St. Hans' Evening Play is the second complete overture composed by Niels W. Gade (1817–90), undoubtedly the most prominent figure in nineteenth-century Danish music. Inspired by Mendelssohn's A Midsummer Night's Dream Overture, Gade composed St. Hans' Evening Play during the summer of 1841, and it was premiered at The Royal Theater in Copenhagen the following April in a concert featuring Clara Schumann. Schumann's letters to her husband and reviews by local critics show that the overture was well received. Indeed, it is a fine example of Gade's masterful skills in orchestration. The overture's distinctly Danish program, a play by Adam Oehlenschläger celebrating Midsummer Night, made the composition unattractive to contemporary publishers and foreign audiences. Consequently, St. Hans' Evening Play was never performed outside Denmark, and the publication of this critical edition is its first appearance in print.
59B 59B 59B 59B 59B 59B 59B 59B 59B that first bloomed so sweetly for me," the notee following too rapidly for the due expre5sion of these syllables. In the new translation the line is '; Before me arises a violet that fadeth not," which is unquestionably more euphosiious, although not so accurate a translation. We may say, however, that in the preface it i8 announced that whoever prefers the English version hitherto in use of any of these songs (all of which are published separately) can always obtain them. Before concluding our notice of the contents of this interesting volume, it should be mentioned that" But the Lord will gather" (No. 77) and st Thou who hast doomed man to die " (No. 78) are here printed for the first time, and that the 4sMaiden's lament," already noticed, althollgh published some five or si2: years ago, is scarcely known. A good word must be said at parting for the excellent manner in which this book i3 put forth. The design on the front cover is e2ctremely beautiful; and the elegance of the binding will render it a most attractive volume for the drawing-room table. Irhe O%ertory Scstences. Joseph Barnby. THIS little work will su,uply a want generally felt. The settings vary greatly in Style7 and thus offer a wide range of selection for every taste. Nos. 1, 3, 4, 7, ll, 17, 20, are specially recommended as combining good melody with such extreme simplicity, as to be everywhere available. It may perhaps be remarked that the singing of khe sentences by the, choir affords a very desirable rest to the chanter, whilst it also prevents the collecting of the alms from appearing, as it often does otherwise, a digrerion from the order of seruce. Give unto thc Lord theglory. Thanksgiving Anthem (for t{arvest and other Festivals), by J. Frederick Bridge Mus. Bac.^ O:ton, Vrgarlist of Manchester Cathedral. TBIS Anthem is smoothly written, melodious and spirited, and vet well within the powers of any ordinarily efficient choir. The words, as far as we can judge, by no means limit its use to [Iarvest or other Festivals it will no doubt be welcomed by many churches where there are frequent offertorie3. Spring's Message (FrtShlings-Botechaft), by S>ieLs W. GEade. IT will not surprise our musical readers to hear that this is strongly Mendelssohnian, but the music i8 f30 very good of its kind that Societies will be glad to have it in its present cheap form, It may be briefly described as a part-song of more than ordinary length with a charming independent accompaniment, easily and effectivelyarranged for the piano from the full score. One fact, in addition to its general excellence, will commend it to amateursthe tenor part i9 not, as it is in many of Mendelsohnts works, fatiguingly high. lto the Red Breast. Part Song. NVords from the Christian Year." Music by J. Baptistx3 Calkin. TEXIS song forms No. l0 of a set of Part Songs and GElees, by a composer who is rapidly making a name for amaccompanied choral mltsic. As the poetry demands MIr Galkin h&9 given U8 a cheerful and melodious theme wh1ch commences with...
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