The daily morning journal and courier., 1895-12-06
REDEMPTION" oRAToRIo.
AvRs. LAWSON, THE PEER OF ANY
 SOPRANO IN THE COUNTRY.

and Highly Impressive Work.
 Mrs. Corinne Moore-Lawson, the beautiful and gifted young cantatrice \ who will take the leading soprano role x in the big Gounod concert on Tuesday \ next is more talked of at present in \ the upper musical circles of New York, < Boston and Philadelphia than any other 8 oratorio soprano of the day. She was the central attraction at the great Damrosch summer festival at Ocean Grove, where she sang before 5000 peo- pie in the Messiah" her beautiful voice dominating, by it's wonderful pu- rity, the chorus of 800 voices.
 X MT H. B. Krehloiel of the New York < Tribune says: Mrs. Lawson Is the peer of any oratorio soprano in the coun- { try Her success was phenomenal X Here is what Dr. Elson, the great critic, wrote of her in Boston: "In my judgment Mrs. Lawson is the most sat- lsfactory oratorlo soprano on the { stage"
 An immense favorite in England, Mrs. < Lawson has been honored by commands Q sing before Queen Victoria and also before the Empress of Germany. At present she has engagements to sing at a number of the great festivals, also with the Boston Symphony orchestra, the Handel and Haydn society and at the famous Sunday night concerts at the Metropolitan opera house in New York. Her great aria in ."The Redemp- tion," From Thy Love as Father" where she is obliged in the grand eli max to tower above the chorus, reach ing a high A, will alone be worth the price of admission.
 The sale of seats keeps on with rush and has exceeded thus far the Nordica sale of last year by several hundreds Of dollars.
 At the request of many people the following analysis of the Redemption" written by well known musician, is printed:
 The oratorio commences with pro- logue. An instrumental movement in c, beginning upon a tonic pedal, pian- issimo, leads to a creeping, ascending chromatic passage, commenced by he volas and joined by the other strings in contrary motion; and this is suc- ceeded by passage of chords, the many chromatic progressions thus ear ly indicating a feature prevalent throughout the work The tenor mar ration, chiefly upon B, the dominant Of the key at the beginning, is after wards woven in with a melody for the orchestra; and at the words describing mans revolt, the bass continues the narrative, accompanied by a sequence of augmented triads in their first inver- siofl-an unusual, but by no means in- effective, progression. The tenor mar ration is then resumed; and here for the first time, a portion of the Re denption" theme is heard as a violin solo. roaring above the notes of the voice with charming effect. The chor- al. the Promise of Redemption is preceded by the theme, now fully devel- oped. and dies off at its conclusion up- on a pedal bass. This choral is sung by the celestial choir, accompanied by the organ.
 Part l. begins with a narration by the bass of the persecution and condemna- ton of Christ, with an appeal from the Savior to His enemies-pathetic indeed in it's simplicity-and a second bass narration accompanied with choral like theme on a tonic pedal. The March to Calvary, for orchestra, soli and cho- rus, is unquestionably one of the most finished and deeply considered pieces ir the work To comprehend thoroughly this dramatic and characteristic march 1t must be understood that the persecu- tors are here active and the persecute6 passive. The brutality of the pagar force, and not the calm resignation o1 the Savior, has to be represented The march, in A minor, is succeeded by g choral in E minor-"Forth the roya banners go' fhe "Vexilla Regis pro deunt'' of the Catholic Liturgy) )-accom panied throughout with an orchestra figure for the strings which forms z pathetic commentary upon the mourn ful procession as 1t passes, the marcf being afterwards resumed. The bas: then narrates how the women who fol lowed "wept and bewailed Him." ant that Jesus. hearing their words, turned and spake. The baritone solo whicl follows is, like all the music given tt Christ, dignified, solemn and replett with a tenderness of feeling whicl makes it stand apart from the rest as in a great religious picture the fig ure of the Savior makes itself felt, what ever may be the interest or importance of the surroundings. After this solo tn, march again occurs, but this time wo ven in with the choral in A minor which Is sung by the full choir. Th Crucifxon commences with a teno narration sympathetically accompan jed. the Redemption theme again break ing in with touching effect on the word "He, though His eyes are dim." Tn bass takes up the narration describing how "they blaspheme Him." and then after an ascending chromatic passage an orchestral figure occurs, evidentl. intended to be identified with the event of the Crucifixion, as we find it after
 wards. in another key, introducing tn
 scene of the two thieves. Then come a chorus of mockers, the vividness o the incidents being admirably repre- sented by the varied coloring of the or chestration as we'll as by the tauntin
 character of the voice parts, the effec being increased by the recurrence Of tn Redemption figure ingeniously inverted
 Aftsr the derisive chorus of priests Il
 D minor and a brief tenor narration
 the prayer of the Savior, Pardon thel