The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1870-12-09

man HE.
Az ENGLISH MUSICIAN ON WAGNER-HE Is
ERCoME.-Dr. Sparks, of Leeds, England,
the course of one of his letters from Ger
Iny, gives his experience on listening to
of Wsgners operas:
In the evening L followed the usual Gus
n of the musical people of Dresden, and
mt to the opera house, a huge temporary
oden building capable OF seating three
pushnd persons, erected shortly after the
nentable fire at the late splendid opera
hse, which was totally destroyed The
ces Of admission varied from three shil-
gs and sixpence to ninepence, the house
Dg so constructed that every one could
a hear and see well. had front stallin
pGrquette, Immediately in front of the
BE and olchestra, and l was delighted to
on receiving programme that my long
hed-for opportunity of hearing one of
gners most popular operas in Germany
now to be graiifed. I
We were to have the MejSt6rsinger, and
as certainly put upon the stage and per-
bed most effectively. The orchestra con-
ed of about sixty performers, directed by
able musician and composer, DR.. julius
IL, Mendelssohn's friend. Whether from
intense heat and the want of proper ven
ion In tue building, or from the want of
Pse, variety, and relief in the music, / was
@ overcome at the end of the first act,
was compelled to return to the hotel
baps wiser, but certainly a sadder man.
oubtedly, Wagner's Instrumentation is
work of a master, and not for one mo-
does be apparently allow the performers
'dulge in the luxury of few bars rest.
ly every instrument in the orchestra
bed to have an obligate part, and all were
ing at one and the same time.
was impossible to catch more than the
or fragment of tune. No sooner did
Ear find a snatch of pretty melody when
stanuy gave place to another equally
every conceivable device seemed to be
Dyed to render every subject peculiar
fagmentary, and yet undoubtedly 4any
dramatic situations were powerful and
i've
specially interesting was the opening
N of the opera at the conclusion of the
ar and overwrought overture. Here
ene in the church, the groupings, and
-ceasing action of two or three score of
on the stage, undoubtedly excite
interest, and seemed TO be highly ap-
hted by the composers numerous ad-
y, who were present in full force, and
of whom did their best to impress upon
nd the sublime superiority of this and
of those great musicians whom either
lcation or my prejudices had taught
esteem the highest. did not hear
huch of Wagners music, but what l
pr / can conscientiously say l did not
Richard Wagner's music may possi-
worthy of association, as his admirers
with the greatest operatic inspi-
of Gluck, Mozart, Weber, Rossini,
eyerbeer; it may be possessed of many
highest attributes of the art; it may,
pes undoubtedly, interest large section
countrymen; it may in it's association
pc dramatic books of his own construc-
Fqduce novel and startling effects; but
heyer, in my humble opinion, become
Ftwith those who love music for music s
ma belive that melody, form, rhythm,
4rpess of design are essential elements
lbodand beautiful music. The works
great masters, which defy the inroads
possess the two essentials of life and
PSI, beauty and truth; beauty as evil
in its inspired tune and loveliness;
conforming to the canons of art and
rules of composition by which the
genius aVails himself of scholarship
fnt and consolidate his ideas.
.ould seem that Wagner, in his late pro-
B, has aimed too much at mystifiea.
perhaps he regards it as originality
be has produced pleasing and intelli
Dsic. His opera, The Flying Dutch
supposed thirty years ago, and pro
Rith considerable success in LondoI
r, is not only natural and flowing il
c. but is sufficiently Interesting ant
to warrant the assertion that haC
bposer followed the bent of his earl,
on and genius he would have brough
lie musical world to acknowledge tina
be great musical apostle his follower
nireIs now claim him to be-a CLAIM
l venture to think, any but preju
ople will deny his right"