New-York tribune., 1891-05-06
THE MUSIC HALL OPENED.
Confined from First Page.


Hene's fantastic but striking estimate Of his music
wherein he likens Deroz TO colossal nightingale or
gigantic lark creature OF the antediuvian world ana
says OF his music that II " has generally something
primitive primeval about it, and suggests thonghts
"of vast mammoths other extinct almais' Oh
fabulous empires filled with fabulous SINS Berhoz
says that Heine expressed his regret at having uttered
these words in letter written from his mothers grave
because he had heard that the Enhance du Christ was
"perfect bouquet OF sweet melody-fower master
piece of simplicity" lie then adds:
The pieces that led IIene astray are exceptional
because they require exceptional methods. IN tne
Requiem, for instance, employ four disunct DriSs
orchestras answering each other at certain distances
round the main orchestra and chorus In the 'Ic
Dem the orchestra at one end Of the church answers
the orchestra and two choirs al the other end, while
third large choir represents the mass of tie people I
ing part from time to time in vast sacred concert
But it is more especially the form OF the pieces ue
breadth of style and the unusual extent ana apparent
yagueness Of some Of the progreslons that give ho'e
works their strange gigantic physognomy ana Colossal
aspect The result of this immcnsity Of form Is .,a'
either one misses the drift OF the whole or is crshed py
tremendous emotion
This Is not inept characterzduor' uouen ~
another evidence OF Berlloz's disposition 10 atU'iou0
irresistible effects to his crashing r peGe Ss and Others
raIi monumenialn and architectural mas been ulI
their moving power Is geney Tbis is certalny
the case in the "Te Deum" whose most impressive
portion is the bizarre and theatnca a
credcrs" with its crashing climax (the & "
which has ALWAYS seemed to US like the laoonoas
scaling of perpendicular wall Of rugged roekl, pnt tno
suave ribi omnes" in which the paranci'Hi' " ''''
text:
Te glorosus chorus Apostolorum,
Lre Prophctarum laudabllis numerus, 81,
Te marlyrum canddatus laudat eAercltus,
furnish legitimate opportunity for antiphonal treat
ment which is utilized TO the 1u and when ieaas % ny p
through the lovely growth of the sanctus, Win ies
celestial harmonies around which the orchestra weaves
halo OF sound splenddlS sonorous climax WIN
last SYLLABLE of Peni sunt cOel ct terra maleStaus
gloriae tuae" Grat effects are not a~ays yeurSe DE-
talned by multiplying voices and maSsng SOUNDS sou :.
Bach might have taught That to Berloz "hen le ne
taught him, plainly he did the device OF & TPie pc
stupendously impressive effect created by the
responsive double chorus with two orchestas % WHEN
opens the ST. Matthew Passion Ike towering Go'Io M
portal especially the emulation OF tone anu III
tensincation of feeling when the third chorus enters
the effect which Bcroz dreamed OF when he planned
the first and third choruscs OF his "Ie Deum Dut Dut
failed to obtain in even fractional degree with al
his colossal apparatus. The point might be
made in favor OF the "Te ergo quaesumus' wnere IL
is further accentuated By the simple and unanecteu @
treatment of the solo part which last night fell into
the capable hands Of sgaor Campanlnl. u.,.,o,
for his genius in Kew York We have spoken Of his
representative character, and he IS indeed IN
particular sense an exempar Of Russian art. Three
years ago, he visited the chief cities Of Western
Europe, the direct instance or at least through te
travelling stipend was given TO him that lie might
exhibit the fruits Of the wonderful progress when
a generation. Wherever he went lie was the hero
Of the hour and through his agency the people M ol
Paris, London and other European capitals came 10
realize the force OF Won BulOws remark many years
ago, that the best German music was now being
essaFy TO accept this dlctum as literally tue 10 see
its fOrccuness There are stu composers IN Ger
with the best products Of the Russian school but the
OF darnc M ana %ae any of those Elements
of composition, which proclaim creative vlgor, ule ule
folk music whose spirit they infuse into Their com
positions. even when they make no use OF tleif l
the dominant school Of the last lOo years !. mas &
dangerous rival in these SlavOnc composers III was
the @ and Gi NJ Sa year oSS which led The
Tribune to utter the warning cry LOOK out ior llle
beats In the music even OF such cultured ana hnl'ed
composers NJ. TschaikOwsky, and it therefore mas
in It with its decness truthfuness and forcefuness
scarcely a composition has come from 81. petersburg
observe that huge yearnng for characteristic expression
which Will day break through all the restrictions
music T oT Of the World " NJ TsChaRowsky IS an interest
ing phenomenon in our present activities because IN
tween the staid German school and the reckless, un
tanned zeal Of the younger men among his colleagues,
essence OF art for the sake OF national feeling lie Is also
interesting because Of all tho Russian musicians ex-
The evening was full Of delights. to which the festive
feeling inspired by the chaste lines and col9Ts Of the
lent very considerable help Not tie least re-
markable feature was the smOOhncSs with which the
prcarTanged order Of exercises carried ont There
was no Interruption. and applause was distributed
with great mpartality whenever reference was made
by the orator OF the evening 10 the men ana lnsttu
tiOns which have been notable in the musical activities
Of the past The heartcst burst Of applan.e, how how
ever. was that which greeted NJ. Tschalhowsky when
he came upon the stage to conduct his Solemn
march, His bearing was modest but uncCn-
strained, his beat firm but MISUNDERSTANDING
The orchestra started the glad acclaim with
fanfare, and after he laid down the baton he was
recalled again and again 10 bow his acknow led gments
His march proved to be a sonorous composition, OF
strong and simple outlines, scored with tho conSun
mate mastery noticeable in all Of his compositions for
orchestra In the coda q splendid climax Is worried
up by the Introduction Of phrase iOm the Russian
National Hymn an element which * almost inevitable
in the marches and festival Overturcs OF the men OF
TschailiOwsky's school. With great wisdom Mr.. Dam
rosch omitted the march when Berioz appended 10
the "Tc Deum,7 thus permitting the vocal work TO
exert its legitimate effect upon the auditors. Ihc
choir sang with great animation when the colossal
dnicutcs of the composition permitted them to do
So and the affair closed with a fine burst OF enthi
siasm. SignOr Campanini was welcomed as an oh
friend and the carnestness OF his manner atoneu iof
the fact that his voice not in finest condition.