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

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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, and he says it, moreover,extremely well. His year in the familyand in the salons,and to prevent its literarystyle, being bothlucid and animated,pre- flourishinglikewise in ourpublic concert-rooms is an imper- sents no special,indeed, difficulties to the translator,and has, as a ative duty of critics. No considerationwhatever should matter of fact, been well preserved,as far as its main preventtheir tapping most energetically upon all mechanic- characteristicsare concerned,in its present Italian garb. ally trained pianofortefingers. Our concert-hallsare Some of the minoressays on recentFrench operas,which places consecrated to art, not exhibitionwindows for appearedin the originalvolume, are hereomitted, and have music-teachers'addresses, nor even passport officesfor been appropriatelysubstituted by the author's interestingtravelling musiciansto obtain theirmetropolitan vis's." comments in The Times on that most remarkable of The writerwho still thinks,with a shudder,of the inter- modernItalian operatic productions,viz., ArrigoBofto's minable pianofortetweedledum and tweedledee of last " Mefistofele." As we have already indicated, Signor season may be excused these remarks. The matterhas, Visetti, the translator,has performedhis office-never in fact,a veryserious side. How muchtime and strength an easy one under any circumstances-both ably and is not annually wasted in the acquisition of the most judiciously. We may add, however,that a number of thankless and unprofitablefinger-bravura? Even where mis-spelt proper names has unfortunatelyremained un- thereis talentthe careerof a pianofortevirtuoso is now- corrected. It would also have been advisable to have adays beset withthorns. To it may be literallyapplied the substituted,in a translation,the originalGerman titles words once spokenby Goethewith regard to poetical pro- of some of Wagner's operas, such as " Rheingold" and ductions: " The whole mischief is caused by the fact "Walkiire" for their Anglicised equivalents. These, that, in consequence of the general spread of literary however, are matters easily amended in a subsequent culture in Germany,nobody any longer writes abso- edition, which, we presume, in the interestsof Italian lutely bad verses. The young authors who send their amateurs,will ere long become necessary. The volumeis poetic productionsto me are no worse than their prede- neatlygot up, and is prefacedby some eulogisticobserva- cessorswhom theyhear so greatlypraised, and theycan- tionsregarding the author'sactivity as a leading contributornot therefore,comprehend why they should not be praised to the fieldof high-classart-literature in this country. likewise. And yet one dare not do anythingfor their encouragement,just because such talents now exist the in C. C. by The Officeof Holy Communion, By George hundreds,and one oughtnot to furtherthe growthof the Martin,Mus. Bac., Oxon. [Novello, Ewer and Co.] superfluouswhile there remains yet so much of the useful NOTHINGcould betterillustrate the great advancewhich to be done. . . . The world's requirementscan only be has taken in the musical of the satisfiedby the extraordinary!" recently place ordering " Service, even in our cathedrals,than the multiplicityof The LeipzigSignale says: A letterby RichardWagner, settingsof the CommunionOffice. Formerlya " Sanctus of the year 1873, wherein the poet-composer confers and Responses" comprisedall that was sung in this most witha person(whose name does not transpire)concerning solemnportion of the Liturgy; but a betterspirit now pre- the programmeof a projected concert at Dresden, was vails, and Mr. Martin,following the practiceof the metro, includedin one of the recentsales of autographsat Berlin. politancathedral of whichhe is sub-organist,has givenus The letter is interestingas containing the following three offertorysentences, the Sursumcorda, the Nicene passage:' I regretto observe that Herr persists Creed,and the Gloriain Excelsis. Some settingsinclude the in his intentionof includingthe " Ritt der Walkairen,"a Benedictusand theAgnus Dei, but,as thereis no authoritypiece which is in every way disagreeable to me' . forthese in thePrayer Book, they are onlyuseful in churches Let the master beware. If one of the Wagner fanatics whereextreme ritual prevails. The presentService is by no reads thisdictum of his, it will go hard withhim! " means unduly elaborate for ordinaryuse, though a note Messrs. BreitkopfundHirtel, of Leipzig, announcethe on the title-page-thatorchestral parts may be had-sug- imminentpublication, in annual series, of the complete gests the idea that it was writtenfor festivalpurposes. worksof Gr'try," the creatorof comic opera," whichwill At the outset we are slightlypuzzled, for althoughthe be issued under the auspices of the Belgian commission settingis said to be in C, the Kyrie,save forthe two open- forthe publicationof the worksby national Belgian com- ing bars, is in E flat. The longermovements, however, are posers. The issue will commence next month with the all in the first-namedkey. The Credo opens brightlyin Opera " RichardCceur de Lion " as the openingnumber, 3-4 time,and a bold effectoccurs at the seventeenthbar, and is to be completed in 1893,when it will comprise where the dominant seventh in E changes to the same thirty-threeoperatic works by the composerin question. chordin C. Otherinstances of greaterfreedom in transi- Madame Pauline Lucca, in reply to the remarkof an tions of key might be quoted, but Mr. Martin writes interviewerthat Wagner's operas had proved ruinous to throughoutlike a practical musician,and thoughhis pro- the finestvoices, is reportedto have declaredthis assertion gressions are frequentlyunconventional they are never to be an entirefable, adding: " Neither Wagner nor any crude. Speaking generallythe musicis more effectivein othercomposer will ruinthe voice of one whoreally knows a harmonic than a melodic sense, and the devices of how to sing. Our singers of the present day, however, counterpointare verysparingly employed. There are no fancythemselves finished artists and fit to appear before difficultiesbut such as may be overcome by a choir of the publicwhen theyhave onlystudied for a twelvemonth; ordinaryefficiency, and the Servicemay be stronglyrecom- six yearsof diligentapplication being at least requiredto mended as one in which modernfeeling is blended with train the voice according to the rules of the art." The church-likesolemnity of style. greatvocalist also declaredher intentionof, at somefuture time,taking a professorshipat the Vienna Conservatoire, whereshe wouldendeavour to perpetuatethe art of singing FOREIGN NOTES. as it had been handed down to her. Otto Gumprecht,the able Berlin critic,makes the fol- Rumoursof an existingautobiography from the pen of lowingappropriate remarks, at thebeginning of the present Franz Liszt having been forsome timein circulation,the musical season, in the National Zeitung: "The candida- AllegemcineDeutsche Musik Zeitung has elicitedthe follow- tureen masseof the fairsex forvirtuosoships is a positively ing denial of the statementfrom the Abbe himself:"Of morbidsymptom of the age. Parentsshould reflect twice, the existence of my regularlykept-up autobiographyI nay thricebefore bringing up theirdaughters for an artistic knowas yet nothing. I have severaltimes been requested career,or even for that merelyof music-teachers. The by publishersto write my memoirsbut have in every all-importantquestion of talentis generallythe last which instancedeclined, since it is morethan sufficientto me to is consultedin such cases. And yet millinersand semp- live mylife through without committing it to paper." stresses are far more useful and cheerfulmembers of The recent first performanceat the Leipzig Stadt societythan are those pitiablecreatures who withoutany Theater of Rubinstein'sOpera " Die Maccabaer " was, it truecalling for the art, have been drilledinto pianists in is stated,an eminentlysuccessful one, the composerbeing orderto becomea lifelongburden to themselvesand others. presenton the occasion. The pianoforteespecially, with its ready-madenotes pro- At the Berlin Opera a new operatic work, entitled tected against all impuritiesof intonation,encourages " Raimondin,"the composerof which is Herr Carl Perfall,

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