Oratorio Society of New York Concert: 2nd

Descriptive analysis of Schubert’s Mass and Damrosch’s cantata.

“For their second concert of the season, the New-York Oratorio Society, under the direction of Dr. Leopold Damrosch, produced last night at Steinway Hall three selections from Schubert’s splendid Mass in E flat and a new composition in cantata form from the pen of their conductor. The text of ‘Ruth and Naomi’ is taken entirely from the Bible. It gives, in brief, the story of Ruth, interspersed with a few appropriate choruses of praise from the Psalms, and closing with a reference to the coming of the Redeemer, with which the history of the Moabish woman has a significant [illegible]. Dr. Damrosch styles his work a ‘Scriptural Idyll,’ and the designation is happily chosen to signify both [the topic?] of the poem and the general spirit of the music, [which?] has the modest dimensions of the composition. It is [illegible] for soprano, alto, tenor and bass solo voices, [illegible] orchestra, organ, and contains sixteen [illegible], some of them long. The orchestral [illegible] in the key of E flat major, is of a gentle and tranquil character, opening with a slow passage for [illegible] story proper begins with an animated recitative for the tenor, who throughout the work takes the [illegible]. This is succeeded by a short [illegible] recitativo a tempo, with a rich harmonic [illegible], containing some fine contrapuntal writing; and then occurs an impassioned aria for soprano [illegible] ‘Entreat me not to leave thee,’ the [illegible] of which, twice repeated afterwards with [illegible] of contrast, will be particularly admired. [Illegible] chorus, ‘Thy mercy, Lord,’ is in a [illegible] and vigorous vein. A beautiful recitative for the tenor, ‘So the two went,’ is closed by a single phrase for the bass (Boaz), and next follows a [illegible] unaccompanied chorus, ‘The Lord bless thee.’ The [eighth?] number is a picturesque allegretto, consisting of a dramatic and prettily colored dialogue between Boaz, A Reaper (soprano), and Ruth, at the conclusion of which Ruth and Three Reapers (represented last night by the alto, tenor, and bass solo voices) have a quartet in the same effective tempo. In the chorus ‘Praise ye the Lord,’ which closes the first part of the cantata, a very striking and agreeable effect is produced by [illegible] alternations of 6-8 and 4-4 time (the beat of course remaining unchanged). In part second, after an introductory recitative for the alto (Naomi) and tenor, there is a somewhat prolonged Notturno for the orchestra, in which a graceful and expressive phrase, played first by the oboe, then by the violoncellos and violas together in the bass, and reappearing after a long interval, when the bassoon and flute divide it between them, will attract particular attention. ‘The Lord is my Shepherd’ is an impressive chorus with accompanying soprano solo (Ruth), sustained by the organ. A recitative for tenor and bass leads to a four-part male chorus, ‘We are witnesses this day,’ passing to a mixed quartet, in which Dr. Damrosch has made ingenious use of a curious old Hebrew melody. This interesting air is repeated by the full chorus. The tenor has a little fragment of narrative, and then the accompaniment changes to an Adagio religioso, in the midst of which Naomi breaks out in prophetic ecstasy, ‘Hail, hail, the Lord is with me,’ and the work closes with a solemn chorus, ‘O come, let us worship.’ Dr. Damrosch has preserved the idyllic character of his subject, and the orchestral parts abound with pastoral effects. In many of the choruses, which serve as commentaries on the action, he keeps strictly to the standard oratorio forms, but in the dramatic portions, which fall to the solo voices and the orchestra, he shows the freedom and boldness of the modern school. The audience received the new work with great and well deserved favor; yet we are not [illegible] that it has been fairly presented. Music of this [illegible] depends upon delicate nuances of expression which are not to be obtained from chance orchestras and comparatively new singers. The playing last night was not especially delicate or poetical and was sometimes more seriously at fault. The tenor, Mr. Bischoff, and the bass, Mr. Remmertz, were very good. Miss Drasdil, however, did not make all that she might have out of the alto part, and Miss Bedloe did scant justice to the music of Ruth. Several of the choruses were excellent, but of others the most that can be said is that the Society pulled through them without any accident.

The performance in the Schubert selections which opened the concert was much better. The portions of the Mass chosen were few and short, the ‘Kyrie,’ the ‘Sanctus’ (without the ‘Benedictus,’) and the ‘Agnus Dei.’ What exquisite fragments they were! What devotion, what majesty, what tenderness, and what grandeur was found in this precious composition! It is tantalizing to turn over the rich pages and think how few of them we have been allowed to hear. The grand harmonies of the ‘Kryie Eleison,’ in which solemnity and pathos are so wonderfully combined, were delivered with fine volume of voice and beauty of expression, and the difficulties of the ‘Sanctus’ and ‘Agnus Dei’ were so well overcome that the audience probably did not realize them. Now we trust the Oratorio Society will complete their victory by giving us the whole Mass.

Between the Mass and the Cantata a solo by Miss Drasdil was introduced—not the air from Handel’s ‘Semele’ announced on the bills, but Beethoven’s ‘In questa tomba,’ with string accompaniment. During one of the intermissions a handsome offering of flowers was made to Dr. Damrosch by the members of the Society, and it is announced that they will further testify their gratitude to him by singing ‘Samson’ for his benefit some time in the month of April.”

“This young but vigorous vocal association last evening gave a concert at Steinway Hall. The programme included three extracts from Schubert’s Grand Mass in E flat, the air ‘In questa tomba oscura,’ and a new work by Dr. Damrosch. The numbers from the mass proved a little trying for the society, although their skilled and industrious conductor has already brought his forces to a most creditable condition of discipline; their rendering of the ‘Kyrie,’ the ‘Sanctus,’ and the ‘Agnus Dei’ was wanting in animation, and not faultless in respect of intonation. Miss Drasdil, a contralto, whose fine voice and excellent style have often had tribute in this place sang, ‘In questa tomba,’ and, after a brief intermission, all the soloists—Miss Harriet E. Bedloe, (soprano,) Miss Drasdil, Mr. Bischoff (tenor,) and Mr. Remmertz—attacked Dr. Damrosch’s Scriptural idyl, called ‘Ruth and Naomi.’ This achievement, the words of which are taken from Scripture, offers abundant evidence of the composer’s cleverness as a writer for the voice and the orchestra, but does not contain proof of felicitous inspiration or of marked ingenuity. We must admit that we are a little puzzled at Dr. Damrosch’s choice of his subject, which seems to us strangely ill-suited to excite the imagination to productiveness; the writer, however, was quite unfettered in this respect, and he doubtless fancied he saw in the episode he selected a fit canvas for his design. Some nicely-harmonized choruses and some pretty details in the accompaniments are noticeable in ‘Ruth and Naomi,’ but as a whole, the achievement did not impress us [as] a valuable addition to the masterpieces written a century ago, and likely to remain the most eloquent and complete expression of the order of music they represent. Dr. Damrosch conducted the recital of his work, and directed his rather small orchestra and his large and powerful chorus with his wonted magnetism and art. A magnificent basket of flowers and a great deal of applause testified to the regard in which he is held, and we are glad to observe that a still more substantial reward is in store for his talent and energy, in shape of a benefit concert, which is set down to occur during the first week in April.”

“Last night at Steinway Hall the Oratorio Society of New York gave their second concert of the present season. Selections from Schubert’s Mass in E flat for orchestra soloists and chorus were given and received with favor. Miss Anna Drasdil than sang Beethoven’s ‘In questa tomba,’ instead of the contralto air from Handel’s ‘Semele,’ as announced in the programme. Her splendid voice and finished, artistic style, and extreme care to deliver the text in the most faultless manner, did not fail to excite the admiration of the audience. It was unanimously encored, and Miss Drasdil sang it again, with still greater effect. The accompaniments were performed by the stringed instruments, and not by the trombones and other wind instruments, playing very softly, as usual. Then followed the new ‘Scriptural Idyll’ from the pen of the society’s talented conductor, Dr. Leopold Damrosch, the opening of the Introduction to which was sufficient to indicate the quality of the work. The orchestration was found at once to be most felicitous, the harmonies rich and novel, and at every moment new and happy modes of expression appeared that betrayed the hand of the master.

Miss Hariett E. Bedloe sang the soprano part, ‘Ruth,’ exhibiting a voice of considerable compass and beauty of tone. And when one considers the great difficulty of some of the vocal phrases she is entitled to be considered a most trustworthy performer. In the song ‘Entreat me’ the chords change so very rapidly and such very unusual and unexpected changes of key are made that many singers would be startled and lose their way in such a labyrinth of harmony. It is but just to say that here, and in the phrase ‘I am Ruth, thine handmaid,’ where the oboe in the orchestra played falsely, and also in the intonation of the extremely difficult and strange intervals on the words ‘be no end’ at the conclusion of the work, she sang with great technical accuracy.

Miss Drasdil, as Naomi, sang, as a matter of course, in the most highly satisfactory manner.

Mr. Alexander Bischoff displayed a tenor voice of great power and richness of tone, and delivered the part entrusted to him with considerable ability.

Mr. Franz Remmertz as Boaz acquitted himself well, and fully sustained the high reputation he has made from his recent appearances as Wotan in the ‘Die Walküre’ of Wagner. No encores were permitted, and therefore the continuity of the work was unbroken. Between the parts, Dr. Leopold Damrosch was formally presented with a large harp of flowers resting on a pedestal of flowers on which the words ‘Ruth and Naomi’ were enwoven with leaves. Dr. Damrosch in a short speech accepted this tribute of esteem.”

“It has been long a subject of reproach to this city that it was practically excluded from the enjoyment of the great choral works, owing to the want of a capable singing society. One by one the feeble attempts at organization proved abortive, and while Boston could boast of her Handel and Haydn Society New York had nothing in the oratorio line. It remained for such a thorough musician, accomplished composer and clever conductor as Dr. Leopold Damrosch to supply our musical needs and to organize and train a chorus of fresh voices and drill them to a degree of perfection hitherto unattempted in this city. The second concert of the Oratorio Society took place last night at Steinway Hall, the selections being [see above]. The soloists were [see above]. As the Mass was not given in complete form it would be unfair to criticize it too strictly, but it is very seldom that in such works the beautiful text is adequately illustrated. The ‘Agnus Dei’ seemed to us, too, of a rather noisy character for such a subject. Miss Drasdil sang an aria from Handel’s ‘Semele’ with such exquisite expression, united to a contralto voice of organ-like richness of tone and the most finished cultivation, that it was instantly redemanded. In Dr. Damrosch’s beautiful work she sang the part of Naomi, and its sad, mournful spirit seemed to be congenial to the timbre of her voice, which is tinged with melancholy. Miss Bedloe has an agreeable voice, somewhat hard and unresonant in quality and wanting the dramatic power necessary to do justice to the music of Ruth. Mr. Bischoff had the hardest task of all, and not a grateful one—the part of the narrator—a number of very trying recitatives falling to his share. He acquitted himself as an artist should. Mr. Remmertz’s fine baritone voice gave effect to the numbers of Boaz.

The work of Dr. Damrosch is one that made its way at once into the favor of the audience. It is thoughtful and well diversified, without being too abstruse or fragmentary. There are really some delightful morceaux in it and one or two choruses of marked effect. The performance was of a finished nature, calculated to present the work without a feature to mar it. The composer deserves high praise for the work and for the admirable chorus he has organized.”

“The second concert of the Oratorio Society of New York for the present season was given at Steinway Hall on Monday evening. The pieces performed were portions of Schubert’s mass in E flat and Dr. Leopold Damrosch’s scriptural idyl, ‘Ruth and Naomi.’ The soloists were [see above].

As to Schubert’s work there could be but one opinion. It is in his noblest and most elevated style. The holy words of the Kyrie, Sanctus, and Agnus Dei were not frittered away and debased by being set to frivolous musical phrases, but their devoutness was allied to equally devout strains. The work was full of difficulties, the modulations bold and varied, but without any straining after effect. It was well rendered by the society.

Dr. Damrosch’s new work excited much interest, and was listened to with close attention and apparently with much pleasure by the large audience. The composer has commended himself since he came to this country as a gentleman of severe and admirably disciplined taste, as a violinist of high attainment, and as a conductor of great judgment, patience and efficiency. In a word, he has proved himself a most scholarly musician, and his cantata, or Idyl, as he prefers to call it, is a fresh evidence of his superior talent. We should like to go further than this, and say that it gave evidence that its composer possessed, in an unusual degree, the rare and precious gift of melodic invention.

The points of excellence in the work are to be found in the consummate knowledge of the theory of music displayed in every part, the skill and taste with which it is instrumented, the free, independent, and yet harmonious working of the vocal parts, and the careful finish carried into every detail of the composition. Dr. Damrosch has used every key that served his turn, wandering constantly into remote ones, and never remaining many bars in the same, so that his score is strewn almost as thick with accidentals as with notes. Liszt,
Wagner, and their followers have consolidated the twelve major keys into one great one that includes them all, and Dr. Damrosch seems to have become a disciple of that school.

But this is a mere question of means. If the composer has genius to deal with these complications his work will be harmonically enriched thereby however much it may lose in simplicity. The objection that seems most prominent in ‘Ruth and Naomi’ was the incongruity between the character of the subject and the composer’s method of treatment.

The story of Ruth and Boaz is a simple and pastoral one, most of it a plain narrative of events, unimportant in themselves, and without dramatic interest or progress. Ruth gleans in the field with the reapers, nestles beside Boaz at night, and is finally made his wife.

This plain and homely subject Dr. Damrosch has treated with an elaboration, vigor, and intensity of style that would have been more in place in describing events of a heroic nature or of great moral significance. We have a pastoral subject but no pastoral music; an idyl treated with every orchestral elaboration, and as though it were a tragedy or some lofty theme.

The music is also for the most part somber in character. Both the choruses and the solo parts were well sung. The tenor, Mr. Bischoff, has a strong and fine voice, but strove to give too great effect to the simple words of the text. Miss Drasdil’s fine voice and broad and elevated style told with fine effect not only in the ‘Ruth and Naomi,’ but in the Beethoven aria ‘In questa tomba oscura,’ which she sang in the first part of the programme.”