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

my mind to ingraft this my musical FORM CROWNS az
fors of operate music which could have marred
and interrupted its organic development J tncreo'o
never Thought Of concentrating on principle and as
deliberate ieforner the destruction the ARIA duet and
other operate forms but the dropog OF tnyss 4s'S o'
Having thus shown how Wagner, after abandoning
the old forms of operate music arrived ut mode Of
expression of his own, 1t now dcvolves upon mo to
add few remarks as to the general features OF this
new STYLE Evoked as it is from the requirements OF
the dramatic impulse, this music naturally attaches
itself closely to the course Of tho action the progress
Of which is henceforth placed chiefly in dialogue.
This dialogue itself is no moro broken into various
defnabe musical divisions; it ia declamatory IN
character, without however dcgenerating into the
dry monotony of the rcidro sccco where the pathos
of lyrical feeling demands it, the voices rise to
greater mclodors intensity or join together IN
passionate tenderness The chief import of mclodous
and polyphonous conceptions is placed in the
orchestra which constantly surrounds the action
with the light Of transccndcntal cmotlon discharg-
ing il at the Same time of surplus OF lyrical ana
reflective elements. Ensembles in the ordinary
sense do not occur in the "Niblungen" and the
chorus throughout used very sparingly. less from
principle than because there was no occasion fOr IL
in the poetic conception OF the drama.
Another important feature of Wag.ers musical
style is what he himself has described rs the Lett
moir Qeadng- Gotive)', or representative melody
which is used as the musical symbol Of character
or prominent idea OF the drama, and reappeas in va
rcus transformations wherever these come into
action. These leading motives used systematically
first by Wagner. greatly contribute to bring about
that unity of design which is one of the crtera OF
true art in drama of such gigantic proportions as
the "Niblungen," their value means of artistic
cor tnity cannot be overrated. Ii is by means OF
snch representative themes that the fundamental
ideas OF the whole sructurc-the baneful thirst for
the spiendor Of gold, and the redeeming power OF
loving human impulse-nay be traced through all
parts of the trogy. My intention is. therefore. to
proceed in my analysis chiefly from the leading
motives calling at the same time the readers atten-
ton to such striking features of single scenes and
passages rs may tend to further eucidate the poets
intentions embodied in the musicians imaginings.
But before entering upon this task must beg leave
to inform the reader what he may and what he
nav not expect to find in tho following remarks.
First of all it is not my intention to write crit
csm in the ordinary sense CT that word tiat ls 10
disscct infinitely single portions of work winch by
its dimensions and its artistic unity dcfes micro
SCOPE treatment. For criticism of this kind or
comprehensive analysis of the single scenes, more
over even the space so literally granted to me by
TIE TRIBUNE would be insufficient. 1t must also
be borne in mind that many parts OF the scene re-
ouire for their full effect the life of dramatic action.
and that it would be premature to determine their
merits or dement's before performance on the stage
has taken place. In the present instance my pur-
pose is altogether of an exegotical than OF
critical kind. shall attempt to give the reader m
idea of the grandeur of Wagncr's design both with
regard to music and poetry, and to show ut the same
time how by the perfect blending of the two nrts
new mode of rendering human emotion has been
created differing from. and superior in intensity TO.
what music OF poetry achieve in their separate
spheres.
The first sccno of tho "Rhinegold" is laid in the
derth of the great river where tho khine-dangtcrs.
lovely wator-maidcns, are watching golden treas
ure enjoying its CLEAN, but insusceptbc to its
bancful power over gods and men, short instru-
mental introduction depicts the sound and motion
of the deep. 1t is founded the chord OF T. fiat,
gwen ont at first in lolg drawn notes which soon
dssolvc themselves into shorter rhythmical forma-
TONS rising and falling alternately from the highest
to the lowest ocaves, like the murnuring waves OF
a rapid river. suave theme is gradually deve-
oped with the strains of which the three watei-
madens accompany their merry gambols The fol-
lowing short quotation may give the reader al idea
Of this graceful. wavy moody
Mn Vocal Score n S. =