Year: 1874

first sub ect is interrupted by soft choral phrase OF
great beauty on the words "Pleni snt celi" and it
was mainly 10 doubt in consequence OF this melo-
dious passage that the whole chorus, after having
been once admirably executed, was demanded
second time


The "Apnus De,n duet for female voices, with
chorus is a remarkable example OF great efects
produced by very ordinary means. The mciody IL
bare and not particularly attractive tune, some
what resembling plain chant. 1t is repeated over


and over again, with little variation and no change


of KEY except from the major to the minor mode ana


back again. Yet how admirably these unprcmising
materials are handled, turned over touched OIL mere


and there with bit Of simple ornament, ana


illustrated with poetical distribution OF lights


and shadows. Soprano and alto begin softly In


octaves. without accompaniment. The chorus re-


plies in unison sustained by the violins When the
duet recurs in minor key, the orchestra adds
series of charming and graceful arabesques. The
chorus in the major mode repeats its former passage


this time in harmony. The duet begins once more,
and florid counterpoint is supplied by two flutes
and bassoon; and 80 on. This exquisite number
derived great deal of it's effect from the sympa-
thetic and in every way delightful singing OF Miss
Cary. 1t was repeated


The LINK Eterna" is q trio for alto, tenor, and


bass the most remarkable passages of which are the
fine declamatoIy phrase with which the alto begins
the number; and tho equally impressive close
where the principal part is taken by the same
favored voice, the bass and tenor murmuring Re-
quiem aternam" aud fascinating little passage for
the orchestra accompanying the last measures OF the
song. This was performed admirably


The "Iibera" is the climax of the Mass and 1t is
upon this part that Verdi has evidently bestowed
the most of his hard work. 1t may be described as


o,,1 ifnnn nl
soprano. with an accompaniment of full chorus ana
orchestra. The beginning is sort of recitaIve in
monotone senza msura first by the solo voice, after
wards by the chorus. The " Dies ire" is repeated.
The whole Of the Requiem eternam' which we
have already described as the introduction OF the
Mass is sung once more, but with the IHpor-
tant difference that the instruments are silent
and the full harmony is given by the
voices. Then we come at last 10 the
great final fugue the supreme effort OF
the composer who apparently wished to snow the
world that the severest forms OF music were easily
within his grasp. The chorus was rather scrambllDg
at this period of the performance but the grandeur
of the work was still apparent and we can heartily
agree with the common opinion that Verdi has here
great surprise for his German ce1sors.
At the end the unrhythmical invocation. Deliver
me Lord from eternal DEATH" is intOned once more
by the soprano; the chorus whispers the response In
unison and the Mass dies away


As for the performance last night 1t may be IN
ferred from what we have already said that while |
it was not perfect it offered many opportunities Tor
cordial praise The chorus numbering about 100
voices, was pretty we'll drilled, and great deal OF
its work was excellent, though the precision and
ncety of regular choral society were of course not
to be expected from band of singers collected for
special occasion. The most important solo part is
the alto and Miss Cary last night was all that the
most exactng critic could require. Sig. Carpi was |
also admirable in all that he did. The bass. |
Sig. Fiorini, has not the voice which his |
part demands, but he sang with intelll-
gence and taste. The great weakness of
the cast was Miss Mares for whom the soprano solo
in this work is altogether too severe task Sig
Muzio to whose zeal and industry the highly credit
able representation is due conducted with his usual
tact The audience was not large, and the first part
pf the Requiem was rather coldly received. But as
It's beauties gradually unfolded the enthusiasm OF
he listeners rose. and the second part was ap-
,laudcd with great cordiality 1t would be strange
indeed if New York were not strongly interested III
he first production of work of such high preten-
ions by the most popular of living composers