The Washington times., 1925-04-17

service of song by hammering on
J these metal pipes.
For. these things we beg in
; diligence, hoping that in future
years the spirit of Washington
Twill also be dedicated to this high
cause.
But how tell the spell Of this
j first Bach Festival?
They sang like no united voices
we have ever heard before.
They surged with orchestral blend
or thrilled with a quick throb OF
tone in a poignant moment OF at
tack or accent. The marvellous ef-
fects of sustenuto as voice after
i voice took up the mighty chorales
all came in yelling dynamics deep
with the intensities Of the re
ligioso" in spirit.
i World Cry for Mercy.
i The first Kyrie was but a single
world-cry for mercy-a universal
thing as text for this great cere-
lmonial. Dark upon it came in the
second Kyrie, the wall Of the mems
voices rising up to a shout, the
lightning, the softening through
/ the women's voices like an angel
message in that remarkable sus-
tenuto. The dirge in counterpart,
/ rich altos, BASES, then tenors, So
| nranos. rose to an exciting cres-
cendo in magnificent chords, these
rare sopranos sounding like the
high tones Of the violins.
The Bach resolved it to Q sudden
major chord! Peace!
1 The impression OF voices Is lost.
Doctor Wolfe plays up on his choir
al upon violins. Every phrase,
L III n 81
mony ID nodded in the expressive
hands of this man who IL called
the greatest Bach authority in the
world! Then, to his choir, this IS
q religion. That may account, IN
part. for the fact that never does
a voice obtrude, never Is there a
hinge" to bring reality to those
who come to admire and remain to
pray.
Almost like a pause came an in
Il terlude, so soft, so consecrated, IN
q humored "Chorale," in memory
OF young Calvin Coolidge. 1t was
q "World Farewell" from one OF
the Bach cantatas, sung to the
First Lady of our Land, Mrs. Cool
idge, who was among this vast as
semblage. And 1t came as All.
spirit in its unearthly quality OF
| SOACcS' ~ was oA9
rarely, devoutly.
High out in memory stands the
great Gloria" majestic or again
| gentle. Over all remains the final
"Sanctus," the Holy, Holy, Holy,
la Largo Of marvellous contrasts from
| a shout OF victory to a vapor in
fethereal tone, all bound together
In rhythmic triples that gave it Joy.
There were nine parts to the
i"Gloria," then-after two hours
intermissIon- the "Credo" in
its eight parts of solo and chorus,
going on to the sanctified Sane
Itus," the "Benedictus," the "Agnus
iDei" for solo alto.
/ The soloists are 30 much q part
/ of the whole that it breaks the
mood to separate them. They, too,
have for years been consecrated in
in this service (which would have
been aided without the change to
| concert costume).
| Never have we heard q more ex-
| Quisite thing than Mabelle Addi-
| son gave in the mellow contralto
"Agnus Del" Her voice was a
benediction in its pure unwavering
depth and reverence. The young
est singer in this solo ensemble,
she bears its message with breath
less potency.
To Charles Trowbridge Tittmann,
our own basso, there Is given
heroics in music in the solo part.
He was at his impressive best, the
huge score Of phrases Of phe.
nomenal length, with range and
execution seldom demanded OF a
bass voice, were commanding musi-
cal, rarely smooth. His fine vigor
told of triumph, as his mellow
trill his clear execution made a
duo with the bass VOL that Bach
has brought SO near this voice in
his score.
Mildred Faas. soprano, in duet
and solo passages held that same
kinship to the violins that Doctor
Wolfe has so amazingly wrought in
his chorus sopranos. The spiritual
music of Bach was her role. which
she beautifully sustained. The solo
tenor has the most significant part
in the first duet with bass, and
Nicholas Douty Hang with sweet
ness and authority. though with
less Of detached conservation, than
the others.
! To the orchestra, to the beautiful
PLAYING of the concert master
whose name was not given-real
solo prominence is due. For Bach
has oddly enough given the various
solo voices Of the orchestra almost
duet parts to play with the solo
voices and strings and wind lnstru-
ments were individually significant.
The Moravian Trombone Choir
Is impressively significant. We
need a tower to let them send forth
their message with its commanding
power. With organ the score would
have been richer. The piano tones,
giving support. yet scarcely be-
ionged and in future years-as fu-
ture annual Bach festivals there
must be-Washington will be better
prepared in reverence OF Slepce and
| in equipment to do just homage to
these rare musical pilgrims Of our
| twentieth century.