Review of Welt -Ende - Gericht - Neue Welt in The Musical Times, 1883.

oratorio is found in the excessive predominance of recitatve by a single (baritone) voice, and the slight use made of the aria. It was needful for the Narrator (St. John tmarvels of orchestration. It they fail, as most of them do, it is simply because no strength of genius can compel music to accomplish impossibilities. Another weakness of Raff's oratorio is found in the excessive predominance of recitative by a single (baritone) voice, and the slight use made of the aria. It was needful for the Narrator (St. John the Divine) to say much, but his story might have been more pleasantly told than in the manner which tried the patience and sorely taxed the artistic conscientiousness of Mr. Santley. Apart from the Narrator, only one solo voice, and that impersonal, is heard, the music given to it being two short arias and an arioso. These are successful numbers, made so as much by the relief they bring as by their unquestionable beauty. All the choruses are, in varying measure, successful likewise, and show Raff's complete mastery of true choral effect, as well as of the contrapuntal style which best ministers to the severe dignity of oratorio. Listening to them and to the airs, one must regret that the composer did not labour more in the field where Handel and Mendelssohn reaped so rich a harvest. He had every qualification for this exalted task, and might, by avoiding the eccentricities noticeable in "The End of the World," have continued the succession of masterpieces. The work performed in Leeds will, of course, soon be heard in London, and then further discussion of its character and claims is inevitable. What influence renewed debate will have upon opinion remains to be seen ; but I venture to say that it will not in the smallest degree lessen the admiration of connoisseurs for the power and beauty of Raft's vocal numbers. Neither will it reconcile them to the function assumed by the orchestra, or to the attempt which the orchestra makes at discharging a task entirely beyond its powers.

The performance was not absolutely faultless, owing to the intricacies of the orchestral score, with which some among the players had evidently not found time to familiarise themselves. Occasional faultiness of intonation was observable in the chorus ; and Mr. Santley, to whom fell all the recitatives, seemed less happy than usual in his task. Miss Damian, the only remaining soloist, made a great success by her refined and expressive singing: while of the rendering generally it may be said that shortcomings were as nothing compared with merits. Great praise is due here to Sir Arthur Sullivan, who knew what he had to do and how to do it. The oratorio was well, but not enthusiastically, received.

Volume 24 November 1 1883		No.489 p.603


THE LEEDS MUSIC FESTIVAL By our Special Corresspondent ...Thursday morning saw the Town Hall once more nearly full, the attraction being a mixture of old and new — that is to say, Joachim Raff's Oratorio, "The End of the World — Judgment — The New World," and a selection of fifteen airs and choruses from the works of Handel. It would be hard to tell whether the master just deceased or his mighty predecessor exercised the greater influence in bringing together nearly 2,000 people. Raff is not very well known to the provincial public, but his work had been much discussed in the Yorkshire press, and the special nature of its subject was adapted to help in stimulating curiosity. As for Handel, he remains the Yorkshire favourite. No music is sung by the men of the North with greater gusto than his ; because, perhaps, none more closely harmonises in its strength and earnestness with the character of the people. On one point in regard of the Thursday morning programme there is no room for doubt — the conjunction of Raff and Handel proved fortunate ; for, when the audience began to experience the weariness of listening to a work only half understood and approved, Handel came to their relief with music which was one long delight. "The End of the World" has already been analysed in these pages at considerable length, and if the reader desires to make himself acquainted with details concerning it he must turn back to The Musical Times for April last. I shall not, of course, go over the ground there trodden, but be content with stating the impressions made in performance. First of all, the "Symphony-oratorio," as a musical form, gathered no adherents. Raff may never have intended the work to exemplify a fresh development of the orchestra in connection with oratorio, and, perhaps, he introduced so many instrumental movements merely because they seemed to be called for by the subject. On this point a decision is impossible, the tongue of the master being for ever silent ; but we all know that what an eminent man does is apt to become a precedent and harden into rule. Here is the fact which gave significance to the special form adopted by Raff. It seems, however, that we need not fear ill effects. Experience of symphonic oratorio has so far gone to prove that the old way is the best, and that the vagueness of orchestral suggestion and description cannot be tolerated as a substitute for the more definite expression of chorus and aria. In expressing these opinions I must not be supposed to underrate Raff's ability as shown in the Intermezzi. The movements are all abundantly clever, and marvels of orchestration. It they fail, as most of them do, it is simply because no strength of genius can compel music to accomplish impossibilities. Another weakness of Raff's		oratorio is found in the excessive predominance of recitatve by a single (baritone) voice, and the slight use made of the aria. It was needful for the Narrator (St. John tmarvels of orchestration. It they fail, as most of them do, it is simply because no strength of genius can compel music to accomplish impossibilities. Another weakness of Raff's oratorio is found in the excessive predominance of recitative by a single (baritone) voice, and the slight use made of the aria. It was needful for the Narrator (St. John the Divine) to say much, but his story might have been more pleasantly told than in the manner which tried the patience and sorely taxed the artistic conscientiousness of Mr. Santley. Apart from the Narrator, only one solo voice, and that impersonal, is heard, the music given to it being two short arias and an arioso. These are successful numbers, made so as much by the relief they bring as by their unquestionable beauty. All the choruses are, in varying measure, successful likewise, and show Raff's complete mastery of true choral effect, as well as of the contrapuntal style which best ministers to the severe dignity of oratorio. Listening to them and to the airs, one must regret that the composer did not labour more in the field where Handel and Mendelssohn reaped so rich a harvest. He had every qualification for this exalted task, and might, by avoiding the eccentricities noticeable in "The End of the World," have continued the succession of masterpieces. The work performed in Leeds will, of course, soon be heard in London, and then further discussion of its character and claims is inevitable. What influence renewed debate will have upon opinion remains to be seen ; but I venture to say that it will not in the smallest degree lessen the admiration of connoisseurs for the power and beauty of Raft's vocal numbers. Neither will it reconcile them to the function assumed by the orchestra, or to the attempt which the orchestra makes at discharging a task entirely beyond its powers. The performance was not absolutely faultless, owing to the intricacies of the orchestral score, with which some among the players had evidently not found time to familiarise themselves. Occasional faultiness of intonation was observable in the chorus ; and Mr. Santley, to whom fell all the recitatives, seemed less happy than usual in his task. Miss Damian, the only remaining soloist, made a great success by her refined and expressive singing: while of the rendering generally it may be said that shortcomings were as nothing compared with merits. Great praise is due here to Sir Arthur Sullivan, who knew what he had to do and how to do it. The oratorio was well, but not enthusiastically, received.