Evening star. [volume] (Washington, D.C.) 1854-1972, 1880-01-17
WILHELM RICHARD WAGNER,
Apr Oachiag End Of the Great Com.
poser

Approaching End Of the Great Com.
poser.
HIS WORKS AND THEIR OBSERVATION-DISCLOSURES
IsCENCEs OF WAGNER AT BAIREUTH.
Boston Herald
Recalling the sunny midsummer days OF 1876,
when, standing with the happy, brilliant throng
on the terrace OF Wagner'S festival theatre we
looked down on to the red roofs of the little old
city Of Baireuth, nesting In the peaceful, smil-
fields and green woods stretching away to the
distant mountains, the master among us as
with large and harmonious family, vivacious
hfe-recalling these golden days, can hardly
picture the great theatre standing there empty,
the terrace deserted, the city dull with all the
d9llness Of provincial winter, surrounded with
white fields and black woods, the landscape cold
and gray and drear, and out there by the Hlt-
gdrfe1., In his handsome villa, ''Wahnfried,"
Unless the tremendous vitality which has car
rted him through the storms ana conflicts OF 81
years enables him, unexpectedly, to rally from
the seemingly fatal disease under which he now
lies PROSTATE, we may at almost any moment
expect to hear Of the death of the greatest liv-
ing composer, and the most many sided genius
who ever devoted his life to music; man who
has left such an impress on his art as scarcely
any other, and who, with his strong, positive.
self-asserting personality, has gathered around
him more ardent, devoted friends and adhe-
rents, has raised up more bitter enemies,
THAN ANY OTHER MUSICAL MASTER,
but who will pass away with the knowledge that
his principles are triumphant, and are recog-
nized as such by an overwhelming majority OF
musicians and critics in his native land, and
that even his opponents have been compelled 10
adopt them In part; that they are making victO-
rious progress In other countries, and pr omse
to redeem music In Italy from its prese INT de-
cline, and that they have eXerted an important
influence in other realms of art beside music
Few men have been more maligned and SIAN
dered; he has also frequently been unkind
and unjust, and has said bitter things of
others, and he has often been surrounded by
disciples who have been blind to his every fault
between the two opposing bands the middle
ground has been held by those who would not
let the masters ill-tempered eccentricities OBJ
scure his greatness, neither would they allow
the latter quality SO to dazzle them that they
could not see the great worth OF many whom he
disliked, but were able to strike balance, as it
were; and, while they fully recognized the ire
mendous genius OF Wagner, they could also
enjoy and admire Schumann and Franz.
There are few Germans to-day, except the
dull of ear and the low in TASTE who do not ex-
perience the highest enjoyment on hearing
Wagner's operas, as the invariably full houses
that attend their performances will testify, for
no other composer IS SO popular; but in other
countries, especially in England and America,
he is most wofully misunderstood, chiefly for
lack OF opportunities to hear his works. He is
held up as great musical bugbear, a ruthless
sacrif1cer Of melody and maker OF hideOuS dis
cords and ear-rending noises, writer of absurd
texts to his operas, and conceited old fool.
Most of these things have been said in utter ig-
nOrance of the man and his music, having been
caught up and repeated from malicious or
Would-be-W1tty statements made in various il
responsible quarters
Wagner's aim has been, to state it briefly to
create new art, or rather, form of art, by
making the musical drama the highest express
sion both OF music and the drama, and to this
end bringing the assistance OF the other
aesthetic arts. Wagner did not start out in life
with this purpose clearly in view, but simply
with that impulse to achieve something great
which inspires every genius, and it was COM
paratively late in life when his purpose had
been fully developed, step by step, In his vari-
GUS works. In ''RienZi,"
HIS FIRST GREAT OPERA,
he simply followed in the footsteps of Meyer
beer, with the design of producing a great,
gorgeous spectacle, aiming at effect through
glitter and display. This, however, soon APP
peared 70 him as false art, ana, In later years,
he used to say: Don't speak of 'Rienz;" it is
not mine; disown it," He began to strive,
almost unconsciously at first, to gain his enus
through purely artistic means, and 1t was then
that he weCded opera Of its abSurdty. allowing
nothing to break the continuity of dramatic
action. He laid the greatest emphasis on clear,
rational expression; above all, he sought to
make bis meaning understood, therefore the
words were clothed in music that made their
significance most clear, and best suited to the
emotion or feeling they were intended to con-
yey, while the senseless repetitions were dis
carded, and the duets, trios and other concerted
pieces that tangle and snarl the text until it de-
11eS undeTstand1ng-Such as are dragged in at
the most inopportune places In the conventional
b1dding-were smpli1ed, and, in bis later works
they fell away altogether.
In Leipsic, in the winter and spring Of 1876,
had the fortune to belong TO little corterie or
gained for the study of Wagner's "Niblelungen"
tr1logy, preparatory to hearing the work at Bal
reuth, ana the knowledge thus gained was OF In
eStlmable value. We met at stated intervals at
the house OF Gura, the great baritone of the
opera, and other principal opera singers volun-
tered their services, so that each evening sew
eral scenes would be gone through with care
jlan hain fr
explained in a preliminary dissertation by DR..
Stade, a wellhnown musician. who presided at
the piano. The evenings were thoroughly de.
lightful. We celebrated the close of the Series
by sort OF picnic party at GuraS, the ladies
contributing the edlbies, and the gentlemen pre-
sentirg Herr Gura with a handsome testimonial
in appreciation OF his hospitality.
Wagner was born in Leipsic on May %. 1918.
in house on the Bruehl, street In the Old city
now principally inhabitated by Jews: The
Wagner Verein, giving Wagner's name and the
date OF his birth. 1 CHANGED to pass by there on
Wagner's birthday, and notice that the tablet
afterward learned, by some member of our So
ciety. Among our number was pale, lean and
MISUNDERSTANDING udent from the UNIVERSE
ty, and he sent Wagner sonnet in honor of his
birthday, which so pleased the old gentleman
that on meeting his relative afore- mentioned
VINO also belonged to our society, he asked him
if he knew this student, and on being told that he
was poor and deserving, Wagner sent him ticket
TO THE FESTIVAL AT BAIRECTH
gift worth about SIS. The receiver was natu-
rally raised to the seventh heaven in his d.
light.
went to Baireuth three weeks before the fes-
t1val to attend the final rehearSaS to which as
correspondent OF the Boston Herold was
cordially welcomed. There were two full sets
OF grand rehearSalS given; the first an act at a
time, and the second set with costumes AMI
scenery and an entire play on ali evening, Just
as at the public performances. King Ludwig
came to attend the second series. and iG was
supposed that he would want the house TO HIM
sell, as was Often his habit in Munich, and a
few OF us privileged ones were Smuggied on the
first evening into the gallery over the royal
be seen by him. But the king expressed a de-
sire 10 see 4 full house, and so on the remaining
evenings the parquet was crowded-ticketS b.
ing distributed among the principal citizens OF
Balreuth. The house being darkened, however
the King, who ShrfnkS from the public gaze, re
manned unseen by his loyal but curious Subiacts
IneSe feheafSalS were extremely interesting To-.
they gave an insight into Wagner's methods Ii
seemed as il we had always seen him. for his
face was familiar through his portraits II
was wonderful what an eye he had for every
feature or the performances; not a detail o:
scenery, costume, attitude or expression es,ao
ing him. and the sharp, lively wizened old man
ms eyes cleaning like steel points through his
gOid-DOWed SpectacleS, was ever skipping on to
ana on the stage, now in the midst OF the par
quet, watching the effect of the whole, now on
the stage, arranging this and that, correcting a
singer, and telling how the thing should b.
cone, Illustrating his point by croaking the
music In voice as melodiOuS as crows: now
In the cavern-like depths Of the orchestra CIV
fpayn