New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1871-01-07
MUSIC AND THE DRAMA.
MUSICAL NOTES.
HANDS OFF.


Dr. James Pech defends his conduct in turn
ing The Messiah" upside down and ampering with the
Of Haydn's Imperial Mass by the example OF Mo.
Fart and Mendessohn, who supplied elaborated the
instrumental accomplishments for several Of HandcPs
oratorios and cantatas without admitting that Mozart
and McDdelssohn n rule for DR.. Pech. must
mind that gentleman that the work he has undertaken is
not at all like theirs Handels pub
shed In full and the copies used when the eratorios
were performed under Handel's direction de-
sroyed the burning of C0vent Garden Theater in 1903
MOzarts Instrumentation was not an attempt to elm
prove" In any way change the scores but to I'LL out
tho imperfect published sketches and restore the works
nearly possible to their original form. sub
sequcnt discovery Of Handel MSs. has shown that
Mozart caught the composers spirit admirably. and
reproduced the original forms much more closely than
airy would have thought possible. This necessary
restoration Is of essentially different from the
arbitrary changes by which the Harmonic Society has
undertaken TO show us how Handel would have con
structed his great work he had taken DR.. Pechs ad
vice. 1t Is different also from the improvements" In
Instrumentation introduced into Haydns Imperial Mass
for We know exactly what Haydn wrote, and exactly
what instruments he used TO express his thoughts IL
conductor may change tho Instrumentation because
be believes II would sound better with trombones
why should he not change the vocal parts he ncies
that he can adorn them TO advantage with few
rouladesi 1t Is customary to omit portions Of "The
hnce and this reasonably object; bu alter
atoms are objectionable Every genuine musician will
wish 10 hear great classical work Just az was written,
II he hears 1t at all there question Of taste effect
any alteration Is hnpertinence only comparable to
that OF the editor OF poem who should amper with the
text OF his author In the of Haydn the eense Is
especially gross because Haydn was OF 1.-The most
eminent Of instrumental combinations lossess
knowledge OF the Of the orchestra far In
advance OF his time and exceptionally fine Judgment
I'm the arrangement OF his
MISS HAUCK IN VIENNA.
We are glad to hear from Vienna fattering
accounts Of the success OF Miss Minnie Hauck mt the In
peral Opera House The Eremden BioH OF the best
critical authorities OF the Austrian capital, says OF re-
cent performance of Fra Diavoo:"
"Frailein Minnie Uauck as Zerlind lovelness H.
sci both actress and singer None OF her roles
exactly suits her style this She herself
in IL; she IL inspired. With charming appearance and
graceful action she combines Light and easy style OF
singing which is peculiarly adapted 10 this opera Ihe
Warniest CONNIE nda Ons could do her only Justice
As Susanna. in " The Marriage OF Figaro" abe wins
from the same Journal the following compliments quail
ned by gentle criticisms:
Her Ioveliness captlvaed her audience from the
outset but 1t he denied that Susanna she was
too child ile-one might almost say too well brought
up We do not To dsparaGe the character OF the
little lady snaid OF the story but we know there are
many ike her in real life, especially In the household OF
such men AlnGrrd and she ia no child who can play
such deliberate game susanna does Win the count
Perhaps Miss Hauck did fully to the -itua.
tjon until her delivery of the aria in major Deh
reni l. that oveiest Of bridal in comparison with
Racchanalisn Ioyc-song Here Mozart has raised
Susanna entirely above herself; but Love,the wonder
Of wonders-InaSes that possible Here Minnie Hanck
sang like > sobbng nightingale and the breadth Of the
tempo gave play the inspired longings OF the mel
ody. Otherwise Miss auck was pretty. light-hearted
little maiden Of the perils which be.et her path
Moreover she gave evidence of vocal development
with which, IN method ana artistic ease none oil Tue
other singers IN the cast could compete