The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-06-18

majestic oratorios OF Haydn whose inspired COM
rhapsodies OF a mailman, he initiated the appa
ling reverberations caused by the fall OF rocks rom
cavern to cavern In the mountain chasms OF Derby
any analysis In our power IN what manner melody
and harmony impress and influence the human
heart. 1t is not left us to determine
BY what my sterious fabric OF the mind
The deep-ieit Joys and harmony OF sound
To comprehend music 1t Is not always requisite
that it should be heard Poets become blind;
musicians deaf Homer and Milton had inward
poetic visions Of outward beauty which light and
OF modern masters, unable, from defective hearing,
to conduct opera, could sketch landscape
never attempted in sounds before, as perfect
as those OF Bierstadt, with life and beauty. Color
could not give the hum OF insects.
SONGS OF BIRDS, TINKLING RILLs
and murmur Of running brooks in music sweeter
than their own. The grand harmones OF the last
and greatest OF his works never entered the portals
Of his ear; an impenetrable DEAFNESS deprived him
grand i-s composition, to which he said he
Its wild melodies and inspired harmonies revealed
themselves unaided by the organs Of sound to his
imagination and soul. This Convention viii stimu-
late the culture of music in America more than
generation OF individual effort. 1t is to this study
what the railway is to travel the Telegraph
proper direction and elevation OF public
eminent; 1T economies time, concentrates masses
OF people, discloses the best methods OF
progress In different communities and nations,
enlists attention, exctes enthusiasm, stimu.
lates ambition, encourages exertion and
study, and suggests preparation for similar
world. it familiarizes to vast multitdes the mas
ter works OF genius, and renders to Them with
power seldom equalled, the inmitable gems OF art
embodied In national anthems, or the songs
OF the people which fire the blood when
ever and wherever they arc heard.
such resultsS The study Of music Is of the highest
national Importance. Its introduction In public
schools is one of the most important acts OF this
generation. There Is not public interest that
II does not strengthen. 1t is Indispensable to pub
lie worship. The modern school of music had its
origin in studies for church service. There is no
secular occasion when II is not welcomed by the
people. 1t supports, strengthens, cheers and sol
aces the mind In all situations nom
THE CRADLE TO THE GRAVE.
In Joy or sorrow in peace or war; In youth and age
in aluence or poverty in sickness or health II Is
1t might not be applied with immediate
and certain advantage and profit. During the
public squares OF the city OF New Orleans the patri-
otto songs of the Union, accompanied by vol
ieys Of muskstry the roar oar Of cannon nor and
plauding presence OF $4,000 parents friends
and admirers with spirit and enthusiasm that
who heard the precious music OF their young hearts
or their shouts Of JOY at the close of each
a thrna cam ever
the scene or eface the impression 1t lett upon the
public mind Among the army of conquerors, and
name Of Gilmore applause)-then as now the
inspiring genius Of the occasion should be and win
be forever remembered. This memorable convoca-
tion Of illustrious artists and generous devotees
OF music ought not to vanish at the close OF its ses
sons as the pageant Of dream, leaving no
Sequence that the enlightened d C Cities es''I ana
portunity to the young, at least by perma-
nent and competent institutions and generous
rewards for progress and excellence to develop
w n m
for that high art which liz here to be presented
In its noblest productions and grandest form No
country Is more affuent In untaught and
NATURAL MELODY
than our own. We can observe traces OF what IL
well called American minstrclsy in the most popu-
lar and brilliant productions OF the age. Melody
Is the soul OF music as imagination is OF poetry 1t
Is upon this foundation that the classic schools
are based. The harmontes of the great masters
would be tncOmprehensble and unsatisfactory
without the motive or theme which melody in
spires. Our products are, indeed, rude but the
native ore is rich. 1t is abundant for it is in the
masses and the lower orders OF them that L most
anounds Age rpsns art Jenny LIND sang
thousand years. The peedominant charac.
rnde and undeveloped aSy for everything
This In itself is no advantage. But may it not,
riorityS Welcome the day when this work shall
begin In q century America win be the
Ali nationalites are here placed on level; ancient
peculiarities become extinct, and new humanity,
hsser rSm all nations of eanv with
ated. The musical genius OF other lands
will eliminate here, as popular governments and
administration. Music will impart to the new de-
velOpment Of national life an equilibrium and har
mony not to be derived from other sources, which is
essential to peace and power. May this ancient
and honored anniversary, already identified with
mai and universal peace
nations. prolonged appause.)
GRAND SPECTACLE.
At three O'Clock all were in their seats, and the
eye OF the spectator dwelt upon spectacle such
one may perhaps witness but once in lifetime
From the front Of the stage to the extreme back,
occupying space OF more than two-fiths
OF the entire building, dense crowd
OF singers and instrumentalists, a sea OF
heads rising in ripping waves one over the
other, until the eye could longer follow it
in the distance beyond ana around the monster
organ. The coup ddtt from the extreme end OF the
gallery fronting the stage, the best place in the
building, as far as acoustic properties are con-
cerned, was magnificent, marred only by the host OF
empty seats all around the auditorium. The roof
with its gay banners, many hued devices ana
ng aho3a hs se nead ge OF cno tine
like stately trees In the Yosemite Valley; the far
spreading circle OF che orchestra, In which sat one
thousand nstrumentalists, and the murmur of
voices like the distant surf On the beach, were all
calculated to raise expectation and enthusiasm to
the highest pitch.
GILMORE'S RECEPTION.
Therefore It was not to be wondered at that Gil
mOre's trst appearance at toe conductors stand
should be the signal for perfect tempest of ap-
plause. For some minutes he could only bow his
Acknowledgements and smile benignanty on his en-
thusiastc admirers
THE GLORIOUS OLD HuNDRrDTH
There was hush, and the organ peaed forth the
"Old Hundredth,n that imperishable melody which
will last while spark Of religious sentiment burns
In the human breast. The rising Of the chorus
added new feature Of interest to the scene.
1t was like human pillows unduatng at
the wave Of magicians wand. Twenty
thousand voices and one thousand instruments
then took up the glorious old hymn, and its solemn
cadences never were rendered with more grandeur
and majesty. Yet the audience looked upon 1t
solely In the light OF mere introduction, and even
the "Rienzi" overture, which followed, did not ex-
cite any special enthusiasm. Carl Zerrahn made
his appearance at the conductors stand for
the overture OF Wagner, and was also received
with signs of marked favor. The orchestra did not
appear to advantage in this work strange to say
that most UNCERTAIN element, the brass was tie
most satisfactory
THE OPENING TRUMPET CALL
and the noble, majestic movement that followed
was weak and unsatisfactory in the rendering. IL
conld not compare with the performance OF the