New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1856-11-11
MUSICAL And THEATRICAL.
NJ. THALBERG'S CONCERT.

NJ. THALBERG'S CONCERT.
The musical event most remarkable this season is
tie appearance of Mr. Thalberg the Pianist, among
us 1t is hardly necessary TO say that bis fret Concert
given Last night at Nioo's Saloon fully attended,
the Hall beng crowded to its utmost capacity. H.
deed all the seats were engaged beforehand. Present
were the representative and women Of the city,
the fashion ant science Neutrality-suspicious., and divinity
to some extent. All the pupits, even the most puri-
tanic are discovering that music pure and simple, Is
divine and that the abrogation of the ten command
ments is not found in the seven essential notes.
Mr. Thalberg was received in a manner due bis repu
taton, which is immense. Rightly to appreciate him.
we must look at his cedents aud the antecedents
Of panoorte writing when he first came before the
European world some twenty years ago.
The pianO-forte is longer considered a luxury to
the great run of dwellings, large and small, but
cessty. The improvements on it have been 30 great,
and especially the rapid and brilliant advances made in
the manufacture of square pianos IN this country, or
of that kind whose moderate cost puts it within the
means Of families in ordinary, that the development OF
the resources of this instrument constitutes matter of
more interest greatly more than that Of any other
musical instrument The manufacture of pianos in
this country is prodigious branch OF artisticome-
chancal industry; and, according to an estimate we
foulth of the value of the entire cotton crop-that
crop which il col dered the pivot of International re-
sources and couresies and which goes tar toward
making Presidents. The piano being 20 improved and
difused Of the last Importance that the genus
should be found to develop to the fullest extent its
resouces and the want was supplied when the YOUTH
full Tbaberg twenty years ago, Ike star OF har-
mony and delighted all Europe.
To understand likewise adequately Mr.. Thalbergs
position il is necessary to look into the nature Of musical
IDEAS as distinct from the pecUIarfs, or the ism, so
TO speak, of the pianoforte. The origin of musical
ideas NAV safely be attributed to the singing voice. in
its alliance with poetical meter. The regular measure
Of the poetry shapes the musical phrases gives them
symmetry and renders them memorable. Take away
te real or quasi div sion of musical phrases according
70 roe,ical meters and the music becomes Illogical
al best incapable of mpressins the memory Metncay
sneakirg there is generally difference between the
music of the dance and that for the voce-the dance
reOurng divisions of egh. measures and the voice
eight OF regular fractions of eight that is four OF two
This metrical arrangement permeates, likewise, the
longest compositioDshe opposite to forming the ex-
certon TO the rule. In regard to what may be called
musical statement-in the same way we would apply
the word statement to oraory-the humanities and the
limits of the voice to underle all INSTRUMENTAL
music The largest mu,ical statement can be made
within the limits of the musical Voice, which is TWO
octaves, and generally within ten or twelve notes.
statement with the speaking voice generally ranges
within four or five notes, sometimes rising
to an octave. lntensities of defamation, the
drauehts made on speaker in addressing morster
meetings nav cause him to exceed the octave, but it
is still an excess and not rule. Now regards this
mower of musical statement pure and simple, the piano
Il. kak
brenper Hertz, Weber, Beethoven, Ries, Steibett,
Hummel, Hiumel and Others, varying in degrees OF
mind and originality Their works abound in passages
which are clearly vocal and be sung within the
range of an ordinary voice We fnd il recorded, too
that Beethoven declared after he had hea ard DfaSo
retti play on the double bass, that he knew for the
first time the vocal resources OF the bass, AMI his
bssses accordingly. whether in his stringed quartet
his symphouies or his piano work' nave
| nuch Of this new quality of vocaiiy - this
ipdiyiduaIsm Of statement, viewed apart from
the inherent old-'ashoned mode of treating the
bass rs foundation upon which rests the melody OF q
part above Beside this vocalty in the higher pars
and serward in the bass itself find very markedly
in the pisno works Of c. N. Won Weber the large
arescjo-reaclings. Ideas, too, passionate, trans
ceudert. MYSTERIOUS, dramatic, there we've for the
fGno. but Sui something Was waning Aue IT,
sources Ct tie instrument not fully brought out.
Orchestraly viewed, is relations between treble and
bass were frequently wide apart that the effect was
tegrarly. As regards combination. there was want
.. association between primary IDEAS or statements a.
W, have yentured to call them, and tue musical inter-
calstons, the addenda the oupourings the spray oil
which the strong fiber o. cleAgy melody
Is capable II We loVk at the works OF The masters Up
10 the time Of Thalbers, whatever leaniIg Is We may
discover toward tie new school, we ma
re realization Of the problem, ths' wan ee''A,H
ngtpuites Of fngs -ng two hands may De MAJ
70 DO almost the work Ct foar IN the pliu'''Oi'E.
and that the sonorous1ess CT tha L''l i'n
may be doubled over the older master ana rs
"a passion, it, jmpstao,ty. its eo4Hea0' us s'''''i'