The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-11-17
A TRUTH SPOKEN HERE ABOUT MUSIC.

with great viruence in its columns on Sunday last,
the attack OF "Free Lance" was spoken OF as
"angry." Now, my dear sir, permit me, as one
who heartily sympathizcs with his opn0us to
thank you for giving them publicity, and 70 thank
him ior writing in the Interests, solely, OF
art. He evidently had no axes to grind, cared no
more for one artist than for another in fact, held
the dogma that personality has nothing whatever
to do with merit. Work wen done is wen
done: work badly done is badly done;
and there's an end ont. Friendship has no right
to enter into the domain OF criticism. and until
American critics turn deaf ear TO Its appeals and
conduct their business on the sound basis of
incorruptible integrity artists win resort TO ig
noble means for the furthering of ambition, art
will be demoralized and the uneducated people led
hither and thther by designing twill o. the wsps."
confess that love humanity too well and hate
humbug too cordially to TRANQUILITY assist at so ag
gravating spectacle. Hence
This is the curse. Write
First, then, let me ask, In all good nature, why
a critic should be branded angry when h.
dares to censure9 True criticism means apprecia-
ton. To appreciate means to estimate justly.
What inst estimation of art is there when good,
bad and Indifferent receive equal attentOn--when
praise ana blame are administered indiscrmi-
natey, when the worse is made the better causes
To unveil the mperfections of temporary popu-
lar idol is no pleasant task; but the critic should
love truth 'better than Plato and Pato's country.
better than Dante and Dante's country better
than Shakespeare and shakspeare's country bet
ter will add, than Hawthorne and Iiawthorne's
country. What is truth9 Unfortunately art
is not as exact science as mathematics, or none
but experts would touch IT. but it has its laws its
rules its schools, which cannot be violated with
impunity, and which it is the critics duty TO up
hold II he does not know more than the general
public, why does lie give an opinion2 His Judgment
should be as sound in his sphere as that of the
lawyer TO whom we go for legal advice. For my
sell, do not pretend to represent majority or the
public, but being q disinterested musician, paying
for every seat l occupy, and anxious
to see New York as great 9sthetically
as it is commercially l DO pretend to
represent the verdict Of educated artists. profess
sional and amateur, who are not in league with
managers or favorites. merely transfer to paper
the language of cultivated drawing rooms AS the
representation OF minorities is becoming part OF
our political system, why should not It be made
equally potent In artS The most enthusiastic
advocate Of universal suffrage does not for one mo-
ment claim that the ma jOrty are right in matters
of taste. If they were, what would be the use of
Americans are strange chiels. Though we bray
about our country, there Is no people so
ready to embrace -, what Is foreign, We
in art are entirely dependent upon Europe.
This is inevitable in young country, still going to
status cannot but offend minority, who as
able to do without Europe as Europe is able to do
without them, and who unwlllingly behold our
desses not nearly as clever as deities home made.
English criticism on American works has more
weight titan that which is native yet tie majority
OF English critics are no more clothed with
divine authority, nor are they more impair
tial. Talent being equal, European artist is
preferred to an American. Let this be said to our
shame GleveT artists unable to sell pictures IN
n
London, Paris or Rome. The American actor
singer who receives royal appreciation Is more
destiny it mas been TO stay at home. This is rank
injustice. and because OF it and the tendency to
are ready to dissect Madame Lucca She comes to
rs with great reputation She needs no friends;
s aer position Is established why, then should
II she fails to realize expectations why should the
fact be concealed And why should one artist he
extolled at the expense OF another have
been an ardent admirer OF Miss Kellogg, account
OF the absence OF dramatic inspiration in both her
hear her underrated-when the HERALD is told by
'Muslcus' that .her method is defective. that she
en- dessous, a dreadful haDit'-and when this same
"Musicus" has not one word OF criticism for Lucca,
becoming Miss Kellogg,s champion II this
young American is TO be commended for anything
it is her excellent method, her correct phrasns
and the remarkable trueness OF her voice. Almost
every artist at times sings out OF tune. Nilsson
often sang falsely. never heard Miss kellogg
in this respect, and have heard her many times;
consequently SO dreadful hablt' cannot be
hers. Had detective method and imperiect
would have told the unvarnished truth; but
II faults are Systematically fastened upon
artist to aim at real excellence9 Miss
Kellogg. however, mode great mistake in becom-
ing member OF the present opera troupe. She
should have remembered that people will not pay
81 Tor what they have heard for half that price,
and that this commercial fact. combined with her
"a novetv-would render the attendance
at her representations exceedingly small.
as as could easily have been aas'S DONE aAI and
brought him out on Kellogg nights, the combina-
ton would have extracted money from the public
Lucca is the only artist that attracts.
What Free Lance" says of Lucca in "La Fa-
in .Fra DiavoIo," however, is a taking perform.
ance; and her Marguerite which ! witnessed this
open to criticism than certain other characters.
In her appearance and conception Of Goethe's |
cold pianaSe Nilsson or New Yors Society or
like Miss Kellogg. She is Mesh and blood, which is |
something, and In the third act she gives evidence
OF the existence OF passion; but far singing is
cOncerned-and singing believe 10 the first re- |
quisite IN prlma donna-to-day she never star
tied, and at times dlspleased. The jewel song,
shorn OF its jewels Of ornamentaton and its mai
Q, was totally devoid Of brancy, and re-
position, but ! remember that in London
remarkng tho the same absence Of hriliancy
and effect. The music rs too high for her. Az the
church scene was entirely omitted and as valen-
tine and Siebel did not sing the aria aud romanza
especially promised by Mr.. Marctzek on the bills
everybody must have had colds. Still, colds have
nothing to do with acting and the total absence OF
pant0mime on the part OF Lucca in the last act a
situation admitting superb action and facial cx.
preston, convinced me that she IL not great
artist. Now some OF ms in America have seen
Marguerite. Marie Seebach, the German actress
showed us what could be done with q master
piece, and ] am too grateful to her
gold TO accept the pinchbcck OF another 1
Of course it IL, rule useless to expect real act
ing from lyric artist but II 10 be wanting do not
let us declare that we sec II. On the whole "Taust
LANA fhan uf hn