Evening star., 1948-05-07
BY Alice Eversmon

The Cathedral Choral Society
made musical history last night
with the presentation OF Bach's
Mass in B Minor" in Washington
Cathedral.
AS far as Is known, this was the
first performance of the Mass" In
its entirety in this city, and Paul
Galloway, the society's conductor,
is to be commended for his courage
and vision. 1t should be repeated
each season and so become an in
tegral part of the local musical
and religious life.
For the Mass" is not a work that
can be dismissed with one hearing.
It's grandeur is so monumental that
it can leave only a feeling of hav-
ing been face to face with one Of
the mysteries of genius and Of
divine expression through It,
But there is more than greatness
to be found there, and the tender
ness, the faith and the exaltation
can be savored more completely
with repetition. Mr.. Callaway's
courage lay in undertaking the
tremendous task Of rehearsing such
a difficult work and polishing 1t up
for public presentation. His own
enthusiasm was reflected in the
singing OF his admirable group and
the evidence shown of a deep ap-
probation Of the musical values
involved in the performance.
The solo portions Of the Mass
were taken by Ruth Diehl, soprano
Nell Gaugeman, contralto; William
Hess, tenor, and Edwin Steffe, bass.
For the special effects in accom-
panying the singers beyond that
furnished by a chamber. orchestra
there were the oboi d d'an1ore, played
by Lois Wann and Engelbert Bren-
ner, and the harpsichord, played
by Ralph Kirkpatrick. In addition
the instrumental soloists included
Jan Tomasow, violinist; Howard
Mitchell, cellist; Wallace Mann
flutist: Richard Dirksen, organist
and Jacob Wishnow, horn.
Some of the acoustical difficulties
Of the Cathedral were overcome by
placing the soloists and as many OF
the chorus as possible in front OF
the nave. In this way the singing
gained clarity. although the differ
ent voices in the many great fugues
Bach has incorporated in the
Mass" such as the "Confiteor"
and Cum Sancto Spiritu." were
not easily distinguished. This in
no way operated against the i'm
preston of precision and accuracy
in the intricate counterpoint and
a certainty in technical matters
throughout.
The entire performance was Of
devotional quality. 1t was evident
in the avoidance of overemphasis
and the manner in which the great
climaXes were allowed to develop
logically and without striving for
effort. There were several moments
when the choral tone was of excep-
tional lovelineSs, as in the softly
entoned "Qui TOLLS" and the ethe-
real beauty OF the "Sanctus." The
voices were never forced in the
ensembles such as the
"kyrie," the opening Of the Gloria"
and the "Credo" and in the Hos
anna in excelsis."
Vocal quality and vocal style en-
bellished the singing of the soloists.
Miss Tangeman again demonstrated
her unusual gifts in "Laudamus te"
with violin obligato, the "Qui sedes"
with oboe d'amore and in the
"Agnus Del" aria. Her voice blended
exqulsitely with Miss Diehl's in the
duet "Et in unum Dominum," and
Miss Diehl provided another un-
forgettable moment in the beauti-
full duet, Domino Deus" with Mr.
Hess.
The splendid bass of Mr.. Steffe.
who has not been heard here IN
some time, was used effectively in
the arias, "Quonian to solus." with
horn obligato, and "Et in Spiritum,
with obof d'amore. The soft, lyric
timbre of Mr.. Hess voice was most
suitable for the reverent mood of
the "Benedictus."
These singers graced the taxing