Reviews of War Memorial Service, 1914
Yorkshire Herald,
16th December, 1914.
MEMORIAL SERVICE AT THE MINSTER.
FOR THOSE WHO HAVE FALLEN AT THE WAR.
"A memorial service for those who have fallen in the war." As the eye
rested on
the impressive scene in York Minster last evening the mind was carried
back—for
much longer than a passing moment—to that other scene not yet a year gone
by,
when the great Minster was aglow with the brilliance and the innate gaiety of a
military pageant, when the sunlight touched with golden beauty the accoutrement
of high officer and common soldier, and no shadow challenged the prevailing
sentiment of sacred joy. It was so different last night. That other service was
dedicated to the living; this one was dedicated to the dead—to some of
those
who but a few months back prayed to their God beneath the self-same hallowed
fane . . . . "A memorial service for those who have fallen in the
war." True,
that was the purpose of the occasion. But of mourning note their was none. The
psychology of the scene was not tinged with sorrow. The lament was not for the
passing of life. The regret was not for the act of death. In sharp contrast and
contradiction of this conventional sense of personal loss there was the
understanding that if a life had been lost it had been so in consecration of a
cause which justified death and made it alone worthy. Reality came to this
consideration from the remarkable character of the congregation which assembled
last evening at the Minster. It was a symposium of civic and national
interests. There was neither class nor creed but which sent its type. The
social scale might have been noticed in each one of its extreme and its
intermediate stages. The gathering was representative to a degree rarely
achieved. Many in it sorrowed privately, indeed, for their dead; many others
had their thoughts carried to someone watching where the once pastoral plains
of Flanders stretch, and where the Lys gently flows. In the congregation, too,
were many men in uniform, who hope to take a place in the khaki line—and
there
was a number who had left the khaki line when shot and shell had done their
worst. The congregation was probably not less than five thousand, a great
number to see in a single cathedral; but more significant than its size was its
spirit, the spirit of glad sacrifice and of disciplined courage.
The inception of the idea of the service and the reasons why the customary
concerts organised by the York Symphony Orchestra and the York Musical Society
could not under existing conditions be given, have already been explained in
our columns. last night's amalgamation of abilities and enthusiasms crowned a
memorable occasion with unqualified success. With the one organisation so
distinguished instrumentally, and the other so rich vocally, and both so well
endowed with the qualities which are independent of the mere mechanism of
music, no other result was to be contemplated. In addition the Minster Choir
gave its valuable and much appreciated services. The compositions chosen were
Schubert's Symphony No. 8 in B minor (familiarly known as the "Unfinished
Symphony") and Brahms' "Requiem." Doubtless it was a tribute to
the
universalism of music that, under the circumstances, there should have been
selected two pieces from the works of Schubert, perhaps the only notable
Vienna-born composer, and of Brahms, who is honoured by his countrymen for
"Das
Triumphlied," which tells of the vicotires of the Germans over the French
in
the war of 1870-1. Music, fortunately, is not measured by frontiers, and its
appeal does not rest with race, so that both the Symphony and the Requiem can
be enjoyed for what they are, irrespective of the nationality of the composers.
In neither of these works is there any trait or emotion which needs to be
narrowed down as a specific national expression; each of them, on the contrary,
belongs to all men rather than to some men hedged round by arbitrary borders,
and called a nation. In the Symphony more even than in the "Requiem"
one hears
"the still sad music of humanity." Despits richness, beauty and touch
of the
sensuous, Schubert's work remains essentially sad. Compared with Beethoven, it
was said of the Viennese, Schubert was as a woman is to a man. His outlook and
temperament were not, of course, effeminate. His music has strength, strenuous
strength, but it is used up in the search for sadness. What golden beauty there
is in every phrase of the Symphony, but what memories of broken hopes and what
pathos, too! The work was brilliantly and beautifully rendered by the orchestra
under Dr. E. C. Bairstow last night. It was not simply careful—that one
may see
on most occasions—but the members of the orchestra had acquired just that
mood
necessary for the soulful delicacies with which the Symphony abounds.
Altogether, the interpretation was splendid, and characteristic of an orchestra
which has done so much for music-culture in the city.
The "Requiem" has been previously given by the York Musical
Society—in 1904.
The majesty and dignity of the composition are well-known. Brahms never
achieved finer results than he did here and few composers have evolved such
enduring beauty from a single idea as he did in his "Requiem."
Inspired by the
death of the cornposer's mother, it constitutes a triumphant vindication of
faith. Brahms, in this work at all events, was what Browning was in poetry, a
convinced optimist. "God's in His heaven, all's right with the
world" was a
sentiment common to both. Brahms selected and arranged the words "so as to
present in succession the ascending idea of sorrow consoled, doubt overcome,
and death vanquished—love triumphant runs though like a continuous silver
thread." The "Requiem" was magnificently sung, though one fears
that much of
the excellence of the singing was lost in the greatness of the Minster. The
"March of Death" was rendered with inspiration, and in the
penultimate chorus
"Death, O where is thy sting?" the singing was almost thrilling in its
dramatic effect. The solo passages are subordinate, but striking and
unforgettable. Miss Agnes Nicholls, whom York audiences are nearly inclined to
claim as their own, was heard once only in the beautiful solo "Ye now are
sorrowful," which she gave with rare expression and feeling. Mr, George
Parker, of Westminster Abbey, a brilliant vocalist, sang the baritone solos
exceptionally well.
Dr. Bairstow conducted throughout. At the organ was Mr. H. A. Bennett, F.R.C.O.
(who gave Bach's Prelude and Fugue in B minor as the congregation dispersed).
The opening service was taken by the Rev. G. Trundle (one of the vicars
choral), and the Blessing by the Archbishop brought to a conclusion a service
which will be remembered long by those who took part in it. The service was
attended by members of the Corporation, on the invitation of the Lord Mayor
(Councillor J. B. Morrell). The Mayoral procession comprised:— The Sheriff
(Councillor Oscar Rowntree) the Under Sheriff, Alderman J. Agar, Alderman Sir
Joseph Sykes Rymer, Alderman T. Carter, Alderman Walker, Alderman W. H. Birch,
Councillor F. Birch. Councillor Davies, Councillor Petty, Councillor Sessions,
Councillor Sharp, Councillor W. Dixon, Councillor T. Rowntree, Councillor
Wright, Councillor Relton, the Lord Mayor's Chaplain, the Chief Constable (Mr.
J. Burrow), the Town Clerk (Mr. P. J. Spalding), the Electrical Engineer, Mr.
J. W. Hame; the Auditor, Mr. J. C. Sellers; the Medical officer of Health, etc.
Yorkshire Post
, 16th November, 1914.
WAR MEMORIAL SERVICE IN YORK CATHEDRAL
As a memorial of the many who have already given their lives for their country,
Brahms's "German Requiem" was given at a special service in York
Minster last evening, the York Musical Society supplying the chorus and the
Symphony Orchestra undertaking the orchestral part of the work
The work, the occasion, and the place all combined to produce an impressive
result, and though the acoustical effect is not equally good in every part of
the Cathedral, there was at least one quiet place, free from the crowd, and
almost out of sight of the performers, where the impression could hardly have
been deeper The great scale of the architecture, the deep shadows and the wide
spaces, all helped, and the actual effect of the music was magnificently
solemn. The rapid string passages in the scene from Revelation were necessarily
somewhat confused, yet their total effect was fine, while the tone of the
individual instruments seemed glorified by the resonance of the huge building.
When the violins ascended in a broad melody it seemed to have a halo about it,
the wood-wind was etherealised, and the brass, without being deprived of its
characteristic brassy quality, lost its harshness and had an added nobility.
The chorus singing was good and, save for a slightly hurried lead in
"Lord, Thou art worthy," was wonderfully steady. The splendid
climaxes were most effective, and here the organ pedal helped very materially,
the organist (Mr. Bennett) being evidently in close touch with the conductor,
notwithstanding the great distance separating them. Before Brahms's work,
Schubert's "Unfinished Symphony" was given, and though there is no
suggestion of ecclesiasticism in this romantically beautiful work, there is a
certain ingenuous purity about it that fits it for a church, and it was the
more in keeping since Brahms, different it is he is from Schubert, derived
something from his art.
The solos in the "German Requiem" were sung by Miss Agnes Nicholls
and Mr. Geo. Parker in thoroughly artistic style. Miss Nicholls' soprano so
soon as it had warmed to its task, rang through the building with fine effect,
and Mr. Parker put strong yet restrained feeling into his two solos. A hymn,
sung between the two works to a fine old tune, was not the least effective
feature of the music, and here the trombones came in to add to the impression.
Dr. Bairstow conducted, and to his able direction the high level of the
performances may be in a great measure attributed.
Yorkshire Gazette
, 19th December, 1914.
"THE FAITHFUL UNTO DEATH."
.
Solemn Memorial Service in York Minster.
"Peace to the honoured dead" was the keynote of the solemn and
impressive memorial service for those who have fallen in the war which was held
in York Minster on Tuesday evening. Some five or six thousand people had
assembled within the vast nave of the building and there could not have been
one person present who had not their soul stirred to inmost depths by the
solemnity of the requiem for those whom the Dean of York has so aptly named
"the faithful unto death."
It is to the members of the York Musical Society and the York Symphony
Orchestra belongs the inception of the idea that the service should be held,
and on approaching the Dean he readily acquiesced. The societies have been
unable to carry out their usual musical season as, owing to the war, they have
not been able to obtain the necessary amount of subscriptions or to secure a
hall in which to hold their concerts.
They carried on their weekly practices, however, the works selected being
Brahms' "Requiem" and Schubert's "Unfinished Symphony," and
a generous response to an appeal for donations to meet the expenses which would
necessarily be incurred in adequately rendering the works enabled them to
present them in all the fullness and richness of their beauty.
Work Wisely Chosen.
Exception has been taken to the selection of the compositions of German masters
at a time when we are at war with Germany, and when all the world is ringing
with the atrocities which the soldiers of the Kaiser have committed in Belgium
and France. But the culture of Brahms and Schubert and that of which the German
soldiery are the exponents are as widely sundered as the poles. No work could
have been more wisely chosen for the occasion than the majestic masterpiece of
Brahms. From the opening to the closing bars it breathes forth the truest and
deepest religious devotion, and although the symphony of Schubert cannot be
placed amongst compositions of a sacred nature, it is replete with a charm
which is almost unrivalled. To argue that we must be deprived of listening to
such a magnificent "concord of sweet sounds" as those presented by
the works named, simply because they are the outcome of German genius is very
much like—in homely phraseology—asking us to cut off our noses to
spite our faces.
The service commenced at 7.30 and some time before the doors of the Minster
were opened long queues of people were waiting to gain admittance. Precisely at
the time named the male members members of the chorus entered in procession
with the chorister and song men of the Minster, all being surpliced. The clergy
present were the Archbishop of York, the Rev. Chancellor Austin, the Rev. G.
Trundle, and the Rev. T. S. Gedge.
A short devotional service was conducted by the Rev. G. Trundle, and then the
orchestra played the "Unfinished Symphony," which is probably the
best known and most popular of Schubert's compositions. Permeated by a melody
which at once attracts and enchains the listener's attention, it was played
with the greatest delicacy and refinement. Dr. Bairstow, Minster organist, is a
past master in the art of conducting, and he succeeded in obtaining all the
beautiful effects in which the symphony is so opulent. The lights and shades
were beautifully touched in, and the tone picture presented was one full of the
richest colouring.
Whilst the offertory, which was in aid of the War Relief Funds, was being taken
the hymn, "Let saints on earth in concert sing," was sung. It was
singularly appropriate to the occasion.
The Principals.
Madame Agnes Nicholls and Mr. George Parker of Westminster Abbey had been
engaged to sing the solos in the "Requiem." Of Madame Nicholls it is
not necessary to speak in terms of praise, as her splendid vocalisation is so
well known in York. There is only one soprano solo in the work—"Ye
now are sorrowful"—and it is of the most exacting nature In the
opening bars Madame Nicholls failed to do herself justice, but the rapidly
recovered, and the remainder of the solo was magnificently sung, a spirit of
deep devotion being manifested throughout.
Mr. George Parker is the possessor of a fine resonant baritone voice of an
unusually good range. His enunciation is particularly clear and distinct, and
he sings most artistically. In his first solo, "Lord make me to
know," he took the upper F with great clearness and beauty of tone. The
dramatic solo, "Lo, I unfold you a mystery," was also a most
effective piece of vocalisation.
Fine Chorus Work
Of the singing of the chorus it is impossible to speak too highly. The voices
were very evenly balanced, and the tone full and exceptionally good. The
vocalists not only sang with "understanding but with the heart also."
The consequence was that the impression left upon the congregation was that
they felt the deep spirituality of the words. The sotto voce singing was
especially noticeable for its beauty, especially in the choruses which
accompany the solos. The second chorus— the March of Death—with the
haunting refrain of the accompaniment finely played by the orchestra, was sung
with great fervour. It is an extremely difficult and intricate number, but
never once were the singers caught tripping and came through the ordeal with
unqualified success. The fugal passage was noticeable for the crispness of the
attack. Another remarkably fine performance was the lovely chorus "How
lovely is Thy dwelling place." The dramatic fervour infused into the
chorus which accompanied the solo, "Lo, I unfold you a mystery,"
reached a climax on the words "Death, O where is thy sting." Given
out double forte it became a song of triumph, a pæan of victory over
death and the grave.
The orchestra, which had been augmented by professionals, achieved a very great
success by their admirable playing, and Dr. Bairstow is to be heartily
congratulated on providing so beautiful a musical service, which was brought to
a close by the Benediction, pronounced by the Archbishop.
G. E. D.
