The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-01-31
Tho Artistic Amusements OF New
York.

opened by Mr.. Terry.
Tho Artistic Amusements OF New
York.
We have forgotten-indeed, we never knew,
nor do we believe anybody knows--who it was
that said. if anybody ever did say so (and yet
it might have occurred to some one), '.Lct me
write the songs of the people and do not
care who makes their laws" 1t was a very
wise saying and very applicable to New York.
1t is true that the man who is kind enough
to make our songs makes very bad ones,
but the men who make our laws VIGOROUSLY
excel in general incapacity. Most OF our
songs are written out of tune, and to sing
them correctly requires profound ignorance
of music; and those who sing them with the
striotest knowledge of the notes inevitably
make a disgusting and painful impression. An
understanding of modern music implies dis
cord and distress. But the laws are still
worse. They are framed, like bad pictures,
with the express purpose OF being broken.
They forbid compulsory crimes, such as lar
ceny, embezzlement and murder, and require
impossible virtues, such as magnanimity,
integrity, benevolence to beggars and forgive
ness to public officials. When we institute
comparison between our music and our laws
we are reduced to q painful dilemma. 1t is
unavoidable to admit that nothing can posi-
bly, be worse than our music but then when
we recall our laws it is equally unavoidable
to affirm that the previous admission was made
without competent knowledge of the legis-
lative genius for mistakes.
1t follows, therefore, that instead Of the old
proverb we should invent a new one, which
should read, 81 am sorry for the people if
they should insist upon my writing their
songs, but may the Lord defend them if
ever have to make their laws" This
proverb would be more applicable to
the present state of American music
and law than the old one. And yet
it would be wrong to think that American
society is deprived of either harmony or
equity. Wordsworth says that "by one per-
vading spirit of sounds and numbers all
things are controlled, and we find that the
"obsolete' music of Mozart, and the prin-
ciples of Coke and Blackstone, are still
potent in the opera house and the court
room. The Beecher trial strikes its roots
deep in the past, and the decisions of many
a dead English judge WHY the arguments of
a living American lawyer. So with music.
We have not much respect for present fail
ures, but grand orchestras and great COM
panies show q proper reverence for the
triumphs Of the past. New composers are
novelties, but the ancient musician defes the
decree of Punishment imposed by his modern
rivals and triumphs in immortal youth.
We are rejoiced to know that these priDci-
pies of art which we have endeavored to indi-
cate are appreciated by the managers of New
York. The Legislature we almost despair of,
but the theatres still possess respect for tradi-
ton and art. Since the days OF the Wood and
the Seguin troupes when have we had better
English opera than that which the Kellogg
company now gives? Nine. Parepa-Rosa was
one of the greatest singers of this age, and
English opera under her direction rivalled,
and not unfrequently excelled, the Italian.
When that beautiful voice of hers died, too
soon for the delighted world, ''the appealing
silence eloquently took the throne which it
forsook." Miss Kellogg does not replace that
great artist, but she is worthy to succeed her.
English opera, under her rule, is still power,
and though death has made its inroads upon
the company it is still competent to sing
Mozart, Gounod, Flotow, Verdi and Thomas
with all the olden charm. Ancient music, as in
the production Of "Martha," is not neglected,
while in "Mignon" modern inspiration is
interpreted with charming delicacy and
thorough appreciation. We are glad to
chronicle the success of the English Opera
season in New York, for it is evidence both OF
the merit of the company and the cultivation
of the public. Nor are our principal theatres
less regardful of the claims of high art Mr.
Boucicault in his "Shaughraun" has pro-
duced classical comedy which will soon
have numbered its hundredth night. 1t is q
true Irish drama, and as played at Wallack's
rightly controls the approval of intelligent
classes. That Mr.. Boucicault is greater
writer than Shakespeare we are not yet
prepared to admit, but that he is this win
ter more successful one is certain. Mrs.
Rousby has introduced new element into
our acting drama, and, after her serious ill
ness, every one will be glad to know of her
temperance in her best roles this week.
Altogether the public has reason to be better
pleased with the theatres this winter than
with the Legislature, and yet, alas how
much is rapid transit needed for the amuse,
ments as well as the necessities Of the p3cple