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Musical Times and Singing Class Circular, Vol Review Source: The Musical Times and Singing Class Circular, Vol. 23, No. 478 (Dec. 1, 1882), pp. 680-681 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358410 Accessed: 05-02-2016 18:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 149.171.67.164 on Fri, 05 Feb 2016 18:50:09 UTC All use subject to JSTOR Terms and Conditions 680 THE MUSICAL TIMES.-DECEMBER I, 1882. Philippi. A Sacred Cantata, or Church Oratorio. The Novello's MuzsicPrimers. Edited by Dr. Stainer. wordsselected from the Scripturesby the Rev. J. Powell The Violoncello. By JulesDe Swert. Metcalfe,M.A. The musiccomposed by Francis Edward [Novello, Ewer and Co.] Mus. Cantab. Ewer and Gladstone, Doc., [Novello, Co.] TIHE demand for able and popular Instruction-books THE words of this Cantata-recording the acts of SS. forstringed instruments has so increased withinthe last Paul and Silas in Macedonia-are exceedinglywell selected fewyears that we may confidentlypredict for this latest for musical illustration,and the composition,avowedly additionto " Novello's Primers" an extensivesale. The designed for a " Church Oratorio,"will no doubt incite violoncello is rapidly becoming a favourite amongst othercomposers to increasethe list of such importantcon- those cultivatedamateurs who devote themselvesmore to tributionsto our store of sacred works, especially when the performanceof classical chambermusic than to thatof theycan unitetheir talents with so zealous and conscien- orchestralworks; and the use of this instrumentin the tious an ally as Mr. Metcalfe. The purelyreligious style domesticcircle is likelyto be still furtherincreased when of Dr. Gladstoneis admirablysuited for the subjecthe has the firstand second violins in quartetsbecome moreen- chosen; foralthough throughout the Cantata he has most trusted to the ladies of a family. It is impossible to sympatheticallycoloured the incidentsof the narrative,in imaginea tutormore sympatheticwith the requirements of no parthas he been betrayedinto an ultradramatic setting students,both of the instrumentwhich it teaches, and of of the eventswhich would in the slightestdegree unfit the musicitself, than the one beforeus; for not only are the work for the sacred localitywhich should be its natural importantmatters of bowing and holdingthe violoncello home. The unaccompanied Chorus which forms the clearlyexplained (the latter by an excellentillustration), Prologue, " How beautifulupon the mountains,"is an but the workcommences with a shortexposition of notes, excellentexample of pure and melodiousfour-part writing; clefs,and time. The exercises throughoutshow that the and amongstthe otherchoral movements,we mustselect author has fully studied his subject, those upon double forespecial praise the Chorus of Disciples, " Why do the stops-in practisingwhich the pupil is wiselyrecommended heathen,"the Chorus of Freed Prisoners," We willrejoice," to play veryslowly, in orderto ensurepurity of tone-and and the final Chorus, " Now unto God." The duet, upon harmonicsbeing especially well considered. We "Thou, 0 Lord," and the unaccompanied quintet, should certainlynot recommendthe studyof the violon- " Rejoice in the Lord," must also be mentionedin terms cello withoutthe aid of a master; but should any enthusi- of high admiration. The solos, too, breathethe spiritof astic amateurresolve to dispensewith such assistance,we true devotion,the soprano air, " 0 the depth," perhaps are certainthat he can have no morereliable guide than taking higher rank than the others in a popular sense; the workunder notice. althoughthere is not even a Recitativewhich does not prove that the composerhas really had his heart in the La RIdemption. Trilogie Sacrie. Paroles et Musique work. No doubt the Cantata would be additionally de Charles Gounod. effectivewith the full orchestralaccompaniments; but we Die GeistlicheTrilogie. Verfasstund Com- are to findthat a be Erl6sung. glad special organ partmay procured ponirtvon Charles Gounod. Die Deutsche Ubersetzung separately,which should certainlybe used in the absence von " JosefWeyl. of a band. The growthof the Church Oratorio" is a [Novello, Ewer and Co.] significantsign of the time; and sympathisingas we do withthe and of such we THESE Octavo Editionsof Gounod's popularoratorio- plan design compositions, heartily the one with French and the otherwith German words welcome so excellent a specimen as the one now under notice. -will be warmlywelcomed in the countriesfor which they are especiallydesigned; butapart fromthis demand, which has so a Anthem no doubt led to prompt supply,there will be much Thereis nonelike unto the God of Yeshurun. interestin wherethe workwas first to see forFour Voices. Sir Goss. England, heard, Composedby John the originalwords united with the notesof the manypieces [Novello, Ewer and Co.] whichhave now become familiarin theirtranslated form. QUITE apart fromits intrinsicmerits, this Anthemwill, A carefulperusal of the Frenchtext shows that the com- without doubt, excite much interest amongst the very poser in compilinghis own librettohas evidentlyfelt the manyardent admirers of the geniusof the late Organistof music in everyword; and bearing this in mind, much St. Paul's. It was leftin an unfinishedstate at the death creditmust be givento him foradhering so closelyto the of the composer,and the difficultoperation of completing Scripturaltext. The Germanversion is excellentin every it has been undertakenby Dr. ArthurSullivan, whose few respect. It is easy enoughto give a Germanrendering of remarksby way of prefacewe append:- the words,but to conveythe spiritof each sentencewhen " This Anthemwas left by the late Sir JohnGoss com- allied withmusic requires sympathy as well as knowledge, pleted down to the fifty-seventhbar. Numeroussketches and this importantrequisite Herr Weyl undoubtedlyevi- altered and modifiedtestify to the difficultyhe seemed to dences throughouthis translation. The publicationof the encounterin continuingfrom that point. As noneof them editionsunder notice sufficiently proves that the interestof were satisfactoryto him, I have not made use of them,but the workis by no means confinedto England; and, as we have continuedand finishedthe Anthemin the endeavour are informedthat the copyrightfor Italy has been sold to to preservethe characteristicsof his writing." Lucca, of Milan, forwhom an Italian versionwill be pre- To hear the firstten bars is quite sufficientto set aside pared forthwith,it will be seen that the workis advancing all doubtas to who the composeris. We recognisean old on its travelsthroughout the musicalworld with a rapidity and well-triedfriend in one of his good moods. The quite unprecedented. As in the editions with English general style of the writing,the broad, dignifiedand words, the pianoforteaccompaniment is by Mr. Berthold thoroughlyvocal subjects, the knowledge of choral Tours. resource, all point to the composer of 'Stand up and bless the Lord" and other anthems of even a more Studi Critico-Musicalidi Francis Hueffer. Tradotti elevated dall' originaleInglese da AlbertoVisetti. stamp. Ulrico Dr. Sullivan's share is by no means unimportant. The [Milano: Hoepli.] part whichimmediately follows the fifty-seventh bar, to the THERE can be no doubt of the increasinginterest shown words " And Israel shall dwell in safety,and the heavens of recentyears by cultivatedItalian dilettanti,and finding shall drop down dew," is entirelynew, is exactlywhat was an echo in Italian journals devoted to the art--witness requiredin the way of contrastto what had gone before, among othersthe newly-foundedand admirably-conducted and must be reckonedas an importantfeature. Shortly ArchivioMusicale of Naples-in themodern development of afterthis the resumptionof the openingtheme takes place, music,as representedoutside the limits of theircountry. In and fromthis point to the end Dr. Sullivan has carefully these circumstancesthe presentissue of an Italian edition made use of ideas which occur earlyin the Anthem,and of Mr. Hueffer's" Musical Studies"-upon the prominent has contrivedto imitate Sir John Goss's individualityof meritsof whichwe fullycommented at the time of their style with much success; at the same time, it must be publicationin I88o-while furnishingconfirmatory evidence admittedthat he does not entirelyhide his own personality,in the directionindicated, appears to be peculiarlyoppor- and we may add thatwe are veryglad of it. tune. Mr. Huefferhas a good deal to say thatis new and This content downloaded from 149.171.67.164 on Fri, 05 Feb 2016 18:50:09 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-DECEMBER I, 1882. 681 calculated to widenthe views of the reader concerningthe to an ominous degree this deplorable state of things. various phases of modernmusical thoughtand art-aspira- Enough of abuse is carried on on the keyboardyear after tions,
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