SPOHR'S " UNENDLICHER GOTT,"
A CORRESPONDENT Calls upon us for an explanation of what appears to him a discrepancy in our account of the rehearsal and the performance of Srotta's Psalm 4' Unendlicher Cott," at the late Festival ; and also requests us to point out why "its beauties (on the latter occasion) were very imperfectly developed, and its true mode of peforrnance not at all understood." We have no objection to comply with his request : at the same time he must be aware, that explanations of this kind, where a long performance is the subject of criticism, must of neces- sity be sparingly indulged. Brevity on this, as on many other occa- sions, was not desired but compelled, and certainly did not ilia. from a wish either to dogmatize or find fault. The remarks in the Spectator of the 2d April were intended to apply, and in point of fact did ap- ply to the execution of the choral pert of this Psalm. The rehearsals in Store Street were choral rehearsals, and it was of this franc e of the Festival alone that we then spoke. It is obvious, therefore, that this portion vf the composition might be well performed in the one instance, and yet its entire effect be imperfectly developed afterwards and in another place. The Psalm is written for four principal voices and two choirs—which are heard alternately and in combination : it is, more- over, a composition for voices only. At the rehearsal, this latter cha- ractvr was strictly preserved—there was " no accompaniment, save a few chords struck on the pianoforte :" at the performance it was wholly changed by the accompaniment of the organ. The four principal vu ices are sometimes heard by themselves, and sometimes with the subdued ac- companiment of the chorus ; and it is sufficiently obvious, that if that chorus consist of several hundred voices, each can scarcely be too much subdued. As it was, the choral power was too strong, and this defect was aggravated by the addition of the organ. The result was, a piece of false musical perspective ; the chorus, or background, became equally prominent with the single voices, and that which ought to have stood in strong relief was often completely obscured. No blame what- ever attaches to the organist in this case, who merely discharged a duty imposed on him, and, as we think, imposed injudiciously. Our opinion on this point derives confirmation from the fact, that no part for the o.gan exists in the foreign copy of this Psalm, arid that, as far as our experience goes, that instrument is not employed in its performance in Germany. having heard this sublime composition be- fore, we know what effect it mar, be made to produce ; and, certainly, that effect was not realized on the late occasion. There were minor defects, which all contributed to weaken the impression ; but on these it is not worth while to dwell.
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