A STARTLING MUSICAL PERFORMANCE.

Otago Witness, Issue 1932, 30 November 1888, Page 28

A STARTLING MUSICAL PERFORMANCE.

Under the heading " A Startling Musical Performance," the musical critic of the Scotsman thus describes the performance of Berlioz's "Messe dcs Morts," at the Birmingham musical festival :— " It was known that this extraordinary work, on which the composer set more store than all his other writings, was to be produced on a scale of greater magnificence than ever before in this country, and scarcely had the band left their places when the interest of those waiting in the hall was aroused by the entry of a number of men carrying kettle drums, double drums, and cymbals. Then four additional brass bands took up positions at the four corners of the orchestral platform, which was occupied by the full orchestra and chorus. For what purpose ? asks the uninitiated reader, Because Berlioz, who was insatiable in his invention of new effects, required more than ordinary orchestral means to express the grand ideas with which the mass for the i dead inspired him. Former composers were j content at hinting the trumpj of doom ; Berlioz must let us hear the dread sound. ! To do this he has scored the • Messe dcs Morts ' for five orchestras besides the ordinary orchestra, which is augmented. He calls for four additional powerful brass bands, situated, as already described, at the four corners of the platform, who at the proper time may sound, 'as from the four corners of the earth,' the dread summons. Then there are eight pairs of kettledrums, tuned to produce a chromatic score and to give out drum chords, two double drums, four ' tam-tams,' and 10 pairs of cymbals. The work produced a profound impression upon all who heard it. The second division, the' Dies Ins/ is, of course, that in which Berlioz obtains his most startling effects. Its opening passage, a simple Cantus Firvms, is gradually developed by contrapuntal devices. At first only the more sombre brass instruments and the strings and wood winds are employed with the voices. Suddenly a tremendous fanfare of trumpets and trombones from one of the ' corner ' orchestras announces the Day of Judgment, and this is responded to by the three others, and then j ensues an awful tumult, during -which the ! drums resound, the cymbals clash, the brasses, blare, and everyone joins in the musical din. The effect upon the audience was indescribable. Berlioz himself tells us how, on the first performance of the work, in the Church of the Invalides, Paris, in 1837, one of the choristers fell down in a fit. Few who heard to-day's performance would be inclined to say that there is anything irherently improbable in the story. Nervous people anxiously raised their eyes, as if in expectation of witnessing the mysterious process known to musicians as ' lifting the roof,' but, fortunately, the town hall is built of sterner stuff than to be shaken by so much sound and fury."