New-York tribune., 1880-06-12
BERLIOz. LI>Zr IND WAGNER.

A LECTURE on MODERN MUSIC BEFORE TIE STU-
DFNTs or UNION COLLEGE.
IfpoM AN OCCASIONAL CoRREsPoN DENT TRIBUNE.l
S,HFNtCrADY, June 9.-Onc of tho usual course
Of Summer lectures before the students of Union
College, residents Of the ncIghbOrhOOd, and other
guests, was delivered in the chapel of the College
this afternoon by Mr. John Il. q. IaSsari, of New
York, his subject being Modern Music" Alr.
Ilassard began by showing that the marked ten
dcncy of COMPOSERS since Beethoven TO break
away from the old rules OF form, aud to claim the
greatest liberty of expression in making their music
convey definite pOrtiCa idea There are three
composers of the present age in whose works the
whole spirit of mode rn music can bo tTaCcd-BeT-
liol, Lhsht and Wagner. The symphony and the
opera really embrace the substance OF all m>tru-
mental and vocal composition; Brrlioz and List
represent two contemporary theories OI instrument
tai music, while Wagner Is prominently the expo
ncnt of tho dramatic music; and all three have
pursued. though III krTy different ways, the Tree
poetic principle winch distinguishes the modern
school from the old sketch of th04haractrr and
career of lrrlIoz accompanied by an cXplana-
tion OF hlS system In nearly all his compositions
il is c ldcn that the idea first presented To his mind
is NOT musical, but dramatic. He cOncclvcs poem,
or ht borrows pocm and then ho tries to trans
late It into mu,lci the instruments are 10 tell u
story or to exhibit IA picture The poem must bc
before our eyes. or at lraS, IN our minds, while we
listen. That the Music cannot bo understood with
ont the text trivial Objection to 1t. Historical
painting cannot br understood without the text.
Oprra cannot hc understood without tine ItcXt-not
always with it. The danger with the composers
of the programme school ~ always that they Will 20
too lar Bcrlloh otcnds IN tins way; sometimes. by
"A slaNI,h, pTplcXIng, and wcarIsOme adherence TO
the letter ol the text sometimes by a gross natur-
alism whirh resembles the Photographic accuracy
ol Emlc Zola The chief merits well rs the
fault, of the French composer were illustrated by
an analytic description oi two or three OF hls most
lannon's works.
The lecturer then gave an account of the position
of Ll,lt in the world oi art. and explained the
difference between his method, rs illustrated III
the " Symphonic POEMS" and the plan adopted 10y
BrrlIoz List takes definite poctcal text for Is
orchestral compositions. but he never attempts the
realistic representation, III music. of series Oi
sccura and incidents; lac merely reflects emotions
choosing a theme Ml.irh hdIlnUnlIrS win u certain
fluught or state at mlnd. and developing ~ by
puiriy nl9l,al mcuna. Perhaps tho mrlody mt"
Wni,h he has translated hl7 Thought would nave
suggested IL different Idra to rs II hc liad not cA
planned II by written text; never mlnd; the SYM
phunr Poem Is not u t"nundrum ol which the
answer must be- carefully WIthhrlu until We nave
t,Icd 10 guess it; 1t IN simply a plrco of music
| Wuttcu under the influence Ol definite p"rii'dl
ill.,. md tI,lt Nr may the better and, TStaud its
p,.u'rI spirIt the composer tells what that idea
was. Mr. llas,ard found II pnrrr poetry ana u
clearer stamp oi genius III the works Ol LlSH tII''
ia those at l}rrlIOA.
The srromd part of the lecture was devoted to
dramatic music. \ number oi anecdotes, etc. were
iutlu.,icr To show how ih" Italian opera hLd uc-
| n,.nrrit,, INTO i HAS, at absuIdlty, through the
cultivation ui hrautlu inIms of melody to the rA-
ciu,on ui the dramatic idra, ana the lecturer then
| cNplau,d the manner III Wlrh Richard NhLh,I
| uip!rttouk To reform th's" abuses 10y applying 10
th opera the Tree poetic principle which lhN"' ap-
| Plies to the symphony. The c"nSirHrtl"h 3l a
Wnvurrion "muslc-trama." with thr list 0i " lead
ug motives" the MANNER OF employing the olrlcS'
ira and the careful Arrangement Ol Scenic IllllNohS
| closed with II description Ol n scene from " ne
| Iauu of the NIbrlumg Il, represented al BayIenth