Church Music Association Public Rehearsal

“C. M. A. rehearsal 3:30 to 6:45, Steinway Hall quite full. Much cackling & whispering. Performance done through parts of it twice. The orchestral work in the Mass gave us several new sensations. Such magnificent points appeared where I least expected them. It was on the whole, most successful, though it would of course go better with a few more rehearsals. Pech dined here, and Edmund & W. Todd, who looks like a western member of Congress, came in afterward. Todd is a ‘plain man,’ but of great worth to us. We are all satisfied with the result, considering the little time that has been given to drill & rehearsal.

Soli are, in the Mass, Mme. Varian Hoffman, soprano, Miss V. K. Tucker, alto, M. Fritsch, tenor, M. Centemeri, bass. In Oberon, Miss Fanny Reed, soprano (Reiza), Mrs. S. H. Dow, alto (Tatania), Mrs. Payne, alto (Puck),  M. Fritsch (Huon), M. Randolfi, bass. Miss Fanny Reed takes ‘a lovely Arab maid,’ which belongs to Tatania, & suits Miss Fanny’s voice better than her own part.  Except Miss Fanny Reed & M. Centemeri the soli are weak, but I suppose they do not sing under full steam at rehearsals.

I feel tonight, as in the days of old, just after some of the Philharmonic concerts of 25 years ago, when the highest music was still a novelty. First, intensely fatigued with long & close attention, mixed in this instance with a good deal of anxiety as to how the thing was ‘going to go,’ and, secondly excited & wide awake, & almost starting now & then as some jewel from the orchestral work flashes across my memory. In the ‘Laudamus’ the orchestra not merely intensifies but gives a wholly new character to the piano score—so also in the repetition of the opening movement of the Kyrie. The phrase that follows the opening unison of the Gloria seems a little tame in the piano or organ score, but when rendered with the rush & clangor of the full orchestra, it is worthy to accompany a choir of archangels. The whole composition, rendered as written, is absolutely gorgeous.”