The examiner. [volume] (Louisville, Ky.) 1847-1849, 1848-07-01
For the Examiner.
Madame Ri.hou An

Fr0m me nattering eulOgiums evervub.,.
pronounced upon the performances Of tbi.I.5.
and from the discriminating notices which f,o-,
time to time have appeared in the "HarbiBvs, -
New York paper Of great merit, We we're led
to expect such revelation of beauty in The g.
liabilities Of the human voice, as had hitherto
never greeted us. Nor were we dis.pDoin,.5
Though so unfortunate as 10 attend but one AZ
her concerts, cur highest expectations wsr.
more than realized.
The half had not been told Us"
The first note she uttered. held as il was with
hrmness which, notwithstanding its great
height in the scale remained unbroken, now
swelling until il entirely flied the hall with II,
sweet vibrations, nov diminishing ill scarcs.u-
dibie, yet 10 the last clear and pure stamped her
very Queen IN that Tone World where she
seems to live and move and have her being
Ana 'he triils-hOS delicate, how Preeise-as
If made by the fingers on stringed instrumsD,
This was particularly the case with her cadence.
IN ''Ihe Last Rose Of Sammsr,s "John Apds,.
son my joe" and that inimitable CrOmat:e D..-
sage preceding the occurrences Of the first mar,
Of "The Banks Of GuAdalquiver.s
Her voice has compass Of about two se.
iaves' ranging from ID below the staff. to D and
+ fat in alt
Inc lower octave. though perfectly as1ibs
ana wholly under her control, has mpeb Ia.
power than the upper. acconilnglv sb. .s,s,,.
songs where the lower notes are comparatively
little used Thus W lille she sings s.Cssta Diva"
IN a manner which leaves nothingto be desired
she would hardly think of attempting "Ups
NOee POGO Fa'' without transposing il a third
or fourth higher.
But II IS not 50 much with the design Of al
ding our mite to the high praise awarded this
gi'ed vocalist, as TO offer few thoughts in re-
gard to the school Of which she is so able an s1-
Ponent, and TO make a COMPARISON Of with
the German. that We take up our pen at th.
time.
me increasing relish among 'Dilettanti,' al
over our country for the music Of the mossrn
Italian school, Of which Rossini is the foup5sr-
has well-nigh Oblitrrated a taste for the Ger
man founded by Gluek and Mozart.
In speaking Of the characteristics Of tbsss
schools, we shall for the present confps our-
selves to the vocal music they have produced.
FROM the time Of Bach and Palestrina TO that
OF Mozart and CimmarOsa, great COMPOSER,
20 mined themselves almost entirely to the ora
torio and the mass. The science Of counter
point was hedged about with far greater num-
Der Of rules and restrictions than at the present
iay.
hence Their compositions, especially those Of
Bach while they bear the stamp Of genius, are
characterized by as much Of method as We md
n an essay Of Bacon or Addison.
Then, the fugue, which has ever since been
he study and delight of great composers. took a
paramount and stately form, ami the German
'enius' ever striving after variety in unity"
'ere found its most fitting expression.
Inc Italians, while they initiated this species
composition with mechanical accuracy. with
ut infns'ng into it the German soul. sought TO
nPpiy the deficiency by throwing arouns II N.
''Pery OF their own exuberant fsncy. Hence
ne great attention paid in Italy to the eultivs-
'0n OF the vocal organs, enabling the performer
execute with ease, while in Germany. more
ans Is taken to perfect the ear, and give prae-
cal knowledge Of harmony.
aeant'me taste Cor dramatic composition
cyan 70 manifest itself, and Porpora, Gluck, and
Iandei Produced operas, which though little
h'wn at the present day greatly contributed to
',aolish the reputation which they now enjoy.
out the ehaste style Of the German Opera
az not suited TO the more ford taste Of the
ahans, and Handel, at an advanced age. Quit
: the opera IN disgust. and obeying the dictates
'Iuer inspiration, produced those mastery
aforios, which have raised him TO The veUnn-
acle Of fame.
Haydn and Mozart next followed. the fomer
'ed 'he science Of counterpart from manyOf
restrictions, developed the figures to flIl-
- and breadth. hitherto unknown. greatly en-
u'e scope OF meditation and showed that
ieel style was wholly compatible with thena-
70 OF sacredmusic.
" ihiusing gTeaisr feIyor into tas
- SPo'a' succeeded in rescuing il nom
I oD.''on 70 which ], seemed fast Fastening.
|. .ss -. 4'e uile Of Mozart, and for some
&, ..;o,. .'s aea'h' his operas enjoyed equal
----s-,s ~ L.a-y and Germany; then cam.-
-