New-York tribune., 1875-03-10
MUSIC AND THE DRAMA.
MUSIC.
SATURDAY MATINEE.

This Ia "a superb Oil Tor q popular cOuOrII NeAs "o
hope Thomas will induced tO repeat in NewYork the
Wagner programm, he offers tonight in Boston II IL
tho richest and most interesting selection from
wogner's WORKS hs has ever put forth
MUSIC FOR TIE CINCINNATI FESTIVAL
John Church 81 Co. of Cincinnati have pub
sht all tho principal vocal compositions which are 20
be given tho festival in that city at tho begin
ming of May.-Mendessohn's q" EiJah." Brahms III
umphiied" vocal score only, Lszrs "PromethenS'
R,oh,, "Magnacat" the choral portion OF the Ninth
Symphony and finally, the selections from "L'neh'
grin" To this last, which makes thick volume, they
have pre1xed title page, repiesentingttoC 10 cn'u
Wagner's L1heagrin edited BY Theodore Taonas.' IL
is hardly necessary that for this singular descP
ton the publishers alone responsible, and we do not
suppose that Mr. Thomas will be very well pieaseo WIN
It, TAO book is not "gIcaatd WagnerS LohenSrin, ana
" "Lohengrin" has not been "sdited by rneoiors
Thomas" " Is simply q number OF extracts p''bcl'
Paly chcruses). embracing altogether perhaps V"s~"
the whole OPERA and put together Win clrcoy t"s
nge note from the original score The cTedt O'
udicos selection belongs to Theodore Thomas ana no
CLAIMS nothing more III, object to choose suon
portions az could bs performed effectively by concert
orchestra and chorus without solo artists or draato
acton Most of these selections are the same "hi0n ~
has so often given with orchestra alone out 'here
long brilliant extract from the secohd AoV "'" '
has never yet played The arrangement contains
the following numbers: 1. Overture 2. Chorus heard
when L,bengrin first appears 10 his boat Fdrewen 70
the Swan Gepor Solo and siXpart chorus) Chalenso
to Combat enor bass rectayea ana orchestrdi 'u
terlude) s. Invocation, quintet ana cnoFu" u "'
bat Orchestral Chorus OF victory; hnsie Oh tne '
Act Scene 80 of the 2i Act; daybreak In the c'aueI
court yard trumpet passages (oart OF this scene n'
avays been omitted in the StrakOsch representation"
NJ be opera and none has been given oy tho
Thomas orchestraG double male Chorus aud rec'atFe
by the Herald. TO- Quartet OF PAGES. H. Cram "ou.
ding Cortego and Religious March orchestra ana
choru.) r. Introduction 10 the 81 Act Orchestra ID
Nuptal chorus and procession in the nial Chamoer
a. Gathering OF the Army and Military March, In th'
opera this last given entirely to the orches"
except six bars chorus at the end the action OF Io
drama then going without Interruption; su' a'
Thomas here brings his selections to cioe' ne oiusos
the male chorus to begin about twenty oars fuftner
back singing the melody Of the march with the orohes
ira in unissn and ending with the elk bars in harmony
ma Wagner wrote them. This Is the ouly hoerV tho
arrapeer has ao ed himself to take with the Original
and it has ample Justification In the necessity io' a
effective finale.
| RIBINSTEIN'S NEW OPERA-"THE DEMON"
| The Journal of st. Petersburg gives the fol-
lowing accol mt Of RuonsteIns new fantastic opera
entitled .The Demon" recently produced at the Rus
sian capital. We have already published sHc'cn o'
| the plot:
The score is neither diabolic fantastic it IL SIM
ply good music, sometimes excellent but not 20 dts
nSt5ef sncct or to any subject At the
curtain the scene il vailed clouds. The hOretto says
that tho voices of tho waters the woods the
flowers tue rocks. ak sing II we'll that the ilbreto
says c So o for tnrTf one SO ebt have made naSc
This nng the voice OF nature i not lana,to
epv ~ and II saI ahoTS aere Is us far nothing
Justify sadness We recognize in II the hama OK mts
intfodrction puts on a fantastic appearance without
being fantastic in reality IN acon proP,r OF tno
Tle clouds separating disclose magnh I'm eht scene
| ne who had pierced the clouds lke
a figure in dssoviug Wow, Is seen standing on rock
ia tne disguise OF a wandering licaut H. sings AZ
some enrth his hatred of the world bur only
to introduce himself, and 1t can interest NOBODY.
that no is wrong and would do much better 20 love-
This Good o who re IN aes s ais e Ae Us ws Ss
nave made many inf .med thr3.ts-of course we
leave the music out of account. Blt mere 'HtiowSa
chorus OF tho female attendants OF Tamara
from the river Tho effect of this delicious number.
truly oriental in character. treated In an adnraDo
apove the chorus is perfectly rayisnng Il seems 10
fan like OF blossoms. And the style Is not 4or-
grace and good taste The Demon sees Tamara for tho
first time; he begins to experience tne 1enS oi lOye
The rest of the scene anguishes ana Is not reeNou
by the Nurse TdDldrd who hears the suggetOns OF
| the Invisible Demon and submits 10 tue CHARM lho
second Is an act IN Itself 1t rght 10 mountain
ant vegetation, and majestic sycamore under whoh
Prince Siaodab the betrohed or Tamard awaits mo mo
WHICH tDd to rUcss Sae .SoTo h% wts tnero nI
| chapel All the music OF this episode Is very
dns and well ADAPTED 10 the situation IL seems
tie most succession part Of the work. mysterious
sound OF the horn worthy OF Weber himself stinUOZ's
the forest Ie with excellent taste the accom-
panied recitave OF the Princes Ecuyer; the clarinet
and vIOlOncellO accompanying the truulph1nt Demon
who emerges from the sycamore tOls he IN ms proiol
FORM glowing In red the chorus 10y tue Princes sule
oriental IN rhythm, sort Of r0ndo 6ercenSe grd-.oso
| snowing a masters hand; the c1afmugb constructed
little ballad for the Ecu,er; reh90so ior the Prince"
In the form prayer for IdnaTd rlsng ID an expires
SION Of triumph tie horn, ninglDg anew with these
transports In most poetieai nanner iA9
combine to produce ensemble OF which the greatest
of tho Princes suite, Donnez dn feu, versez 10 yD.
| tho piauIssmo chorus OF Iartars VINO arc
| brought by the III icDinatons oI me DeMon 10
kill Prince, finally the lmpdssi0ued apestrophe
addressed by Prince TO Tdmdrd after ne mas received
his deathwOund. We believe tnat nothing better has
been done since Glnkl and are cohhdeut that isuOih
stein Will enrich the repertOry Ot tue national
| lyric stage with complete masterpece
The second Act drags-OOth the tOn and the music
indeed there at ALL The scene ~ gallery
IN the castle OF Prince GoudaI crowded with his war
rors. They awaiting the arrival of tue bridegroom.
wnom we Lave Just killed. TIE choruses are Wel
written. hut they have nothing 10 say IAc oaIe nov"
| been treated in an aber interesting manner;
though perhaps this remarkaoie nunner would DC the
better for little pruninI Ihe BODY OF the il.oo IS a.
Tanara and spite Of her grief she listens u n'in
which. prGsents cadavere Is certainly III the hlsn
fun II the dramatic situation Is not THIS Acs
without action is preceded by an Instrumental inIroduc.
ton which adds nothing TO II. The ect or the funeral
march the DemoaS victim Is there irst Indicated
bur the motive lacks breadth and the number Is aen
cent IN color one might say that Two composers arc
united the person OF Rubinsten. one OF whom writes
with SOUL the other only with his pen Thus the ist
| least characteristics. The tamtam, solo pianissinso
strikes OF the ympanl replies, solo ptansSl"o
with noise instead or music This Is not fantaStc
il IA realistic and uuinteresting. Descending cbrOiato
| scales then initiate the hownDg OF the winds among
clouds whore We are supposed TO hear he singing
Of the OF nature,a device too cheap and ahii-
|