Concert: 1st

“Mercadante, though one of the most prolific of modern Italian composers, is scarcely known, save by reputation, out of his own country. His ‘Giuramento’ is the only one of his operas that has been heard here, and of his numerous compositions for the church only one or two of his masses are known to our choirs. His music is all in the true Italian style, and is rich, tender and melodious; but it does not possess the brilliancy of Verdi or the clearly defined melody of Donizetti. It always pleases, but seldom excites.

Like many other composers Mercadante set to music for the church what is known in Roman Catholic services as ‘The last seven words of Jesus Christ.’ This music was produced last night for the first time in America by the Barili Amateur Association, aided by an efficient orchestra. The soloists and many of the members of the chorus who took part in last night’s performance are pupils of Maestro Barili. They did credit both to themselves and to their teacher; and introduced to the rather limited portion of the public who took an interest in the matter, a composition of exquisite beauty. It consists of a series of solos, duets, quartets and choruses graceful in melody, and betraying greater originality in harmonic construction than is usual in modern Italian compositions. To those accustomed to a stricter style of music for the church, this of Mercadante’s may seem somewhat trivial, in view of the sacred words to which [it] is allied; but in the atmosphere in which and for which it was written this objection would not apply. To the mind and ear of a northerner, a tender, almost sensuous melody, such as Mercadante has several times given in these ‘Seven Words,’ is suggestive rather of the lyric stage than of the church; but to the Italian mind this distinction is not so apparent; and the erotic music of the opera, heard in the dim, religious light of a frescoed cathedral, and surging up amid air thick with incense, awakens pious emotions in those to whom the colder compositions of northern genius would seem to be but the dull pedantry of the schools. In judging of this music of Mercadante’s as sacred music, the listener must, then, bear in mind the circumstances under which it was written, before criticising it as inappropriate.

There are some very beautiful parts in the orchestration of the ‘Seven Words.’ The violoncello is brought into frequent use; and the instrument last night in the hands of its master, Mr. Bergner, won almost as much applause as the soloists. Mr. Barili conducted the performance, and it is to be hoped he will have an early opportunity of repeating it.

The second part of the programme consisted of several of Mr. Barili’s compositions, including a light chorus for female voices, introducing an Ave Maria; an effective quartet from his opera, ‘A Night in Seville,’ and the stirring chorus he wrote for the Italian celebration in this city in October last. We understand that Barili has an entire opera in score; and, judging from the specimens of his music performed last night, it would be an attractive and desirable addition to the lyric repertoire.”

“Of the performance we can only speak in general terms. The choruses were well executed, and gave evidence of careful rehearsal, the vocal parts, being, perhaps, better than the instrumental. The soloists were, evidently, with one or two exceptions, somewhat nervous. Quite a large audience was present.” 

“Mr. Antonio Barili introduced to a rather small audience, last night, at Steinway Hall, a new vocal association of which he is the sponsor and director. We do not know exactly wherein it differs, either in constitution or purpose, from other singing clubs. Its professed object is ‘to open the way for beginners to come forward and subject their merits to the judgment of public audiences,’ and it promises to afford its members every opportunity to exhibit such proficiency as they may have attained both in singing and in musical composition. This seems to us of doubtful utility. Our young artists need rather to be held back than to be brought forward, and whatever obstacles they may have to contend with, the difficulty of getting a hearing and conquering critical indifference is not one of them. If Mr. Barili succeed, however, in filling his eighty disciples with well regulated enthusiasm for art, and in teaching them to sing properly, he will do valuable service to society, and we shall not find fault with his subsidiary intentions. He seems to have made a good beginning, and to have made it with good material. Several of the choruses last night were well rendered,--with a fine volume of voice, with spirit, and with an approach to the right delicacy of shading. The time was rarely much at fault, and although the enunciation was imperfect and the vocalizing rather crude, the performance, considered as a first public attempt, was very creditable. The solos, all by amateurs, were less satisfactory than the choruses.

The first part of the programme consisted of Mercadante’s ‘Seven Last Words of Jesus Christ,’ never before performed in America. A work like this, to be rightly appreciated, should be heard as a portion of a religious function. The series of meditations, or short addresses, on the Passion of Christ, to which several eminent composers, Haydn included, have added music, were long a favorite element in the devotions of Holy Week in Catholic countries, and are still observed in some places where the old faith retains its vitality. Instrumental interludes, or short motets on the words of the Gospel narrative, alternate with seven short exhortations. When Mercadante’s music is separated from the spoken context, and transferred from the dim atmosphere of old cathedrals to the glare and gayety of the modern concert-room, it seems vague and weak. The movements are all distinct, but none seems quite finished. The tone is devotional, but not inspiring. Nevertheless, the work abounds, in the graceful and subdued melody characteristic of the composer, and has two or three numbers, notably a soprano solo with violoncello obbligato, a fine quartette and chorus (the 2d word), a broad and solemn chorus on the 4^th word, and a bass solo with chorus, which would do credit to many a greater composer. These were not in all respects the best executed pieces last night, but they were the most effective. The second part of the entertainment consisted of a miscellaneous selection from Mr. Barili’s own compositions. An excellent orchestra accompanied the voices.” 

“This celebrated maestro gave a very interesting exhibition of his pupils at Steinway’s on Friday night, on which occasion Mercadante’s ‘Seven Last Words of Jesus Christ’ was given, with a miscellaneous selection of Signor Barili’s own works. The oratorio, as it may be called, is a fine work, and the rendering showed evidences of long and careful rehearsals. The maestro deserves much credit for the success of his amateur musical association, which has in a short time attained a remarkable standard of merit. The only true school of singing is the Italian, and Barili is a very satisfactory exponent of that school.”

Mr. Barili gave a short time since a concert at which a work of the highest interest, and one of the best and purest that any late Italian composer has produced, was sung. We refer to Mercadante’s ‘Seven Last Words of Jesus Christ.’ Various circumstances combined to prevent many who were desirous of hearing this fine composition from attending, and there is, we believe, a very general desire that the concert should be repeated. Mercadante is certainly entitled to more than one hearing; and it is to be hoped that Mr. Barili will recognize that fact.” 

Expression of hope that Barili will repeat the entertainment before the waning of the season.