it.[1] The masterly treatment of these old popular Tunes undoubtedly individualises the work more stronyly than any learning or ingenuity could possibly do; but, in another point, the Matthäus-Passion stands alone above the greatest German works of the period. Its Instrumentation is, in its own peculiar style, inimitable. It is always written in real parts—frequently in very many. Yet it is made to produce endless varieties of effect. Not, indeed, in a single Movement; for most of the Movements exhibit the same treatment throughout. But the instrumental contrasts between contiguous Movements are arranged with admirable skill. Perhaps the most beautiful instance of this occurs in an Air, accompanied by two Oboi da caccia, and a Solo Flute. As, for some unexplained reason, this lovely air has been frequently omitted in performance, we subjoin a few bars as an example of Bach's delightful manner of using these expressive Instruments:—
![{ \time 3/4 \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f) <<
\new Staff \with {midiInstrument = #"voice oohs"} \relative e'' { \autoBeamOff r4^"Voice" r e | e2. ~ e16[ g f e] f[ e d c] b[ d c e] | d[ e] f4 e8 e d d[ c] c4 c8 a | f' f f f f f | f( dis) e4 r | r r r8 a, | gis b e d d cis | cis8.[ b16] cis4 c ~ | c8[ fis] dis[ c] \appoggiatura b8 a4 | a8[ gis] gis4\fermata }
\addlyrics { For love __ _ _ _ _ _ my Sa -- viour suffer -- ed, For love of us my Sa -- viour suffer -- ed, For love of us my Sa -- viour suf __ _ _ _ _ _ fered. }
\new GrandStaff <<
\new Staff \with {midiInstrument = #"flute"} \relative a'' { a8.^"Fl. solo" g32 f e16 a e d d b' d, c | c b a gis a b c d e f e g | f2. ~ | f16 c' b a b a gis fis e d b'8 ~ | b16 d, e gis, a c e g f c' f, e | d c b c \appoggiatura b8 a4 r | r8 b8 ~ b16 a g f e d e8 ~ e16 cis d f a g f e d c d8 ~ | d16 f e d b' gis f e d b cis8 ~ | cis16 b cis e a g fis e dis b c8 ~ | c16 b c dis fis gis a b c a b8 | b4\fermata r4 }
\new Staff \with {midiInstrument = #"oboe"} << \new Voice \relative c'' { \stemUp c4^"2 Oboi da caccia" a gis | c c c | c b b b b b | s2. | a4 a c | b b bes a a a | b gis gis | a a a | a a fis e r }
\new Voice \relative a' { \stemDown a4 c, e a a a | a a a gis gis gis | a8. b16 c8. <b d>16 <a c>8. <gis b>16 | a4 a a | g! g g f f f | e e e e e e | dis dis dis d_\fermata } >> >> >> }](http://upload.wikimedia.org/score/5/6/56t13u0ta9dol23rznl1ci20vseh9vm/56t13u0t.png)
In this great work the German form of 'Passions Musik' culminated; and in this it may fairly be said to have passed away; for, since the death of Bach, no one has seriously attempted, either to tread in his steps, or to strike out a new Ideal fitted for this peculiar species of Sacred Music. The Oratorio has been farther developed, and has assumed forms of which Bach could have entertained no conception; but the glory of having perfected this particular Art-form remains entirely with him; and it is not at all probable that any future Composer will ever attempt to rob him of his well-earned honour.
PASTA, Giuditta, was born in 1798 at Como, near Milan, of a Jewish family named Negri. She is said to have received her first instruction from the chapelmaster at Como, Bartolomeo Lotti; but, at the age of 15, she was admitted into the Conservatorio at Milan, under Asioli. Her voice was then heavy and strong, but unequal and very hard to manage; she never, in fact, succeeded in producing certain notes without some difficulty; and, even in the zenith of her powers, there still remained a slight veil which was not dissipated until she had sung through a few scenes of an opera.
In 1815 she left the Conservatorio; and, after trying her first theatrical steps on an amateur stage, she made her début in the second-rate theatres of Brescia, Parma, and Leghorn, where she was scarcely noticed. Nor did she attract more attention in Paris, where she sang with Cinti, Miss Corri, and a few other young artists, humble satellites to the manageress, Catalani. A year later, 1816, when she appears to have been already married, she and her husband, Pasta, a tenor, were engaged by Ayrton, at a salary of £400 (together) for the season, for the King's Theatre. She appeared in a subordinate part, Jan. 11, 1817, in Cimarosa's 'Penelope,' the chief rôle being sung by Camporesi; and here she was no more remarked than in Paris. Lord Mount-Edgcumbe does not even mention
- ↑ The writer well remembers the effect it produced on him in the Thomas-Kirche, at Leipzig, on Goud Friday, 1846.
