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

representative as its indicates of the funda
mental idea of tho whole trilogy. The effect OF
I0ge's description the god IN instantaneous and
the gradatons of their individual desires arc rem
dcred by the music with the nbtlcst touches.
Fricka in sweet melody especially her own asks
if the gold would serve to adom a wOinans beauty.
and to attach to her the involablc fidelity of her
husband. UoGn thinks of power and splendor;
Doaaar ard Froh, two mighty gods who have has
tened TO the of their sister yield to the
irresistible dcsiIc. Even the giants IGjnr and
Fdsol express their clumsy ac1nlescence in the ran
SON proposed. On Uotan's proudly refusing to rob
iIbcyich of the gold for their benefit. the giants
threaten to carry off Fieia, and discovered
heavily threading their way down to the valley OF
the Enc needless of the complaints of their lovely
victim. AS the goddess Of youth disappears in the
distance pale mist rises, which gives IN elderly
appearance TO the gods. LOge reminds them that
they havcnot tasted that day of eas ape, which
alone can secure them from tho wasting influence of
time. lie assails tho gods with his satire, mockinE
each of them with the musical phrase indicative Of
his or her power and beauty. The motive which
represents tho eternal youth vouclsafe1 by F,eias
apples is made of in the same ronical spirit. At
length Uofan's pride gives way. The giants are
called back, and the supreme god consents TO do-
scend TO AIJeric's ncbnOus kingdom and to acquire
possession of the gold by fair means or foul. We
here touch upon the tragic keynote of the drama.
Uoan as the awardcr Of Justice is bonnd to restore
the geld to tho rightful owncrs the daughters of the
Rhine but stnng by selfish desire, he at first oovcts
the gold for himself. and afierward' renquishes il
to the giants for the recovery of eternal youth.
Thus the gods infringe the laws which alone can
secure them from the powers Of darkness and chaos
they become subject 10 the curse attaching to the
col and their final doom is hcncefOTth inevitable.
short interlude depicts in broad touches the do
scent Of DOtan and Logo to the subterranc0s realm
of AIbnich the NibuLg. 4 hammerng rhythm in
the orchestra, which is enforced by is tuned anvis
behind the scene, tells that we arc approaching
the country of tho smiths. hiJeioh, by the power
of his Ring has subjected the cunning dwars to his
unlimited power. For him they must ransack the
bowels of the earth to find treasures for his in
satiable desire. His brother Mime skill fu arti-
ficer, has been compelled by him to contrive mys-
tic helmet OF cap, called the Tarn-cap which, like
Perseuss helmet in Creek mythology enables he
wcarer to take the form of any living thing All
this is tod the inquiring gods BY Mime himself. who
bitterly complains OF his brtiers cruelty. This
narrative i'll itself is exceedingly interesting piece
Of music Accompanied by the anvil rhythm he
sadly recalls his former happy life a careless
smith. working with his comrades pretty trinkcts
for their wives. Tho melody Of his song is very
simple, and reminds the hearcT somewha! Of the
Volkslicd popular bailad-a point TO which ]
shall lave to return in tie further course of these
remarks. A fine touch OF humorous Instrumentation
has been pointed out by German critic. When
Mime mentions the tarn-helmet, and adds how he
was in hopes OF cheating his brother out Of its pos
sc sion, MS vain attempt at cunning IN charmingly
parodicd by the semi-quavers of the somewhat
clumsy fagoti. The satire is quite as perspicuous,
Al I.
by which Mozart supplements Figaros tale OF his
imaginary conjugal troubles.
This whole scene is conceived in thoroughly
humorous spirit. The Negotiations of the cruel Ill
6eyich aud the piiu. sreks of his victims are de-
pictcd by the music in the most realistic manner.
In the ensuing dialogue between Uotdn and the
Niblung the contrast is particularly remarkable be-
tween the lattoI's spasmOdc outbreak known TO us
from the FIST sccne aud the lofty though passionate
bearing of the higher god. Tie first notes of
Eotan's address page 1888 betray Mt the dig
niied reserve of the gentleman III his INV Hing in
terconIse with the clown. Even Lo0es rcstlcssncss
il vastly different from the accents Of the
dwarf. In the economy Of the whole trogy,
rather tetraogy. the present scene holds an analo-
po,,s position to the satyr-drama Of the antique
tragedy But this humorous playfulness is soon to
be interrupted by graver accents. A{berich, rccog-
nizing the gods. threatens them with the attack Of
the powers Of darkness, which the possession of the
Ring has forever subjected 10 bis command.
u ofan's wrath is excited, but Loge quics lin, and
in ali address full of dcccitful battery oharningy
rendered by the music at once praises and seems to
doubt the miraculous power Of the tarn-llclnet.
lLuich is caught in the thus laid for his van
ity. The orchestra intones q strange melody which
sounds like some rune formula Of COMPUTATION,
and instead Of Albrid an cnor-
nous worm wriggling slowly on the ground.
At LogTs bidding the charm is applied second
time, AIberih appearing now as n toad, the hopping
Of which Is. like the slow movements Of the worm Oh
the first occasion, graphically illustrated by the
music. A change Of tempo from moderate TO presto
announces that the gods have torn the Lclnct from
AIbeich's head. andare dragging The powl'c lar:f
from the dark rucesses Of Ibis REALM o. rl o. ...