Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-04-26

its theme clearly indicated by the title), to-
gether with pair of violin pieces by Svendsen
and Sarasate, played by Mr.. Franz knelsei,
concertmaster of the orchestra and one OF the
truest artists the country possesses. Inc MO
zart Club Chorus (Mr. James +. McCouuln
conducting), will be assisted in the Requiem
by the orchestra, of course, and also py
these eminent soloists: Mrs. Genevra John-
stone-Blshop, soprano: Miss Lena Little con
tralto; MIR. Paul Zimmerman, tenor, and DE.
Carl Martin, bass. After the preliminary MS
tory of Verdrs work, gwen last Sunday, the
following extracts from the review written Dy
DR.. Ferdinand Hitler Ia German, but OF very
conservative attitude. to say the least, toward
the modern Teutonic tendencies exempllhed
in Wagner) soon after the Requiem was nrst
heard, will be found particularly Interesting: G
This work first performed on the "a OF o,
May, 1874, which the popular composer OF ~
Trovatore' wrote for the anniversary OF the
death of Allessandro Manzoni. has, since lts
production, created deep sensation IN falIs'
London and Vienna, where it has been re :
peatedly given under Verdi's own direction.
The acquaintance formed with the work tcer-
tainly the most important Verdi has Wrltteh)
by means of the pianoforte arrangement mas
proved one of the most interesting and agree
able which for a long time we have nao an
opportunity of making in the DOMAIN OF hlGh-
class vocal music.
'ArtesS as the melodies of this composition
appear. and natural as. taking the work as a
whole, is the course of the harmony, should
be puzzled to name any production from WHICH
we ml9nb OBTAIN nOClOn OIL lts peCulldIlIy
With Rossini's 'Stabat Mater the brilliant
qualities of which every impartial musician
must allow, VerdIs Requiem has only the
most general features of Italian melodles In
common; as regards tone, expression, ana
especially breadth of plan, originality OF
form, and the treatment OF the
chorus ana solo voices, 1t STANDS upon
totally different ground. 1t is probably the
first occasion that in 4 composition with rellg-
ious text (the Requiem cannot be called
sacred composition) whatever good has been
achieved in modern times has been SO 1uily
and SO brilliantly employed. We nave per1ect
freedom OF construction. though the archltec-
tonic lines never disappear: luXuriantly, deVel-
Oped periods, without wearIsome dwelling on
or dragging out particular details; the most
thorough and unrestricted use. without the
abuse Of modern technics; and characteristic
defamation. without nervouSly pedantlC SUBJ
servience to every syllable.
Though the composer has invariably aimed
at dramatic expression, and though the latter IS
perhaps here and there carried to point lying
beyond the line which refined taste might de-
sire to see respected In such work, we cannot
say that the Requiem is theatrical in bad
sense of the word.
The piaDoforte arrangement, moreover,
does not leave US in doubt as to the fact OF
Verdi's making the very best use Of his orches-
ira; of the 'Requiem's' not being deficient In
modern, piquanI unusual and original instru-
mental effects. But just as little are we left in
uncertainty on another point, namely, that
above all things. the Italian master puts into
the mouths Of his singers what he has to say
and what he knows how to say. His singers
sing; they are souls of tune-no mon
grel beings, crosses between musical in
terlocutors and unmusical interlocutors,
obliged to be on their guard against encroach-
ing on the province of horn or VIOLA They come
forward with all the magnifcence inherent in
that divine organ, the human voice. 1t is true
that Verdi requires singers in the fullest ac-
ceptation of the word-not voices without
training; not vituosos without voice; nor de-
chalmers without one and the other-and this is
the most delightful thing in the work."