New-York tribune., 1875-02-16
altogether; but all parties wil agree thai no mas ses
forth Wa anersa nrincinles inkelligentN.

N
regn IN the form OF the graDd opera OF which
Neyerbeer may be considered the last pnclpa repre-
rooted in the stye Of he grand opera In these we ind
the same brancy, richness aud varey OF S
rations and effects. wagner however, untnS pvos az
musician 10 a rare degree In himself has mad the nue.
artstic understanding ingenuity ana tact OF ~
how TO make Of these purity external means anu y,
brin giny them INTO more logical esnetical connection
with the dramatic action AMI situations dec9ra.o, n
ana scenic changes. These seem 70 proceed, as "
necessity from tie nature OF bis dramatic SUP
jects Tue reforms which. according TO his Judsnen,,
Le found 1t necessary TO Introduce IN order 10 maAe
the opera that which falsely claimed to be-a musical
drana--revealed themselves, however, only Graouaiy
his poetico-artistic tntelgcs But. once cOnVCeu
Of tho truth OF his principles, he bodly eIposeu tSo @
efforts OF his predecessors ana cntenp0raflss 10 se
rect critical understanding OF tho functions OF those
clements that enter into the construction OF an opera
an art form Ia which one factor. muslcIhas gainc'
against all healthy reasoning, an egoisticai supreaOy
In his attacks upon the prevalent method OF
OPERA no lays great stress upon the urgency VI co
structing the dramatic poem tEe hDrebol WIN rok
to s own proper laws OF Logical dramatic development
creating the diff rent characters out or and Ia mar
son must no longer be allowed to folio its
own independent Hight; it must be sdisneu Win Jno
rank that is assgued to 1t In the new drama. nameg
tho office OF deepening the emotional expression, pup
not that OF Interfering with the dramatic prosresson
and action, to satsy IT'S own srifish ehds.
he protests against that relation by means OF
which the poet Is merely made tue complying servant %
tue mtsieian-a relation ~ which We may lrlce so
many gruites IN former operas Tue opera aiia'
resting entirely upon laws OF merely mus'cai inc
ton, and needing time for its necessarily speemc
musical development within the acion, lie Danishes IS
q luXuiant hinderance 10 tne o-lcd proEese "
tho dramatic situation lie substitutes In the place OF
tho aria-" opera melody" as he calls ia meodIous
recitation, that forms medium between rectadYe snu
soug; tIs recitation, in strctest accoruance Win .o
laws OF dramatic defamation, Is 50 10 say, oorh VI o
verse, to Intensity tho emO.loAai eAp'esS'oH "a WV
Waeners dra are at present judged by the mass OF
opera-gOrrs and musical critics included, merely WIN
regard to their musical portions aud the scenic decord
tons that enIer into ter construction Aicl oi tns
existing Onesded APPRECIATION OI ahno a. ~.
- oe to those adherents OF the poet
VINO have introduced IN their CONCERT pfOstam so
specific musical portions, detacued o. artanseu llva
and play seIcctions from Wiiliam 1e La Auette 90
POrtici," Les Huguenots"-a proceeding wndcn oa
once scandazed Wagner 10 80 hSh degree wien ono
arrange his "IannLauser" Tor the RUSSIAN hIus
iayori.e military band, lii order 70 Interest lno -
Wagne.'s works Things, however have since chaneeu'
II Is harmony wtR haSners tneory aha piaeuee,
merely musical standpoint. He CLAIMS. and WIN VIII;
EN- htic rghf, that his WORK AAoud DO udseu -! i,s
entire plan and unity, in WHICH one MINK amay' 1
Explains the meaning OF the otEcr As rPccIi tS. ,
cal composer. many OF hi5 predecessor nenoISu vi
arr, si,h regard TO ORIGINAL mSoaic @ @
ness aud the continuity or organic thenauc snu CON
.rapdntal deyeIOpmenl-the very founGat'ons ol muI
ar-iar superior " An BAT ia the dOnDio capac,y
OF poet and musician, eIIced by the creation VI MS
great mas ho stands unsurpasied ana Tue art Wotli
long for nis equal III thls sense. Ae tnus
important epoch The history or art; ana ne
influence VI Els works, considered In tAer whoe e''se
Whatever changes may cvent--l.y be introduced IA
place OF Wagners efforts, tuese later VIII un0ouHteuT
the basis OF = new arc Development
In the ext two chapters we bavo history or the
development. Of tho sonata. syDpnony, and concerto
By Pm. E. Bach, u.ydn, Mozart, and Beethoven ("Ith
brief mention OF the lesser composcr.l aud then VIC
como TO Schubert SchunahI MsndelsSobn. Chopin and
the new lights. A GOOD a. cunt Of BeEloz. whom
Prof. Ritter recognizes as tao fororunner OF new
school Of instrumental music, and "oEe OF tho
finest OF modern composers" leads to discussion OF
what called Programme Music" which Hnds in our
author al earnest ami adroit defender He gives
panation OF Liszs technical method without attempt
critical estimate of h.s position in the history OF
music:
think the time has not yet come to venture fnal
Judgment vith regard to this extraordinarily great
artists etfJT,s and labOTS as composer. views ana
opinions regarding our moaern ART As raI0ns, vi "ch
LisZt is ~ iho greatest e1pOleut 3rc EoceSsIry
stl divided and uAcertan tn sympathIes and antlpa
tines awakened oy the personal bIence OF Interested
friends opponents 0Oli explorer, 90
hot yet allow that repO5esu uaprcju ced, critical
insigG most necessary appreciate aL It's just yaiuo
tnat whicn IS original lndig Gu, or GstGeticay true
HOW often history numerically upsets the taste aud
Judgment OF preceding Se-c.ation posterity often
goes INTO rIptures over those very yOreS Wnich lhe
wseacre critics OF eotanp1ray "rt't have 50 often
conciusiyey eOndenned rs totd laI-f5s. mere cilti
csn, however, never yet succee1ed Ia niakln nae eo
posers; out 1t has often confused the jadsment OF
thoSe artists who lacked Strength Of lndlyidaalty
enough to follow tho Inspirations OF their o"n alenT
fortified and enlarged through the example and study
OF great masters RLd their wCrk,.
Li:zt tEousn universally aoiired and Acknowledged
exception vi comparative small pA@lanx Or devoted
disciples, not yet round general recognition cOL
While his admirers PRONOUNCE bic compositions IN
every eense the nnest eirr5 or record In Ine realm
oi modern musical aft ms opponents (nd their numDer
il stl very iarsc) reg..d nm as EiId Of musical
delnago6ue whose only aim Is 10 destroy tho aeknow
edged classical syupn0nlc fOI ambitious
ciH VINO boldly attempt, to substitute il place oI the
od sacred 4oIhS ne" ana hidequItV one, bOt pel"s
able himself for want or suhi-ienj mclOdc inventive
ness, 10 make al elective use OF Tie conventional One
lie was thus FORCED, ley say, ia Ordtr 10 cover HS
IneiClency fnCOdst, 10 select, rOtenS roeRs tho
particular form or his aympnonc poems the cDnsruc-
lloh OG Nheh We are tod, IS rain easy 60 manage.
THIS iS however, one OF tbOst asSertI which ust be
successfully puL III practice bolore tEey Oe c0ucu-
s'cy proven AS II IS ana h"s ,Wtys oecn ny alm 20
Dc, TAR as lies IN my power. unpfcjudced in Juds
Witii regard 10 the works or any SCHOOL any
composef-and as AT present 1--we IN country YIere one
iCrced iOr the mere sako OF partiSanshp, 10 be,
with regard 10 TASTE excidslvey GERMAN trencn,
n -ls, or Iallan-I have Invariably sriyen 10 bppre-
clae and Judse or musical eOmpoSiIlons according 10
thOse universal laws VI musical beauty which form the
basis OF musical art itsef aad wuth necessarily expand
with the development and expansion Oi the different
forms which arc tue vehicles i0r the emotional express
sion OF every epoch. sincerely believe the pro ress
OF music. and must confess lat OF future
IN tho works VI Schumann. Berl0z List, and Wagner,
nah those OF heGq qlssQhu aud ais adleents There
| see the genius vi future growth. development, and
active the pe fruits gathered from the field
OF past art epochs aud consequently already Ola the
verge OF decay. 10 build musical future upon Men.
dessohn's works build upon already exhausted
field. 1t is true, much IN tue works OF tue sO-caed
musicians OF the future" seems 10 us set exuaya-
CANT lncohercnt, and at times even rather aud
noisy; hut on the other hand these compositions are
full of spiritual iife, they ricn In exuberant
subject matter that, tGcugh We aro now accustomed to
everything at che rate OF time,
the form and contents OF these will become
exhausted Dy our present generation. Artists create
and form the judgment OF art epoch; and to tho
progressive inc aDOYeuaAed composers works
Will invariably present more than passing interest
Ii worthy OF the intelligent artist to limit his
whole sphere or activity TO the enjoyment OF the
fruits the laOors oil past art epochs; ne must hep
10 build up new one help 10 prepare the nem Tor
new growths; stagnati0n Is death. Rather err hon
esly, but DO not paralyze the spirit IN Its onward
activity.
Prof. Ritter's sensible little volume will be a yalua-
BILE aid students and Instructive guide for all
lovers OF music, informing their taste. aud teaching
how understand and enjoy the best works OF the
modern concert-room.