New-York tribune., 1907-12-01
A CHORAL NOVELTY.

New choral works. matter by whom or how
well performed. do not often arouse in this city
al advance curiosity commensurate with the in
terest shown in orchestral novelties. II may not
be amiss therefore, direct attention Of music
lovers TO next Wednesdays presentation at Carne-
gle Hall of Wolfe-Ferrari's cantata, 1.-THE New
Life, by the Oratorio Society of New York under
DR.. Frank Damrosch: And if the novelty in itself
be not sufficient attraction there will be the per
formance of a masterpiece already known and
appreciated namely Brahmss 'SchcksalsIied" or
!. Song of Fate" which Will precede this, the first
American offering Of The New Life" It's ahun~
dant melody has been noted conspicuous
feature of Wolfe-FerrariS caHtaIs. which is based
on Dante's la Vita Nuova." Rich and full as
WolfeFeTrari's orchestral and vocal writing is
reputed TO be, critics have laid stress on the
striking melodic elements which help to make
The New Life n choral work to be enjoyed at
first hearing Several German and French review
ers have marked in this score the combined inffu-
ences Of Bach and Verdi. German foundation and
Italian superstructure
Potent effects are said TO be obtained here as
in Ferdi's 'Manzon Requiem by sweeping curves
OF the melodic line. by massng the double chorus
spreading its voices into widely distributed har
monies, by dramatic contrasts and pauses and by
skilful treatment of orchestra, organ and piano
forte--the last named instrument being unusual in
modern scores of this kind. Some of the most
expressive portions of the work are for orchestra
alone, such being the prelude, an intermezzo and
an interlude marking the death OF Dante's Beat
rice. Besides two four-Dart mixed choruses the
work calls for choir Of boys voices to set forth
certain celestial utterances while the person Of
Dante is represented by a solo barytone and that
OF Beatrice by a solo soprano
Wolfe-Ferrari has divided The New Life into
two principal parts preceded by prologue based
on poems not in Dante's La Vita Nuova' and
separated by an Internezzo The prologue gIorifies
love as the conqueror Of death the boys voices
intone musical phrase. repeated as a sort of let
motif in later numbers. Part further praises love
and the beauties OF nature until a choir of angels
is heard praying that the soul of Beatrice for its
rare loneliness, 3e caught up into heaven
The answer Of the Deity voiced full choral har-
mony of simple chords. suggests the lofty stye Of
Palestrina. The angels told that Beatrice is to
remain upon the earth for a time longer because
those who love her.
In the intermezzo the note Of sorrow enters with
Dante's grief Beatrice's affiicton in the deaf
OF her father. Part II opens with a sonnet in
praise of Beatrice and then comes the orchestral
interlude. telling of the maids death. This inter
lude begins with a deep. chord OF octave and fifth
held with mysterious effect by the double basses
organ pedal and drums. and recalling the opening
of Richard Strauss's Thus Spake Zarathustra"
a canzone for all the bass singers Beatrice hath
departed is declared be of reverent yet pogri-
ant power. The final chorus is of sighs.
AT next Wednesday nights performance the fun
chorus OF the Orstorio Society will be assisted by
choir OF boys from Christ Church and the Church
Of the Epiphany. trained by Weston Spies Gales
The sooists will be 6. campanari who will sing
the direct utterances OF the poet in Italian
and Mrs. Edith Chapman Goold. who will sing
Beatrice's music.