, 1874-08-30

performance in one OF our clnceIt-roomS O.
opcra-houses. Perhaps they would be unable Il
appreciate our modern compositions. The do
yolopmeut OF tho human rnco during the las
hundred years or 80 has no doubt given III
stronger nerves, but could they listen TO one O.
our compositions with Ill tue adlihone OF sht
| newly-invented Instruments, those old-fogJ
writer's would indeed think their ideas OF The
Emusic Of tho FUTURE" rs thoy we're wont tt
style anything that WEB lucomprehons!blo tt
them, wero very vague.
We attended last evening the four hundred
and twenty-second performance OF Horrd
noise's great symphony (opus 6,42D, and afte'
this number Of hearings We repent our Hofus
written some weeks ago. according to the emi'
neut composer all the p1aise in our power, hnd-
ing only little fault With him for the construc-
ton Of tho ffileth movement. AS our previous
writing was merely notice OF the work. pre-
ferriug to hear it many times botore entering
upon an extended criticism we give below de-
tailed description to our readers In Now Yoik,
and also for the benefit Ct those OF our sub
scribers in the moon who haTo been Unable to
visit Us this season, owing to tue e1otb!tant
rates. No arc happy to inform the latter that
Hor1idnoise proposes treating them to por-
foErnance of hi4 last work, as soon ns the large
balloon necessary to carry the enormous in4tru-
mcnt (tho cornetethorwhistle) is finished.
HorTiduoise takes for his idea in the work the
combination Of tie obsolete" with the density
Of the air Just below the north star, combining
the two with the superiority OF man over the it-
| sect race. We zee that the subject admits OF
great aud broad treatment. and VIC accord to the
eminent composer much praise. our only dl=aI'-
pointmcnt in the work being, as NC remarked
before, in the Gftieth movement.
Tho first twcnty-6ix movements. occupying
five days and eighty-three minutes in perform
aucc, givo great evidence OF the composer y
ycniuB. From the opening chords Tin Tat
aajor) the mind is at ouco directed towards the
ldyent Of that exquisite harmonic treatment OF
H. ~, ~ min fA1
;he car 30 evenly and gracefully that 'xe regret
that We have to part with it SO soon
That tho composer has used the great
tolumbiad in the accented parts OF tho
31-9Gi measures, We hayo heard some COM
plants, but SO firm and square is tho rhythm
the obiec. being to convey to tho mind the
Vadual proximity Of the obsolete to the rapoty
sther through which 1t is passlng), that We are
ati.fed that the use Of the instrument Ia allow
able. In u smaller hall the effect might be dlf
fsrent. but in this great apartment tie floor or
which is 50 miles long, the object in the COM
nser's mind explains itself. The proGross from
tle chord OF the 24:3 in the eighteenth move
uAnt to tho diminished chord OF Z tat major, is
ors OF tho finest effects NC SO far find. The vail
fthe ca:ometer. dstantly heard through the
hary thud thai emanates from the rock and
wood instruments, the magnificent roll Of the
tub and tho final reyersion to " the obsolete
increment of tho first treatment, brlngs us to
thoswe,.ty-eeventlA. From thence to tho iftJ
seyenth We are to prepare for ten days OF enjoy
inert.
Tts great hall is now filed to oveu1owing,
preHptiug q scene such as would aetonish that
ueany forgotten composer, Wagner, wnose long
est work 1--WE ready required ouly three nights
for il performasco. Each person has brought
food for ten days, and here we are, ready for the
thirty movements OF this great worI-muAic
such Is tile world seems 10 haye been made
for.
HoN exquisite are the opening barB-fun and
rcsplondeut with rich Instrumentation Hor-
idnoise has taxed the powors u Lis little eand OF
5.420 performers, but they are brave, have cou-
t;dence in their leader, and never sho. lack Of
genuine enthuplasnl. Here VIC arc now in the
great Gescendo passage Of the thirty seventh
movomsut, with its magnificent Instruments
ton. THIS crescendo is intended to illustrate
the clashing OF forces that would prostrato man
il luis a.ent powers did not come to the rcscue;
We ara listening to the Wild, discordant
strains from those sngry-mouthed brass
tubes 80 feet in dianetor, blown BY
engines Of 8,0o0, ,000-horso power, while all
the TINA tho Bound OF the Aacbane-
awang-constantly increasing in Volume
may be lizard now afar oil; now faster and
faster; now breaking tho forco Of the brass a
TITLE; ngxn Elcncoi. but now persiszently ad-
vaucing til the power to stop 1t IL broken, and
the c7'escc7Mo increases and our cars are Tiled
with prolonged noto from all the wild lnstru-
meuts, proelaimiug triumphantiy that they have
formers took nap OF haH an hour after this
effort. Our OWN brain reeled from the effect OF
the crash, and We joined with most Of the audi
enco in dose Of ynlerlap, kindly furnished BY
Horridnoise.
This, however. is but hint OF the effect pro-
duced further on in the composition. From the
thirtY-seventh to tho forty-Gfth movement ws
are treated to little theme for the great double
bass jewsharp, touchingly played by Herr Mas-
humsnyez. with background OF twenty-four
steam-worked pvaldryvas for an accompaniment.
tile treatment Of which is in broad style, bor-
de1ing on the latest form Of . shorthand
music writing the time OF which ID so
quaint, and ret 80 novel and interest,"
ing, that it ia soothing to the norves,
after the previous measures. Aorr!dnolse must
have had it IN his mind at this poiat to relieve
his band IS well a. his audience, and must DO
congratulated for his 1o1othouslt. The succeed
ing eleven movements bring us 70 the end OF the
ten days work. It ls in the fftieth movement
that we feel obliged to find some fault. OF thes
termination Of the wild ba1barlc march I'm e'sen-
ty-seven hats) 80 .br1ptly-by blowing up @ four
not approve. It seems 70 Us that gunpowder
would have served much better. We loss much
Of the enjoyment OF tho march as we suddenly,
aud with no premonition. arc brought 70 move
nent in B major (22:40 time), through the agony
of nitro-glycerine- The accompaniment OF br1ck-
bats is barsh, but Horridnoise informs us that
the termination OF the movement needs just thus
kind Of Instrumentation, and therefore ne sub
nit, but must, nevertheless. protest. VIC advise
tLose of our readers who have 20: heard the
symphony TO go prepared for this part OF it
either to take cottonwood for the ears, or buy
strap that will secure them to their chaira as the
s1ect produced is extraordinary.
From the hfteth 70 the ifty-si1th movements
occu1a the great dizninue,ldo passage Ut the
the idea being to portray the
gradual sinking from sight of all that ls OBJ
|ectionable. There axe to fbe found some verJ
me fugue passages for the patent pumpkin
ubes, and the ternina!iou Of this lends us to the
hty -ai1th, With the duo for two immense flutes
each played by tuenty7four men. After an in
ernission OF four hourslwe are given the finale.
nd ws sigh thar nc can 30 adeanataly describe
his wonderful piece Of composition:
The opening chord Of tho 18th movement
proclaims the superiority ct mind
yer matter. and bursts into tnIee-sided well-
oiaed strain IN 8:4o11{ time with running pas
nge Of extreme bsAuty for tbs steam-engino.
'his h1slody II nev ths shems tor ths Ja''o'e'