New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1856-03-03
Netp9 lork Dailu Gribn,re
MUSICAL
THE PHILHARMONIC SOCIETY.

pean muse Of Provincial performers of imported works,
u;tersrs at secondhand Of the 0mlHe igH0tEH pro
mGgRHco-the distant aud hence the wonderful
TO the level OF authors, OF composers, Of
men who had faith in themselves, and were
not dependent on what comes across the Atlantic.
Some three years since sgitated reform for the
Philharmonic Society, that is character should be
made to accord with its chater-byl laws providing for
the performance OF original works composed in this
country. Mr.. Brstow afterward took mp the matter
in series Of letters followed by his resignation
member Of the Society He stated that the Society
was worse than useless as an alma-mater Of music
where Americans by birth adoption could have
hearing for their works, although the Society was
originated by Mr.. HILL an American with patriotic a.
well as musical purposes. Mr. Hill sustained NJ.
BristOw, when the latter made his protest and with
drew his active membership from the Society.
That there should be a want of proper feeling among
foreg ners TO American art is perhaps not TO be
dered at. Due allowance must be made for the force
Of birth, association and education; though on the
other hand il must be observed that nice sense of
courtesy to the people Of the country OF their adoption
would induce foreign artists to seize any OppOrtu-
nifty of paying with exhuberantly magnanmou'
interest for the distinction and liberty which
glorious institutions alone guarantee TO them. II
thought" says Burke, in his speech on the French
Revolution, abiding TO the lovely Marie Antoinette
81 thought ten thousand swords would have leapt
" from their scabbarbs to avenge even look
" that threatened her with insult" So we might
think that the foreign members of the Philharmonic
Society would ruh TO do honor To the musical works
Of the country of their adoption which has elevated
them to the rank OF citizens and gentlemen in their
own right But, that apart, il might have at least
been expected that Americans would not have been
found TO oppose Mr. Bristow and his coadutors; but
so il was. There is nothing that il rare mag;
nauimty and there is literally valid active
sympathy with struggling talent. Nr. BrstOw, how
ever after being taken hold of by M. Jullien-aher
his works had been successfully heard in London
has at last found a due hearing in his own
country. The Acr- York Times, speaking Of this
asks if the world will ever grow wiser We think il
will not. As things have been, so Will they ever be.
The price of the creative faculty is the penalty OF not
being readily sustained where the cooperation of others
is necessay-as il is cminenty in the case before
But it is not the fault of the public. The New-York
public, on the contrary is as well disposed could
BE- desired hear whatever their countrymen have to
offer them in the way of music They treat Colts
chalk or a Mason who depend only on their fingers
and pano-forte, as enthusiastically they would
Listz or a 1hslberg. When an American composition
peases them, they applaud as much as they
would foreign work. This applies equally to vocal
ar to Instrumental music 1t is simply the want of a
proper .iemanke feeling on the part of Academies
Of Music and Philharmonic Societies, that there ac-
tuay at this time is not rich repertory Of American
works But the artistic spirit to flourish
will not bear to be slghted. 1t will not
sIo af in ira nj
tempts to reach the public. If it have the trne
steel Of genius it may strike and FASH but will not
bend or break. 1t will not fatter to gain point.
Without vanity it knows its resources, for it is
the province of one man of genns TO deeply
tham millions without it, and to hold the opposition
Of mere pretension at defiance. Ifthese premises
properly weighed in the quarters where composers
have to appeal for a heariug we shall incontinently
have a reform equally pleasing to the public and hon
oIable 20 the exccutants. Then shall a fair
proportion of the symphonies and operas of each sea-
son composed by Americans. Let this Protective pol
cy, then, be adopted. Let the public insist on il.
In regard TO Mr.. Bristows symphony performed on
Saturday evening, so far single hearing enables
u to form Judgment we should pronounce it sue
cess. The form of the symphony has nothing new in
il. 1t is safely in the beaten track; with the tonic
ard 30 forth The Instrumentation is especially good
That stumbling block NJ. Bristow has got over. You
can always tell what hc j. driving at The first
ment i in triple time ard would very well pass for
established classic The second movement is the only
approach innovation. In place of having mnuetto
which was in iIaydns and Mozart's time the dance,
and as such suggested 10 every auditor what polka
does now-Mr. Bristow has according to hint
FIR he la nj
,sthet.cs in music adopted the spirit and accent Of
the polka instead Of the now vitality uasuggestive
mituet This w. think the best hit in the whole
symphony. II indicates emancipation Of the musical
intellect 50 far AZ it GOES The melody Of the polka is
piqusht and graceful, and was highly relished The
slow movement Is a little muddy as to its leading
melody. There Is nothing IN the " music OF the iu-
ture on any other theory which can justly be against
a clear, square, vocal melody, especially for slow
movement. That plainly set forth, any amount Of
development and ntrcacy of counterpart and trans
ccndentalsm may come; but the radix should be-
transparently clear and popularity memorable. Then
all parties VIII b. pleased The fourth movement Of
the symphony particularly well stocked with
mod, m effects; much yionism of wide extent as an
accompaniment, sorority OF climax, and greater vigor
than Mr.. Bnstow has hitherto exhibited. The whole
woIk wa wei received and constitutes an era in the
annals Of the Society.
Tie second piece was beautiful concerto by Men
dsssohn, performed by the admirable pianist Mr. iofi-
man. This young gentleman who may be considered
an American he came here at the age Of 10 years,
plays in & mastery manner and IS prime iayorte
with the AUDITORY Of the Philharmonic Society.
clear, beautiful tOGch-no excesses--a distinct mode
Of reading mark him. theater, however, IS too
large place for the piano.
1be Overture 10 AnacreOn by Cherubin, illustrates
the transition period which aid between the style Of