DR. A. C. MACKENZIE NEW WORK.

New Zealand Herald, Volume XXVI, Issue 9325, 30 March 1889, Page 2 (Supplement)

DR. A. C. MACKENZIE NEW WORK.

" THE DREAM OP JUBAL."

A nkw work by Dr. A. C. Mackenzio, entitled "The Dream of Jnbal," has just been issued to the public by Messrs. Novello and Co. It was produced with success on February 4 by the Liverpool Philharmonic Society, which commissioned it some time ago in celebration of tho jubiloe of the association. The usual .London performance, as one of the series of Novello's oratorio concerts, will follow. "The Dream of Jubal" is fitly described in the title as "a poom with music." Tho book is from the pen of Mr. Joseph Bennett, and (says the Scotsman) supplies material of a somewhat original kind for the composer's fancy. According to the story, J übal, the father of music, was 0110 morning lamenting the poverty of his " chorded shell" as compared with tho voices of nature, when a deep sleep falls upon him. Ho sinks upon a grassy bank, and lo! an angel comes and reproaches him for his doubts as to tho

future of the divine art. He is then allowed, as in a vision, to see the future development of music—to look

Far down the vi«ta of the ago.s dim, And hoar tha music of a world jtrovm old. In succession;' tee celestial messenger causes him to hear—(i) A Chorus of Praise bo God ; ('!) a Song (soprano) of Comfort in Bereavement ; (3) a Triumphal March and Chorus of Victory ; (4) a Harvest Song ; (5) a Funeral March and Chorus in honour of a hero ; (6) a Duet of Lovers. The narrative part of tho story, including the introduction and the connecting passages between the set pieces above mentioned, is in blank verse. The special numbers referred to above aro written in different forms of rhymed verse. Tho intention of both librettist and com-

poser — for they have evidently workod according to prearranged plan (continues our contemporary)has been bo produce a work in which "music and sweeb |>oetry agree." The most striking feature of " Tho Dream" consists in this, that the whole of the blank verse narrative is to be simply recited—not intoned, but spokon—while the ideas and emotions contained in the

lines are supplemented and enforced by an orchestral accompaniment. This device has been, to a certain degree, occasionally employed by the great composers— in Beethoven's " Fidelio," Mendelssohn's "Athalie'' and "Midsummer Night's Dream," Weber's "Dor Freischutz"—but in "The Dream of Jabal" the orchestra plays an allimportant part. The different set pieces are all most effectively written, and coining in rapid succession and sharp contrast'' imparls a variety to the work that is rarely attained in a single subject. Representative themes occur during the work. The musical phrase that is associated with the words, "and He shall Reign for Ever and Ever," is effectively introduced more than once when the divine in music is alluded to. Altogether, " The Dream of Jubal," so so far as a perusal of the vocal and pianoforte score suggests, seems to be the most importune work, in the cantata form, that Dr. Mackenzie has written for some years. "There can be no manner of doubt," says the Liverpool Mercury, " that Dr. Mackenzie has for ever closed the mouths of such people as object to works written to order, and produced one fit to stand shoulder to shoulder and side by side with the noblest in the realm of music. From first to last there is not an episode of note unreplete with interest, and the fine poem of Mr. Joseph Bennett has formed a suggestive theme for the poesy of sound which accompanies its numbers." " Dr. Mackenzie," the same paper continues, "told the chorus the other night that ho felt his work was safe in their hands, and so it proved ; for on no previous occasion have the present Philharmonic choristers been heard to so great advantage; the tone of all parts being excellent. So it was also in the orchestra, among the members of which the many little solos of the score were tossed about in friendly and artistic rivalry. Miss MacinLyre and Mr. Lloyd created the soprano and tenor parts, and of these two vocalists it is impossible to speak in terms of too high praise; and Miss Ella Russell and Mr. J. R. Alsop did good service in the quartette of the 'Gloria.' The lyrics were read by Mr. Charles Fry with a large amount of dramatic power, and the experiment of the now departure proved, in its results, altogether satisfactory; every word of the reciter being listened to with interest, and plainly hoard. The reception accorded the composer was most hearty, and at its outset, and in the course of the work as well as at its close, he had repeatedly to acknowledge the applause of the enormous audience, which cheerc 1 him to the echo as the bust chords of the cantata wore reached. The whole event may be briefly summed up as a triumph for all concerned."