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

Note particularly the beautiful effect of the turn
which reminds one somewhat of the same feature in
the duet from "Tristram and Iseult," and which in
this case us always in Wagner ought to be taken as
part Of the melody, and not as mere Jioritnrc On
this melody and Sicafrieds heroic motive (No. l3)
this wonderful piece Of music is chiefly founded
SieuieGs death is preceded by the tale OF his short
heroic career. When in the of it BIO mentions
BrynhiTs name the spell Of the lovephilcr treach-
crously given to him suddenly breaks and The con-
sciousness of his deed and loss rises in his mind.
mention this scene particularly because 1t displays
hitherto unmenioned feature Of Wagners music
what should call its cpca' power 1t is well known
that a narration is an all but indissoluble problem
to tho ordinary musician but by the significance OF
his orchestra and By the introduction of the leading
motives, Wagner is able to give to related facts tho
dramatic life of immediate action The orchestral
interiude accompanying tho carrying of SiegfriePs
corpse to the hall of King Gunthcr on the Rhine 10
full Of grandest pathcs.
In the final scene Bryhid asserts her right to the
dead hand of him whose love. though passingy es-
trangcd by witchcraft in reality remained her own.
Him she will join in his grave. Mounting her horse
she rushes into the midst of the burning pyre. Tho
Ring from SieGfioFs finger she restores to tho
Rhiue-dauqhters, who approach on the rising
waves of the river. bright CLEAN on the horizon
announces at the same time the flaming destruction
of Walhall and its divine inmates. Thus tie Gods
perish, but the powers Of darkness also are ballcd
For the curse of the Ring is broker, and new reign
has begun the reign Of free heroic impulse no more
bound by conventional order, or allured by ths
baneful desire of gold And here again we meet With
the idea of the mountaineering power OF woman's
selfsacrifcng love, frequently found in Wagners
creations. For it is Biyahfs voluntary death which
finally breaks the fetters of mankind and ushers In
The era OF freedom and beautiful human develop
ment The musical treatment of this scene IL q
marvel of polyphorous bOldness. 1t in q manner
recapitulates aud concentrates IN ono point the
mighty ideas pervading the whole trilogy. We once
more hear the representative melodies Of desire and
hatred Of despair and tenderest affection which have
become familiar To us. but loudcst and mightiest ~
all resounds the Walhall-motiye no. -, surrounded
on all sides by the mounting flames Of LoU NO Az.
hi which divine world finds its brigbt-burning
grave When it's last remnants are consumed by the
fire a melody reSounds, the gently rising notes
like To write ~ O motto on the whole grand work
the words: Onnid rinet amor.
Here must end ! am painfully conscious that
what have said conveys but al imperfect idea OF
the beauty and grandeur of the work under discus
sion. From criticism have RETAINED purposely.
Every attempt in that direction would be preua-
ture. No study careful OF the score, can sup
ply the vvdness Of Impressions which in an actual
performance must decds the value n dramatic
creation. Perhaps may have an occasion of again
addressing the readers Of Tue TRIBUNE after
the Fayrcutb performances next year. The success
Of these performances Of course not be predicted
But one uay safely say tparaphrasing slightly the
that whatever the verdict OF the public may DC,
mighty esthetcal structure will be. DESTROYED on
that ccasion Whether this structure Will consse
of aniiquaed theories OF the past, or OF oVefooio
| hopes of the future. remains 10 10 seen.
london, July 10, 1873. 4. HVEFFfh.