The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1866-02-26
M u 81 AL.
Eleventh Public Rehearsal OF tho Phil
harmonic Society.


harmonic Society.
There musical at present 90 OK
tensively patronzed the rehoaals concerts of
this popular society Considering the programme for
each concert comprises the very best works OF the
man school, without any Of those clippings or mutila-
tons with which other less entorprsng and less capa
BILE musical organizations disngure them We may look
upon the Philharmonic concerts tho highest typo OF
music we have in New York In the present programme
they have despite the carpings and snarlngs Of the
sol disan critics. taken up tho abused and truth
the most acceptable Of Richard wagners works Poor
Wagner prosecuted in Bavaria for his brusqv outspoken
sentiments music and politics. the fearless stand
which he made against the sickly trash Italian
composers, has found enemies oven in tho land
OF freedom His opponents this side Of the Atlantic
poohpooh IN the most supercious manner everything
emanatng from his prolific BRAIN, and sligmatize his
Tristan and Isolde the purposeess rawlings of
seal maniac. With what truth these "unprajudiced"
oracles thus speak shall The subject of this
opera ia taken from OF tho popular tales OF
chivalry and represents the fortunes OF OF the
Knights Of the Round Table, hing Arhurs staunchest
champion The loves Of Sir Tstram tho Isoudc
belle Of Queen Guenevers court described with a
master hand In this exquisite opera. The overture or
introduction played by tho Philharmonic So
ciety Saturday last sufficiently explains tho
intention Of tho composer Tho opening surprised
US as something 30 foreign TO the Emusic OF
the future" Instead OF a harsh and rugged
orchestral massng, greeted with a largo Men.
lssohnan strain, In 6S time which the fair Isolde
appears. The entire power Of the orchestra is gradually
brought In with some beautiful cello themes tbs ttest
Tor a crbing the peerless beauty of the lady Tho fro.
ouent usc " the diminished seventh gives a plaintive
Character TO this art OF the Introduction the oTches
tra coloring is warm I'D glowing throughout There Is
nothing harsh or grating, pG, billowy movement Of
full chords very different from the empty shells OF the
modern Italian school The change OF key from toA,
and In movem mt from tdSg0 to Uivce, .rocuces the
Kuight and animated conversation folows The pas
sonae love OF Sir and the Of Isolde ara
v wildly portrayed and fantasticaly ornsmented with
violin and viola morceaux reminding one Of tho hutter
Tugs o the Midsummer Nights Dream. Tho lovers In
terview Is rudcy broken In upon by the
clash Of arms and the near approach OF enc
Then come the charge, the n5ht and the
repusc OF thu ntruders described with the vim and
dash of the Wagner school, The overture ends with the
waling OF Isolde her lover who has been severely
wounded in the fray II breaks OF rather abruptly as
piece but when taken In connection with tho rst part
of the opera the transition If natural from the conclud
ing strain OF the Introduction to the story Of which Is
the argument The time gradually slackens towards the
end. gardng this way In which Wagner stalks from
position to the other on the violin, keen wit
ted critics may claim 10 be able his progress
with certainty; but this Is assertion TO be received
cum gr1no sails wagner's movements myster
the future itself and guess his method
of treating subject beforehand His Introduction to
Tristan and Isolde will compare fayoraby, at least
with any OF the works Of the modern Italian school or
course when is mutsted and butchered by incapable
concert iroupes IL will never prove popular but IN the
hands Of the Philharmonic Society and their excellent
conductor do BIT bat that II will create furore
equal that which the Tannhauser caused ye
ago whom rendered by them.