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O Salutaris Hostia. Motett for Soprano Solo and Chorus, with Organ

1870; Volume: 14; Issue: 330 Linguagem: Inglês

10.2307/3352894

2397-5326

Berthold Tours,

Music Technology and Sound Studies

which attracted a large audience.Mr. Boberts esecuted two ot his popular harp SOlOfi with great effect, the first being encored.hIadame Patey's song, ' Always alone," was re-demanded; XIis8 Adelaide Newton was alss} highly sllecessful, and Bliss Ellexl Glanville, in Meyerbeer's 44 Roberto, o tu che adoro," received well-merited applause.The pianist was Miss Eate Roberts.who had to repeat Thalberg's ;Home, sweet home," and was no le6s successful in Mendelssohn's Duo in D, for pianoforte and violoncello, in which she was admirably assisted by Mr. Edulund Howell.In addition to the artists already announced to appear at the Birmingham Festival, Madame Adelina Patti has been engaged.which attracted a large audience.Mr. Boberts esecuted two ot his popular harp SOlOfi with great effect, the first being encored.hIadame Patey's song, ' Always alone," was re-demanded; XIis8 Adelaide Newton was alss} highly sllecessful, and Bliss Ellexl Glanville, in Meyerbeer's 44 Roberto, o tu che adoro," received well-merited applause.The pianist was Miss Eate Roberts.who had to repeat Thalberg's ;Home, sweet home," and was no le6s successful in Mendelssohn's Duo in D, for pianoforte and violoncello, in which she was admirably assisted by Mr. Edulund Howell.In addition to the artists already announced to appear at the Birmingham Festival, Madame Adelina Patti has been engaged.which attracted a large audience.Mr. Boberts esecuted two ot his popular harp SOlOfi with great effect, the first being encored.hIadame Patey's song, ' Always alone," was re-demanded; XIis8 Adelaide Newton was alss} highly sllecessful, and Bliss Ellexl Glanville, in Meyerbeer's 44 Roberto, o tu che adoro," received well-merited applause.The pianist was Miss Eate Roberts.who had to repeat Thalberg's ;Home, sweet home," and was no le6s successful in Mendelssohn's Duo in D, for pianoforte and violoncello, in which she was admirably assisted by Mr. Edulund Howell.In addition to the artists already announced to appear at the Birmingham Festival, Madame Adelina Patti has been engaged.which attracted a large audience.Mr. Boberts esecuted two ot his popular harp SOlOfi with great effect, the first being encored.hIadame Patey's song, ' Always alone," was re-demanded; XIis8 Adelaide Newton was alss} highly sllecessful, and Bliss Ellexl Glanville, in Meyerbeer's 44 Roberto, o tu che adoro," received well-merited applause.The pianist was Miss Eate Roberts.who had to repeat Thalberg's ;Home, sweet home," and was no le6s successful in Mendelssohn's Duo in D, for pianoforte and violoncello, in which she was admirably assisted by Mr. Edulund Howell.In addition to the artists already announced to appear at the Birmingham Festival, Madame Adelina Patti has been engaged.L seem obviously, the singer's art demands is often partially, sometimes even who]ly.neglected, we need not wonder ' that all training akin to it, in relation to the speaker'sapparently so much more easy, so much more 4 natural '-^ should be not only entirely neglected, but hardly even .recognised as at all neceseary."Here, indeed is an evil ; which cannot be too prominentlv brought forward-for .does it not happen in nine cases out of ten that when a L Profes60r is called upon to teach a pupil to sing, he finds that he has first to teach him to speak ?In his observations upon the manner in which public spealiers experi-L ment with the voice at various degrees of pitch and intelJsity, snuch useful lnformation may be gleaned.He also L touches 1lpon the well-known malaclv " clerical sore throat," and asks who ever heard of 4'histrionic" or " theatrical sore throat?"This i8 true, but we scareelv agree with the assertion that it arises from the fact that " the majority of actors know how to produce their voices and the majority of the clergv do not," for an actor 1lses his voice with all the natural inflections, whilst a clergyman recites for a length of time upon one note, a practice which never fails to impair the vocal organs as may be proved by any person who i8 in the habit of reading aloud.We should the more regret that our space will not allow us to make further extracts from this interesting essay were we not convinced that what we have already said will prompt our readers to seek further information from the book itself.Before concluding, however, we may mention that our author does not lanlent over defects without suggesting a remedy; and that the esercises which he gives at the end of the volume in a tabular form, will prove invaluable to those who believe that good speaking, like good siDging, is the result of proper cultivation. NOVELLO, EWEB AND CO. ltyrannic Love. Recitative and Air fromHandel's Olatorio ' Susanna."A MAN does not become permanently or really great by the production of one successful work.Many people of mediocre abilities have occasionally done a great thing, but have not necessarily become great.The true genius is olle whose work is near]y-always above a certain high standard, who turns almost everything he tonches to gold-the qualification 4' almost" being necessary to indicatethat, however sublinle his inspirations, he i8 fiti human, and tnerefore liable to occasional failure.Tho works of Ilandel have lwot all reached the standarzl of the Messiah or Is,crel in Fgypt; but on the other hand it is hardl too much to say that his least successful compositions have had something in them which have placed them above the highest effiorts of contemporary writers.It is not necessary to the subject in hand to describe the Oratorio Susanna, or endeavour to explain the cause of its strange neglect-t o which its subject tl wust have gl-eatly tended.One thing, however, is plain, that in this Oratorio has been embedded one of the finest of its composer's inspiTationsv worthy to rank with 4 Deeper and deeper still."As in tlle last named recitative, nearly ex ery emotion the heart is capable of feelilzg, or the tongue of uttering, from the most rapturous j()y to the deepest despair, is here expressed with a force unequalled by any other composer.Nor is the charming Aria " Ye veldant hills, ye balmy vales," at all inferior in delicacy and tenderness of feeling to the best specimens of the same master.It is hardly possible to conceive a greater intellectual treat than is afforded by the fine singing of this scena b-Herr Stockhausen: there is only one thing of the kind worthy lo compare with it, viz., Mr. Sims Reeves' well-known interpretation of " Deeperand deeper still." 1. 0 Salutaris Zostia.Motett for Soprano Solo and ChoruY, with Organ.2. () Saving Vzetim.Motett for Soprano Solo and ChoruB, with Organ.Composed by Berthold Tours.L seem obviously, the singer's art demands is often partially, sometimes even who]ly.neglected, we need not wonder ' that all training akin to it, in relation to the speaker'sapparently so much more easy, so much more 4 natural '-^ should be not only entirely neglected, but hardly even .recognised as at all neceseary."Here, indeed is an evil ; which cannot be too prominentlv brought forward-for .does it not happen in nine cases out of ten that when a L Profes60r is called upon to teach a pupil to sing, he finds that he has first to teach him to speak ?In his observations upon the manner in which public spealiers experi-