New-York daily tribune., 1859-01-27
MUSICAL INTELLIGENCE.

HIsw.rH.-It Is NOT our usual cas'om 20 make .,>
tee Of srv composition Of music intended fc ar.
masses Of performers ard public sudi,ion besrs
has been rendered in this City. There are rsxo,,
however, why's work composed b. residen, Emo
ptan American should receive superior, and eve,
eccentric attention, inYmuch it. character hN,oh.
mste here, snd not sstsb ishet slrg ady abroad Al
the public We sure, resly 10 receive no, Ocs,
the criticism on such work bat TIE vork Itself I,
kindly spirit, snd care nothing for Games pro,ds
t,ey are pleased. l.N only necessary that tie CON
position Of the music should be genuine, the qualify
the exeouiants good and the persistence Of tbs -,
formanoes secured up 20 the time that the hearers a,
famlisrzed with the work. new name in the cir,
of the muses. ought 10 be welcomed, for the pQbg,
ought 10 be weary of tie endless praises .
Hsrdcl. Haydn sud Mozart; seeing tbs. the,
find the Messiah ar Internal bore, ysr
through five si1ths of it, are only aroused b. Il.
Hallelpiah Chorus provided there is colossal eaor
and by two or three other portions Of the work ~
onchsf of them leave the coreer. room weansd "
they did when II was msgr!hcepty periormel
Tripler Hall, with extra full vocsl departure ui
the Incompatible monster orchestra of Jah n; sen,
too, that they yagn through iour-ihhs Of Den Jsa,
where the voice accompanies the orchestrs, All %,
the orchestra tie voice. and there is no climax Of p
and rome of imprisoned lyrical ecstacy; seeing to-
that the highest achievement Of composition, theOy.a
alongside Of which sl else ia easy was never essayei
succt ssluly by Hsydn, who, like Handel, sccOriraj
10 20 the lower art Of oratorio-wnting- Il 10
bly, however, but still much infericr thing to las
the Shskesperian department Of music for the stage;
seeing too that the Of honor is so squeeeei
in mercantile rapacity and religious hypocrisy ,hs, As
Aaatcan Academy of Music of this City, whose
charter drawn up and passed by the Legisistr,
fer national ly c,l purposes, for eciting native oon.
positions for the end Of elevatng the taste OF the pO
pie to an understanding Of the Intellectual value Of 10
nestle art and its poership with literature, and even
Congressional speeches, and not of prating resdyuss
operas always and killing our o~n works-do,s
nothing for native art, but everything agsn.t L.
Seeing this and much more, we ssy new name ought
to be welcomed. Mr.. Stoepel, accordingly we
ton in connection with his work. This mu,ical pro.
duCtion has been given in Boston. OF course tho
co mposer lost oney by it-twelye hundred dollars
but that is rule where nation Is wanting in duty 70
tsef as ours always is in everything relating to civ
izstion which cannot be imported resiymse.
Wherever We can take anything at second hand, ~
do il, like herd of snobs But Mr.. Soepsl
again in Boston, and also in this 'City soon,
assisted by the Mendelssohn Union. The mana
Haratha of course suggests the poem of Mr.. Long
fellow Portions of it are set to music, and other por
tiops are readily Mrs. Matilda Heron Stoepel Tbs
words good for music saving the want Of variety;
but each Individual line is good. That arises from
technical reasons which do not care 10 discuss.
The situations picturesque for the music, which IS
vocal and instrumental. There are fourteen pieces:
|. Tie Peace Pipe-,hs Great Spirits Allocuton to
the Tribes. No. ,. The Stars -Hiawathas Birth.
No. 3. Cradle Song. No. 4. Hiswaths's Sailing.
No. ). The Fight with Mudjekeexis - War Song.
No. 6. Hiawstha's WooiIg. No. I. Iiiawathss
Wedding. Fest-Psu-Buk Keewiss Beggar Dance.
No. g. Wedding Feat cootinued-Cnibiao's Love-
Song. No. 9. Blessing the Corn. Fiecs No. 10. Ths
Rairs. No. IL. TIE Harvest. No. H.. Winter. No.
l3. Mnuehshas Death. No. II. Fnale--Retun Of
Spriug.
These pieces are varousy illustrated by solos, duO
choruses and orchestral pieces.
We have not heard Hiawattd, but have read tho
foil score. II is thoroughly artistic IN the art per-
formances and illustrates mode art which, of course,
in many details is in advance Of the casscs-Othsr
wise, why have flutes ten keys instead Of two; vioins
Pagsnini method instead Of ViOti double bases,
Bottesini inste ad of Drsgenetti music ethereal
forms instead Of mechanical fugues and 50 through
out the chapter We mention tins incidentally in refer
ence to the ordinary braying about the classics.
word Of criticism on this work: The first thing 10 look
to in every composition is melodies. Poor melodies,
like Uandel's, may be backed up and sanctifsd BY
words taken from the Bible but they are not the less
poor heard without the words, not even saints would
IA. Z. L.. ~.
dssociated from the words Its rhythm, Of course,
must be imbedded in and shaped to the last azmuth
of an accent by the words but when cut loose from
them it must stand superby alone by its own beany.
Such melodies can be set to hsndorgsn,; and If they
cannot they are bad melodies. But they may have 6
certain merit, acting and reacted upon by the hM-
mony and by the virtue Of beautiful sounds In combl-
nation by the lovelness hslowedness Of the words,
and by the majesty and beauty of the singer com
poser, Mendelssobn for example, who could not make
a salient melody for the public, msy be very delight
ful in other reaicns-gres finish OF detail nice sehss
of chromatc or coorstic qualities in the orchesls,
and 20 forth. There is but test of good melodies
their popularity ultimately established after sufficient
he sIings. Some melodies are slowly taken hold
Of than ohers. Some very vulgar ones become pop1-
lar but melody that is really good will fail 10 peas
an audience if sufficiently often rendered. OF ths
memorable qualities Of Mr.. Stoepels melodies w'
can say ohing, only time and tue public can DE-
eide all we hazard is that they are lutegenty wnt-
ten, with beginning, middle and end, and lie es'hy
under the voice la The matter o accent he is correct
10 form, where SO much lioense is allowed, and nons
OF the frenzy and condensation Of the stage rsqar'i
which 30 muliplea the composers difficulties, %a
essens his chances Of success, Mr. Soepe is happy
"The Beggars Dance" may be ted as . happy
piece Of grotesqueness and huny-skury the lnroau',
ton Of the barbarous sub seventh Of the HSh,sna