Church of St. Francis Xavier Easter Service

‘The organist ranks the very first of all choir directors in this city, and by his inimitable organ playing he is capable of carrying even a badly trained choir through a great work without the possibility of a break down. But with such an admirably trained body of singers as he commanded yesterday, Dr. Berge made the interpretation of his work a pleasure to the congregation. There was a very large chorus and a quartette of brass instruments to assist him and the soloists. 

It would be an ungrateful task to seek out another mass of more dramatic effect or so admirably expressive of the sublime words of the Catholic service. It is startling in some of its effects, but good taste governs it all through. Even in the ‘Kyrie’ some extraordinary novelties are attempted. First we have a melody for the voices in D minor and another for a chime of bells, both moving together in good harmony, yet as opposite in character as can be imagined. Two large bells gave the fundamental tone of each chord, and a number of small bells fall like snow flakes on the majestic, sonorous harmony of the voices, radiating each measure with a light and beauty that sets the vocal part in a still more brilliant frame. The soprano then sings ‘Christe eleison’ in a melody which is wedded to passion and tenderness. Then the ‘Kyrie’ is repeated in what might be termed a most audacious manner. The voices sing in 6-8 time, the bells strike in 2-4 and the tympani in common time. The effect is bizarre, but undoubtedly striking

A trumpet fanfare ushers in the ‘Gloria,’ accompanied by the tympani and an eight-part chorus. The soprano and alto voices then announce ‘Peace on earth to men of good will,’ and a duet for the Misses Werneke gives ‘Laudamus’ an additional beauty. Mr. Tamaro next sang a lovely tenor solo, ‘Gratias Agimus,’ which is conceived in the best Italian style. 

A bass solo with the other voices in canon form constitutes the declaration of faith embodied in the word Credo. A chorus of male voices, in four parts, without accompaniment, gives a peculiar character to the Genitum non factum. It is almost as difficult in its constant changes as the celebrated trio from ‘Robert le Diable.’ But the great feature of the mass is the magnificent picture of the ‘Crucifixion and Resurrection.’ The only fault to find with the mass is its ambitious character and the high standard demanded from the voices, which will ever place it out of the reach of nine-tenths of our church choirs. Miss Teresa Werneke sang the trying soprano solos admirably and Signor Tamaro proved himself unquestionably, the prince of church tenors.”