St. Ann’s Church Sunday Service

Review preceded by introductory paragraph. “The ‘Kyrie’ gives a very favorable introduction to the work, the ‘Agitato’ in the bass, which, by the way, requires to be distinctly marked by the instruments, contrasts beautifully with the large, pure, harmony of the voices. The contrapuntal character is simple enough in appearance, but beneath it is a rich mine of expression. None but singers possessing a keen appreciation of the grandeur of the composer’s ideas can do this opening justice. The ‘Christe’ is a real old-fashioned canon which the quartet sang charmingly, and which an ordinary chorus would butcher unmercifully. The ‘Kyrie’ is then repeated in a major key, corresponding with the minor theme.

The ‘Gloria’ opens strangely, and, to our way of thinking, weakly. It is a rather commonplace thing in unison, and there is a feeling of relief when the different voices enter into the domain of harmony. The succeeding andantino, ‘Et in terra pax,’ is a bass solo, with a very effective (from its peculiarity) accompaniment, built upon alternate tonic and subdominant chords, which pass from key to key abruptly, but with singular effectiveness. The trio for contralto, tenor and bass, ‘Gratias Agimus,’ is Rossinian in every sense of the word, and a more delightful melody never emanated from the fertile pen of the composer. The tenor solo, ‘Domine Deus,’ is of the same robusto character as the ‘Cujus Animam,’ from the ‘Stabat Mater,’ and like it is better suited for the opera than the church. There is not a particle of religious sentiment in it. The Qui tollis, duet for soprano and contralto, is a real gem and interesting in every measure. Next comes a rather labored bass solo, Quoniam tu solus sanctus, which is rather unnecessarily spun out. The great double fugue at the end of the Gloria can only be made effective with a large chorus. The soprano part is written very low and is at times drowned by the other voices. The Credo opens in a massive, broad, dignified style for the voices alone. The Crucifixus, soprano solo, is another of those exquisite Rossinian melodies of rare grace and beauty, but rather inappropriate for the subject—the tremulous mystery of the Redemption. As a purely musical work, however, it is worthy of the ‘Swan of Pesaro.’ Immediately before it came the ‘Et incarnatus,’ a strong, effective illustration of the incarnation, and one that calls for all the expression and artistic spirit of the singers. The ‘Et Resurexit’ opens tamely and without producing the effect desired in illustrating such a theme. The fugue at the end of the ‘Credo’ is not so ambitious as its predecessor, but it is more in consonance with the old Italian school, the best school for Church music. The Sanctus (without accompaniment) is a delicious melody, and the parts glide into each other with a grace inexpressibly charming. To the contralto is committed the two grandest solos of the mass—Agnus Dei and O Salutaris. The former is intensely dramatic in character. The singers acquitted themselves very creditably yesterday, and to Miss Marie Krebs all praise is due for the rendition of the piano part. Mr. Dachauer proved himself an accomplished organist and a reliable conductor.”