New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-02-02
MUSICAL INTELLIGENCE.

reached Its 18th number. IL eAhloIts mucn sAl, va
riety and veliness in lis discussions and information.
The fault we find with it, and with all our musical
journals is the want Of the liberal and constant use OF
musical quotations, in analytical or critical matter.
The critic Of literature. pure and simple, when noting
passage for its good or bad qualities, quotes it, aud
the reader is thereby instructed. Bat musical crit
csm treats to merely literary discussion, for the
most part: sharp writing, stupid writing, fine writ
ing or really good and superior matter-but leaves
out the musical cita,ions-the very pith-" the heart
"of heart of the subject. People. too, must be in
structed by the critic like class of earners-neher
more nor less, and the aids of academic education
must be accepted In THE TRIBUNE indeed, it is
seldom that we attempt any analysis Of the syntscti-
cal errors of musical competition or the scope Of
transcendental IDEAS the execrabe nonsense ofg-
norsnt vocasts, who alter the text &c, &C., for the
reason that, without musical types, impossible 70
daily paper such criticism is operose indirect, and
wanting clearness, even if practicable at the time.
Mere writing about this that and the other composer
ray be pursued ad nfnitum but, without the techni
cal snsly sis due to the subject will not lead the stu
dent beyond the pale of empricism
1t may be well to mention that the new MuscalG,-
zette has secured the services OF gentleman and
critic long resident in Berlin aud lately come to this
country. Among the views which we may suppose
come from his pen are that out of the oratoro circles
of Epgland-and their liege echoes this side of the
water-thst is to say, in Germany endelssohn
ranks az a man of talent or, in other words, not a
creative mind of the first order The works OF Wag-
ner-furiously assailed in England-sre not pro-
pounced emanations of genius in Ths Ga=ste, the
matter being left undecided
The question Of musical form, we would sid-but
once technically agitated in a muscsl journal in this
country offers large field for discussion in
a journal with musical types ready for elucida'
ton, such as is The Gazette. The objection
made By TIE Courier to The Musical gazette is
correct one Editorial hatreds are on. of place ia
harmonious Journal
The Philadelphia correspondent, of The Mas'cai
Ga-ele is one of the ablest of living musicians aud
his letters as far as we have them frstrate
of the foreign matter in The Gazette, quote the
following as interesting in this latitude:
DAT Julien's last concert at Drury Lane Theater,
Nsgner's TannhdHser overture was performed for the
second time during the series. The London MHsicH
World says: We cannot give any opinion about IT,
as we realy did not understand it. The editor did
understand however, MIR. BristoTs symphony or
rather the ancante from it, which was also Peyea. IL
says: The andante is well written, ana indlcaes
so much real feeling for melody, that the whole
symphony would have been acceptable. But al
though ar. Bristows andante pleased more than the
Tdnnhduser overture Julliens Allied Armtes q If-
ytHe pleased more than all the rest But, resly, We
have never admired the taste which could select an
overture like tn at Of the Tdanhdpser for concert
performance Wagners oyertures are literally intro
auctions to his operas, and cannot be judged when
PLAYED by themselves. They we're not and are not,
we presume intended to form an instrumental piece
complete in itself.
There are now four mu ical journals published in
this country; Mr.. Dwghts weekly, of Boston, Mr.
r. s. willis's weekly of New-York, and a semi
monthly journal by Mason Brothers, besides the
one we have Just introduced to the notice of our
readers.
We have no disposition now to contest at length
the enormous assumption Of The Musical Gazette
that wherever the musical art has entered upon
new phase and has made new steps in its progress
"it has originated from German genius and Germsn
"inspiratiors." History shows just the contrary.
The birth of the fugue and Of all cacheoral music
the orgsn-did not come from Germany As writer
of mas music Cherubni, an Italian, has no equal.
The violin is Itaan-the great alma mater of all in
strumental musical expression. Up to the time Of
yiotti. and afterward, Germany has produced no
yiolinist who lives in history. The modern Opera
beean in Florence-ushered in by the father Of CALI
leo-and this opera regenerated music and laid
the foundation of all the expressions Of all the
ia great good or novel, in the art Of singing eomes
ORIGINALLY from Italy. "The Italian method Of sing
" ing is the only one accepted by the world. lhe
frs, sonstos world renowned those of Corelli,
an Italian. Boccherin before Haydn, " fixed the
a. Quintet. the equivalent of the Quartet in chamber
classic excellence. The two grsndest works on
musical history during the last century, were the
magnificent Churchm music and Contrapunta history
Of Padre Martini. an Italian the greatest Contra
puniest of the age which occupied him sixty years in
producing: and the immortal Doctor Burney, an
Eneli.hmsn who labored and Travelled thirty years
to give the world his labors. The great Pur-
cell Of England, was not exceeded by any CO.
temporary Of his century, and Handel, hundred
wears after, has copied, but not added, to his
Saxon yigor. The writer who has given music a
BraEev of orchestrstion it possessed before,
IA Rossini. an Italian. The meteor Of his era,
Paesnizi was an Italian, and the most wonderful
arts; now living BOttesni, is also an Italian. Ger
many has never produced Pasta, Griai, Rubin,
Tambuiini, Lablsche.
The catalogue Of musical critical writings in Ger
MANY may outweigh in physical lump, that ofother
nations but that is all. 1t show such original
work on the Voice the Italian none on the Violin
ecual At the time 70 yiotti or Pegsnin In Biogra-
pbv II can show, by no single man comparsoie -
Efi, Frenchman in bis colossal Dictionary, the
-.rI, Of travel aud of library said to resch 80 900
,oluuss. the finest in Europe. In writings on the
music Of the middle ages unquestonaoly tne greatest
rork il BY Freedman. No work on Instrumental
ton is equsl to that of Beroz, another ffencnai AZ
IT. urdyirg lsbors of Chladori in Acoustics, have
never bet paralleled.
Ard so We could cite volume OF facts N deniN =,
xksaf~ my