Hymn for a Contralto Voice, and Chorus [review-book]

1868 The Musical Times and Singing Class Circular  
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For more information about JSTOR, please contact support@jstor.org. the E1v series takes a prominent position in this wonder-the kev of the song, and the former with the dominant of ful out-coming is, mith us, a settled conviction. the relative minor; but we presume that the object of [In our next issue we intend supplemellting the above Mr-Calkin was to announce emphaticalltt the suleject of review with a table showing the diffErent degrees of diffi-the early portion of the Oratorio, as the words of the culty, form, and style of each number of this series.] recitative are very judiciously given with the notes. Th0 ' transcription of the chorus is remarkably good * the instrugymn for a Contralto Voice, and Chor?ss. F. hIendel-Inental an(l choral effects being well preserved throughout ssohn Bartholdy. Op. 96. We quite agree with Mr Calkin that the part in C major LITrLE less admirable thanhis two great Oratorios are beginning, ; His me.rcies on thousands fall," is usually the various hymns, ps-llms, and sacred cantatas in n7hicil taken somewhatfaster; butwe see no reason forit and re-WIendelssohn has also evidenced his possession of a sublime gret that conductors should so blindlv follow each other. musical genius, and a perfection of art training, that have We coulmend Mr. Calkin, however, for allnouncing in a owassociated his na.mewith those of the grandest Of foot-note that, although '6Ptu. moto" is ularked, such composers, Bach, Handel, and Beethoven. While sonLe direction is only " sanctioned by custom." No. 2 colltains of these lesser (but still great) works of Mendelssohn, such the Andflqzte of the chorus, " Baal, we cry to thee," arsd the as the Lobyesang, Lauda Sion, gear rny Prayer, the Forty-trio, " Lift thine eyes," the latter forlaing an effective little second and the Ninety-fifth Psalms3, &c., are as well kllown piece; but we question the policy of repeating the chorus as his St. Paul and Eltyah, there are others quite as afterwards. In No. 3, we have an arrangement of the worthy of recognition and performance, which are yet but soprano solo, " Hear 5 e, Israel," transposed into (: nlirsor seldom heard; among them, especially the psalm now re-alld nlajor, for greater facility in performance. Here ferred to. In Rietz',s catalogue, it is dated 184S, LeiL)zig * agaill, the nvords of the recitative, which connects the two and i3 stated to be 44 the elaboration of a work forrllerly Itlovements are given; a feature in these transcriptions pululished by Simrock, of Bonn, 7ithout ans OpZbS number, whicil we should like to see extensively followed. Al o. 4 entitled, s Three Sacred S(,ngs for an Alto Voice, Chorus contaiils Elijah's air, " It i3 enough." In this the origina1 and Organ."' In its present shape it fortns one of three key is preserved, and the prominent illstrurnental points, piecesofreligiousmusiewhichthelateMr.Broadleycorn-are effEctivelnr woven in; the ulel)dv being distilletly nissioned Moscheles, Mendelssohn, and Spohr to compose. marked throughout with connecting lines. rEhis is one of That by the latter composer was performed at the last the best arrangemelats of the series, and may be made Norwich Fe;3tival, in 1866. very effEctive by a player who can sufficiently draw the The opening movement of the hymn by Mendelssohn voice part away froln the accompaniment. In No. 5, we ("Lord,bow down Thine ear") is a lovely andantein six-have the well-known alto sokl, " O relst in the Lord," eight, full of flowing, graceful melody, of exquis;itely which has been very carefully laid out {or the hands, and pathetic expression, yet never departing froul the dignity tan be recommended, llOt only for it3 intrinsic beauty of religious elenation. EIere, as in his oratorios, we see (re,specting nThich no two opinions ean exi3t), but for the how a great master can impart melodious beauty to sacred excellent practice the arrangement affords to all who desire mu,sic without approaching, as illferior composers do a to cultivate the legato sttrle of performance. '1'he air is secular and mundane style. The ,strains of this charming preceded by the recitative, commencing, ;' Arise, Elijah." and sublime movement are alternated between the con-Four pieces are contained in No. 6 * Ii1 lijah's air, 4' Lold tralto solo and the responsive chorus, in a manner similar God of Abraharn" (including the opening recitative), the to the opening portion of the hSmn, Hear my Prcryer, by tenor solo, i"rhen shall the righteous," and the quartetts the same composer. CL'he second movement is a chorale '6Cast thy lJurden," and " O colne, ev'ry one that thil steth." given out first by the solo voice, and then in fu11 choral These are all exceedingly well suited for transcription harmony. The introduction of the form of the I,utheran and the twv solos, especially, are very faithful r flections churchtune is amalked featureofBach'ssacredmusic Of the originals, In conclusion, we may mentioll that which Mendelsso}n has followed both in his oratorios and amateurs will be pleased to find the fingeXring marked over others, of his works, with an effect northy of his great every pas8age where any difficulty might arise. We cormodel. The following movement, ; Lord, we trust," alPso dially welcome the,se arrangements as pleasant remillisalternated between the solo voice and ttle chorus, is a ca?z-cences to those who have so often been moved by the tabile melody, of pure and simple character, with a well-migilty power of the original work. Such music cannot colltrasted moving accompanirnent. llhis is, carried on to be too often before us; and these arrangements will introsome length, closing ^vith one of those impressive cadences duce illtO the family circle a knowledge of the beauties of peculiar to Mendelssohn. The hymn colcludes with a real sacred music, which will do much towards retarding choral fugue, on a clearly-defined, bold, diatonic theme the growth of vapid and worthless imitations,. led off by the basses" and wrought with that contilluous Sonate quasi Funtaisze, pour Piano et Violoncello. power and free command of counterp(lint, without pedantry which only such a ntaster can display An e¢ective point Sonate, pour Plano et Violin. d'orgue, and some good sequential and imitative passages Both composed by Jos,eph Street. (Leipzig, Breitkopf lead to another of those slow, concluding cadences whicl:; and Hartel.) form such worthy climases, to Mendels;sohn's ch,)ral WE are glad that Mr. Street hax sent us a Sonata5asb writing. well as a Sonata " quasi Fantasia " because experience hasX .. proved to lls that the latter title is too often us,ed by COTev Transcrsptzons from " Elgah." By J. Baptiste Calkin. posers to cover their want of wri.ing a solid and well balanced Sonata. Of the two works beforo us, we in-THESE Transcriptions are tenderly treated, as might be finitely prefer the Sonata (not " quasi Fantasia") for Piano expected from a conscientious artist like Mr. Calkin * and, and Violin, in the course of which much talent, it not as pencil-sketches of a grand picture, they are worthy the genius, is shown. It has evidently been a labour of love attention of all Mendelssohll lovers. Here is, indeed, with Mr. Street-for the work is dedicated to Molique healthy " Sunday music," which may be enjoyed for its who was it appears, his instructor in composition * alld own sake any day in the week, a merit which cannot be from whom, no doubt he gleaned much valuable infor claimed for a large portion of the 4< sacred " compositions mation respecting the instrument he has written for. The so plentifully supplied to serious families. In the first first movement is conceived in the true spirit of Sonata number we have averyexcellentarrangement of thetenor writing, and the passages never degenerate either intcx solo, " If, withall your hearts," and thefine chorus, 44 Yet common-place or mere executive display. The instrudoth the Lord see it not." WSe do not quite like the sub-ments are skilfully combined, and the themes are told and stitution of Elijah's opening recitative (transposed into G well-marked. The Adagio, althollgh scarcely, perhaps, as minor) for the recitative of Obadiah, before the tenor solo, melodious as se could wish, is eSective throughout-and especially as the latter ends with the dominant chord in the Ftnale i8 remarkable for vigour and contrast of subject.
doi:10.2307/3354799 fatcat:adghuan27nemzipkrzh434v55i