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Review: [Untitled]

Reviewed Work(s):
Mass in A Flat. In Vocal Score by Franz Schubert; Berthold Tours
Communion Service in A Flat by John Troutbeck; Franz Schubert

The Musical Times and Singing Class Circular, Vol. 17, No. 402. (Aug. 1, 1876), pp. 563-564.

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Fri Jan 4 22:18:28 2008
T H E M U S I C A L TIMES.-AUGUST I, 1376. 563
nation. Also, to Sir Henry Cole, I<.C.B., to commemorate REVIEWS.
his zealous instigation and active promotion of various pub-
lic institutions which are tending to diffuse a knowledee of -
the Arts and Sciences among thYe people, to increase Their NOVELLO,EWER AXD CO.
home enjoyments through the cultivation of music, and to
add to the wealth of the country through improved taste Mass irt A J a t . I n vocal score. Composed by Franz
in its art manufactures. T h e Company of hIusicians, by Schubert. T h e pianoforte accompaniment arranged from
whom the freedom is presented, is an ancient guild, dating the full score by Berthold Tours.
from the reign of Edward IV., and having a second charter Co~?~i~eu~zioit Sevvice in A $at The English adaptation
from James I. I t had long the obligation of seeing to the by the Rev. John Troutbeck, M.A., composed by J3ranz
efficiency of public performers and of silencing incompetent Schubert.
musicians. The present master of the Company is W. THESE two works, as our readers will surmise, are
Chappell, F.S.A., and hlr. W. S. Collard is one of the identical, excepting that the former contains the Latin
wardens. text to which the music was originally composed, n-hiie for
A gathering of the members of the ~ l i choral
~ d the latter the words of the ~ n g f i s h~ i a y e ~r o o have
k been
society took place a t the, Henrietta Street, skilfull~adapted by Mr. Troutbeck, so that the music may
W.C., on Tuesday evening, the 11th ult., for the purpose be for use in Our church services.
of entertaining Mr. James Calmer, a gelltleman who has The present is the fifth of six Masses which Schubert
laboured for many years on their behalf. Several solos r N r o t e l and was between the Years '1 9 and
and part-songs 'Ivere well rendered by the choir, accom- 182'. T h e remainder of the series h a r e been published
panfed by Messrs. Freeman and clayden on a ~~~~d some time since, but until a very recent period it was
pianoforte, kindly lent for the occasion by M ~ ~ ~~ ~ impossible
~~ d ~. to , ~ include
. this &lass in the collection, as it
wood and s o n s ; after which the chairman, ~ ~ ~ existed d ~only~ in manuscript,
i ~ k till the full score was issued a t
Woollacott, Esq., begged hlr. Colmer to accept a hand- Vienna rather than a year Though by no
some clock (which had been purchased out means equal as a whole to Schubert's last and greatest
of a fund raised by the blind,, bearing a suitable inscrip- Mass in E flat, the one before us contains much that is not
tion. Mr. Colmer briefly returned thanks. only charming in itself hut thoroughly characteristic of its
ON Tuesday the 27th June, at a convocation holden in The opening " Kyrie," in7A flat, common time, is one of
Durham, the Rev. W. Statham, B.A.,vicarof Ellesmere Port, the most pleasing and interesting numbers of the xvork.
near Chester, received from the University the degree of Schubert, in all his Masses, has set these words to quiet
Doctor of hlusic. Dr. Statham is well known from his and devotional music, instead of (as is too often the case
connection with the Choral Association of the Frodsham with Haydn) to a lively chorus, utterly out of keeping with
E. and W. Deaneries, and from hymn tunes and anthems the spirit of the text, however pleasing to listen to.
which he has written. The honour of a musical doctorate Among the more noteworthy points in this piece should be
has been but seldorn granted by the University of Durham, mentioned the first entry of the solo voices at the
one of the last to receive this distinction having been the " Christe " (p. 3), with the charming effect of the alterna-
late lamented Dr. Dykes. tion of solo and chorus. which will be found a t the bottom
I N Mr. Collet's letter on the I' hIacbeth " music, published of the same page, and which is repeated later in the
in our last number, a printer's error, in some portion of movement. T h e close of the " Kyrie" is also of great
our edition, has made him mention " hlr. John Locke," beauty; and the whole number is orchestrated with inuch
instead of " Mr. Tom Cooke," as the composer of some delicacy, and with delightful solos for the wind instru-
music supplied for Mr. Macready's revival of " Acis and ments, which are carefully indicated in Mr. Tours's
Galatea." I n paragraph 5 , line j, me may also say, the accompaniment.
word lead " should be substituted for "leave."
The greater part of the " Gloria " must be pronounced
by no means worthy of Schubert's reputation. I t is
T H E author of a string quartett recently performed at a effective and brilliant music, full of tune, a s is everything
trial of new works by the Musical Artists' Society, writes from its composer's p e n ; but the first movement might
t o u s correcting a mistake in our notice last month, which almost be called absolutely commonplace. The " Gratias "
h e says is of '' frequent occurrence " in other journals. I t in A major is far more interesting, yet it contains little
appears that there are two artists before the public whose which reveals its author. T h e same can hardly be said of
names are very similar, and that we have mentioned the I ' Cum sancto spiritu," because considered a s a fugue
" Lehmeyer" instead o f " Lahmeyer " a s the composer of it is so very weak that hardly anyone but Schubert could
the auartett referred to. have written it. This seems a bold assertion: but those
THEdeath of Mr. Edwin Ransford, a t the age of 71, who are most familiar with the composer's works are
which occurred a t his residence in Welbeck Street, on the perfectly aware that scientific writing was by no means
his fovfc. In this piece there is hardly even an attempt at
11th ult., deserves more than a passing record, for though counterpoint; and although the full harmonies and the
but seldom before the public latterly, he was, in the old brilliant accompaniments for the violins make very effec-
days of so-called "English Opera," a favourite vocalist, tive and pleasing music, it is almost absurd to describe the
singing for many seasons in the Covent Garden Company, movement as a fugue at all, though it was evidently
under the successive managements of Charles Kemble, intended for one.
Laporte, Bunn, Osbaldiston, Macready, and Madame Ves-
The "Credo" is of far higher musical value than the
tris. As an exponent of the songs of Dlbdin, he was well "Gloria." T h e opening movement, with its effects for
known in the concert-room, and apart from his professional
merits, was universally esteemed a s a genial and kindly- unaccompanied chorus, and its beautilul contrasts of
instrumentation, seems t o foreshadow the fine setting of
hearted man. The funeral, which took place in his native the same portion of the text in the Mass in E flat. The
village, was, at his especial request, unattended by any but " Et incarnatus," which is in the somewhat unusual form
his sorrowing relatives and a few of his warmest old
for this movement of an eight-part chorus, is of special
friends. excellence. the modulations beine verv unusual and of
ON the eve of going to press we have received intel- effect. At the " ~ r G i f i x c s , " Schubert ven-
figence of the death of Mr. T. 31. hludie, one of the pupils
originally elected on the foundation of the Royal Academy
of Xlusic. An excellent musician, an earnest artist, and a
sincere friend, he was yet too retiring to urge those claims 53) will be found by no means easy to sing. T h e close of
upon the public which were well known to a limited circle, the movement pi~znissi~?zo is very lovely, the effect of the
but we still believe that his pianoforte works will, eventually, simple harmonic progressions of thevoices being heightened
command that recognition towhich their merits justly entitle by solo passages for the oboe and clarinet in the composer's
them. happiest manner. The " Et resurrexit," a s is often the

case at this part of the hlass, is chiefly founded upon the melodious and well written, but rather too reminiscent of
subjects of the opening movement of the " Credo," which hlendelssohn, the original inventor of this form of piece,
are here differently treated and more amply developed than and whose influence, therefore, in compositions of this
a t first. A long coda at the "Amen," with a pleasing but class it is more than usually difficult t o avoid.
~ ltollr, oYglle
somewhat light episode for solovoices, concludes this section ~~~i~ ~ ~ ( N ~~ . sonate
f pontificale
~ ~ ;
of the work. No. 2 , Sonate 0 Filii; No. 3, Sonate Pascale). Par
T h e commencement of the " Sanctus" is one of the J, L ~ ~ ~ ~ ~ ~ .
most remarkable Parts of the Mass. Though the W H I L Ew e cannot consider these sonatas works of abso-
merit is in F major, the three u t t ~ ~ n c eofs the word lute genius, as we should, for instance, apply the term to
" sanctus " by the chorus, each being divided by anorches- the organ sonatas of hlendelssohn, we can nevertheless
tral interlude of four bars, are all in different keys. T h e them as good sound music, and admirably
voices first enter, not in F, a s rvould be expected, but in F to the instrument on which, a s our readers know,
sharp minor, their second entry being in E flat minor, and their is so distinguished a performer. we are
their third in C minor, after which the music returns a t glad to see that M. L~~~~~~ has taken as his the
once to F major for the words " Dominus Deus Sabaoth." solid compositions of the German school of organ-playing,
he passage is very striking, though it must be admitted rather than the light, not t o say frivolous, French style so
that the effect is abrupt, almost biznyye. A melodious much in favour with some writers, and of which the organ
subject for the " Pleni sunt cceli " with an elegant triplet works of ~ ~ f g b ~ and - ~ e are
~ ~ ~~~i~~~ l ~examples.
, E~~~
accompaniment for the violins succeeds, and leads with a vvhere M. L~~~~~~ adopts the modern style-as, for in-
half cadence on the dominant seventh t o the " Osanna.'' stance, in the middle of the opening movement of the first
This nmvement is as is generally the treated sonata, where chords for the won hzrlnaiia are accompanied
fugaliy ; with the exception of the " Cum sancto spiritu," by the 8.feet flute in the great-he does not degenerate
already noticed, there is no attempt at a fugue throughout into mere prettiness ; his music is always dignified. T h e
t h e Mass. T h e present is a bright little chorus in eight slow movements in all the three sonatas are excellent ; but;
parts, short exclamations of the word " Osanna " by divided the composer,s special partiality would seem to be for the
trebles and altos being answered by similarly divided tenors fuual style, ~~~h sonata contains at least one fugue, and
and basses. T h e " B~nedictus"' for and th: second has two. T o say that some ofthese, thoughvery
tenor solos with chorus is a good specimen of a portion of cleverly written, have a suspicion of dryness is no reproach
t h e Mass in which Schubert was invariably successful. I t to the because the art of writing a fugue whicl,
is full of charming and flowing melody, and is certainly shall be a s interesting as it is ingenious is one of the rarest
one of the best movements in the work. T h e " Agnus of musical qualifications. ~h~ names ' t 0 filii ,, and
Dei " is also of much excellence ; the modulation at the ,, pascale," given to the second and third sonatas, refer to
bottom of p. 88 of the score, and the beautiful treatment the old ~~~i~ hymns ', 0 filii et filiZu and , 6 ~ i c t i m r t .
of the word " Miserere," should be especially noticed. T h e paschali,~ which are introduced, in the former into the
" Dona," on the other hand. though exceedingly Pretty, is slow movement and in the latter into the finale of the works.
in no way great music ; it is remarkable for the simplicity think that M. L~~~~~~ has been judicious in givin gl
of its construction, the voices moving together in plain except for special effects, merely general indications for
chords, without t h e least attempt a t counterpoint through- registering. I n the majority of cases particular directions
out. as t o stops are " more plague than profit," unless the per.
I t will be seen from our remarks that thepresent Mass is former happens to have under his hands a n instrument
a somewhat unequal work. Judging from the evidence of precisely similar to that which was in the composer~s
the music itself, we should say that the latter half-from mind when Lvriting.
the "Sanctus," or perhaps even from the " Credo " to the
end-was certainly of considerably later date than the W ~ CHa7zds
'L Meet. Part-Song. Words by Edward
6' ~ ~ and ~ N ~ li ~ ~ ~ i ~ the .u u earlier part we only Oxenford. Music by Ciro Pinsuti.
occasionally trace the style of the genuine Schubert, but in A" unpretending, and charminglyvoiced Part-
the " sanctuS " and '&AgnusW there is no mistaking him. song, which we cordially commend to the attention of
T h e publication of the Mass will add nothing t o his repu- Choral Societies in search of novelty. Signor Pinsuti has
tation, for it presents us with no new phase of his genius ; well studied the art of simply expressing simple phrases,
but apart from the interest that attaches t o every work of and in all his ~ a ~ ~ reads - ~ a ~lesson
s ~t o cthose who
so great a musician, the intrinsic merits of the present believe t h a t such compositions are made attractive by mere
position are sufficient to justify its issue in the present display of learning.
cheap andconvenient form. Those who possess Schubert's soldieys of the Captailz. H ~ ~ ~ ,
other hlasses will doubtless be glad to complete their sets ~h~ ~ ~~ e f le of~ ~~ ~d i~ ~~1 ~~~~1 ~i .N, ~ , ' ~ ~ ~~
by the addition of the Mass in A flat. Son.. '4

" M a k e 7izclody witlzilt yozlv lienrts." Harvest carol. By Words by Lieut.-Colonel W. R. Buck.

the Rev. F. A. J . Hervey, hf.A. Music by the Rev. W. H . M. Buck.

T H I S little composition is not of a kind calling for any T ~ E ~

no possible reason lvhy compositions like
canE be
detailed criticism. I t is in the form of a simple part-song; this should not be written and but we cannot see
but though quite unpretending, it is, ofits kind, very good. why they should be sent for review. A clergyman, for
There is a pieasant swing the and the example, composes a hymn, as in the present instance, for
harmonies are both correct and tasteful. For Harvest the ~ h ~ ~ services
~ h of . a volunteer
~ ~ ~~~~i~~~~
~ d in~
Festivals where no great musical resources are available which, we doubt not, by the name of the ~ i ~ ~ whc ~ , - ~ ~
this little carol will be found useful, and may be safely ,rites the verses, he takes a deep iilterest ; yet it can
recommended. scarcely be expected that the admiration of his work
Ovgan Colnpositioics. By J. Baptiste Calkin. N o . 7. should extend beyond the immediate neighbourhood for
Harvest Thanksgiving March. which it is especially intended. W e do not say t h a t
Two-part Song without words. " Soldiers of the Captain " contains any grammatical
T H E former of these two pieces is also published for the errors ; but this, after all, is only a negative merit, and we
piano, in which form it was reviewed in our last number, certainly want something more in a hymn which we can
W i t h regard t o the composition itself we have nothing t o conscientiously recommend to our readers' notice than a
add to the favourable opinion previously expressed. I n its correct progression ofchords. T h e "National Song," in the
present shape it is so well suited for the organ, and, with- same key, has a wonderful similarity with the hymn : indeed
out any undue difficulty, so effective, that we are in doubt the suspended fourth on the key-note triad, at the double
a s t o its original form, and are almost inclined to think bar, and the following passage, commencing in unison,
that it was first written for t h e organ and subsequently reminded us so strongly of " Soldiers of the Captain " t h a t
arranged for the piano. T h e two-part song without we were compelled t o turn t o it again in order t o see in
words we do not think quite equal t o the March. I t is what respect it differed. W e presume, however, thatevery