Catholic Church of the Epiphany: Dedication Ceremony and Sunday Mass

Long article detailing many aspects of the dedication ceremony and ensuing Mass. “...The choir numbered nearly seventy, between the chorus and Eben’s orchestra, Miss Wells, Signor Errani and Signor Randolfi singing the principal solos; and Messrs. Louis Dachauer and Signor Aberio presiding at the organ. Rev. Father Presten delivered a very eloquent sermon after the Gospel. The musical services consisted of Dachauer’s Second Mass, written some years ago expressly for the famous Church of the St. Eustache, Paris and played there with immense orchestra and chorus with marked success. It was rather too large a work for such a small orchestra as that of yesterday, for it has numerous episodes and instrumental solos, which require a strong background to place them in a favorable light. The Keyrie [sic] opens with a grave and dignified andante movement, in a minor key, the instruments giving first a couple of declamatory measures. The full chords for orchestra and chorus in this movement are admirably suited to the spirit of the prayerful words. Mr. Dachauer shows it in an intimate knowledge of counterpoint and orchestral coloring, for he varies both continually, and never permits the faintest degree of monotony in his treatment of the subject. The Gloria, being omitted of course on account of Lent, the next number was the Credo. It has a very effective opening, the old massive Gregorian chant announcing the first article of Christian belief.  The bass then takes up a very characteristic solo, which is delightful not only for its melody but also for the instrumentation accompanying it. It received full justice at the hands of Signor Randolfi. Then followed, after a repetition of the Gregorian opening, a tenor solo, Gentium, sung by Signor Errani. The first part of it consists of a pretty melody and the last of it as of the recitative order. The Et Incarnatus is a quartette in which the male voices alone give out a subject in a major key which is repeated by the female voices alone in the corresponding minor. The entire power of chorus and orchestra is brought to bear in the grand announcement, Et homo factus est. The Crucifixus commences singularly with the tenors and basses in unison on C, the female voices following with the major third above. The accompaniment consists of staccato triplets given by two bassoons. The Et Resurrexit is of the usual joyous character, and a very striking effect as given by the tutti force of the diminished seventh in announcing the second coming of the Redeemer to judge mankind. This belief in the Holy Ghost is expressed in the same impressive Gregorian strain as that which ushers in the creed. The same [illeg.] concludes the number with a full, brilliant triplet accompaniment of the orchestra. The Sanctus is solemn and majestic, being ushered in by a fanfare of trumpets. The tenor has a beautiful solo in the Agnus Dei, in which every note expresses the idea conveyed in the words. The Dona nobis is modeled somewhat after Mozart’s Twelfth Mass, although the melody is quite different. The tenor’s air is brought in at the end with tutti effect, giving a brilliant close to this truly meritorious work. Miss Wells sang Torrenti’s exquisite air, ‘Show Me Thy Ways’ before the sermon in a style which not only showed the thorough artist but also the conscientious church singer. At the offertory she sang with the alto a duet, ‘Quo Tollis,’ from Dachauer’s Mass. It is a real gem. The orchestra played in addition a grand march by Bach and a new overture by Suppe. Mr. Louis Dachauer conducted throughout with admirable skill.”