus of the pro-
phetic choir predicting the resurrection Of
those who sleep, followed by the beautiful
recitatiye by the terot describing the COM
ing of the holy women to the tomb, who, in
a trio OF unequaled beauty, proclaim their
distress and inability TO roll the stone away.
L,aving them thus, the tenor, still in
ISCttdllNc, COutnut5 MS uaIfhLlVo anu
announces the angel, who, in solo, tells the
distressed ~gomen that "the Lord is risen"
and is even then on His way to Galilee, with
which crai2rting assurance, as the tenor,
who now continues his recitatiye, tells, they
went on their way filed with awe and mar
Yelling much. The tenor, still continuing,
tells OF their meeting with Jesu. and His "All
hail!' (solo by the bisso) simple in its per-
feet dignity, follows, the tenor continuing
in recitGtive the story, how the women
fell at the feet of Jesus, who, dis
appearing, they continued their journey.
The narration follows of the wonder and
amezsment OF the Sanhedrim, of the soldiers
On watch, and Of the priests and elders, at the
story of the resurrection, the manly avowal OF
the fact by the soldiers in chorus being a
marked contrast with the chorus of the
priests who, while they DO no, deny, couture
them to falsify by assertisg the theft of the
body of Cnrist. by His disciples. The next
scene discloses the disciples in sorrow for their
loss, and OF tbs ray OF comfort that came
to their hearts from the recollection of the
promise that they should see the Master
again before He assembled on high. The ar
rival OF the holy women who, in beautiful
trio, rendered with fine effect, assure them
that Christ has risen again. Still doubling,
in chorus OF tenor and basso : the discip!ss
refuse 10 believe unless they can see Jesus for
themselves aud hear His voice. This, which
was a pleasant break in the almost contiu-
uous recitative, Was followed by soprano solc
God to those who had faith. The final scene
follows this prayer to be taught the triumph
of life over death, and the Tenor in a reci-
tativs tells that while the spirits waited the
Lord Himself "csms and stood in their
midsi." This is followed by solo by Jesus,
I" Be Not Afrsid," which closes with the
promise, "I am with YOU Away, yea, TO the
end OF the world" The tenor continuing his
rectative, tells in simple language, that
"He departed and ascended into Heaven"
And then comes the final choruses full
of divine Inspiration. The full chorus, open
ing with 'Unfold, Ys Portals Ev rlssting,"
the celestial chorus ask, "But Who is He, the
King OF GioIyP and the full chorus answer,
"He Who Death OSercame," aud the celestial
chorus repeating their question, the answer
comes from the full choru9, OF, Hosts He lie
the Lord, OF Angels and of Powers; the King
of Glory is the King OF the Saints"
To say that the oichestrstion wss perfect,
and that Thomas was quite up TO
his own mark of excellence ia to do him
only Justice. The solos and trios and the
recitativss we're ariistically rendered, though
the tenor was not always equal to SO large e
building. As for the chorus, ii was better,
much better than we expected, and save Tor
a momentaIy confusion in the closing chorus,
out OF which Mr.. Thomas extrieated them in
very mastery way, their work would
have passed uochallenged. They and
thu people who heard them have
reason to feel proud that they were
on so short notice able to do 20 well-to follow
intelligently, with accuracy and precision,
the lead of Mr.. Thomss. Il is certainly mos,
creditable TO Mr.. Downes, and speaks we'll for
his training and for the intelligence and am-
bition of the members of the chorus. They
have been in training bat few months, aud
were able TO pass the criticsl and unerring
judgmen. Of Thomas, who will, We have rea-
son to believe, find them still better in The work
they have 10 do this sf.ernoon in the rem
| dition Of cboruses BY Beethoven, Schu m ann,
/ Sebastian B ach and Handel, and to night
in Mendelssohn's EFyah, an oratorio full of
stirring incidents, its srtistic form being
quite within the reach even of uncultivated
audiences, although to the trained aud
artistic musician il is j perfect treasure