New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-29
MUSICAL COMMENT.
GOUNOD AND CHURCH MUSIC.
WAS HE A DRAMATIC ACKNOWLEDGEMENTS
oPERAs-AMERICAN MUsIC-NEws NOTES.
To the Editor of The Tribune.

feelings Of large body of musicians who hold in
s w yo kndy print in the Columns Of
your valuable paper review of his writings from.
m e p Snd Of his Works San IS Mr. who
expressed himself in to-days issue! 10 tnorough
est writings Of his life, notably the Redemption"
1t is hard to have a statement 90 unanswered that
% h ony h s1 ef FcP ST. slit ss
to have it said without challenge that In his
strong" 'he lyrical, not dramatic writer"
If he had written only the chorus Unfold. Ye Por-
tails refute these criticisms II would be enough;
but he has left abundant specimens OF writing that
prove this view Of him to De absolutely incorrect
regard to The Trbunes musical critques, the re-
ment. and to those who justly value the writings
which Gounod has left 1t is especially annoying.
New-Haven oct. ~ 1873. l. u D
The communication from friend in New
Haven is a happy exemplifcauon of the ameni-
ties of criticism. From his letter 1t would appear
that all criticism is worthless which does not chance
to reflect his opinion 1t is good thing IL a critic
in pronouncng Judgment is in sympathy with the
COMPOSER whose music he Is reviewing; 1t will
insure temperance OF utterance when dispraise
becomes necessary and amiabe warmth when
praise is possible. But IT is no PROOF of a want OF
sympathy to characterize the genius Of Gounod az
lyrical rather than dramatic. We had imagined that
The Tribune writer's estimate Of Gounods works
was in a marked degree sympathetic: indeed II
could scarcely have been otherwise, for We have
good reason to believe that the gentleman in ques-
ton is a sincere and even ardent admrer of great
deal of Gounod's music But even if he were not
the fact would not initiate against the judgment
that the composer of Faust" a better lyrist
than dramast. That is opinion in which Mr..
Krahbel has many companions even among French
composers and critics, while the fate of the great
majority Of Gounod's operas proves that it Is also
the opinion OF the public. 1t is very obvious. how
ever from friends appeal to the chorus from
,ov hat afn
the question of whether not Gounod
tally dramatic writer one ought to arrive at
conviction as to what he means by the term dra-
matte 'I'nfold We Portals" is a swelling strain
in which admirable effects obtained by extremely
familiar and simple means: but unless sorority and
trumpet fanfares are dramatic per we do not
know wherein the dramatic character Of the chorus
lies. II Mr.. r. c. s wishes to observe the differ
ence between lyrical and dramatic writing in
cred music let him compare The Redemption"
with its prototype Bachs Passion According TO
st. Matthew" still why should not every be
permitted to admire Gounod in his own way, and
why should not Mr. Krehbie be permitted to think
that posteritv will remember him as the composer
of Faust If it pleases him to do so? 1t will be
all the for him If the future does not bear
out the prediction. The world may be permitted to
proceed its way that r. G. S. has chal-
lenge1 The Trbunes estimate
Gounod's views on the subject Of dramatic ex-
preston in church music were set out by him in a
letter printed not long in the Venetian journal.
'Scuola Veneta." which translate as follows:
Art is not the slave OF formula. and 1t is the
great triumph Of the masters Of genius that they
accomplished its emanclpa ton. | say formula not
form which is different thing. Formula is form
without life IL is routine: 1t is "a corpse. Art Is
word. The province and duty OF a word
sincerity of expression. This said and agreed upon.
recognize and assert that the Church has and
Ia hay Of ito dfstin hel
from all other languages I'm being impersonal: that
is to say it should afford expression. not to the
prayer Of each. but the prayer of all II is not
solo. but unison. No matter how profound,
sincere. ardent and potent be the expression of "A
work stamped with individuality. such work
cannot become the language of all. The moment
that the Church opens its doors to agencies other
than the voice and the organ to things that be-
long wl;ncut like the orchestra 1t recognizes and
procaims the right of individual expression This
is. my belief. and 1 assume all responsibility for
utterng it."
Rossni wont TO say in defence OF his retire.
ment when his creative powers were at their best.
that dancer ought grow old in public.
Gounod not worldly wise. He
opera upon opera after Faust" only to score
OF seli-crticism The humiliation which he suffered
In consequence of his adventure with the woman
Weldon may have had much TO do with the opening
his eyes to his growing weakness. II Is extremely
probable that several operate scores will be found
of the obituaries Of an opera: Charlotte Corday."
written after lie Trbut de Zamora"; Pougin does
composers and Their Works" But neither does
he mention an opera "Abelari ct IIelose." which
he showed Or. iIanslick. when the latter visited
Paris and the exposition. 1t was to be a drama
osophy and the Church. and in view of Gounod's /
tendency toward religious mysticism. II does not
a work. Another opera based on Moieres George
Daudin" is said by Pouein to have been COM
hos
Secretary Wilson. of the Bureau OF Music Of the
WORLDS columbian Exposition has issued "A
on the American compositions sent in to the bureau /
for examination by the committee Here is an
In response to this call, ,twenty-onc composers
works, overtures' 7 chamber music
compositions, 3 cantatas vocal scores only.
ch@stra piano concerto. i oratorio 1 Vocal o score
With the exception of Mr. sant-saens. the
Examining Committee made individual reports on
the works submitted. Owing Mr.. Saint -Saens's
long absence from Paris during the fall and winter
Of l~z-% his services as adjudicator were re-
sretfulIy dispensed with The Examining Com
lnttee recommended the following works:
suite Creole for orchestra Joan \. Bockhovcn
I.ti,al March for orchestra NJ. Forester
TS y.0 s,rr, IL Ecy@ liS Lucuo Hosmcr
o,crtnrr ,,witlchi,' .Marsarst J. Lang
coaccTi overture Si Herman weiHlcr
OF these only ;Ss
works of Messrs. Broekhoven. Forester and Wez- |
cause of Unforeseen circumstances the musical d.
rector unable TO arrange for the performance /
IF the choral works by Messrs. Rutenbcr and
Whiting. or the instrumental compositions by Mr.. |
iiosmer.
Following is the programme for the first Svinski |
concert on the night of Thanksgiving Day:
lsikoNly March" BerliOz
Overture, 'bwehdOlne' { hJbrler
'Wl',rt u HllNur klbin. t'tn
spanish Rhapsody LisktSci
SOO'
to Variations Serieuses Mendcssohn
(b) No'turnc. fat.......,
d. lmpromptu. g hat
~ Night In Lisbon Submissions
Dancr OF Sylphs .lcrlio.
Fantasia Robert lc Diablc". List
hide of the Nalhylior Wagner
Paderewski has accepted Hungarian fantaise |
by Franz korbay, for pianoforte and orchestra.
which he win play In London during the coming
winter. Mr. Korbay is also engaged In writing |
set of twenty plano pieces for "A London publishing |
firm. and Is working march for Walter Dam |
rosch. who Will bring IL out at one OF the Sunday |
concerts at Music Hall during the winter.