The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1898-12-07
Mr.. BUTLER's CONCERT.
A Large Audience That Defied the osa-
cons and Would Applaud,

CONS anu w Oulh 7hlh'aSN'
The first Of Mr.. ]. Vernon Buffers
oratorio concerts was given before a
large audience in Pilgrim Church last
evening. The reserved seat scheme
proved no deterrent upon the crowd,
for the tickets were all exhausted ear
ly in the evening, and the management
felt constrained to apologize for not
reserving more seats. They promise
to do better next time, and also to in
crease their harvest of quarters.
Financially as well as unsteady, these
| concerts must now be pronounced a
success.
The principal task of the evening
was the performance of Handel S
utrecht Jubilate," or Tooth Psalm,
and Mendelssohn's symphony -cantata,
1.-The Hymn of Praise" Handel wrote
| a jubilate and a TIE Deum to celebrate
J the peace of Utrecht, which closed the
war of the Spanish succession, or
| Queen Anne's war; as it was called in
| the American colonies. Both pieces
were performed at st. Pauls cathedral,
| in 1918, with great eclat Mendels-
sohns work was written to celebrate
| the 500th anniversary of the inVenticn
| Of printing, and was first performed at
Leipsig in 1s40.
Thus each of the works sung last
night was Occasional music" but the
| two have another point in common. A
| famous critic said long ago that he
never expected to hear a really good
performance of the Hymn Of Praise.
| Its difficult ohoruses are a perpetual
stumbling block, and the most that the
average chorus is expected to do is to
| sing att them. Much the same might
be said of Handles jubilate.
So much is necessary as a preface TO
any remarks concerning the achieve
ment of Mr.. Buffers chorus. The
wonder is that the singers did so we'll,
There was no lack of trying moments,
but on other hand, there was much to
commend. The chorus is larger than
that of last year, but its balance is ny
no means perfect, There is an admir-
able bass, a joyous, gambling bass
that makes light of every difficulty.
The tenor is not so strong, but it gem
orally makes itself heard. The soprano
is strong when it wants to be, but its
tone might be purer. The weak spot is
the alto, which was lost TO hearing.
though to sight and memory dear. in
the simpler choral writing, tn singing
was excellent, but inevitably there was
apt to be trouble with the more IN
There was good work in the chorus
which goes with the duet Il waited
on the Lord, and in the choral, Nun
danket allie Colt" and other creditable
| examples might be cited,
There is very little opportunity for
pleasing solo vocalism in the antigua
ted iubilate, but Mrs, May Sleeper Rug
giles Mr.. p. c. w. Dufault and Mr.. II.
c. Robinson did their work WELL Mr..
Robinson was especially to be COM
mended for the mellowness of his voice
and the dignity of his style The
Hymn of praise" is essentially a So
prano cantata, and Miss Clarke i'm
proved her opportunities. She sang
with breadth, If not always without
effort or with great feeling The duets
with Mrs. Ruggles and Mr. Dufault.
went well, for the most part, and here
Mrs Ruggles did most satisfactory
work Mr.. Dufault did the Waterman
business eXcellently, and he and Miss
Clarke awoke applause with the duet.
My song shall be always thy mercy"
Miss Clarke made her most 1nspir-
ing effort In Bach's air, MY heart ever
faithful which she sang with freedom
and appreciation. This was before the
cantata, and she stole the audience
| away from the deacons, for the people
broke out with spontaneous applause.
| despite the italicised injunction on the
program to keep hands and feet decor