New-York tribune., 1898-10-23

been instantaneously inspired IN the minus OF o's'
Ambrose and Augustine while the former was bap-
tzing the latter in his chapel in Milan is treated
by Mr.. Damrosch in hve grand dyisohs VS.. IS c,od
first begins with the line We praise thee; dUd t'Ud
the third with Thou art the king or ,,s orEi io1
shalt come ana the NTH with 80 Lord save Thy
people" OF these divisions we purpose TO give an
iStr shs msea M4 To ten ali
treatment which this material receives Woulu con-
po sone eempted ,e1 To discuss the Of the piece
would be untmoly.
Where Handel IN his "Dettingen TIE Deum mas
depended upon his apparatus Of trumpe's and drums
and a conventional fanfare, Mr.. Damrosch mas IN
,roduced an element that has a peculiar apposI'e-
pess He too lets the trumpets blow nj the oe
ginning but what they sing Is the Church '"il
~ the United States Army and Navy Example d.
This call which Is not that used at West foiht De-
sides serving him for jubantly pro-clamant In
strumental introduction to the first chorus recurs
later In the orchestra cutting It's way through the
choral fabric with fine effect especially at the
words "All the earth doth worship Thee us IN
fuence may also be found In some OF the melodies
employed. but whether consciously or not need not
be inquired into curiously. for the intervals of
the major triad are too common a melodic formula
to call for characterization or label; The call ~
given In the Illustration as 1t SOUNDS from Army
bugles but In the introduction to the hymn IT Is haT,
monized. and with its uplifting effect heightened
by eager hguratior in the strings of the orches
ira IL launches the choir into the first broad and
brief proclamation. I'VE praise Thee. o God tEX-
ample ID which runs out with cOinmendabe
ouickness into fugal piece with two themes
Examples III and lNl the first OF which IS buoyed
up by the rushing passages heard under me call
in the introduction. The end OF the number brings
back In the voices the chords of the Instrumental
introduction preceding the entrance OF the bugle
call
complete change OF mood enters with the sec
ond division. The militant key OF ID major gives
way TO the gracious one Of B-nat, In which key,
over gently moving accompaniment tthere Is no
indication OF the Instrumentation in the plano
forte score), a solo violin begins song like that
which scars angelic in the ether Of Beethoven's
"Bonedictus" Its melody is that to which the
solo voices entering in the order OF soprano. bass
alto tenor, IN imitation. sing the words. ITO Thee
all angels cry aloud" Example W. An abrupt
modulation brings back the principal key Of the
composition and a joyful proclamation enters In
the manner indicated in Example VI Here again
We may be permitted to observe the influence OF
the "Dottingen Te Deum,' Mr. Damrosch having
borrowed Handers device Of suggesting continuity
by a reiterated figure which Is the twin brother OF
that used by Handel The key OF G follows with
out modulation. but with the Introduction Of an
effect which seems TO be entirely novel. The in
struments give out mild simmer OF sound
the one note 6 In different octaves. while the
chorus divided into light voices. entering one af-
ter inc other ms indicated i'm Example ii, ntone
NJ III '.it1Nu. hoiy hoiy". hefore The mons vn,cas
have been reached however. the solo voices take
np 10 rahT,c tSs nnIndy nf No When the c1mn
latiye figure, We have chosen to call H. has
gone through all the voices. the key OF G Is
reached, ana the bass Voices begin again With
THE heavns' Example Vll In the new Key.
over the close. the words. Also the Holy
Ghost, the Comforter" the solo violin spreads
halo OF melody in the beginning OF which We hear
rhythmical figure. which may he considered
a mobilization Of the opening Of No. \. and which
asserts Itself with great pussance (shall we think
Of the finale OF Die G0tte-lhmmerung' > in the
accompaniment the next number. indicated
in Example Nlll. In this number HandeIs musi-
cal ccllncatiOn Of continuity appears again
melodlc motive cot glory. OF glory'). An
iremely expressive melody IL developed by quar-
tet and chorus. very effectively. We should say,
beginning with "Whcn Thou tookcst upon Thee"
The last division. which has more variety than
any Of the preceding. opens most promlsingly
with n chorale sung by the solo quartet ana then
turned over TO the chorus ard organ. In this form
II is rgurnted and IN" varied air treated fugally
sometimes IN connection with the chorale. some
times independently. he beginning OF the nth
division is homOphoh. with Day by day" nn
allegro sets IN with the melody, which may be
read the top stave Of Example IX. After this
has been developed and given way TO an appAssion-
ato. with new subject on 'Vouchsafe. O Lord"
q n repetitiOu OF 'DQy