The daily morning journal and courier., 1895-12-06

"Stabat Mater" melody in the Catholic | Liturgy, which is sustained by the or chestra throughout At the repetition of this by the full choir, the 'Stabat Mater" subject is assigned to the or gan, the orchestra having sympathet- ic independent accompaniment. The words of the impenitent thief, preceded by the passage already alluded to as identified with the Crucifixion, are twice interrupted by portion of the Redemption theme inverted; and those of the penitent thief, followed by the consoling assurance of the Savior, are so excelently contrasted in color as to place the scene, with all its pathetic details, most vividly before the audi encs, the choral, accompanied by the organ, well expressing the feeling Of faith and hope inspired by the solemn tragedy enacted The narrative of the death of Jesus, commenced by the bass, is followed by graphic instrumental movement representing the darkness. The narration is then continued-inter- rupted by the appealing words of Jesus from the Crosby the tenor and bass, who unite during the representation of the earthquake, the orchestration of which is masterly in the extreme throughout. After the incident of the conversion of the Centurion, a beauti- ful choral, in the bright key of E ma jor, fitly brings to an end the first part of the work.
 The second part opens with jubi- lant chorus, the orchestra effect of hxr ,1a aai,, of four trumpets at the highest part of the orchestra. The real sublimity of this fine chorus is scarcely to be reali- zed by description, the persistent reiter- ation of the tonic and dominant by the trumpets against the varied harmo- nies in the vocal part being thoroughly suggestive, in the highest sense, of the great event intended to be mustcally illustrated. The scene of the holy wo- man at the sepulchre is one which has evidently engaged the deep thought of the composer. With muted strings, af- ter brief narration, the instrumental introduction commences upon double pedal, the music-of a distinctly pas- toral character-being full of a melan- choly beauty, which happily describes the feelings of the pilgrims upon their I journey. The trio-for three female voices-at the tomb is followed by a tenor narration, which leads to an ef- fective solo from the angel who appears to the holy women. This piece, accom- panied by the harp, culminates in a point of much importance, the music gradually ascending until, as the com- poser tells us, lat the words He is risen the melody and the bass suddenly move by the interval of a third, thus | expressing that Christ, by His divine | power, has triumphed over the grave and over subjection to death" Com mencing with the theme of the introduce ton to this scene, for the first time in l major key, and still on double pedal, after narration by the tenor, Jesus appears to the holy women, His sou, being partially accompanied with I the Redemption theme. The tenor | then narrates how the holy women fell at the feet of the Saviour, and the num- l Der ends with a repetition of the intro ductory theme. The incidents of the Sanhedrim are then carried forward | by the tenor and bass. narrators, the | choruses which follow being remark ably dramatic-tfe fright of the soldiers l at finding the tomb empty and the alarm of the priests when informed of | the miracle being admirably depicted | The concluding chorus in c minor con- ! tains some fine harmonic as we'll as l uni3onal effects, and worthily ternin- l ates the scene. The two narrators then
 unite, and in the trio of the holy women l which follows, apart from the excellent
 manner i'm which the words "The Lord l He is Risen Again" are set, noticeable ! feature is the introduction of the Re demption theme for the first time in triple rhythm-a point not mentioned
 by the composer in his predatory analy- sis of the work. The incredulity of the
 disciples is shown in a short chorus foI | tenors and basses, and this is followed
 by a lovely soprano solo, with arpeigic accompaniment by the orchestra, ano I afterwards combined with the choir the effect of which comes like
 ray of sunshine after scene so excit- ing i'm the variety of it's incidents. The tenor and bass then respectively mar rate the appearance of the Saviour tc
 the aspostles, in which once more occurs
 the Redemption theme-this time giver
 to the violincellos-and this Is followed
 by one of the grandest choruses in the
 wcrk-'fUnfold, ye Portalsw In every
 respect this great choral piece is mar
 velous specimen of vocal and orchestra
 writing. In the breadth and simplicity
 of the harmonies we are occasionally
 reminded of Handel but a special eff
 feet is gained by the alteration of !ht
 vocal phases between the two choirs-
 the celestial choir, for sopranos in uni
 son, being always accompanied by ar
 psggios piahisimo, and the terres+ia
 choir replying with solid and bold har
 monies, supported by the strength O
 the orchestra. Afterwards the choir.
 are united, and the chorus conclud;.
 with the Redemption theme upon
 tonic pedal, played by the whole CT
 chsstra and supported by the organ.
 The Pentecost begins with melo
 dious choral, commenced by the soprano
 and answered by the altos, the effec
 of the theme being heightened by
 syncopated accompaniment. This i
 succeeded by a lovely soprano solo, most happily expressive of the peaceful character of the text,-the openin,
 theme being afterwards repeated by tn
 full choir in octayes and a brief coda A tenor narration precedes an instru
 mental movement representing tn