New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-04-09

finest things l have heard" The speaker was
Massenet.
The score Of the oratorio is divided into two
parts of which the second as all agree. shows
the Able Peros at his best. The first part
reaches from the death of the Saviour to the en-
tombment in the sepulchre The next is made
up from the Latin Vulgate Of st. Matthew S
Gospel. The music Of this part is somewhat
monotonous and dull. II has all the austerty
of the old church music: but fragments Of 1t
are so noble and uplifting that they Will doubt
less find their way into the repertory of modern
church choirs. Such, for example. are the
chorus of the holy women at the foot of the
cross singing the Good Friday hymn-"CruX
Fidels"-smpe and sonOrous, with pleasing
melodies: the duo OF the two Maries at the
sepulchre. where the composer has made real
effort after vocal effect with touching ex-
pressveness; and the final full chorus of the
faithful in lamentation before the tomb. The
chorus of the Jews. demanding from plate that
he shall see the tomb is we'll guarded. is also
full of dramatic vigor In this part, too. there
is a striking instrumental intermezZo, when
shows that Don Lorenzo is not only musician
of solid training, but also that he has studied
Wagners Instrumentation deeply. 1t recuis
cross, when darkness came down and the ele-
ments were troubled, and again at the death
itself and then at the entombment
The second part begins with the Easter morn
ing triumph as a prelude. 1t is constructed on
a theme which is repeated again and again to
the end It's developments go on augmenting
until to the sound of trumpets and trombones
breaks forth the "Alleluia" chorus Of angels in
ic ok iireGOrlan
plain chant. but harmonized into wondrous
effect Of gladness and victory. Then the drama
Of the resurrection on earth begins. Mary Mag
dalen. in touching accents Of the utmost musical
simplicity. complains They have taken away
nv Lord and | know not where they have laid
HIM" This is the beginning Of scene ad-
,rirable in its unity and beauty of sentiment
Tho two angels. with charming melody, ask OF
tho Maodalen Woman, why weepest thou?
and her answer comes in short melodic phrases
can ~ heartfelt sorrow. When the Saviour APP
pears and says to her the one word Mary she
,,oos NOT understand at once; and meanwhile the
theme Of the Resurrection is heard IN 'he or
ohoetra over mounting upward and unfolding
until the Magdaen. whose eyes are now opened
breaks out into the cry "Rabboni. Master!
which is the highest point OF the work
rho urfavoroble critic of the "Aurore" ac-
that at the magnificent JOY OF TINS
triumphant cry a thrill passed through the en-
fire audience Pierre LalO. whose musical COM
petence none will deny says this is the most
moving page Of the work; and. in truth. the mu7
sjcian who has written it is not far from being
q great artist" Alfred Bruneau is still more
emphatic in his praise: This cry of JOY OF pas
sion. of enthusiasm. do you know, Monsieur
pAbb6. that it IS one of the most magnificent,
wonderful cries upon the stage which has ever
been set to notes? It's daring alone marks Che
of him in whom 1t has first vbrat-
ed and / understand how it finds an echo in
the depths Of every soul"
In sum, It is this second part OF ''Vhe Resur-