Year: 1871

The biennial Sangerfest of the German
musical societies, which is now drawing to a
close. must be accepted, we suppose, 20 highly
successful celebration, though the weather has
somewhat marred the brilliancy of the street
narades. and the concerts have not been all
that fancy painted them. At the contest for
nrizes. which i'm name at least was the chief
object of the gathering, there was little really
good singing, and at the entertainments in
the Rink, though the combined choruses did
some excellent work, there were blemshes
that could not escape notice. Bring together
sixty or seventy societies from distant cities,
give them weary journey by rail, fill
their days and nights with professions, pic-nics,
Rhine wine, and beer, rob them of sleep, and
then set them to singing, and you certainly
will not get the best they can do. There are
limits to the physical endurance even OF a Gei
man Sangerbruder. The shortcomings OF 'he
festival. therefore, should not be too closely
criticised When high art is combined with
nopular merymaking, high art must inevitably
suffer. We look rather at the motive which lies
at the bottom of the feast, and we cannot help
admitting that upon the whole it has done its
good part, and deserves an honorable remem-
brance. 1t is art after all that brings these
Jolly travellers together. They have pl0dded
along for two years, doing the hard work that
true culture always demands, and when they
meet for a test of their achievements, we GER
tanly shall not complain if song and good
fellowship are celebrated together. We should
not have the song at all if the junketing did
not 90 with it. The modern contest of the
Mnnesingers presupposes beer-garden anu
JOness Wood.


Popular festivals like this are among .iie
pleasant characteristics of German lie Wnioh
Americans have long been urged 10 INITIATE
and this year the imitation has Deguh' for
the first time, our native-born citlzeDs nave
taken part in Sangerfest. The extraordinary
success of Washington society, led by an
American musician and composed of singers
who with one or two exceptions are Americans
not only by birth but by parentage, has been
notable incident of the week, and surprise
to almost everybody. 1t has not escaped at
tention, moreover, that the Americans excelled
most of their competitors in quality OF voice
quite as much as in excellence OF culture. lt


is well known that there are no sweeter
and purer voices in the world than the best
American sopranos, and we are now learn
ing that there is nothing richer and more
grateful to the ear than a good American
male chorus. Within few years the
art of male part-singing has made re-
markable progress in New-York and other
cities, and some excellent clubs of young gen.
tlemen devote themselves to it in quiet way,
rarely coming before the public, but expend-
ing their sweetness on the ears Oh thelr per-
sonal acquaintances. Whether this growing
practice will expand to the dimensions OF the
German festivals, or American societies as
rule ever join cordially with the characteristic
celebrations of their TeutOnic brethren, seems
to us very doubtful. Perhaps neither event
would be altogether for the benefit of art.
Our taste in singing inclines decidedly
towards mixed choruses. There is no ques-
ton that when men and women sing 10
gether we have a higher class of music,
and more delicate, refined, and truly
cultivated execution of it than when men
sing alone. We should be sorry to see the
growth of mixed choruses checked by too
strong a development of the Sangerbund theory,
which - at least in its present form is only
adapted to the usages of male societies. Let
us share q little in the German contests, and
initiate, if we can, the German readiness for
simple, harmless, and cordial enjoyment; but
when we have learned by this what capacity
for musical eminence we really possess, we may
as well hold our great celebrations in our own
wav. The German is satisfied if his festival
be merry the American demands first that it
shall be big. But the difference is not only
here With the Germans, merriment in the
audience and extraneOus amusements to fill
out the day will compensate for weak chorus
and q slovenly orchestra. Americans care little
for the side shows, but sit sOberly through the
chief entertainment, and that must be the
grandest of its kind. Mr.. Gilmore knew what
we wanted when he added to popular airs the
booming of battery, the clangor of bells, the
ring of hundred anvils, and the glare of a
hundred red shirts. If he had brought ten
thousand men together, demoralized them with
parades and banquets, got them to sing indif-
ferently well and then filled up his Jubilee
with excursions, ice-cream and sherry cob
blers, he would have failed. But half his
singers were ladies' and that made all the DIFF
ference in the world. 1t kept the chorus in con-
dition. 1t dffused through the Coliseum that
air of gentility which the average American so
dearly loves. 1t gratifed our national fond
ness for the female voice. 1t gave us much
better singing than we could possibly have
got from men alone. And when to all this
was added that grotesque element of gigantic
slam bang, his audience felt that their cup of
happiness was full The American ideal of a
festival was realized. A critical musician looks
upon such jubilees with little relish; yet even
critical musician must confess that, so far
as the development of taste and the creation
| of art-enthusiasm are concerned, they are bet
ter adapted to the character of our people than
| German Sangerfests. The Jubilee of 1869 really
| did a great deal for popular music; and the