The Worcester spy., 1898-10-01
THE FINAL CONCERT.
a Rousing Performance of ''Hcra Novis
sma," With Superb Cast.


last years, when the composer conduct
ed. The quartet was the same in both
Instances, except that Mr.. Ffrangcon
Davies sang the bass role, which last
year was sustained by Mr.. David Bis
pnam. The other solo singers were
Mime. Gadski, soprano; Miss Gertrude
May Stein, contralto; Mr.. H. Evan VIII
llams, bass. 1t was q superb quartet
Haec breve vivitur'' justly command
ed long applause. as did the several So
los and the concerted numbers where
IN quartet and chorus We're combined
The effect was electrifying.
| The chorus sang magnifcently. 1t
might be possible to point to places
here and there, where the attack was a.
trlf1e slow, or the parts bit unsteady,
or the dynamic effects indicated by the
composer not faithfully executed but
such offenses were few and slight. They
counted for nothing in the grand re-
suit. The chorus came through the
fugue, "Pars mea, pars rex" very cred
| 1tably, and sang the double chorus
Slant Syon atria," with steadiness, Wig
or and aplomb that stirred the quartet
of soloists to applause and won the
| special commendation of the conductor.
The unaccompanied chorus, "Urbs Syon
Unfca," was also admirably done, and
| the audience responded with enthusi-
| eSlll. ne lFS1lRQQOuS CnOruBGS were
| applauded with evident spontaneity,
and the soloists were compelled to rise
again and again to quiet the demonstra-
tionS.
! "Hora Novissima" distinctly improves
| upon acquaintance. Its nobility be-
| comes more commanding and its beau
ties multiply the more the oratorio is
| studied. In the first place, high degree
| of constructive skill is shown in the
| n hn nAv-a1
sical treatment Of the poem This is the
foundation of the whole musical edifice.
The orchestration is elaborate. Some
times there is question If it be not Su-
| perabundant Yet it is never laid on
like stucco, but invariably is a struc-
tural part of the work. Without it the
choral score is incomplete and deprived
of an important part Of its due effect.
Upon the orchestra, the composer re-
lies chiefly for his dramatic resources
as we'll as for the gorgeous coloring
with which the music flames.
1t is customary to dilate upon the com
poser's intimate knowledge of the me-
dieval style and the antiquarian charm
of the music. Yet the influence of the
early Italian and Flemish contrapunt-
lists is scarcely more evident than that
of the modern colorists and music-dra-
matists. In fact, the oratorio is intense
ly modern. The old ecclesiastical forms
are used rather as a framework on
which the magnificence of modern
chromatic harmonics and modern or
chestration is sut forth. The relig-
ious idea is predominant, but it is ex-
pr essed in all the pomp and brilliancy
of the drama. While the medieval
spirit is preserved to a degree, indis-
putably, there ars portions of the work
that suggest the opera, but the sug-
gestion is far from incongruous or un-
welcome, for the dramatic principle is
applied in I manner that harmonizes
with the character and meaning Of the
poem. Thus unexpected and unusual
contrasts Of style and sentiment are
produced.
The unaccompanied chorus, "Urbs
Syon unica," is as pure an example of
early church composition as can be
found anywhere. There are few mod
ern specimens to be compared with it.
In treatment and feeling it is admira-
| Bile, and it is aptly placed Yet there
are other choruses employing all the
complexity and lavishness of modern
musical art, and the contrast, violent
as it may seem in the descriptions
proves to be only logical, appro-
pirate and convincing. No common
skill was required to combine success
fully the fundamental musical ideas of
| two widely separated eras; to bring, as
Pres upon the stage, with List and
| Wagner, without jarring or conflict.
In the choral parts, Mr. Parker was
not always merciful to the singers.
| Chromatic progressions are frequent
and difficult The parts often range
high, and there are many sustained
tones in the upper registers to vex the
average chorus. OF the beauty of the
result there car be no doubt when the
execution is good, but the obstacles to
a satisfying performance are many
and obvious. The fugued chorus, "Pars
mea, pars rex, is model of skillful
and effective writing. One Of the most
striking Of all is the double chorus
Stant Syon atria,' an antiphonal
chorus with ingenious contrapuntal de-
| velopment, the sopranos and BASES
singing the sustained tones of ''Regia
ibi thronus," while alto and tenor take
the more rapid and joyous measures of
| "Stant Syon atria."
Repeated hearings increase the ad-
miration for the ingenuity with which
| the discouraging monotony of the ap-
parently infexible Latin metre has
| been made to conform to a variety of
/ totally different musical rhythms
| This variety was ar inexorable neces-
sity, and it has been met with surpris-
] ing success. The abundance of fresh
graceful, dignided and vigorous mel
ody is no less constant a delight than
| the richness of the harmony In both
respects the oratorio is prodigally fur
| niEhed The melodic beauty is espe-
cially grateful, because modern COM
posers have been prone to neglect it.
That this is a mistaken practice, is pa
4 tent enough to the listener, and the
! fact seems to have attained some rec
| ognition among composers, for recent
writers seem to be striving more for
congenial and attractive melody. Final
| Iy, one must bear testimony tc the poet
ic feeling and the Imagination that are
| visible throughout the oratorio. These
are the characteristics that invest the
| composer with a title to Inspiration
and that stir the emotions of the peo-
pie. Rare musical learning and tech
nical skill have been combined with
original and forceful ideas. Among
all American choral compositions there
\ is none more worthy Of first place than
| 'Hora Novissina."
Rheinberger's concerto for organ
string orchestra and three horns, opus
| 1877, which preceded the oratorio. Is in
| teresting music. In feeling and char
acter 1t was not at variance with the
music that followed, and this compar-
ative novelty wa well worth the do~
ing. The violins have a broad sweep
| through the first movement that served
| to bring out the elegance OF the strings
of the Boston band. There is no lack
of melody, and the horns and organ
are effectively combined. as could be
| seen, even though the atmosphere was
not favorable to keeping all the instrus
ments in perfect tune The develop-
ment is effective, and as a concert
! piece, the concerto is very successful.
Mr.. J. Wallace Goodrich of Boston, the
organist, must have been highly graft
| fad a+ the livtafas "a M seci tinn ma nffeS