New-York tribune., 1886-02-08
NLSIC-THE DRA.uA.
GOUNOD'S "MORs Er vITA.n

,ame composers Redemption" this "sacred trlogy"
was composed for the Birmius Festival England.
nud also. Ike The RedempOn, 1t has greatly exercised
the minds of musicians and critics since its production
Were it the work OF any of less fame than Gounod
hardly likely that "Mors ct Vita" would have been
been IIuch talked about. IL " The Redemption Justly
fell under extensive condemnation because of its want
OF the elements and qualities which justified in ex
qecting to find III OIajOrio OF large dimensions
aud lofty subject. because its comhonplaces. the
Vitality many of its ideas and the feebeness OF It's
initiation great models there IS no hope OF critical
salvation for Mors ct Vita" VIII ch has less OF esh-
ness OF melOdic invention ana less OF variety thah
Its companion piece-Gounoi desires that " Mors ct
Wit" shall be accepted as continuation OF "Ihe ke-
dempon and no greater dignity OF form or depth OF
learnInt There element OF novelty IN the plan Cf
NJ GOuGods oratOrios which secures for them a
respectful and interested hearing The element Is so
priseworhy in fact that 1t invites the utmost gen
erosW III Judgment, generosity that is only
prrudiccd in the mind of the knowing
by the comparison with acknow.el lsed masterpieces
when the 'cuton of the plan cO1pes Thus in the
case Of Tue Redemption the compirison inevitably
a fatal oue was with Bach's Passion Music" because
OF the sian larity subject and the OF similar ee
mcns-the rbp they used to be called, the reflect
i've element which the vehicles airs and concerted
peres and The old choracs the great foundation stones
Bsc's artistic Nearly two-thirds OF Mors
ct Vita OF setting of the for the dead,
and Gouuod in his best estate is yet an eclectic
whose originality lies chiefly IN few
amiahlB ma nerisms. it is impossible while
listening to the OratOrlo to avoid comparison
the requiems of Mozart BeriOz and Verdi IL Is
true that introduced dramatic cOucet into
his mass, which s theoretically admirable. and which
his predecessors thought o'. but unfortunately
again, the of the conceit is not productive OF
beauty.
The introduction OF the for the dead in the
toro is douby unfortunate; sets standard for the
music which is reached, and 1t destroys the symme
Vnf tnn nj IN Oft Z the il
ccved and makes happy of the vItazing force
Inherent in dramatic action. Though such an
oratOrio must OF necessity be contemplative
10 character, NJ. Gouuod has shown us how
the advantage of dramatic life be secured from it,
There Is the base of the work which is told in
the three great divisions entitled respectively Death
dramatic dea is consistently made in the Latin text
compiled bY the compO-er After proclamation OF the
incidere in Del vvents y the Voice Of JeSVs Is
beard in the mar Bromise OF res4[Ieclon ,, an" % ie
chorus REPEATS the words and the requiem mass begun
OF the liturgy OF the church in the
scheme Of the work was the vivid pictire of the las;
judgment which Is found in the " Dies lr;e and we can
NOT bat believe that the WORK womd pe
tnis subdivision except the hymn, an e1ci-
which could he defended. moreover on the ground
the hrst part; the second begins with an orcnestra
number enuted the Irumpets az the Last JGds,neni
Elect" and The Judg nent OF the Rejected set
S 1CT n5 IN BS sands F "T e o tie German P
sion music and Ine OF rne Redempon'D and
john Toncnns the Heavenly Ierus, ,lrm.
That lext constructed on these lines affords fine
opporunit. for music is Obvious and NJ. Goanod APP
preached his task It's most serious SIDE. In lhe he
dempion Nnd already IN Faast' for that matter he
showed APP recitation OF the advantages "h'ch accrue
from tue of typical melo iie Dat Ia tue conp"sii"
under discus ion he carried out this principle much
more logically and 10 a greater extreme. A-~lnSt MS
ehca scheme Objection need he urged III Dref II -
the sscuiIal IDEAS OF his text first, the grief
fuFu after; % tSrd. ara. the dread Of retbatiye jus
TO these conceptions he has sought to give formal ex
prcss0u by means OF short mclodic phrases which are
used the pruCpi themes OF ms competition, Ie-
curing in the musical texture whenever Tie sent
mems whlch they uplty are referred 10 III t'e teA'
ana receiving Sdeh new sap as me musical 9 eSige
given the entire first part Of phrase of four
notes forming sequence Of three MAJOR seconds either
expresses The terror, terror Inspired 10y .aa .ae SenSe sn
Of punishment" We must take NJ Gounod's label a. he
certainly does convey the idea of nexorab!s somc-
thing hut is inrxorabe nginess lnspr error m
stead OF expressing IT. especially when u Is hhruiPhLru'
thoSr whose ears are not htrd ned % harsh eaco.
phoiy feel wheaever 1t bccois evident that
the dreadful sequence Is nnnen': ms second thsHe
is more acceptable It'll phrase OF TWO DaiS Mhicnm an
tc the major voices consolation ant Joy In tre'ns 1t
lent ideas OF musical beauty and less ingenious
tnan he is when zen, he s Is & pr@as nr ierr%r
ing. 10 the instrumental introduction to the iOnrth
number 0t the second part osient 10 thronN etc ~
is developed into ody OF snrIh'ing O'ellncss In
he shakes on tie nigh mare OF MS ter
fore The motJts not plastic Que ana Inc composer
ha, not that power Of m.uidnS and remoniding his
PHRASES into ard ever beautiful forms which
the world has learned TO marvel at IN tue case OF Wag
and which is essential II one wishes to compose
with this constructive scheme III view. lhe
oppressive and luguhrOns Melofc Invention IL at
minimum Page after page Is met without bar OF YO-
cal melody. Effects sought simply aud solely IN ar
monte prGgres,iOns aud orchestral devices. sequcnua
iteration few times effective. shows itself to De the
characteristic and most persistent element OF tue com
POSITION Phrases IN themselves uhi'nressye are re-
pra"i over ana over again IN various ke.s nnt !ney
Redemption" poyphony. the huest element n sacred
music Is dstin. .uisrd by absence. IL Is cOnven
tion that the "Quam Olim AUrale shau be set To a
fIsue. GounOd starts one braveiy enough, bur
with almost amusing alacrity so soon as he gets
his four voices under way The cpeAd style IS lntrO
duced in meritOnous manner III the custolla ha
tuna aud there a deal OF choral rccitt
which the work the effect OF church
Against the drawbacks whch we have enun
which force themselves the notice OF
the most generous listener. are 70 ne set mastery
.1eS tETGpt r s sesond and Td pa
and high degree OF success IN deiineating the !
TO pariiculazc is impossible yet cannot refuse to
marx with special mention the exquisite mrOly TO
which the soprauo sooist sings Beati qu
lavant stJas Ia G,Dgune Agni aud the transccn
dent beauty OF the chorus, Sedent III ThionO tn which
we nave already referred
Criticism Of the performance ia simplihed by the uni
form excellence of sll its features The choir ad
niraby and did all that could be done
part from becolng OpPress ssyey nOnOtOnOus
while the orchestra ali That he composer could nave
asked. Though Mr. whitney enabled to shine above
his companions because Of the quantity and kind OF work
which he called 10 do aud the sond dignity OF his
defamation a coinInendable equality maintained
i'm the solo Iurts Miss Juch sang II trfe weary
(Which not to be wondered at-she sang IN tue opera
In the af ernoon) hut her taste was and
her lovely. Miss Campbell had less opportunity
the others show her art )ut the beautiful quality
snavy of ner sty le deserved praise Mr.. Canddus
passed his best efforts in opera lie sang eVeyhh e1
duisiteiy.
LIEDERKRANZ CONCERT.
The second private concert Of th5 German Lie