New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1863-12-23

Act Nv commences win an ofrDtstrl iDt'fJnoe, ano
rcci,atiyc. When a composer chooses ono sharp for
biz signature and writes in i've, it mahce very con
fused page; bettor put in the five signatures Why
such parade Of "accidentsi" Great men get along
without them 1t may occupy the attention OF certain
class VI amateurs In picking ou the chords a the piano
forte ard may hook very learned 10 fools but true mt
sic hes deeper than all this Beethoven. pretty good
authority viii give three hundred bars counting the
repetition In . symphony with change of key, and
10 parade Of accidental Dotes Mozart. in Lis divins
non pin andraf, las single change Of key. and one
accidental note (hs ia sharpenod) in the whole piece.
Belhn in his Ia ,.d,ai gives US amuscs statement Mt
FOR tie dynest Of tenors 70 sing Rgbin WHO perhaps
noyer had equal-an with change 10 ono relative
kcy-eIcept when the chorus. giving rcpose to the
singer takes striking and remote key IN contrast be
tween the first and second movements Of the air.
Rossni. In tho solo Of Baron Pompollno. which charac
ter unsteady considered is tho intellectual equal Of
Jack Faisaf Sam Wusr is content with a change 20
the closest reation--the key the 5th Of the scale
except whom tho Baron makes tho stupcndous announce
tina. the winged jackass Of his dream stuck fast
TO the top o. the bey. whom the composer affords one
Of his magnificent changes, full OF logic. effect and
power. We might multiply scores of examples on this
head.
No. ~ miner air Of Margaret. TREMENDOUSLY accom-.
panied Ia sbout the compleest piece of sustained mel
ody in the opera Some recitative follows
The scens outside the Cathedral Is introduced with
some transcendenta harmonies in the orchestra fol-
lowed by organ music In ire right strain. Margaret on
The church steps, having been betrayed Is beses with
the voices Of demons and the potential cures Oh Ne
phistopheles who appear. ina mysterious manner behind
her-the agones of conscience, In other words
No appeal on the stage is powerful MS the religious
one Of scenery and stuston especially in this country
yhero we have cahedras Of architectural 'nbim.iy
TO excite tho emotions which lit the sou TO the Infinite
stage representation OF cathedral with the organ
heard within addresses itself directly to tie imsgine
ton which supplies the place Of size and creates feel
ncs akin to those experienced IN vast ecclesiastical
building Of the middle ages This il powerful scene
ready TO Me bands Of q composer; and the choral
which Ia heard within intermred with the demoniacrng
ngs Of the fend without followed BY the ecsiae cries
10 God bv Margaret control the audience e. no CON.
mon scene oan II is In such ready made situations
where o composer can hardly 60 vrone that H.
Gounod creates q real impression the audience The
choral is simple and good the s,rekng Of he demon
properly Sustained according 20 rule by minor chords
and much trombore -vork and the organ /, udicousy
interpreted. Tie ngitssi invocation OF Margaret
which closes this scene, 10 liable TO criticism for IL
nsuficsncy OF melodc Gov. and tie aconssguenoo Of
tho harmony which ought TO lead TO ID minor whea The
chord Of the ca is touched at the word sssetHd-but
Il breaks OF shao,cay into lie dominant ioL We esn
SEQ no rsa,on for breaking tho law as laid down by
the Great German RccLA that the Ga chord reached III
due progress Rus. be followed by tho chord OF The
seventh dominant l.seins 20 tie key note o. TO q
broken cadence" standing il Ilaos Of the key note
chord. Tie soesled new light, Of harmony sTo she'd
din, great deal Of dagkne, AID tho! otten EinA they
have made discoveries when they have sbnry unesrthed
What IS disagrceable.
No - is a Sold ier's Chorus The fr' mo'cmsn, IN
g. trs IL fu.n, snd vcllrAyhn.,t. Thi, OF course
mus, BE- effective IN the Same proportion that u Is
fynmetrlceL There IL second Increment IN u timo
which 10 IN higher style and IA very captivating IL '
SGr, This IA said 10 b. tho pos, oquiar piece IN the
ops,a and shoald iudgs so. as 4! seems TO be tie
most p. ris,cn;ly nsodic IL IL. We beg 70 remark.
rtEy oasy for eonPossr .aonsh IL may % dhAoi oT
impossible for other people. 20 write an opera without
melody. or with poor melodies For tie composer oi
op.rs, worthy tho name and there 1. generally or
two living can write srur,. time II be do rot have {"
stop for fIs,Fnt. melody 10 make seens But be
come 10 place whore Il {, necessary to present rs good
L eloay 70 TIE LsG Re-, or Sl-ra. nnd doos not
use IL Floiow'sreeipe Of b1gsirg i-eh game. a. N
Martha tie composer mcy be forced 70 stop for ds
o. week or q month because tie msodious spirits OF
the lyrical deep win no. srswor to hiI cell Bat harmo
ny aud iat.icacics Ard orchestral effects aud varieties
Of oolorlng ars always at bis command. II he know Lis
business. The afiuenee c. melody which chsractsrxes
he works Of the greet masters is 30 sisnAly striking
need Of NJ. Gounod, that this nelodic Picce. the
Soldiers Chorus claims and receives al extraordinary
l.. a.fr. s,orn nril Ia Al
Following thi. chorus is - reotasse and serenads
No "a, which being by Mephi,,ophees has everything
bu. love in lit IS Of tie gro.eSqus school suited to tie
character.
No. IS Is the Trio de Duel" where the brother Of
Margaret Is wounded. II 10 made up OF eIcsnasons'
and Is deficient in noodio interest.
No ls 10 " The Death o. Valentino the brother; ne
curses lis sister so urhand,ooy tina. his demise ought
no, 10 DO regretted This Is good piece Of sustained
and measured defamation.
No. lsis THE walpurg, Night" IN which there Is
some Wild chorus work OF characteristic kind. very
well written This Is followed by some excellent pas
sages for orchestra. aud another chorus utermlIed
With solo work By Mepiis,opheIes which Is nuoH!
bacchenaian song by fouit i, not gres, success.
No. 70 trio finale, Is nex. in order Af.sr ap'
p.opriAte orch.sraon and recilative, Is measured
dust--a,ity,, NON noppo--which hes soma bars Of
ecceptriciiy In Il. and others which run naturally
enough We cannot perceive tho beauty or proprssiy
tho harmonic sequence Of the 5h bar With the words
u, rs Ia mort or the worth Of the oddly OF tho notes
over xsns ION, plr' psar Some agonHed "reminiscences
Of Margare; follow quoting the first admirnS words OF
Faust Broken dramatic trsi,s cnsne and thon comes
what ought to be religion. ecslstic novement-wlch
begins well and beauty in the Third bar Thepcce
is in 3d. and immediately changes 20 Ia, three sbarps
and further rises to D. hso sharps sd trio between
Margaret, Fsas; and Mephis.ophe!ss Tbs vehement
chengcs In tho rerora..on are wan antsd by the
clnsclerlc intensity Of the situation and are finely
worked MP. A short reeiatiyo follows where Mephs'
tophe!os falls to 90. bis prey. Barps. and angelic
q rlIinncra Of ,.ii,iniia nneiiN