Oratorio Society of New York: Messiah

“Chorus of 500. Orchestra of 80.”

“A few years ago the performance of ‘The Messiah’ was as much a part of the regular celebration of Christmas Day as church bells in the morning and a roast turkey for dinner. The New-York Harmonic Society would not have dreamed of omitting this annual ceremony. It was at once the crown of the twelve months’ labors and the most sacred of the Society’s traditions. The glittering Christmas tree, the savory pudding, and the festive dance, never tempted these ladies and gentlemen from their self-appointed task, and there were hundreds of excellent citizens who made it a sort of religious duty to take places for themselves and all their families among their audience. One hardly knows how it happened that the good old custom died out. But several Christmases have come and gone without the oratorio, and the Harmonic Society itself is a thing of the past. Possibly when Parepa died the lovers of oratorio grew discouraged, for they knew it would never sound to them again as it had sounded of old.

To-night Mr. Damrosch and some hundreds of his disciples revive the celebration, and we with all true lovers of art must wish them a merry festival and a triumphant evening.”

“In previous years the Christmastime performance of Handel’s ‘Messiah’ was a regular occurrence, but more recently the tradition had fallen somewhat out of fashion. New Yorkers had to celebrate Christmas without the ‘Messiah,’ and we cannot claim that the holiday suffered for it. It was up to Dr. Leopold Damrosch and the Oratorio Society of New York to bring the oratorio back during the Christmas season. The ‘Messiah’ is a legitimate Christmas oratorio, and even though we might like to hear something different for a change—such as one of Bach’s Christmas oratorios—we will still glady have the ‘Messiah,’ especially when it is performed as it was last night: after careful rehearsal with good soloists, a well-trained chorus of about 500 voices, and an orchestra of about eighty capable musicians. The Oratorio Society choir was bolsted by the Brooklyn Handel and Haydn Society, both of which were under the direction of Dr. Damrosch. From the introductory chorus, ‘Denn die Herrlichkeit des Herrn wird offenbaret,’ it was clear that both choruses had studied the work and were performing with joy and passion. Not only this chorus, but all the following were sung correctly and smoothly, with confidence and precision, and with power and zeal. The Hallelujah, which was excellently given, received thunderous applause. Warren, the organist, and the orchestra supported the choir and soloists to the best of their ability, and one can really say—excepting the soloists—that we have not heard a better performance of ‘Messiah.’ We do not intend to criticize the soloists; we only mean to say that on previous occasions the solo quartet was occupied by more powerful musicians. The accomplishments of the tenor Herr Geo. Simpson, loved and considered by the Americans to be the best oratorio singer, are well known. Last night, again, he sang elegantly and was technically flawless; he succeded in every note and figure. Yet he also sang just as dully and colorlessly as ever. The new bassist, Herr A. E. Stoddart, has a light, high bass voice (really a baritone) of a noble and pleasant sound. He sang with taste and a fine understanding, although he did not quite succeed with Handel’s longer passages. Still, in the second and third parts of the oratorio, all of his numbers were met with applause. In the first part, the singer appeared to suffer from a great deal of bashfulness [Befangenheit], which affected his performance. Fräulein Whinery from Boston took the soprano part. She sang correctly but without feeling, and because her voice has a dry, harsh, and unpleasant sound, especially in the higher range, she had to be content with a simply respectable result. The best among the soloists was Fräulein Anna Drasdil, whose full and round voice, which has the proper sound for an alto, never loses its charm [Zauber] on a receptive audience. In addition, Fräulein Drasdil is a talented singer who knows just the right dramatic coloring for her part, which almost all the solo parts in this and other semi-dramatic Handel oratorios require. The audience did not tire of applauding after her every number. Finally, we must recognize Dr. Leopold Damrosch for the great effort he afforded the rehearsals of this oratorio, and for the careful and energetic way he conducted the choir and orchestra with a sure hand. He and the Oratorio Society can be proud of their victory yesterday.”

“A remarkably good performance of ‘The Messiah’ was given at Steinway Hall yesterday evening by the Oratorio Society of New-York and the Handel and Haydn Society of Brooklyn, both of these organizations having united for the occasion under the direction of Dr. Damrosch. It is to be regretted that the public does not usually encourage concerts gotten up by societies of this kind, for last night’s work showed what excellent elements are to be found in this City for the formation of choral bodies which might, six or eight times a year, recite the masterpieces, and keep them thus in the recollection of the rising generation, which is not likely, from present appearances, to know much of Handel, Haydn, and Mendelssohn. Yesterday’s entertainment, it is true, was very largely attended, but the interest in oratorio music in New-York has always been of a sporadic sort, and the success of last night’s venture could scarcely be taken as proof that a steady taste for compositions of this order has been suddenly developed. A few equally satisfactory renderings would, however, do much for oratorio, and we trust Dr. Damrosch and his forces will persevere in their task. The vocal solos were, of course, not so impressive as the choral and orchestral parts of the programme, but Miss Anna Drasdil’s singing of ‘He shall feed His flocks,’ though only a little superior to that of all her numbers, was exceedingly fine, and Mr. George Simpson’s thorough command of his art once more asserted itself in all the tenor airs. The soprano and bass, Miss Annie Whinnery, from Boston, and Mr. A. E. Stoddard, acquitted themselves conscientiously of their respective duties, but the lady’s voice is rather thin, and Mr. Stoddard’s is not quite flexible enough for the florid passages. The chorus and orchestra, as implied already, were in capital condition. Their attack was wonderfully true and unanimous, and their shading very nice, considering the limited experience which local instrumentalists and vocalists have in dealing with music of this order. It would be a waste of space to particularize, for the recital presented few ‘points’ and was chiefly notable for its smoothness and general precision. A more careful, earnest, and magnetic conductor than Dr. Damrosch, it is only fair to say before closing, never comes before an American audience, and to his labors, both previous to and during last evening, is to be ascribed the larger share of the honest praise the concert merits.”

“The Oratorio Society of New York, in combination with the Brooklyn Handel and Haydn Society, gave last evening ‘The Messiah’ at Steinway Hall. It was a performance highly creditable to the conductor under whose direction the work was performed, and most honorable to the two societies concerned. In looking back over a long series of performances of this great oratorio reaching back to the time when it was done at Tripler Hall under Jullien’s direction, we can scarcely recall any representation where so large a chorus gave the work with such steadiness and fervor. Some of the difficult choruses where the rhythm is varied and careful counting necessary, usually somewhat shaky even with the best trained singers, went with almost faultless precision. Such, for example, were, ‘All we like sheep have gone astray,’ and ‘Let us break their bonds asunder;’ the latter a chorus usually omitted, but sung last evening with splendid effect. When the immense patience required to train a new body of singers is considered it will be readily understood that there has been a rare combination of ability on the part of the leader and intelligence on the part of the chorus and indomitable perseverance in both to have brought about so satisfactory a result. The solo parts were entrusted to Miss Whinery, Miss Drasdil, Mr. Simpson and Mr. Stoddard.

Mr. Simpson’s merits as an oratorio singer have been recognized for almost twenty years. Except, perhaps, Sims Reeves, there is probably no better living English oratorio tenor. Miss Whinery has a light voice, with some notes of excellent quality, and she vocalizes well, but she is not an oratorio singer for many reasons—for example, she lacks breadth and dignity of style and power and depth of voice. Mr. Stoddard also sang the bass part well enough for an amateur, but not at all well from a professional standard. He sang the notes carefully and correctly, but without any notable beauty of voice or finish of style, and he oversentimentalized Handel’s music. Miss Drasdil did not fall into this error, but sang the alto part like an artist. Her phrasing was broad and noble, her style simple and earnest, and her voice pleasing and sympathetic.

Having found a leader, which is half the battle, we sincerely hope that this society will prosper and increase. There are evidently honest and earnest workers in the ranks, and not merely those who are playing at singing, and this is a good omen.”

“At Steinway Hall, last evening, Handel’s celebrated oratorio, ‘The Messiah,’ was performed by the Oratorio Society of New York combined with the Brooklyn Handel and Haydn Society, under the direction of Dr. L. Damrosch. The chorus included about five hundred voices, and the orchestra eighty instruments. Miss Abbie Whinery, from Boston, sang the soprano solos; Mlle. Anna Drasdil the contralto; Mr. George Simpson the tenor, and Mr. A. E. Stoddard, pupil of Mr. Damrosch, sang the bass. Mr. S. P. Warren presided at the organ.

The additional accompaniments composed by Mozart were added on this occasion. Handel left the orchestration so unaccountably thin that organists generally at public performances inserted extemporaneously certain passages in the style of Handel himself, whose mode of ‘filling in’was so remarkable that in England great pains have been taken to preserve traditionally his peculiarities. But so little reliance can be placed in these traditional accounts that artists now use their own discretion in the rendering of Handel’s works, and especially with reference to the orchestration and the tempi. Some ideas may be gained of the untrustworthiness of traditions by comparing the orchestra employed for the performance of this oratorio the day after Handel’s death with the strangely designed one that was heard in Westminster Abbey at the last yearly performance in 1791, which included 140 violins, 43 violas, 18 cellos, 21 double basses, 40 oboes and flutes, 42 bassoons, 12 horns, 22 trumpets, 9 trombones, 1 serpent, 2 pairs of drums and the organ.

On comparing the numerous editions by eminent musicians with the photolithographed facsimile of the original, some very interesting questions arise which space will not here permit us to consider. But many of these would bear directly on the tempi, and thus on the decisions of Dr. Damrosch as carried out last night. The speed of nearly all the ‘numbers’was very much higher than that given in all the published editions, many of which rest on the authority of such men as Sir George Smart, members of the Cramer family and others who also assisted in the ‘Commemorations.’ We must remember, however, that in cathedrals there is always a tendency to drag the time, and in order that clearness may be obtained many quick movements are designedly taken slower. It should also be borne in mind that there is a marked difference between a concert-like performance and a religious service.

The rendering of Dr. Damrosch was a highly artistic one. This was anticipated before a single note was heard, from the excellence of the stage arrangements, which at once gave evidence of the executive ability of the musical director. The disposition of the orchestra and various sections of the choral body with reference to themselves, the conductor and the audience, was such that the best attainable effects were ensured and enjoyed.

The band and chorus being thus brought fully under control a sense of security was perceived which was entirely satisfactory.

The choruses were all sung well. Even the most difficult ones, such as ‘Let us break their bonds,’ and the ‘Amen,’ were delivered with a force and vividness that demand great praise.

Marked attention has been given to the language, and therefore some of the ‘leads’ attained great dramatic power, and the tones were uniform in ‘quality.’

The singing of Mlle. Drasdil made a marked impression on the audience. It was entirely satisfactory. The pathetic delivery of the lovely air ‘He shall feed his flock’ one will not easily forget. In this song the violins played con sordini, and thus the accompaniment gained a new and surprisingly good effect.

Miss Whinery, from Boston, was not so successful, and Mr. Stoddard, though having a good style, does not possess a voice of sufficient power and weight to deliver this great music well.

Mr. George Simpson’s singing was greatly admired, especially in the ‘Passion Music.’

Mr. S. P. Warren, with the discrimination of a well-practiced musician, added many delicate touches which greatly contributed to the success of the performance, although he presided at an instrument in no sense worthy of his powers.

The lovers of festival music must feel indebted to this society for the efforts they are making to present great works in a style worthy of them. Those who were present last night were enthusiastic in their praises, but the mass of the public, being unfortunately comparative strangers to this form of art, will not afford that patronage without which performances cannot be sufficiently frequent to make these great choral works known and appreciated.” 

“Such a performance as the New-York Oratorio Society and the Handel and Haydn Society of Brooklyn gave of ‘The Messiah’ on Christmas night will go far to revive the popularity of a form of art which we have suffered to fall into sad decay. The interpretation, except for a few deficiencies in some of the solo parts, was beautiful, and many of the choruses were sung with an enthusiasm that seemed to be contagious. Precision of attack and breadth of expression were conspicuous merits of the performance, and the three or four hundred ladies and gentlemen exhibited a zeal, intelligence, culture, and musical taste such as no association has brought to the interpretation of ‘The Messiah’ in this city for many years. Dr. Damrosch has done wonders, and we shall wait for the further results of his labor with the pleasantest anticipations. The most successful of the solo singers was unquestionably the alto, Miss Drasdil. The soprano was Miss Abbie Whinery, the tenor Mr. George Simpson, and the bass Mr. A. E. Stoddard.”