New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-04-10


c. LIBERATED from the fact that il concludes with a
dance like military pas very popular. It's first slo
ovement Is tor fvs violsncellos solo scco n,aaiei
BY the other bxses; . singular snd novel combine.
tiop, marking an InnoysdDs spirit Tnis is .ucceejed
b. an allegro, representing storm; descriptive or
suggestive ptce for the powers Of music are no, those
OF the plastic art'. As descriptive suggestive this
movement is very bad, and as gress . botch a, the
storm movement in Beethovens Pastoral symphony
a. music. simply however no exception be taken
n it. Thi. is followed BY a Pastoral o.shs move
ent for the English horu or larger hAutboy per.
feet gem OF Enthusiastically Swiss beauty 10 its
form and accompaniment. Immediately this into
"a! imperative sort of allegro Of & military dance
Kind, surnounted by finale Of dazzling brill incy
where the resources Of modern violnisn hsys large
plsy.
No l. The Introduction, is on 3 , time, a pastoral
movement opt ming with the violoncello in husdy.
eurdy ffIbs-mirus the third OF the chord. Those
ford Of good competition, psinting rural serenity,
should lsten devcuily to this. Then comes a piece
in 6.s time-s cAanson Of fisherman respectfully 10
Il rear Of the scene, where wster can rua without
putting out the feot-igtts and drowning N. NJ retzek
Il il not particularly salient but becomes Interesting
the characters in front join 10 it with their msodic
counferpoints including noble decl am nj IN by
Tel, the baritone. This is connected With choru,
il sprtd by hearing sore mountain horns within the
the signal Of res. fram sbo and the presence
Of the venerable Melothal a. tbeir pastoral fee. A
recitative by M.lchtal and chorus in - time well
accompanied pi ssing niarsge in general, turns out
6s movement, With more rapidly ard sonor ",
es peroration. Ard here commenced the first cut
of Il long work Of the composer-too long for this
side Of the Atlantic sung in sneu,ge foreign to the
peopl', ard even too long for Paris where II is also
cut, but not TO such an extent as il here done.
recitative by Tel leads to reminisceuce of a
hunters chorus, and to
No. III. A duet between Tell and Araold-ons Of
Rossini's best efforts. charming melody is the
lovers aposhorhe. The conncisseur win observe the
judicous restment q the voice in this work, aud
comp are it with some exsggerations of q later date
where br,ss breaks down humanity. This duo has
three distinct movenients-the first where the or
cbestrs lesds, and the voice is interocutory; the
second where the voice domin and the third where
the voice also leads, The public considers interocu
tory music unnteresting, and yet there is school
now forming in Germany for liking it rule-an event
this generation will not behold. little bit OF pastor
al hurdy-gurdyism follows, wbi.h Rossin has nc.
honored by giving II Number. Then we have
No III. A chorus, sweet flowing andante inter
spersed with recitatiye.
No Ivis "iu6iciousy cut" in the Italian version
No V ia Pas de Six where the compoier takes a.
much pains with dance as with scenq This Is also
cut
No VI. Chnur Can "a chorus with denco--is cut
Gu. b, duy.
No VII is the dramatic finale to Act I. 1t opens
with some hurry" music, describing the has.e Of
the fugitive Swiss, Leuthoid escaped from Gesers
minops. A Recitaive, dangerously long, translated
into Itali.n follows. A fiery minor allegro ensues
with the chorus nterlnked with prayer to the Vir
gin-ile feminine voices praying, and the masculine
soto rOce utterirg threats against their tyrants. The
antsgonisms Of party exhibited in the perorston
where the Tell party the Geslertes, Ia all the
vgor Of modern sretto and its transcenden instru
mentatcn, closing Act |.
Act III, No. VII, opens With fortissimo symphony
by the orchestra playing the hunting chorus-slreidy
familiar through the English version Of Cinderella
and then ensues an Djudicious cut, leaving out the
chorus itself-one Of the Inspirations Of the opera
and letting remain chorus of no particular
merit surg behind the scenes describing the coming
night.
No.IX is an Air Of Mathida, with an elaborate
al sombre orchestral introduction, and when the
air con es it does lot strike the public ear.
No is a love duo between Arnold and MathRde,
containing an interlocutory allegro, not remarkable
for ove-frau.ht accents; an aDdante familiar like
wise, az Let thine eyes mine mildly beaning,"
in the popular English version Of the Opera Of Ca-
derels of surpsssipg beauty spd marked by Swiss
color and 6nal allegro Of sufficient Rossiniansm TO
sai,fy bis admirers. The allegro is cut in the Italian
A recitatiye conduc, to
No XI-Trio for ArnOH, William and Walter.
This great piece of writing. The frat movement
il allegro maesteso; the second an ardautino-apd
here the amateur should pause, to contemplate the
e illus of the author in writing for the tenor voice, as
tie composers Of the last century knew not Of. The
guish Of arnold heaiing of his fathers murder
TIE trsrsitbt change from the key of 10 Ethe har
rowing repetition Of the high notes, are something
wonderful. Here the singer can excel the orator in
rousrg the audience. The voices in the allegro coda
are OVERLAND by the orchssration but it is very noble
stnoIity
No. XII, finale to this act, contains moderate
movement in common time-.he choruses OF the
gathering OF the patriots Of the different clntons
making COMMON ceuse against the tyrant There are
three choruses here, but the part describing the as
seubiDg Of the parties wanting in color and square,
bright, memorable form; the subsequen! cOnjuration,
Glow movement, is very large and noble, but not
fecye as the 81 nilar scene in the Hugueno.s-
the latter, however By MeyeIbeer it may be added,
as tax BODILY its most terrible originality from
the tire in tie Opers of William Tell, aid the Mar
sslles Hymn.
Act III opens with q scene and air Of Arnold, No.
XIII, which is cut out in the Italian yefslonso we
emit notice oft.
No. XIV il march and chorus, vigorous but not
memorable. Tie is cut.
No Xyi.aPss oe Treis ard Chorus. The pa Is