6 DECEMBER 1845, Page 19

MU S IC.

THE NEW MILT, 4.EMONIC CONDUCTOR.

THE devious course of the Philharmonic Society since Mendelssohn re-

signed the baton at its concerts, confirms the opinion that if the prosperity of that institution is to be reestablished, it must be through a conductor possessing in some degree the authority and experience of the German maestro. Even the musicians of the English orchestra, to whom restraint is so repugnant, now perceive what the orchestra is with its autocrat and what without it, and would gladly concentrate their powers under the in- fluence of some energetic individual will, as a means to success. The want of commanding talent in the great school of orchestral composition, which has long been a prominent defect in the music of England, has rendered it difficult here for any man to attain that influence, and exert that moral command, by which an orchestra requires to be directed to due purpose. A new art of this kind came to England with Beethoven's Fidelio under the direction of Chelard: in the course of that inimitable performance, our native artists first saw the effects of the little German wand in promoting unity and precision,—a method which became permanent and general: but conducting soon reverted to its old position as the business of a puppet. And certainly, while mistakes were overlooked at rehearsal, and wrong notes were left in the parts—while no suggestions were made, and there seemed to be no ideal of effect in the mind of the conductor beyond the old conventional estimate—there was little in the matter of beating time with a stick which might not be discharged by any ripieno violin in the orchestra as well as by the gentleman who stood at the head of it. Hence many a sneer at the office; whose duties, so performed, indeed render in- capacity the more glaring, and make the ill-deserved "bad eminence" of the position involve its own satire. But among the benefits, now well un- derstood, for which our music is indebted to the march of time, is that of the practical value of a conductor—above all, with the worth of one who is him- self a practical man. To live in an orchestra, to know each member of it as a man knows the familiar faces of his household, to show them a thorough intel- lectual mastery of the character of the partition in hand—to enforce opinions and exact obedience, let what labour may be necessary,—these are the advan- tages which habit gives to the conductor: and they are rarely attainable in England; as, except the Italian Opera, few of our musical institutions are sufficiently permanent or frequent in their assemblies for rehearsal and per- formance to engender habits. The best musician, however skilled in the reading of scores by solitary perusal and study, is often as much embar- rassed himself as he embarrasses others if placed once now and then in the post of direction. Perpetual novelty—a strangeness between the conductor and the conducted, neither well knowing or thoroughly understanding the other—has been the curse of our musical performances.

The musical history of the last twenty years has exhibited some memor-

able changes in orchestral performance; and the most remarkable have been those in which the presence of some great composer at the head of the orchestra animated the musicians. Whoever saw Weber conducting his Freischfitz for the first time in England, or Spohr his oratorio of The Crucifixion at the Norwich Festival, or Mendelssohn his Wrdpurgis Nacht at the Philharmonic, will agree that there is an effect to be produced upon musicians even beyond mere technical skill and ability commensurate to the occasion. The mere aspect of a man of genius and ap- proved desert in composition kindles enthusiasm, and lights up a fire, where on ordinary occasions all is cold and dulL Such a one should be ever, if possible, the eye of the orchestra. Next in the order of selection to the composer of genius would be a musician of great practice and tact in the art of conducting; whose signs are thoroughly understood; who has the in- terests of music at heart; indefatigable in rehearsals, indomitable in reso- lution; and whose position and fortune enable him to be independent of the usual considerations of the professional man. Last of all would come the theoretical conductor, who without practice or technical command Ls desti- tute of the reputation which extends a moral influence. Under the last order of conductors our classical music and symphonies have chiefly gone to wreck.

The office of conductor of the Philharmonic Concerts for the ensuing season has, we understand, devolved on Signor Costa. The Directors have had a kind of " Hobson's choice"; but certainly, all things considered, it is the hest that they could make. Costa brings no reputation to the post except such as he has fairly earned in rehearsals at the Italian Opera; where his energy, tact, and address, have gained the applause of musicians, not otherwise friendly to him,—who admit that he is thoroughly versed in his occupation. We suspect that the somewhat disorderly Philharmonic rehearsals will present a new appearance under the dominion of this "ruler of the spirits." The inflexibility and energy of purpose which he is apt to exert will bring the orchestra into a. state of order and submission unknown to it when in the hands of conductors for the nonce, who vacated the office from time to time, that its distinctions might be fairly shared. As the conductor of classical symphonies and other works of that class,

the Opera Concerts of last season afforded ample means to judge of Costa. The Symphony in C minor of Beethoven was a triumphant performance; free from conventions in the execution, and approaching nearer, as we con- ceive, to the original conception of the composer, than anything ever given in England. The Pastorale, on the other hand, was a partial failure; the delicacy of the execution in parts degenerating into feebleness of effect. However, new readings and fresh accents we shall have to criticise; and these often impart very pleasing impressions. In carrying forward a con- cert in the peculiar position of the Philharmonic at present, enthusiasm and judgment need to be very happily mingled. The opening seems fair. The conductor is a known student of scores, fond of the art, and eager for new and surprising effects. Under a disciplinarian of such energy, we shall be sure to find the orchestra in first-rate order, and probably enlarged and improved. As for the compositions, over and above the standard ones to be produced, we hope they will be worthy of one who may yet make a very Considerable reputation as the conductor of classical music.