The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1896-03-14
DR. GRIGGs, LECrURE.
Large and Patient Audsnce-The Ora
torio and the Fassi Music,

a Large and Patient Audience-The Ora
torio md the Passi Music.
The sixth and last but one of DR.. John
Cornelius Griggs' lectures on Worship
Music was given last night at the old
College street church before an audi
ence that completely filled the edifice.
The subject of the lecture was 1.-The
Oratorio, the German Passion Music
and the Modern Motet" DR.. Griggs
traced briefly the history of the devel-
opment of the oratorio form, from its
first form. as shown in the earliest ex-
amples of Peri, Carissinni and the eld-
er Scarlatti, up to MendelsSohn The
invention of the oratorio was contem-
poraneous with that of the opera form,
ard the idea of introducing the dramat-
ic element into church music, was
probably derived from the opera. DIR.
Griggs showed what the influence of
the Folk-song on church music had
been, through the madrigal and thence
to the first form Of motet He gave a
short sketch of the history of folk-mu
fiA liOItl tlit lllIIe VI Tie lIOuDduOIS
in France and Minnesingers and after
wards the Meistersingers in Germany.
DR.. Griggs said that the introduction
of the element of tonality was due to
the influence of the folk song Of the
German Passion music the lecturer
said that it was almost impossible for
us to enjoy the earlier examples of this
form, not so much because the music
was too crude to appeal to the modern
ear, but because the extreme naivete of
the text seems almost irreverent to us.
OF course the highest tyre of this style
is found in the ST Mathew Passion of
Bach OF the motet and the modern
oratorio Dr. Griggs had no time to
speak. although as events turned out
he might well have appropriated the
extra time.
The illustrative program was as fol-
lows:
1-sacred Dialogue from the 10th cen
tury for Alto, Solo, Chorus and Or
gan. Example of Passion Music
Text.
Albert Becker, 1S34-Master of
the Domchor at Berlin
2-For He Shall Give His Angels Charge
over Thee, Typical unaccompanied
motet of the modern school For
solo and chorus.
..................J. Rheinberger, 1889
3-The Lord is Man of War Duet
for BASES from Israel In Egypt" ="
Characteristic of Handels oratorio
style.
.....................H Handel. 16S5-1759
4-He Was Despised. Alto solo from
Messiah" ....................H Handel
5-Lift Thine Eyes. Trio for ladies'
voices from Elijah
...............Me Mendelssohn, 1809-1847
G-Hear My Prayer. Soprano solo and
chorus with orchestral accompani-
ment Transcribed for organ. An in
stance of elaboration of motet form
in oratorio style. ...... .Mendelssohn
The solos were well rendered by Mrs.
Gilbert, Miss Roberts and DR.. Griggs
of this city, and Miss Ethel Houston
and Mr.. e. r. Roe. pupils of the Met
rcpolitan College of Music of New York
These last two singers made a good i'm
preston by their work here in one of
the earlier concerts, and this impress
sion was strengthened by their efforts
last evening. This was particularly
IllG CdSe WIFI MISS IlOuSlpll. btChCI y
arrangement of dialogue from one of
the old Passion texts was not given.
In its place Mr.. Roe sang the prayer,
Lord God of Abraham" from the
Elijah" Mr. Ives, the organist of
Center church, labored bravely with the
organ This instrument is a relic of
the old colony days. and it's only possi-
bic value is historic one. It sounds
more like a weather-worn barrel-or-
gan, than the king of Instruments. :"
No blame was attached to Mr.. Ives for
the uncanny sounds that were heard
last evening and he deserves credit
for his composure and self-restraint
Mrs. Gilbert and Miss Roberts were
late in arriving from the synagogue
where they sing Friday evenings. DR..
Griggs bespoke the patience of the au-
dience. and to beguile the weary hours
repeated the RheinberSer motet and
the Elijah trio In the last Miss Alice