New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-08-28

phonous treatment which thus is banished from tho
vocal part is on the contrary. brought TO its highest
development in Wagners orchestra, where his music
roassnes that highest of its privileges OF rendering
simultaneously tho varying fears and desires which
ono and the same event excites in the
bosoms OF different spectators This great
task of the orchestra, of laying bare tho hidden
springs Of the visible events Is facilitated or indeed
made possible by the leadingmoives The varieties
OF their significance have been illustrated by pre-
vious remarks. They may express ideas, either I'D
their immediate relation to tho action represented
or In their subjective reflection the mind OF the
acting person. When, for example Woidn ponders
over the doom threatening his reign, the 'ingmoiive
intoned by the orchestra evnces his consciousness Oh
this doom being brought about by his desire and
temporary possession of the gold. Leading-motiWs
also are occasonaly identified with the single char
acers Of the drama. or rather with the leading fea-
lures OF these characters. 1t would however, be en-
trcly erroneous to suppose that Wagncrs attempts
at INSTRUMENTATION are limited to this mode OF
distinction We have already seen how, for instance
the utterances of Uoian display throughout the dig
nifty Of the god az opposed to the lower nature OF the
dwarf aIborich Even the two giants have their in
dividual peculiarites the softer nature of Iasoh
being sustained both unsteady and POLITICALLY while
Eafno's brutal contempt for his lovely prey is
painted with equal consistency Types like Uotdn,
Sieqfied, and BrynhM may I've cited as examples OF
Wagncrs crea.ivcness on the grandest SCALE which,
however on the other hand does not prey ent him
from following out the subtlest minutie Of charac
tcrizaiion.
Having thus pointed out the important features of
the whole trilogy of tho "Niblungen.' shall be
enabled, and at the same time compelled by want OF
space to limit my analysis of tho single pieces to the
highest concentrations Of their dramatic and (which
in Wagucrs works is always the same) of their
musical development.
The "Valkyrc" the first drama OF the trilogy con-
tains the ovo and death Of Siegmund and Sie0iinde,
the Volsings To create the inspired hero, who
aIoro can save him from the inimcal power OF the
gold UOinn has taken human form. To him vile mas
borne twin children, ScJnundand his sister S'cglnde
With his son he has roaped through the forest both
clad in the skin Of wolves and the name Of the VOL
sing, asbccomc the terror theironcmies. Suchwise
Sieqmund has been prepared for the great task ar
signed to him. From his sister he has been separated
in infancy by the hands OF muIderous enemies, who
have burned his house, killed his mother, and car
ricd off the maid. Woan also has left him. find-
ing after fight the empty wolf-shin OF his father
in tho woods, Siegmund believes him to be slain. lie
stands alone in the world, dreaded by many. loved
Nv none, DnJ u'uiEl'cu ny tnc io"ho vi "i'h''0'
The orchestral introduction to tire "valkyric" IN ID
minor is of a wild, stermy character. The triplets
of the volns denote the beating of hail and rain on
the leaves of tall trees, the rolling phrase in the
double BASES being suggestive Of the angry voice
Of thunder. Siegmurd. on his flight from the over
powcring numbers OF his foes, enters the house
of Hupding and sinks down exhausted by the hearth
SegIinde who against her will has been welded to
Hunding enters and gazes on tie stranger. She re-
frcshes her guest who il revived by her tender
care. The musical treatment Of this scene is in
dcscribably sweet. grave melody indicates the
lonely sadness of the Volsung but motive Of ten
dercst pa hos expresses the feeling OF love which at
first sight untcs the pair. 1t always appears in two
parts, bctokcniIs thus tho inScparaLle duality OF
the emotion: