The Musical Festival WeekSource: The American Art Journal (1866-1867), Vol. 7, No. 7 (Jun. 8, 1867), pp. 104-106Published by:Stable URL: http://www.jstor.org/stable/25307075 .

Accessed: 15/05/2014 04:52

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

http://www.jstor.org

This content downloaded from 91.229.248.204 on Thu, 15 May 2014 04:52:10 AMAll use subject to JSTOR Terms and Conditions

10X AMERICAN ART, JOURNAL.

VInWeri.cmr Srt 0outntd, NEW YORK, SATURDAY, JUNE 8, 1867.

PMBLICATON OFFICE, 806 BROADWAY.

THE MUSICAIL FESTIVAL WEEK.

The week devoted to thle Festival openod most nuspiciously, ar regards the weather, for the sun shone brilliantly, the air was fresh and balmy, and it really seemed as though tlhe elements were inclined to fawvor the brilliant enterprize of Mr. L. F. Ilarrison. A pro longed thunder storm, hiowever, towards even ing, on Monday,.very probably kept away one or two hundred casual visitors, hut an audience of at loast twenty-five hundred people wasn prescent, to acccommrodate which the doors of the smtall hall were opened, and thus four or five hiundred more seats were added.

The result of the porformance of Monday night proves tribmphnntly that Vatson's ART JOUIRNAL is On institution lIolding a controllinjg influence, the recent articles on the "M Messiah" in its columnis having served to change the

whole tempi of the various chbrawl movements of that grand oratorio. The exanmple eet by Dr. James Pecl, at the recent Trinity Choir Festival, was disapproved of by almost the es.tire press of New York. All the learned critics protested against the general slowness of the choral tempi. The1 ART JOT]tNAL alonie, sustained his position, anld our approval has caused MIr. Rittor to flv in the fiace of the great body of writers, and adopt the " time" of Dr. Pecli which we approved. We own to feeling flattered at thiis public deferenco to our opin ion, but we are still more gratified at the ben eficiatl results of its adoption, upon the per formance of the work in question. v

We were satisfied when we heard the nmovement of the openling instrunmental fu.ue, that Mr. Ritter bad reflected upon the subject, ancd had permitted common snise to sway him, rather than personal vaanity. The Introduction anid Fugue were well emiiphasized and clearly played. The recitative, " Comilfort ye my Peo ple," and the aria," EFvery valloy," wvere taken in just time, anid wero very cairefully accompan ied, as was evidenced by the immediate closing up of tho gaps in time made frequently by the singer, who clipped very mnany of tho passages of their just proportions. It would be a mockory to criticise Alir. Williatm Castle as a singer of oratorio music, for at presont he hias but a very fatint perception of its domands, and possesses but Fow requisites of education which would warrant him assuming the position. Only the most refined and cultivated artist can attempt tho reildering of this music success fully. It requiires, also, high muisical initelli gence, anid thohlitful comprehsensiol. Th'leo poetry iteslf, at grandt inispiration, wedded to mnusic of so mnasculine a character, demands

a vocitl rhetorical power but rarely to be found in singers of the English school. Mr.

Castle sang fully up to his powers, and de. serves much credit for accomplishing s0 ardu ous a ttask ns well he did. IIis first recit. Lsnd

aria was his best pqrformance. The treble aria, "But thou didst not leave," which was allotted him most absurdly, is neither suited for a man' voice nbr for a manls expression,

and the powerful aiia, "Tbou shalt break them," taxed h1is voice beyond its power.

*ladame Ritter is a pains-taking -and, we believe, an earnest aItist; but she was out of placo in this work, as it displatyed most un pleasantly the weak middle notes of her voice. Neithir is her style suited to such music, aud nothing could be in worse taste than the introduction of a forced and inmperfect tremolo, however effective it might be with the unthink ing portion of the audience.

Mrs. Zolda Harrison-Seguin acquitted her self thoroughly well, singing with feeling and expression, and using her fine voice with taste and juidgmenit.

'l'he peerless Parepa-Rosa is certainly not peerless in the. music of the "McssiahY She phrased her recitatives well, and she vocalized "Rejoice Greatly" with the utmost perfection, but the life, the inspiration was not there. It was simply a vocaliso executed as only Parepa could execute it. Almzost tlho stame may be said of " I know that my Rqdeemer liveth.2 In this she was sonmewhat more emphatic,*but tho fervor, thd,warnmth, and the deep spirit of

Christian ftmith, were but fiaintly represonted in her interpretaition. WVe could not sufficiently addmire the sustained B flat (which is not in the score) at the close of "1 Conni unto Him.") No

more exquisite note ever came from the throat of a human nightingale; it was the utterimiost perfection of tonie, although the taste which suggested its introduction was ve-y questio'n lable.

Mr. J. R. Thomas. is the most thorough Handelian singer of the whole party, he inter prets the music with the utmost fidelity, and although lacknlsg, iow and then, in vigorous emphbasis, he enters fully into the spirit of the sul)jects, interpreting them through his pure style aind highly cultivated and un; tuous voice, in the most effective maniner. Ilis par't was, however, shorn of half its importance, by tL e omission of two of the finest songs, 4 But who

may abide" and " l'hou art gono tip oni high. Tue tempo of the air," The people thast walked in darkness," was taken too fast, and the or chestral acceompaniment was satdly defi.:ient in the legato, grnping effect. A very bad effect

was produced in this solo, through the neglect of the Conductor, in closiIng wvitl the orchestra beforo tlho singer had closed. With a careful and experienced conductor, this 'could hardly. huave hlappened.

h'e'l chlorus, as falr as the singing w:s eo)n earned,, acquitted thcmls'elves most admirabJly,

and for what they lacked, tho Conductor must be held-responsible. -Such, for instance, as the imperfect rendering of the worls, the import ance of-which is forcibly illustrated in the chorusses-." Arid the Glory of the Lord," " Glory to God in the highest," '{Lift up your heads," "He trusted.in GQd,7' and\the "H Halle.. jujah."1 In these, .tho emphasi8- on the words reveals and marks the indjvidnal character of the composition, imparting to, or robbing tho music of, its true spirit. Too little atten-u tion is paid by conductors .to this imnpoitant

point; they generally look to tho correct

accomplishbmnent of. the notes as the beginning, and the end of everything, and not until the drill in empbasisi is as thorough as that in execution,will Handel's chorilsses be rendered as the composer intetided thenm, or as common sense so plainly indicates.

The corrected tempo of Mr. Ritter afforded the chorussmes a fair chance to be compre hended, and the majesty of the movements was felt and appreciated by all preseut. Tbhe " fHallelujah"J chorus, tht.ugh grandly sung, was taken a trifle too fast, making the short notes appear too burried, aind deteriorating from the massive dignity of the mnovement, This choral masterpiece, ,#hen given with clue weight, rarely escapcs an imperative encore.

In all respects the performanice on Monday night was the best ever given by the Harmonic Society under the directorshlp of Mr. Ritter. The outside assistance added materially to the effect, of course, but the siugers had been well drilled, vocallyJ thcy were prompt and de cided in taking up the leading points, and their intonation wvns unimpea.chable. A more

wretched platform for choral performances than that at Steinway Hlall, can' hardly be imagined. The trebles are stationed on a level

with and *ehind the band, and have to sing through it; the consequenco of which is, that hully one half of their power is lost, and the necessary balance with the other groups of voices is not maintained. Nearly all the pas sages commencing in low notes for the sopra nos, were inaudible from the above cause.

Mr. F. L. IRitter has greatly improved as a cornductor; his beat is more firm, and he has acquiired more control over the elements under his charge; he seenis to grasp the soor& with more ease, but h1is conducting still lacks grea tly in all tho finer details of artistic color ing. We must candidly state, however, that

we were agreeably disappointed in the results of him latbors.

Although not in the programme of the Fes tival, and perhaps a little out of place in the

midst of a- grave criticism, we feel obliged to inscribe here a brilliant coniunidrum made by

Mr. L. F. hTarrison, nnd told to us by him with great success-" Why is tho Editor of tho ART JOURNAL likeo a young, girl whose thoug,hts are constantly rulnning upon mzatri

mony?)' The comlparison, though flattering,

This content downloaded from 91.229.248.204 on Thu, 15 May 2014 04:52:10 AMAll use subject to JSTOR Terms and Conditions

- AMERICAN ART JOURNAL. 105

not presenting to our mind any striking point&

of similitude, we gave it up at once; upon

which we received the following crushing, an

Bswer: " Because he has always got a 'ring' in

his eye ! We thinik it a capital conundrum,

and it is quite true. We have a "ring" in our

eve, nnd although it i8s not a valuable ring,

and does not cost much to buy, still we think

it worth while to watch it very careflily,

hnd to now and then exhibit it before the plb

lic for a special sort of admiration.

SxcoNn PERFORMANCE OF THE FESTIVAL.

The programme for Tuesdday evening consisted

of the overtture to "Othello," by Mr. F. L.

Ritter, a new "Forty-sixth Psalm,) by Mr.

F. L. Ritter, and the " Hymn of Praise, by

Mendelssolhn. The first glance at this pro.

gramme suggests the possibUlity that there

mnay be a little too much Ritter, but then as

Mr. Ritter is the Conductor, he oertaiinly

ouglht to knoNw wlhat is the best music to do.

The overtur e of " Othello" is not sufficiently

marked in character to enable us to form an

idea as to at what point Mr. Ritter has tenken

up the story of "'Othello," aind we believe if

it had merely been called a concert overture,

that its descriptive qualities would not have

suggested any illustrations of any passages in

the sad and eventiql history of the unhappy Moor. A green youth behind uts repeating, the

title, suggested to a friend that they would

know when Othello 'came in"' by the ni'gger music. Buit the overture ended without

Othello becoming visible to the speaker. The

overture is excellent in form, there are some

glimpses of tender melody, and the instru

mentation is free, the writer having evidently a fuill mastership of orchestral resources. The

music of this. overture is. well made, the, sub

jects are consecutive and appropriate, but it

has no personal identity. Close similarity and

imitations are frequent, though without verbal

copying, and we did not find any Strong point

thbat gave evidence of creative ability. It is

well made music, brilliantlv and effectively

scored. At its close it was very warmnly ap

plauded.

The " Forty-sixth Pualm," composed- by Mr.

Ritter, is a work of much pretension, and in

its degree of merit it met with and deserved succes. 'It must inevitably come under the

head of scholastic - music-music which is

planned out with mathematical precision by a

well-read theorist, but which partakes in no

way of the character of inspiration. It is to

the works of the great masters as is the labor

of the mason to the soaring f.ancy of the archi

tect; it is mechaniical anid according to rule,

but it betrays no spark.of that electric genius which touches the heart and comnpels at onceo

intelligment and spontanemous admiration. It

ho^vever contains points of excellence deserv

inag of attenltion). The sulbject of the opening

choruls is good, the fugue is wNell treated, the

melody agroeable, and both the voicing and

the instrumentation are good and effective.

No. 2 recit. and 'aria, is excellent in subject

and is well sustained. It is dramastically de

scriptive; and is Well colored in the, instru

mentation. But both in this number and in

No. 3, both of which are unquestionably

olever, we are inevitably carried back to the

niodels from which they are derived, and we

have to estimate themn in that relation. On

the second return to words ' Ile uttered,"

in No. 3, Mlr. Rittor has attained a magniAcent sonorous climax, which is unquetionably re

markable in its grandeur. Tolwards the close

ef thip movement, the subject was either too

crowded, as we believe, or the tempo was too

rapid, produlcing much indistinctness' and con

fusion.

In No. 4 recitative nnd chorus, the answering

of the solo and chorus is very effective. The

aria No. 5 is pleasing, and flowing in melody,

and is richly instrumented. The reminiscence

of AMendelssohn is here very palpable. No. 6

is a good fugrue -subject, but the tempo was so

rapid, and the orchestral accompaniments were sn thundering, that the matter and form

of the movement were indistinguishable. At

the close of the work, the applause was very

warm, and Mlr. Ritter may be said to have

achieved a success in that aegree which be

longs to clever, but second' class music.

The opening notes of the Lobg,esang (ffymn of Praise) took us at once into the highest at

mosphere of art, and opened_ up to us a

rich store of glorious i'maginings from.the ever frcsh fountains of pure inspiration. Men

delssohn's music has all the bloom of youth in

its utteran(ces-of a youith which is everlasting; every phrase is pregniant with meaning, and

every measure goes to the heart. It possesses

at- once the dignity of science and the out

spoken evidences ot the highest power of ima

gination, and the deepest and tenderest of hu

man sympathies.'

The wlhole of the first movement of the in

strumnental introduction was taken too fast; its

dignity was compromised and its true intent

obscured. The allegro was taken in correct

time, and accurately played, but'in a manner

void of tenderness and sentiment. The adagio however was finally performed, and with more

color than any movement during 'the evening. Both the first chorus and' solo and semi-chorus

were taken a shade too fast. At the opening

of the soprano solo, the conductor and the

band werI at loggerheads, and for eight bars 'the most horrible confusion r6igned,the basses alone coutinuing to give support to the singer.

It was disgraceful alike to the conductor and

the orchestra. Madame Parepa-Rosa sang the music al

loted her very charmingly, but her manner

seems strangely phlegmatic. We miss the

spirit, t;ine vimn, which formed so large at por

tion of thle chlarm of her singing some muonths

ago. Stills all she did was sweet :and perfect

in its way. Miss, Evelino Reed was quite acceptable in

the little she had to do. Mr. W. J. Hilli though unequal in his pingd

ing, rendered much of his IusUic excellently well. He has really a fine voice, which, if ho

thoroughly understood and could control its

powers, would be equal to any demands upon it. He articulated well, and displayed both'

energy and passion, far exceeding, our antici.

pations of his abilities. The lovely duet and chorus, "I waited for

the Lord," was the exaceutive gem of the eve,

ning, being .tenderly and charmingly ren

dered.

'The other chorusses were well sung as to. the

mere accuracy of the notes, but of spirit, de

cision, or light or shade, we could discover no

evidence. 'The material of the chorus is, Un

doubtedly, good; but beyond the usual nota.

training, they have everything to learn. That

they do not know those things is not the fault

of the Finger, but of the onnductor. The Wednesday MIatinee we were unable to

attend, but we understand that it was well at

tended, and that the performance gave great

satisfaction. The following artists appeared; Mliss Henrietta Beebe, Miss Nettie Sterling, Mr. W. J. Hill, Mr. S. C. Campbell, and Mr.

A. 1H. Pease. Haydn's fresh and lovely oratorio, "The

Creation) was given on Wednesday evening# the third day of the Festival$ and wasfI fairly

rendered throughout. The hall was crowded

to overflowing in every part j there maist havo been betiveen three and four thousand persolns

present, and the heat was something indescrib.'

able. It was not merely summer-heat-it was

heat demoniacal. Madame Parepa-Rosa sang " With verdure

clad". very charmingly, her pure, clear voice, untatsked, permnea-ting the whole liall with its

delicious tones. We were not as well pleased with her rendering of,' On mighty pens."1 It

lacked dramatic conception, but in the third

part, her singing with Mr. Thomas was all

that could be desired. Mr. George Simpson sang the music of

Uriel very effectively and vwith much taste and

expression. It is 'one of his nmost successful eflo rts. .

Mr. J. R. Thomnas fully sustained the high position .now awarded him, as the' best Ornttu

rio singer in the United States., Some of tho

m-usic taxes the conmpass of his voice too mucli but bis artistic management amoliorates the

difficulty witbout comnpromising the composer,

His singing throughout the evening was vcry

fine, and eallkd forth continued acknowledge

mcnts fiom the audience. In one of his dra

matic recitatives, Mr. Thomas had the luck to

be extenlsively sacrificed by the conductor awnd the orchestra, both forgetting that there was a

singer -in the case, and pursuing-their own

'A;F

This content downloaded from 91.229.248.204 on Thu, 15 May 2014 04:52:10 AMAll use subject to JSTOR Terms and Conditions

106 AMERICAN ART JOQRNAL.

oourse witbout any reference to him. Thi could not ham occurred with a competen conductor.

The choral portion of the Creation exhibited the same excellencies and glaring deficiencies

which have been noticeable at all the perform ances. Notwithetanding the improvemcnt tha we have noticed in certain points of Mr. Bit ter's eonducting,there is such glaring evidence of material wants in his system. that we are compelled to say that be occupies a position

which a more competent executive musiciar should have occupied. his selectionias con ductor was an error in the beginning. Great Festivals aro not gotten up to help novices to gain experience. Only the best men should have been chosen, and only the most perfect performances should have been given, in order that the next year's announcement might at at once command the interest and the respect of the public.

, We shall review the remaining perform ances of tho Festival in our next issue.

OPENING OF THE CONCERT SEASON, AT TERRACE GARDEN.

Thousands wvill hail with delight .the re openin(r of this most delightful place of amuse

ment. The undertaking was commenced in doubt last year, for out-o-door music in con nection with Gardens, was by no means popu lar with the better class of our citizens-in point of fact it was not considered respectable -but it resulted in a most triumphant success, artistically, and it would have been very profit abl. also but for the bad weather which pre vailed during the four last weeks.

T[ e names of Mr. Theodore Thomas, Mr Eben and Mr. Goselie being associated with tao enterprise gave immediate assurauce of its p2rfect respectability, and from the first night the audienco was comiposed of the leading families of the city, togetlher with a large prc portion of arListic colebrities.

Thie coining season pronmises to be extremely brilliant. Mlr. Theodore Thomas is now in Europe, and will bring with him on hiis return, all the striking novelties he can find in the musical cities of the Continent. The orchestra has been re-formed and several new Virtuosi are proiiiised to be brougrht forward during the season.

Mr. Eben will conduct the Coucerts until the return of' Mr. Thoomas, - and he 1i- ,a most able and wortlhy substitute. He is familiar with the whole repertoire of instrumuental mlusic, is an accomplished musician, and is a firm, spirited and effectivo conductor. -The orcbestra is safe in his hands.

The season will open on Monday evening niext June 10th, wvhen a brilliant programme will be presented. Terrace Garden (Third Avenue between 58th and B9th streets) has been very much beautilled in anticipation of

; the event, and visitors will find their -favorit

t place of resort fresh and pleasant, with adde attractions and conveniences.

CONCERT OF MRS. JULIA MORRIS, AT HARLEM.

M.rs. Julia Morris, a lady well known in mu sical circles, gave ber flrst concert at the Nationa

Hall, Harlenm, on. Tuesday evening last, assistee by Miss Hutchinps, Mr. Thatcher, Mr. Wm. K, Bassford and Mr. I. B. Poznanski. Mr. Dibl accompanying. There was a very large atten dance.

Mrs. Morrls, who has a very sweet voice, sang several selections in a charming and expressive

manner, andl gained the warm sympathy and ap plause of the and(lence. Mrs. Morris is very and

(ledervedly popular in this locality, and the an nouncement of her name is a sure attraction.

Miss Hutchings is an unpretending but very excellent singer; she has a fine contralto voice

which she uses with skill and judgment,- and as she sings with much taste an(d expression, she canuot tail to make a success wlherever she sinza. On this occasion she deserved and received most cordial recog,nition for her efforts.

Mr. Wm. K. Bassford, whose touclh on the piano is delicious, repeated by general request, his exquisite little tone poem called the "I Jealous

Stream," to the mani"es' delight of the audience. It is so falcilXil an(d so tender, and he plays it wi.h so refine(d and(l dlelicate an expression, that it must always prove an effective and fascinating salon piece. When published it will certainly command a very large sale. Mlr. Thatcher sang very pleasantly, and contributed much to the en joyment of the evening,.

Mr. L B. Poznanski made a very marked sen sation on this occasior, winning all the lhonors that could be bestowedi by an audience. We

never heard him play as well as he did on Tups day evening. Thie most marked Success of his peilormance was In two nmw 1ornpositions by himself. One an Adakgio, and the other a most effective

haga!el1e, called the "1 Mocking Bird." The first is a movement of rare beauty; grave, sustainted and fall ot passionate and eloquent ten dlerness. It is, 'moreover, a splendid bit ol' har mony, and shows how thiorougb a musician and how instinct vith art Mr. Poznakski is. He played it superbly, and his broad and deep ex pression atlected.the audience visibly. It was a great success, an(d so was his " Mocking Bird," which is fhu of lit'e and spirit; sweet in melo(ly, quaint in chafiacter, and popular In every way. Mr. Poznanski was, encored in alt le played, and the people went away evidently Wishing to hear him play still more.

It was- altogether a very pleasant concert, comprising features ot great excellence, and the people of H'arlemu should be grateful to artists who will travel so far to afford them so much pleasure.

M. Damcke, the composer an(d critiegathered the elite of the musical antl literary world at his rooms in Parts, a few- days since. There were pre,ent Berlioz, Rezer, Kreutzer, Schuloff, Mat thias, Massart and miiany authors.

MATTE,RS THEATRIC.

O the dull and dreary Theatres; 0 the flat and stupid Theatres; Ever "Black Crook," "Black Crook," "Black

Crook,". Ever "Scud" and "Trov9n Treasure ;" Ever smaller, smaller, smaller, Grows the chance of all things novel; Ever greater, greater, greater, Grows the Jove for legs and horses, At the Broadway, Lucille Western Plays " East Lynne" -and Is-a-belie; Up at Niblo's, centips(lal "Black Crook" puts its best legr forth; Sophie, Irene, rattling Jennie Play burlesques, and promise "Faust; "

"1Flying, Scud," encased in soap suad, Holds the stage at Wallack's still; While we're threatened, lucklems mortals I With a dose of Irish Drama, In the shape of Daniel Bryant,

Daniel once a negro minstrel,

Now an actor and a star I

Hapless people, hapless critic, Hapless drama, hapless art.,

Horses, pigs, and other cattle, Stars are now in place of men.

Angels that are well C( ,ot 4

Take the place of actors now;

Newsboys dance the playful clog dance; Pigs run races on the stage;

",Moral dramas," most inmmoral, Draw r'orth tears to great extent; Horses fret and fume their hour; Brass bands play their dulcet strains; Waterfalls go le:ping downward; Patrick wields the short shlilalah; And the drama's come to grie:

SEUGGaE.

NOTES OF TRAVEL. . - v-,

PARIS, May 1st. - DEAR MR. WATSON: Yesterday wlien I returned

from my music lesson at Professor Stamaty's, I found a large packet, with the Paris post mak, addressed to me lying upon my table. Upon ex amination I perceived through its thin envelope, several sheets of printed matter, and I mentally decided that it was the advertisment of some gin. erous wine vendor, or the enticing circular of a fasbionable modiste; but upon opening it great was my joy to flnd several slips cut from the ART JOURtiAL, ard a most a-reeably long letter from nmy ck6re amie, and your fascinating con tributor "1 Minette.." This is the Brst time since

my departure from New York (Feb. 2dl', that-my eyes have been delectated with even a dismein bered portion of the ART JOURNAL, andl I leave you to guess whicb portion of the coutents of the packet caused the greatest excitement. 1 came here with theexpectation tof dMin many thing's besdes studlying Music, but so absorbing and exacting have I found this divine Art under Pro fessor Stamaty's excellent instruction, that I findI little time lor letter writing. Every week I see and enjoy many things that I wish to transmit to your paper, both in private Art circles and in i's more nroper domain, the opera, concerts, etc.,

This content downloaded from 91.229.248.204 on Thu, 15 May 2014 04:52:10 AMAll use subject to JSTOR Terms and Conditions