New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1878-05-15

stand out like hdeous blots Above ALL there are no
MANAGERS who would dream of devoting weeks To the
preparation of Guck when only few honrs arc needed
for Verdi We trust for our knowledge o. such
this the sagacy and enthusiasm OF festival
leaders like Thomas and the zeal Of festival ehorus
like that OF Cincinnati.
In adapting "Alcests" for concert use, 1t has been
necessary not only to omit certain numbers which
would unintelllgble without scenery and action,
but change the order OF two OF the numbers
that retained Not to NJ time with detailed
explanation Of these changes shall only say that the
for them ample. and their effect IL uudOuD
eddy happy. represented the stage, the tragic
first act Of the opera is devoted to the voluntary Offer
ngs Alcests as vicarious sacrifice for her husband
contains the festival music which celebrates
recovery of Adpeits; and the third returns to the
gloom OF the lower world. whence AteeSts IL at last
rescued by Hercules and the joyful finale Is given to the
ballet. These closing dance numbers being unavailable
for the different disposition of the pre-
ccding became imperative, ana Thomas accord
ngy sent AeStiS to Ilddes early IN the evening" ana
postponed the reOcings until after her return As the
stood tonight, had, therefore. the whole fst
"a few unimportant cuts excepted in its original
ORDER then the greater part OF the third act ana
lastly the first half OF the second act with the
festive chOruscs a finale. If any one questions
the legitimacy Of such roarrangements let II be rem'h-
that Gluck himself sanctioned the greatest hDer
ties with this very opera. The last act we have 1t III
all existing scores is largely the work OF Gos>ec, VINO
cut altered intcrpolatcd, reconstructed, with the
composers full permission Sense and sound were not
so intimately blended that day. and the logical ORA
matte development not strictly observed but mat
tue scenes an opera could often bc shifted about with
ont injury Gluck did not hesitate TO borrow airs from
one work TO fiji gaps in another. TIE beautiful chorus
which served finale tonight he had already used III
his Paris and Helen before he placed IN Mce-ts
Yet the dramatic fitness Of his is always wonder
ful. The noble overture superby played tonight by
Thomass hundred and odd transported us at once
! tntn tho Of strong
chorus broken by the sound OF the trumpet and the
| voice Of the herald, fell upon sympathetic listeners
What dignity force and cloarness IN all these opening
numbers How imposing the lofty and solemn strains
how touching and true the sorrow OF the first plant OF Al
cesiis and the response of the people! Never have
such mighty been produced by such transparent
| devices The voices proceed mostly ny hOmOphOnlc
harmunics the nstrum, nal score looks almost meagre
modern musician; but GIuck knew exactly what ell
feet h. wanted he went straight at IL by ne shortest
way aud he never missed MS ann There was striking
| illustration Of MS mastery Of the orchestra when We
reached the religious march tonight or Piui0mlmc IN
The T .mpc " Apollo" The score OF this number II So
thin mat 20 tmpr'sscs you rs being stark naked; but
what sensations awakcns, placed here just after the
stirring suppcatiou 10y the muudinOu, chorus! II Is
the bare string band which produces tu ELI c only col
ol,d aud filled ont little by thr low notes of the autc
the uppcr register Of that instrument would have made
the air too bri ,nt; deeper tones rcudorr soft ana
serious according perfectly with the calm aud rcvrrcn
ta spirit Of the situation and tie cquablr beauty OF the
gentle flowing melody. Then came mighty contrast
The trou'onr- in the gorgeous harnou,s for which
these royal instruments are uury1llDu, announced the
81 polio by the MIN Priest Il i'com
monty thought 70 bc Mozart who iolud ont bow % use
/ tn trumbone5 In this way. bat Gluck iorcsiaIcd
| him The Iccitlt'ycs ana ARA Of 4lcfs's, which
( we heard recently In Nrv-Gurk, follow the sc ne
| in the temple Iut the Performance az stc.uway
/ Han gave only the most distant flea o. Tho
| effect OF these tremendous dramatic pas ages
sun. IN their proper connection, and utrr-pcrSed VIVA
| the voices Of Priest and oracle ana the tremendous
sound OF the trOWbOuc-, now M unison, again TN I1Ti
There very curou, passage in this portion 81 the
work where the temple IS shaken ~ the approach o ih'
god aud the Of PLAYING tonight illustrated
50 well me difference between Thomas orchestra ana
| an ordinary band, aui gave "a such an Insight
| INTO the secret OF hH method Of conducting.
! that ! venture 10 describe II With some minute
ness. Gluck here marked a treInoo for the violns
and yolas, be while the stately baritone
rccitatiyc accompanied by mcnaciug progression
the doubcbas But II wac nos uu ordinary trcmolo
II Indicated by special marx, The Interpretation OF
which seems have been LOST nud even after liabr
meek had taught secret 90 the orchestra o the Paris
CouscryatoIc, al other players lah.iuniy dsrEaid,d
IT. Tuou!a. has now revived TIE FORGOTTEN effect. II j.
"a sort 81 ting d. uUu,' produced by tar Icit
hand ard he bow together, DE hul'l qu'rf.HE ,r
,r,--c- ,c strings wic Tire bow PLAYS near The bridge
| wtua vayy movement and as 80 two instruments hc'p
]
orchestra appear, 20 be- swaycd boy inward agitation
l., prob.bly noticed the stau-cn,as OF the rc,uiuug
tone and set We ali tl. the my ttrous influence. There
,yis another Characteristic example OF Ihouas's dtou
ton TO details Iu tine Hlown AIa aul Chorus e., Iu-
leruaI zpAIts taken from the iuud act %! the opera
Here tue FIST phrase OF tire chant. " The voice ot
Caag,u is preceded 20 each rp,uuon hy not" three
fines sounded o., tie Ioru- rr-t tc tsul, d. tou the
/ dominant then the tonic again. on tae Huu5 ~ ID,
without valves, which Gluck used, those are "oucu
notes" whose bIl.I ringing character docs not give
the muf,o and awful tone which De deemed lie there
fore caused h horns to play UItn Oh. bell, placed -ous
10 mouth, tHa. one acted a- Uuml'r FOR the other
Thomas obtained he same kind Oh lafah and m,uuiui
sound D., making his horn players give "cusyd uoir,
by stopping he Instrument with the fst. The pruiuc-
ton Of he tone In tAs by p'urulc,- who are ag-
cusom,d TO the modern valves o. very dncGt; hu' Tie
striking IN, VIII not bc lorgotcuby thOsc who hsEu
| it tonight
But II undertook: 20 point ont al the particular o.
ccenc,s Of is remarkable performance should ncyrr
have done. The tragic element of tie opera In wnr,
after a tue sentiment Of grace and beauty was not Ds
forby impress ed upon o., Than sense grandeur
culmuatcu the sacrifice OF Aiccs aud the loud voice
Of the spirits Of Hldc Then the cloud lificd. short
fo,simo passage announced the coming OF H,Tcios 10
the Guck represented ths part of the drama by
a ballet. Thomas needed an instrumental mtcrudr 10
bridge the chasm between the tenOrs Of the owcr world
and the rstytlcs that were next to celeb ate the return
Ol Adief's and Aiosshs TO earth. lie found what b"
wanted III the orcnc,ra "AT Of the Athletes" from
Paris aud Helen" and its sturdy aud spirited measures
fitted acre as they had been written for the place.
Then he night 10 the numbers selected from the
beginning OF tHe.sccOnd aechprIs. somichOrus hts 81
recItalye-al bright dioyous as sunshine; next came
the beautiful alcgrcttO for AdHeiHs model Of tender
ness and simplicity dt Is not Included IN the festival
edition" OF the published herc the roicuRs were
resumed I'm a chorus OF naive melody; and the work
died the pretcst and most original OF all conceivable
| Hua.p . famous ParCZ de 1rurs where