The New York herald., 1868-02-02
Music In the Theatres.

ms ls an inexhausiible subject as long az
theatrical managers wilfully ignore its inn
portance. Unhappily, few of the dramatic
nooies know or care anything abou. music,
and they consequently look upou an orchestra
~ 'neir esAoi'shments as necessary evil
They VIII spend large sum of money on
drama, comedy or spectacle but the last
thing they think of is the music which must
accompany it. There are cases in which
managers who candidly confess their utter
ignorance of music insist upon debating
to the leader of the orchestra what nieces
he must play and what songs must be
introduced during an evenings entertainment.
It also happens that this lawless dictation is
often influenced by personal friends of some Of
the ladies or gentlemen in the cast who wish to
obtain a little prominence over their compeers
by singing song, no matter what its merits or
their own may be. Such course is mani
testify contrary to the interests of mans e.
We have heard concert saloon singers orantad
permission to sing in piece .ome vu,oar
trashy imitation of well enown fsvor;ta
while capable, thorou~o artists ara kant in
- D.sAs' oaau a" prohibited from giving ex-
p'os'on 70 'n .,lr acknowledged vocal powers.
- 'p'''" -.es, which are now all The rage, this
p''-4cious system is carried to the utmost
/ excess. The manager, the ballet master, the
danseuse and even the chorus insist upon die
tating to the leader Of the orchestra regarding
each piece OF music which is to be played or
sung. The consequence is that the audience
vii Cfo id
music except good music, and the magnificent
mise en- scene and dancing become distasteful.
How easy it is for a muscan-as many of the
leaders OF our theatrical Orchestras undoubt-
edly are-to select dramatic or ballet music
from operas or the works of such men az
Strauss, Gungl, Lanner or Godfrey, If ne be
only left to exercise his own judgment. II Is
very well for manager to superntend every.
thing brought ont al his theatre, since he in
vests his own money in it, but he should not
personally meddle with music when he knows
nothing about it. Let him engage competent.
acknowledged musician as the leader of his
orchestra, and then leave musical matters In
his hands, II this course were adopted there
would be no need Of calling attention to the
HiscTdDle Stdtt vi our Iucatrlcul OFcuebtfa9
The system of substitutes is another fatal
obstacle to the efficiency of an orchestra.
What is the use in engaging good musicians
tor theatre if they can go off on any night
they please and leave wretched substitutes in
their places, while they are playing at some
concert or ball? Managers must be taught to
know that the public are just as much con-
cerned about tAe orchestra of theatre as they
are about the play ITSELF Thegrandest speota-
Gle must sooner or later prove failure With
the incubus of poor music. They understand
these things better in Europe. and there the
same care is bestowed on the music of piece
as on the acting, scenery and appointments
The music which is served up to the public in
our theatres at present, with one or two nota-
BILE exceptions, is sufficient to drive every
person having the slightest love for the divine
art out of the house. A good orchestra, in the
hands of capable conductor, cannot fail 10
attract crowds to a theatre, independent of all
other considerations.