New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-09-28
MUSIC.
CRITICISM OF FRANCK'S ORAToRIo AS
PRESENTED AT THE WORCESTER
FESTIVAL.
IBY TELEGRAPH TO THE TRIBUNE.

cal community. The evening was devoted wholly
10 Cesar Franck's "Beatitudes" which on this oc-
cason had its first performance in English and its
second in the United States The honor of A first
American performance belongs to the IJederkranz
Of New-York. which the oratorio in German
last March, under the direction OF DIT. KIenge
who also directed the first Leipsic performance
The afternoon programme seemed purposely- m
have been put together of easily compreheuded and
pleasing compositions. that the listeners should
not come weary or Jaded 10 the evening concert
II was a wise precaution, for the music Of Les
Beatitudes 10 be rightly understood or properly
appreciated demands concentrated attention even
from trained listeners. and a careless attitude
toward Il works an estoppe OF enjoyment so far
three-fourths OF the score IS concerned and
weights the remaining more simply pleasing por-
lions with monotony.
There We're four numbers in the afternoon list
namely. Moszkowslis Suite in F major. the song
TO the evening star from Tannhauser, Men
7eIssohn's Scotch Symphony and Dvorak's
"Scherzo Capriccioso" Julian Walker sang the
Wagner romance in a way that delighted the audi
ence and won the hearty approval of the must
clans. It would be a pleasure attempt some
thing ike descriptive and analytical criticism of
Franck's oratorio. and time could be so favor
able one in which a writer stin under the
influence Of a performance of II. The work would
surely benefit by the occasion. 1t is possible TO
get an impression Of a work even II it employs a
large and complicated apparatus from a study Of
the pianoforte score, but the impression is after
all likely 10 be based upon observation Of the
composers technical plan and ship than
upon the sensuous effect produced by a hearing.
Music must be heard, read, if it is the
heart But neither analysis description can
make who has not heard a work appreciate its
beauties. The most that can be hoped for is a
conveyance Of some sort of an understanding of
the composers means and manners.
The criticism that may follow must be accepted
Is an expression Of individual taste and opinion.
il giving musical expression the sentiments of
his subject Cesar Franck guided by his colab-
orator Nine. Colomb, pursued distinctly original
course. The obvious plan that followed by
Iiszt in q section Of his "Christus." would be to
take the Biblical text and through melody, har-
rrony and rhythm to deneate the modes OF each
a the moral qualities upon which Christ pro-
rounced q blessing in his Sermon the Mount
that IS poverty Of spirit neekness grief righteous
desire. mercy. purity OF heart. peacefuness and
endurance under persecution. Such a scheme,
however. would he likely lead to monot-
orv since the music would naturally and
Inevitably turn to delineaton the CENTRAL idea
the 1engnant benedicrion. the proclamation of the
reward To avoid this Nine. Colomb. obviously
under the inspiration Of the composer constructed
g book of words in which the reverse of each Of the
beat!fc virtues is described by a terrestrial choir
the consequences sometimes depicted and deplored
by celestial choir after which the voice of Christ
IS heard pronouncing comfort and reward. His
words echOing At times from the celestial choir.
To give a dramatic touch the depletion of
the miseries resultant from the subversion Of the
moral virtues Characterization is also INDUCED in.
Thus in the exposition OF the third beatitude,
Blessed they that mourn a mother s;ewails
the death OF her child an orphan the losp + her
parents a wife moUrns her husband. a husband
his wife; slaves impIore mercy on thei- lard lot
and philosophers pray for revelation Of truth.
IN the sixth beatitude. Blessed are the pure in
heart" heather women importune their old gods
Jewish women invoke help from Him who pro-
nounced judgment Mount Horeb four Phari-
sees urge their selfrighteousness and an angel Of
death procaajms his mission
seventh beatitude, Blessed are the peacemakersr
and claims the wicked for his kingdom tyrants
proclaim their power. pagan priests tell of their
bloody sacrifices. multitude joints satan in a wild
cry for the reign Of anarchy and confusion. and
peacemakers exalt their mission. Let this serve
10 convey an idea of the work Now TO the musical
structure.
N. FTanck, who died ten years ago, without hav-
ing gained public recognition his own country,
was profound harmonist, a learned contra
Puntist. able organist and a devouty pious
He wrote in all forms, and the majority Of
his compositions remained in his writing desk.
But Il does not appear that he wasted time
denouncing the public. the professors the critic
that account. He was simple soul. and the
fact that would perform his operas or
oratorios did not check his creative zeal He set
himself the task OF composing the 'Magnifcat''
hundred times, and found all needed consola-
ton no doubt. in that pious resolve But he did
rot live 10 finish It He became professor Of the
organ AZ the Paris Conservative, and eked out his
income with private lessons
life has had and still has many counter
parts. though not all good. sound, sobersided and
Industrious musicians who compose industriousy
FOR their writing desks had the genius with which
he blessed. In his art he knew the old and the
new and he made Of his knowledge like a true
French eclectic. He knew the expressive potency
~ modern characterization and orchestraton, and
he put his knowledge to admirable service. His
mastership Of the scientific material of composition
was so great that he could give his Imagination
the freest fight and yet hold the lines OF a
structural plan which could be nothing else than
the result Of reflection He built his large and
varied score of Les Beatitudes" a single
theme, motto motif choose to call il.
i IS phrase of four notes of the ascending
minor scale, with a fifth note the sub-dOminant,
That IS its meodic scheme its rhythmic consists OF
an eighth two quarters and eighth Ia synco-
pated strain in the first measure. followed by a
dotted half. With this which to have been
chosen the symbol of suffering, he associates
4 major melody, ingratiating tenderness SYM
Dol OF consolation and promise. Both themes are
varied with all the ingenuity that his mastery in
ventveness and a fecund fancy can suggest and
consOrted with other melodies directly ex-
IfessiEe OF the sentiments underlying the different
numbers Of the work Under and above and all
around his vocal fabric is instrumental
Web q wondrous variety and beauty which colors,
accentuates and dilineates its account
without ever becoming unduly obtrustive
There is q large wealth OF beautiful melody in
The work, but also many commonplace and rem
iniscent ideas, and it would be unwise 70 argue
from this score alone that Franck great and
original genius. his TOO enthusiastic disciples
are doing. He was a fine musician and serious
one. but he eclectic. whose manner was
made up Of borrowings from others. and. later,
others who viii have sources plus his TO lean
on Will, Il is safe predict give Les Beattudes"
many companion pieces. 1t has already in