human
Gerontius,
gpt
Gerontius the originality is strong and unmistakeable, and the performers find their technical skill severely taxed. But fortunately the composer has a clear head; he knows the technique of each instrument and he never miscalculates. Performers therefore find their task, though often difficult, is always possible and, further, that the result is always satisfactory. For Elgar has an ear; he is a man of tone, and does not care for music that looks well on paper but sounds rather muddy. These points, known to those who for some time past have taken a close interest in Elgar's work, made it possible to hope that the Manchester performance of his great oratorio would be a striking success, and perhaps even throw a new light on the merits of the composition; and it can scarcely be questioned that the experience of yesterday evening fulfilled those hopes. It was doubtless the most carefully prepared of the performances that have been given thus far in this country. Dr. Richter was, for various reasons, peculiarly anxious that it should go well; Mr. Wilson made up his mind some time ago that whatever conscientious work could do to secure a worthy performance should be done; the hopes and endeavours of choir-master and conductor were seconded by the choir in an admirable spirit; and, though it seems that for some time the usual difficulties of an unfamiliar style were felt, not a trace of any such thing was to be observed in the performance, the remarkably willing and energetic style in which the choral singers had grappled with their task bearing its proper fruit in a rendering that sounded spontaneous and unembarrassed, as though the singers were sure of the notes and could give nearly all their attention to phrasing, expression, and dynamic adjustments. In the highest degree remarkable, too, was the orchestral performance. Passages of such peculiar difficulty as the rushing string figures, that represent the strains of heavenly music overheard by the Soul and the Angel as they approach the judgment-seat, came out with much greater distinctness than we have ever heard before, and we had a similar impression at many other points in the performance, which was as delicate as it was precise in detail and broad in style. But experience of all the complete performances yet given induces us to think that the difference between thorough success and ordinary half-success with this oratorio depends more on the semi-chorus than on any other point, and this is where the pre-eminence of last night's rendering, among all yet given in this country, is most unquestionable. Though not placed in front of the orchestra--as they should have been and, we hope, will be next time,--this group of twenty picked singers was really excellent. The voices blended well, and their combined tone was clearly distinguishable from the larger choir's. At the notoriously dangerous points, such as the re-entry with the
human
Kyrie after the invocation of