Daily American organ. [volume] (Washington, D.C.) 1854-1856, 1855-05-12
Musical Convention.
Tuesday afternoon, Prof Woodbury. again too
charge Of the exercises with his usual lecture.

Tuesday afternoon Prof Woodbury. again took
charge Of the exercises with his usual lecture.
The main subject of this lecture was the best
manner to give the expression to the music in
tended by the composer To do this, It ID neces-
aary 10 catch as far Us possible the spirit Of the
composer, and carry 1t through the piece, OF course
being guided by the differents lunts as 70 style,
given above the line. In regard to time, ne re.
marked, the adaptation Of some kinds to kindred
words and like style; but thought time was often
confined to expression of but one kind, when It
would answer well for others also. Sextuple time,
for example, Is usually light and cheerful but It 10
not necessarily So One of the most solemn pas
cages in Mozarts requiem is written in Sextuple mea
sure. These things should be noted by the singer
that the right expression may be given, and that
nothing may DO given, and that nothing may be
inferred erroneously
A piece Of very simple music was now selected
In Legato style. After singing il in chorus, ne
pointed out the great defect 1t was, that the
consonants Of the piece were SO pronounced that
the rendering was rather staccato than otherwise.
He sang several measures of the piece himself In
order to show how it should be done, explaining
that the beauty OF the piece lay in the smooth flow
ing connection Of the words as well as the notes.
But another trial gave better satisfaction. This
he attributed to the harsh sound of the words,
which contained 80 many consonants; this led to
GXCe0QlnRly
language and the musical French, and the soft
melting Italian. He would not leave the difficulty
until It was conquered, so he directed that the
aound all be substituted for the words, and that
Il be continued through the tune; every one keep
inr their own time, and taking breath wherever It
was needed, except at double bars, and dotted
notes. His directions were followed implicitly and
the effect was beautiful. No two persons took
breath at the same time--there were no rests-so
.s.l tl...x In afAh
melting manner, giving an example of true Legato
style. This also showed the scientific acquire
ments Of the convention, as the piece was new,
and each must keep his own time, for the leader
could not be seen, and the instrument was not
employed. The piece was then given by quar-
tette
The "a Cythara was then laid aside, and new
clee book substituted for 1t. One or two quite sim
Die glees were sung, and then an opera chorus
q The Fairy Queen,n selected from Benedict, wai
nPSsassfS and md ssag ss eight ..s TR
cd, but resulted in complete failure. The singers
looked at each other in establishment, IL did moi
seem difficult Ii was an arrangement of quarter
notes In triplets and looked comparatively easy. II
was tried again but with like result the Professor
then said he did not believe there was one person
In the hall who could render that passage correctly
on sight II had been tried by those who were con
sdered as accomplished musicians, who had failed
completely, yet IL was very simple. He then gave
examples Of the mere mechanical performance o.
the part, Ia which the performer was almost sure
10 fall then seemed to infuse into ID a spirit such
as inspired the writer Of it, and the difficulty seem.
cd TO melt away The beauty Of the theme required
such rendering, and IL the performer entered into
the spirit of the piece he would 80 render IL, as
the time was accelerated that he could not help
running into the style unconsciousy After this the
passage was well performed.
This led TO discussion on his part Of the use OF
ohromatics, and OF difficult passages In music. His
Idea OF the subject was beautifully given In the
following comparison; "The picture that contains
nothing but gay colors and gaudy tints, pals imme.
diately upon the eye and we turn away in disgust.
But II the gay foreground be relieved by gloomy,
dark, and even repulsive background, the contrast
renders both pleading, while either would be un.
pleasant alone. So 10 music--a piece composed Of
simple, easy, strains Is pleasing for moment, but
ID then forgotten while one containing some very
difficult passage, wen and properly arranged and
placed, though that passage may be regarded as
an eye-sore by ITSELF taken In conexion with the
other parts II makes up the beautiful whole, which
would be marred by the subtraction of any part.
Contrast In all things causes beautiful effect
Another beautiful chorus was then taken up,
and, AFTER several trials, performed finely Il was
from the Oh era Of Sir II. r. Bishop, who has been
styled tho English Mozart, from the classic beauty
and true melody Of his compositions.
The exercises were closed with that beautiful
piece g. The Tempest" by Prof. Woodbury., which
be sang himself Aher prayer by Rev. Mr.. Hill
the Convention adjourned I'LL p. M.