The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1868-01-26
Theatrical Music.

Theatrical Music.
1t Is seldom that the voice Of prophecy or
warning has its value exemplified within such
limit of time as will permit of its receiving due
appreciation or acknowledgment; seldom,
indeed, that the consequences foretold follow
so rapidly and with such distinctive force as
they have done in the case Of our own rcmon-
strances against the inoompe.ency of our
orchestras. We have on more than one Occa-
sion lately called attention to theatrical music,
pointing out how and why the band was usually
the worst feature in the theatre, and showing
that, although the conductor may in many
instances be worthy of blame large share OF
the fault most commonly lays at the door Of the
management For technical reasons, which
every musician understands, the orchestra of
theatre, to be good one, must be considered
in more liberal spirit than is, perhaps, abso-
lutely essential for other auxiliary depart
ments of the business and whore tho man
ager, ignorant OF music, ignores the advice Of
his leader and introduces his administrative
power into the mystic circle he usually
Injuries his own interests and illustrates the
old saying Of penny wise and pound
foolish While censurlng that which Is
bad and against the permanent welfare OF the
theatres VIC desire only to speak in the public
interest and as well wishers to all our city
houses, and feel more pleasure in acknowl-
edgng and applauding the results of care and
liberality than in condemning the failings
attributable to parsimony. "Palnan qui meruU
ferat" is the compass that guides our criticisms.
The instance that we allude to at the moment
as showing the realization of our fears and the
truth Of our warnings occurs in the new
spectacle at Niblo's Garden, and in speaking
of this we would have it understood that we
do not for moment question the musical
ability of the conductor at that theatre, nor
are we in o position to state definitely thai the
blame we allot to that house is attributable to
him alone. The "White Fawn" has been
long time in preparation artists have been
brought from theatres both at home and abroad
to oil the several parts, and in point Of fact
London and Paris have been laid under con-
tribution for every department. Gorgeous
dresses, beautiful scenery and relays Of ballet
are there in such profuson as Is seldom found
in any one theatre; but where is the
music? The Introduction alone il worthy
OF being heard. For the rest il is undigni-
fed, tuneless and totally without effect.
The songs are badly accompanied and
the assistance the singers should receive from
the wind instruments is wanting. II an oppOr-
tunty was ever found for musical display In
such piece az the sWhite Fawn" it exists in
the procession that brings that play to close.
while The march that occurs in the earlier part
OF the piece affords room for grand orchestral
effects. The final situation is so similar to one
Of the principal scenes in "L'Africainen that
we presume it has been borrowed from that
opera, and for that admirable music was pro-
vided by Meyerbesr himself Had the music
~ well as the scene been taken, or had the
march from the "Propnete," the "Druid's
March," or some other work Of melody and
instrumentation been used, the prosperity OF
the piece would have been considerably
facilitated.
vided their company Is good one or their
stars attractive, the orchestra Is altogether
second consideration but they make great
mistake. The audience are pleased or dis
pleased with the general effect OF the evening"
and though few may take the trouble to ana
lyze their pleasure or discomfort, those who do
50 have generally something to say on the
score Of the music. To cite an instance from
the Old World, il was neither Gris nor
Mario that made Covent Garden tho first
Italian Opera House in the world. II was
Costa and bis band and his with other cases
might be named to show that while = good
orchestra may save or make the reputation Of
a theatre, bad one will sooner or later
destroy it.