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promise of the autumn has not been fulfilled; instead of the anticipated feasts, we have had but few concerts, and, as yet, no opera. Some few noteworthy incidents have occurred, however, which we desire to record. We pass over the ever welcome orchestral concerts, the quiet pleasures of our delightful chamber music, and the inspiring four-part singing of the Orpheus Club. Neither can we give the space to notice fully the début of a young singer,—a singer with a rare voice, full, flexible, and sympathetic, and who, with culture in a larger style, and with maturity of power and feeling, will be a real acquisition to our musical public. Few young performers know

They dazzle us with pyrotechnics in the finale of Com’ e bello or Qui la voce, but the simple feeling of Vedrai Carino is beyond their grasp. Firmly sustained tones, careful phrasing, flowing grace in the melody, and just, dramatic expression, are the great requisites; without them the brilliant flourishes of a modern cadenza astonish only for a brief period.

The appearance of Carl Formes in oratorio was something to be long remembered. The Handel and Haydn Society brought out “Elijah” and “The Creation” before immense audiences at the Music Hall. For the first time we heard “Elijah” represented by a great artist, and not by a sentimental, mock-heroic singer. He infused into the performance his own intense personality. Every phrase was charged with his own feeling. He thundered out the curses of Heaven upon idolaters; he prayed with all-absorbing devotion to the “Lord God of Abraham”; he taunted the baffled priests of Baal in grim and terrible scorn; he gently soothed the anguish of the widow; and when his career was finished, he reverently said, “It is enough; now take away my life!” The music we had heard before; we had been rapt many a time while hearing the magnificent choruses; but we never had known the dramatic power of the composer as shown in the principal rôle.

“The Creation” was performed on the following evening. Its ever fresh and cheerful melodies presented a fine contrast to the severely intellectual style of “Elijah.” In rendering purely melodic phrases, Herr Formes was not so preëminent as in declamatory passages. Not always strictly in tune, not specially graceful, slow in delivery, even beyond the requirements of a dignified style, he impressed the audience rather by the volume and richness of his tones and by a certain reserved force, than by any unusual excellence in execution. Some one has said, that it makes a great difference in the force of a sentence whether or not there is a man behind it. This impression of a fulness of resources always accompanied the efforts of Herr Formes; every phrase had meaning or beauty, as he delivered it. Perhaps it is as idle to lament his deficiencies, in comparison with artists like Belletti, for instance, as to complain because the grand figures of Michel Angelo have not the delicacy of finish that marks the sweetly insipid Venus de Medici. Of the other solo performers in the oratorios it is not necessary for us to speak, save to commend the fine voice and good style of Mrs. Harwood, a rising singer, well known here, and whom the country, we hope, will know in due time.

Another concert demands our attention, in which portions of a work by an American composer were submitted to the test of public judgment. This we must consider the most important musical event of the season; for great singers, though surely not common among our English race, have not been unknown; the ability to interpret God gives freely,—the power to create, rarely. In any generation, probably not ten men arise who write new melodies; of these, only a small proportion have either the intellectual power or the æsthetic feeling to combine the subtile elements of music into forms of lasting beauty. Most of them are influenced by prevailing mannerisms, and their mu-