New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-09-29

slity in the same way that the previous cho,s. a
picted massive or national feeling. Some eos.,'
puntal work leads to sn allegro in s-s, IN vheh A.
pastoral and military character tf tie wort
DETECTED In the course Of this the hsro;..,
character peeps forth in 8 elaIiore. - II
quietly accompanied. The whole IL erox,.,
with a rapid coda requiring the best wsf q =.
orchestra, especially the BASES. yhe fist piece
chorus. All modern operas begin with chora..
OF old this was not deemed Necessary. This opep..
chorus is an Allegr,t,o Pas,orale in A. Rh~ e,s
mate hurdy.gurdy base and Is sufficiently suple !.
be tue. Ii is decidedly pretty. No. ii Is an in.,
lude. No. Iii is dnnkingsong by Rip-as.lsI
words nor music remarkable, nor did its esecu..I
supply the deficiency. The repeitory OF Esroprss
operas, however, offers but two 90 ID drinking soss,
those in der Freiscbutz" and "Lucrezia;" tAv ~
"Don Giovanni" has not q single bibulous Or ~
roking element to comuend Il. Ne. Nv Il couce-Il
piece in f fiat in IA aud 6-s time II is lively nxi
eating the fussy anger of Rips wife, AID was r,at
with adequate vinegar by Miss Pyne.
No. V is q duet betsesn Rip and his wife IN All
%, of simplicity suitable to the scene; and usst
be marked of the composer that he does not en- n
the device of ere a,ng interest at the expens, Of ve
simituce. No. W. is the scene Of Rip In the moss{
tsDs when the ghostly Dutchmsn comes WITH Sd
key. Here is some very fine musical writing. Nd
supern atural hits are legitimatety rendered. III
finale, No. VII, is 10 ID minor, being the cborsxi
the spirits and nterocutOries with Rip, which wAl
not consider so happy as the preceding, thousheaS
fally worked contrapuntally speaking, and wrnc
with at knowledge of the orchestra charact errlk
all the composers works. The act winds up with al
hich N al
snd an incarnation round sleeping Rip by the s,iht
The ,lst act gives little scope for dramatic music n
iuterest-Irvipg's work being exquisitely se:chsS
bat not adapted for dramatic effect.
Act the second, as We have already said, 10 eenl
posed of extraneous matter to the cal ell legen
here we have some field for dramatic lyrics. The an
chorus No. VIII, in c, is of patriotic cast, and
broad but not particularly memorable. No lAhs
duet Of several movements between the lovcrs u.
movement remarkably beautiful; the melody berf
square the PHI seo'ogy good, the breath taking ps
exact, the progress VITAL AMI the climsSes periec
Mr.. Brstow here has got behind the barriers, whint
are so formidable TO musco dramatic aspifans, cfeest
siuctipe an air whose exact form and nterlacins Wild
the word, constitute effect On this INST subse poa
Of all musical composition-about which such elaks-
rate nopser se II written the diamonds composers pre
being totsly undervalued or despsed, and hicecu
lot of rubbish written exalting the mere low ngenuit
of ant On this il is 10 be regretted that literary T.
slysis is incapable and the secret of criticism mt
remain ever untold for music will not yield 10 wod
Ike oh err arts This due. was nicely sung BY Ns
Louisa Pyne and Mr. Harrison. We congratua.
Mr. Harrison on bis vocal discretion and intonsaa
on Thursday evening-the latter being ordinarily ygi
bad.
No. il a scera by Alice, In A Hat. Frt thSehsl
slow movement, very nicely written and of somsxae
antique color. Next recitative well proaosnc& \
Then prayer quito orthodox in the interposhsosaS
the minor third harmony and suspensions. Neat an
citative; and then brsvura air, OF military tenps
This last air is defective. II begins with clinis-.
crc pont-a burs and before that 10 retaken onhs'
fifth bar, the voice up to it second time 90 al
It's second coming II is worth nothing. This air bd
Italian form, but italians do no. wri'e so. Exsnix
the choice airs of their best composers, and you VII
lind method in their madness. They are the grssI
masters of climax.
No. NJ is chorus, being the same in part n "
opening of the overture.
No. XII is ballad by Dame Van Wnkevry,
well received.
No. XIII is a camp song in 6-s, and z hst, head
also in the overture. It is Auberish and telling. Do
second part is nice solo, accompanied by passuk
chords In the chorus good and characteristic.
No. XIV is a vivandiere's Seng 10 Pa f Ast-si
vivandieie in the American camp being licensed
the fret water. This is clear, square and telling
Wei executed by Mrs Louisa Pyle; Il was encorsd
No. XIV is first hurry music In G minor 6ollowedst
some solo bits in 6e, G.; and q concerted piece NJ
round, where the counterpoints are too forid fa Ae
utter defamation required by tho tragedy Of Aei
scene. We hear too much Of the singer each voaJ
1t is well-written, however.
No XIV IL some concerted music, and dramatesFI
brief and expressive.
Act IiI-No. XVI opens with chorus Of DsuShtsnI
Of the Morning, composed of men and women whfs
is unc ramatc and out OF place. Next, No. XVII gTa
wel.constructed recitative by Rip, followed by~
exple,ve solo, rot effective but stage neccssi'y
enable the scenes TO be set. No. XVIII patr'cSe
cborus in which the climacteric words, Uaion, Fw
"dsm, Washington" are perfectly we'll renders
No. XIX is q bit by Alice, not pro pinent. No. As
rectative and interlocutory matter BY Bp, 'ncua's
Ballad not equal to that at the end OF the hrst 90
in interest," The finale, No XXI, Is On air win VAN
ton, sung by Miss Louisa Pyne, in charactersucsy
brillisnt style and calling forth much spP'anss
We have said but little Of the execution ma
work, because, excepting with regard 70 Ma
Louisa PyBe, we can say but little that isv@
able. 1t is always unpleasant TO fad fault, ~
We regret therefore that we cannot praise.
regard to sctop, the part Of Rip Van ~
kle, according to IrviDgs sketch, admits Of nsia's
beyond the Dutch coloriDg which Mr.. Haekex ~
give it. Of this quality Mr.. stretton has rst
faintest perception. In the first act be Is supFs
English game-keeIer; and when he goes 70 'e9s
the mountains he does 70 az il the Demon n "