New-York tribune., 1867-02-15
MUSIC.

that between any favOTite opera OF the Italian
school and Richard Wagners fiery, mtamed"
Tdnnhduse This is the merest ruisn, but 1t is the
beginning and the end of the unpopularlty to which
Tannhause is sngularly but proudly fated Its utter
remoteness from any received idea of melody and its
entire absorption in that harmonic philosophy which
now more or less influences all strictly German
works. make it as unfamiliar as possible TO thoss
whose vision of opera is an artificial paradise of
things pretty, brilliant and beauty
and bombast-growing out of the conventional plot
and stage business The attempt to make a true mu-
steal drama is daring, and Wagner mnst suiler IKE
his TanRhause. Those who syiInpathIze strongly,
with Beethoven, Schumann and the half-reallsn'
half-tanscendentalism, in German music VIII he
earnestly inclined to hear the revelations Of Tam
too sudden flash or shock, albeit GcRphduser y as
loud as ii can be- We must hear 1t many times 10
Judge properly its merits or defects
TGuHhGusey as we have hinted is altogether revO-
lutionory II is sincere attempt to make true
operate drama in the most absolute sense. wagner
conceiyes that his music and drama should be OF one
nerve and mind-hence his music Is speech Hence,
also he wrote his own poem, and translated II word
for word feeling for feeling, into the music ol the
future" No believes that the motive idea OF
this music was any dead secret TO the 2lalsl OLD
masters whose harmony Wagner and his best follow
ers NAV strive i'm vain to equal. But none Of these
strove to make perfect drama IN the sense OF
indeed, such recognized wonders rs natural.
true, ideal, dramas of music, Wagner
may well assert his claim to be considered poet OF
the future--a poet in the combined sense OF drama
and music. He has aimed for the liberation OF must
cal form and idea, in the only direction wherein
real progress seems possible. There are many opn-
ions as to his not all OF those liberal enough
to admire a discovery will agree that 1dnnhdnsr IL
a satisfactory work; but very few will fail TO be m
pressed by certain vigorous pre-Raphaehtsm-we
can think of nothing else that suggests the com
pOsers eccentricity--which gives 10 every WOfd OF
his drama some musical meaning Wagners opera
is in short, a drama literally rendered INTO
81 t,nY, nr,1 Itff m gnl
merely, would be q misinterprctati0n-lt Is broadly
and often powerfully, imaginative. There remains,
however the doubt whether the more complex pro-
duct of modern musical progress, Richard Wagner,
has any ideality TO make him kindred and peer
among those simpler great ones, whose harmonic
song was i'm truth music of the future, without ever
being SO patented The merit OF the music OF tho
future, be it more less is that which pervades
the progressive idea of the century, IN literature
the fine arts, and music Inc advance Oh TINS '1es
is toward a more literal sincerity OF art anu ~
Wagner contends, toward a reconcilement OF arts
The orchestra of IdpRhdUsey as has been often said
is extraordinary. Some things are greater but
the "heaven-stOming' OTchestratOn of EideiiO; but
it is wildly graphic and dramatic. Such music was
by assault, and to force Partisan audience the
other hand. TO cry it down in rage. Its wind-whst
ling, le-blOwing, and pasSi0n-braying instrumental
tOn must have set Paris by the The breath OF
an Arctic blast piping full in their faces, when in
vited to a Summer-feast. could not have been
more impertinent How to understand the
trying TO make the least music-must have S0fely
puzzled the light-hearted Parislan 1annhdrser WAS
accordingly gwen up as a terrible succession on
conundrums put into sound, and all Paris broke
into fury. Nagners tremendous sphinx was MEX
named humbug, and Paris quieted its mind Sincs
then the world has made march toward the future.
with TaaphduseI's accompaniment. Ii is impossible
to cry down work of great element, az 1t s to com
bat the wind. Wagner is voted musical philoso-
pher and from that day to this, though be has no
imitators though his influence, for the sake of the
real truth which he has carried through storm has
been felt on the mind of music
The production of 1dRnhduSer at any time IS an
event We dare hope that the good effect at its
performance by the German company Will be repeat
ed if possible. Though as given night or two ago
ii was not always intelligbe, correctly sung there
was evident pains to perform It's difficulties well
Madame Johannsen and Mr.. Himmer, the latter
especially deserve credit for their earnest assunp
ti0n of the parts of Elisabeth and TdanhGHsG and
scarcely less il to be said of Madame Frederlci's
Tenus and Wilhelm Formes's WOlrdm. There was
an uncertainty of delivery even in these parts
which another rehearsal would doubtless overcome
The overture was admirably played; the choruses.
once twice badly sung. The depth and breadth
of the Pilgrims Chorus was nevertheless apprecia-
ble and spite of defects and ncOherences of chorus
ing, to which Tannhauser is more sensitive than any
other opera the performance was interesting. Inc
living acting accompaniment to the drama was capt
tally sustained by Mr. Neuendorffs excellent orcheS-
ira and the formidable dramatic passage OF the last
act ntellgently worked 1t remains TO be said that
Tannhauser. as a drama. has a simplicity and mas
sveness of element suited 10 the genius of c0mpo
ser whose aim, witness the grandeur OF the legends
he has Operatized, is toward universally.
The second performance of La 1rdriato at tbs
French Theater was an improvement Chorus and
orchestra were much better harmonized, and Madame
Altieri's VioleHa showed gain at least in
freedom. The new donna has vocal taste and
a stately presence. but appeared 10 need an un-
constrained dramatic energy-the only thing that
can compensate for the want of great vocal power in
an opera hackneyed by favorites and sensatoDiss
as La Irariad. SgnOr 1rfre gave Us fair and poll
ished performance of Hired. and SignOr Fortunas
debutas GermOnt must be credited with good express
sion. This evening, TrOvatOre will he given with
Mile. Naddi in the part of LeoRGrd, and Adelaide
Phillips as A=uceao.
This afternoon at O'clock Mr. WOfsohn will
give his eighth Beethoven Matinee. The Sonata Ap-
passionate and barcarole of Schubert. 10 be sung
BY Madame JOhannsen, will be among Its great at
fractions