Church of St. Francis Xavier Sunday Service

“Berge’s third mass, the best of that eminent composer’s works, constituted the musical services in the morning. It is intensely dramatic in character—that is, it gives a most vivid musical illustration of the sublime words of the mass. It is also sui generis—unlike even in its construction any other work ancient or modern. The introduction alone is a grand work of art. The Kyrie opens in the key of A minor, with a solemn and religious movement, well adapted to the prayerful character of the words. It is somewhat of the mediaeval Church school, grand and impressive, abounding in artistic modulations and alternating phrases for the different voices, recalling the days when a dark-robed procession of monks wended their way from their cloisters to some Gothic cathedral, chanting the Kyrie in subdued tones, as humble petitioners before the throne of grace. The Christe is an alto solo in C, and has a very peculiar accompaniment, which in orchestral setting would be very effective. This is a solo of the most exquisite character in point of expression of mingled humility and hope. It ranges but an octave, and comprises the best notes of the contralto voice. The opening theme, Kyrie, is then repeated as a sort of echo of the tender pleading of the contralto. The effect is of one penitent begging for mercy, with the subdued murmur of the chorus as an accompaniment.

A triumphant fanfare ushers in the Gloria. This part of the mass is written in four and eight parts, and is a great work in itself. The opening theme is bold and joyous, as it should be, and then come some interesting and novel phrases, especially at the Laudamus, where the soprano and alto are re-echoed by the tenor, repeating the words as if in trumpet tone. Further down in the score we have two distinct melodies for soprano and bass, while the tenor continues its single fanfare and the alto sings second to the soprano. The one note repeated so frequently by the tenor lends a strange character to the music. The ‘Gratias Agimus’ is a baritone solo, opening with a grand declamatory recitative. A lovely, plaintive andante in A flat follows, which is full of tenderness and expression. The succeeding allegro, ‘Domine Rex Coelestis,’ is a bold, outspoken declaration of belief in the existence of a Supreme Being; but there is a tinge of hope and affection in speaking of the Son, who died to save us. ‘Qui Tollis,’ a trio for soprano, alto and tenor, commences with the alto alone; then the soprano takes up the subject with the alto in harmony, and the tenor moves in contrary motion, producing in the various modulations from key to key, an indescribably beautiful effect. The ‘Quoniam’ commences with the basses in unison, and the words, Jesu Christe, are in dialogue form for the different parts. The finale, ‘Cum Sancto Spiritu,’ is a broken fugue in alla breve time, with a very melodious subject. When the ‘Amen’ is reached there are eight parts in harmony and the counterpoint is very remarkable. After the fugue comes a pause, and all the voices cry out the opening phrase, ‘Gloria!’ The ‘Credo’ begins with a spirited subject for the organ alone in canon form, the bass being the first voice to make the profession of belief. The chorus assent in the most emphatic manner to the various articles in the creed. ‘Et ex Patre’ is one of the most beautiful selections in the mass. It is a septet for soprano, alto, two tenors and three basses. ‘Qui Propter Nos’ is a duet for soprano and alto in A flat, 12-8 time, and extremely difficult for the latter voice, as the parts move in contrary motion. The ‘Et Incarnatus’ comes in this duet, the only example we have seen of such an arrangement. The reason is a good one, as the mystery of the incarnation is inseparably connected with the love of God for man. The ‘Crucifixus’ is an obligato for soprano and tenor, with six different voices as accompaniment. Nothing can exceed the passionate grief, mingled with indignation, conveyed in the announcement of the Crucifixion. The voices die away in plaintive tones in the words Sepullus est. The illustration of the Resurrection is the most dramatic part of the mass. The organ opens with a startling chromatic passage, typical of the bursting open of the tomb. The basses then announce the great event and the other voices come in one after the other. The passage closes abruptly, f.f., in a chord of the diminished seventh. A broken fugue, with a subject of three bars comes after, merging into eight parts, which give a succession of abrupt, startling discords, producing an indescribable effect. The ascension is meno mosso, calm and grave. Sedel ad dextram is in the key of F, 6-8 time, in four parts, for female voices alone. Et iterum ventrenes est is in eight parts, alla breve time and the words, et mortuus, are for four voices, solemn and slow in movement.

‘Et in spiritum’ is a soprano solo in C minor, with a peculiar accompaniment in 6-8 time. It is a grand theme, treated in a broad and religious manner. Next follows a trio for tenor and basses in A flat, 9-8 time, in which the composer’s characteristic fondness for contrary motion is again brought out, rendering it very difficult for the singers and no less effective. The expectation of a future life is first expressed by the chorus in tones of hopeful and calm delight, and then the voices break into a brilliant alla breve movement, in which occasionally two distinct melodies can be heard. The ‘Sanctus,’ the next number in the mass, begins with a full chorus in D of a joyous, triumphant character. ‘Hosanna’ is a melody for tenor and bass in unison, with female chorus as accompaniment, followed by an entirely new subject for the soprani, accompanied by all the other voices. Then the female voices repeat their melody, while the male voices sing the first subject, both themes being entirely distinct. Benedictus is a quartet in G, changing to B flat, with subject for the tenor, and ending abruptly in D. Agnus Dei is in A flat, triple time, and opens with a canon for soprano and baritone, the chorus answering at the end of each phrase, Miserere. Then we have a quartet in C, changing back to the original key, with subject for the tenor. Dona nobis is an allegretto for the entire chorus, in which the basses occasionally ask alone for peace and are answered by the other voices. Such is a description of this remarkable work as far as mere words can convey of its many beauties. It is yet in manuscript form, and certainly Mr. Berge owes it as a duty toward art and the public to give it to the world in published form. For the orchestra it offers special advantages in the accompaniment on account of its intensely dramatic character. There were sixteen voices in the choir yesterday, the solo quartet being as before, the Misses Werneke and Messrs. Tamaro and Bacilli. The last mentioned gentleman possesses a fine baritone voice, but he does not always use it judiciously, nor pay strict attention to the music. A little care on his part would remove most of the defects in his singing.”