THE MENDELSSOHN SOCIETY.

Star (Christchurch), Issue 1413, 6 September 1872, Page 2

THE MENDELSSOHN SOCIETY.

Thero was a large, bufc by no means crowded, attendance at fche Oddfellows' Hall, Lichfield street, lasfc evening, when the members of the Mendelssohn Society gave their fourth concert. The first part of the programme was Haydn's " First Mass," and the second part consisted of secular music, with the exception of tho concluding chorus, "Hallelujah to the Father," from the " Mount of Olives." Haydn's "First Mass," in B flat, has a rank assigned to it by critics over his other Mass music. Although somewhat deficient in sublimity of conception and religious elevation, ifc has, in lieu thereof, a brilliant joyousness, and its melodies are full of sweetness and elegance. If indeed it lacks grandeur, the exuberance of joy which sparkles throughout renders this composition extremely popular wherever it is performed. This jubilant expression is characteristic of the man j it pervades nearly the whole of his works, and is to bo found in the florid music with which he has clothed themes setting forth the praise and the attributes of- the Deity. Even when the music embodies prayer, there is nofc the boldness of arrogant presumption, bufc a joyous confidence that the petition will nofc bo denied. The writer of a work entitled " Letters on Haydn" rof owing to this charaofceriettiu-yf— the great composer's genius says — " Whenever he thought of God, he could only _coneeivo^ of Him, as a 3&ing-infimtely~greafc7 and infinitely good. He added that this last quality of the Divine nature inspired him with such confidence and -joy, thafc ho could have written even a Miserere in tempo allegro." If this bo true — and judging from fche music, thore is no reason fco doubfc its truthfulness — the intense joyousness which pervades Haydn's Mass music is no marvel ; ifc is a necessity. This Mass is written for a large orchestra. In addition to the usual scores for Btringed instruments, it has scores for oboeß, bassoons, clarinets, trumpets, and drums. The passages for clarinets occur, however, only in certain movements. Ifc differs from others of Haydn's Masses, inasmuch as greater prominence is given to the vocal parts. This is contrary fco fcho practice pursued in some of his other Masses, whore some movements partake more of the nature of instrumental symphonies with vocal accompaniments. Throughout the whole composition, however, great genius is displayed, the design being worked out with consummate skill and art ; the fugue writing is particularly fine; many of the unison vocal movements with full orchestral colouring have a dramatic and mosfc telling effect. Syncopated phrases are frequently employed, often expressive of sentiments of great beauty and tenderness. The Kyrie opens with a stately adagio, followed by a melodious piano movement in allegro moderato, and a variety of movements in every stylo of vocal harmony accompanied by instrumentation, in which the strings pour forth almost without abatement tho brigntest melodies, until afc length this fine composition is brought to a close by syncopated phrases of marvellous expression. The great characteristic of the Gloria is its unison movements, syncopation is also employed with telling offecfc — orchestra and chorus re-echoing phrases, until, after passages showing great elegance of thought and richness of invention, In gloria Dei Patris introduces a most brilliant example of a fugue clearly conducted fco tho end in fche double counterpoint of the octave and the tenth. A writer in the Musical Time s says: — "Of the profusion of melodies in this Mass, the Credo is an example ; its joyous simple opening pleases overy oar. Peculiar circumstances connected with the Et incarnatus wrought upon the genius of Haydn, and transported him beyond himself in this department of his masses ; the passus possesses ah awful beauty, and is, in its elevation of feeling, sublime." Passing over portions of the work, the Agnus dei, commencing in B flat; minor, is reached. It resembles fche music of the " Seven last words'," its stylo boing closely similar to those celebrated Adagios. The second principal theme is in D flat" major, the melody ia original in , the accent and of refined elegance. The movement oloses in a; strain of exfcremo' solemnity, and .the ear is somewhat startled by fche vivacious iDona nobis which succeeds, and which ia continued with vigorous maaeu-

line energy unto the. end. Sfiich is a brief — and necessarily 'Very brief— sketch of a masterly analysis of this Moss by a writer in fche Musical Times, Mr Edward Holmes, who says : — " The pulses of delight beat high throughout this noble work. The genial humanity of the composer is present to us in all fche symphonies and melodies of this Mass. The love of the thing in him was great, and truly music is never so delightful as when ; ' from the f idness of fche heart fche pen speakefch.' " Taken as a whole, the rendering of this fine composition was very creditable to the society. A little hesitancy was perceptible in the quartett Gratias Agimus, and there were hardly sufficient basses in the chorus to balance the powerful soprani, but, wifch these exceptions, the whole went; smoothly. The crescendo in Et Incarnatum was particularly fino, and the choruses throughout were given most tellingly; fche instrumentation of the orchestra, undor .the leadership of Horr Biinz, being worthy of commendation. The second part opened wifch Mozart's overture " Die Zauberflofce, which was well executed. A string Quintett Mozart's No. 1 in C was fairly played ; bufc tho finest piece of orchestral instrumentation was Mendelssohn's overture " Son and Stranger." The manner in which the conductor, Mr Parker, worked up this fine composition was splendid. The MissesJMarshman" -contributed a pianoforte duet by Hummel, which, for brilliant execution and artistic treatment, was to be admired. Amongst tho vocal music a little gem of a chorus, " The stars that above us are shining," from Weber's "Preciosa," held first place ; Mendelssohn's part song " Farewell to fche forest; " was pleasingly sung. A very pretty duet by H. Smart, " Whon tho suramer wind is blowing," which was sung by two ladies, would havo been much more effective had the voices been more equal in power. Verdi's " Ernani involami " was correctly rendered so far as tho music was concerned, but the articulation of the vocalist was defective, scarcely a word being distinguishable. A similar defect was apparent in fche rendering of Spohr's song "Tk&ißitd. and the Maiden." Beethoven's magnificent " Hallelujah " brought a successfid concert to a close — a concert ifc is to be hoped fchafc will prove as beneficial fco the Bociety financially, as it was creditable to the conductor and fche members.