St. Ann’s Church: Easter Services

Event Information

Venue(s):
St. Ann's Church (E. 8th St.)

Conductor(s):
Louis Dachauer-Gaspard

Event Type:
Choral

Record Information

Status:
Published

Last Updated:
13 February 2022

Performance Date(s) and Time(s)

17 Apr 1870, 10:30 AM

Program Details

The regular church choir was bolstered by an additional unidentified choir. For another recent review of Dachauer’s Mass, see separate event entry of 04/03/70: Catholic Church of the Epiphany: Dedication Ceremony and Sunday Mass. Services were performed hourly from 7 am to 10:30 am; the citations only note the music performed at the 10:30 am high mass.

Performers and/or Works Performed

2)
Composer(s): Weber
3)
Composer(s): Dachauer-Gaspard
4)
Composer(s): Gounod
5)
Composer(s): Dachauer-Gaspard
Participants:  Miss [soprano] De Braux
6)
Composer(s): Beethoven
Participants:  Pablo de Sarasate

Citations

1)
Announcement: New-York Daily Tribune, 16 April 1870, 5.

Lists full program and singers.

2)
Announcement: New-York Times, 17 April 1870, 8.

“…The programme of music will be as follows: L. Dachauer’s Second Mass, with full chorus and orchestra; the Offertory ‘Regina Cœli,’ Dachauer’s soprano solo, with chorus and orchestra. Before the sermon, ‘Veni Creator,’ (by Gounod,) for four male voices, without accompaniment; [lists performers].”

3)
Review: New York Herald, 18 April 1870, 4.

“Dachauer’s Grand Mass—A Violin Solo at the Elevation—Music of the Resurrection.

“The choir of this church—thanks to the exertions of its talented organist, Louis Dachauer, ranks second to none in New York. Yesterday it upheld its high reputation in the most creditable manner by a magnificent rendering of Dachauer’s Sacred Mass, which he composed expressly for the Church of St. Eustache, Paris, and a detailed description of which we gave on Passion Sunday, when it was performed at the Church of the Epiphany. [See separate event entry of 04/03/70: Catholic Church of the Epiphany: Dedication Ceremony and Sunday Mass.] The Kyrie 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 Credo has a very effective opening, the old massive Georgian 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. Then followed, after a repetition of the Gregorian opening,

“A tenor solo, Genilum. The first part of it consists of a pretty melody and the last of it is of the recitative order. The Et Incarnatus is a quartet 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 unusual joyous character, and a very striking effect is given by the tutti force of the diminished seventh in announcing the second coming of the Redeemer to judge mankind. The belief in the Holy Ghost is expressed in the same impressive Gregorian strain as that which ushers in the creed. The same ensemble 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 modelled [sic] 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.

“The Gloria joyous and artistically wrought from beginning to end.

“A duet for soprano and alto in it has melodic beauty of the most attractive character. A large and efficient chorus and orchestra assisted the regular choir, and Mr. Louis Dachauer conducted with skill and power. The performance of the mass was far superior to that of its first production two weeks ago. The solos were sung by Miss De Braux, soprano; Miss O. Gomien, contralto; Errani tenor [sic], and Remi, bass. Before the sermon a Veni Creator, by Gounod, for male voices without accompaniment, was sung, and at the offertory, a new Regina cœli for soprano solo, chorus and orchestra by Dachauer. The musical feature of the services, however, was the exquisite playing of an adagio of Beethoven’s by Sarasate, the new violinist of the Patti troupe. It was like the voice of an angel at the Elevation. The overture to ‘Oberon’ with full orchestra was the commencement of the musical programme.”

4)
Review: New-York Daily Tribune, 18 April 1870, 8.

“…The music was Aldagauer’s [sic] Second Mass (composed for the Church St. Eustache, Paris), with full chorus and orchestra. At the offertory the ‘Regina Cœli’ was sung; Soprano, Miss De Braun [sic]; contra-alto, Miss O’Gomien; tenor, Signor Aram; basso, Signor Remi.”

5)
Review: New York Sun, 18 April 1870, 1.

“…The music was superb. A full orchestra and chorus of singers performed Dachauer’s Second Mass. Beethoven’s ‘Adagio Movement’ was performed by Sarasate, the celebrated violinist, before the Offertory. During that ceremony Miss De Braux rendered the ‘Regina Cœli’ with exquisite taste and fine effect. Ernani’s ‘Agnus Dei’ was superb. This fine choir, generally too cold, warmed up beautifully on this occasion, and did themselves infinite credit.”