New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1856-05-14

% Westminster Abbey, York Cathedral but above all
would b in the immaculate Cologne Cathedral,
wbere the whole body Of art coalesees with II, and
you feel that the trinity of appeals to the eye the ear
ard the soul, forms perfect whole. Then the deeper
than logic Of the fugue-form-the necessity itself
which underies its creetion-is felt and the question:
what i fugue is answered in the effect produced
But as we not in q cathedral suffice to answer
thus the dueetion-and TO be able TO answer it. is e.
9. p,ial to the understanding of Handes music who
i, fugue all over: fugue TO have complete harmony
pust be written for four PROFESSIONALLY Indicated by
the two feminine voice., soprano and con!Ia Alto and
the two masculine, tenor and bass Its mech nical
divisions are simply: musical phrase of a few
measures is given by one part, and then immediately
taken upby the other in succession; bat as fast as
each has delivered this ft phrase either 10 the orig
rslke or fifth above takes up second or third or
sometimes fourth counter suhject-.he latter 30 con-
struc.ed according TO certain special harmonic rules
that il will bear to be sung bass treble-below or
above the first subject. When the fst subject is
beard by the four parts once. the exposition is
called is compet, and then brief episode
cal matter in accent and color the same or even made
mn out of the exposition This is folio we'd by repetition
Of the original phrase or the fifth above the key
and then on the originality and and over again
!, this original phrase with its counter subjects heard
and as the strett closngs approach, the time Of
entrance Of the counter subject is changedtha IL TO
saw. IL il began at third bar originality is thrown into
The second and even the frst The effect Of all these
infinite ike rollings is the reverse Of the personal
in music; neither passion, nor special individuality
nor dramatic painting is possible with the fugue
logically viewed. 1t IL, therefore, much abused
when a composer, as used to be the case in
stead Of seeking out new forms for the ex-
e.siou of his ideas embraces its stereotypsn 10 place
Of originality. All the old oratorios are defective
in this regard. ToEjonr' perdrir-fugues at every
turn. In this very rough analysis Of ugue, we have
of course left out thousand points worthy Of notice by
the yeritable student The fugue for the organ differs
from that for the voice in nothing except that the parts
NAV be more ford the intervals less vocal, and the
rar ge of octaves greater.
To ring fugue is net easy; and 20 the Harmonic
Society is commercially distinguished for the manner
in which they executed their task, under Mr.. Berge-
mann; the performance being, however, BY no means
equally good Throughout. Some Of the solo perform
a,ces were capable of emendatiOn. More Italian
breadth Of dtlivery-more clear vocal enunciatlon,
WAS reouired in certain cases. The solo parts were
performed by Mr. Berg, Miss Rhemmio, Mr. Bell,
Mr.. Gardner Miss Hawley, Mr.. Tucker, Mrs. jane
son, and Mr. Alden.
1t should be borne in mind that this Society literally
keeps alive in this city the noble old fugues of Handel
and the peculiar music of the oratOro of the last cen
tury. They are too, like the peripa;etc members of
the P.kwick Club--having the liberty to pay their
own expenses.