New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-02-14

suit. The cornerstone of the theatre was laid at
Bayreuth In 1872 with impressive ceremonies. ami
the performances took place with the most
brilliant success in the Summer of 1876
rbe of that extraordinary festival when en-
oerors and kings and generals and noblos and hum
bic musicians and travellers from the ends of tn
earth assembled in the sitting little Bavarian city
20 witness opera in four nights, too fresh II
he public memory TO need a new description
From that time, as the correspondent Of this
,aper wrote from Bayreuth. the triumph Of
he principle which call Wagner:sn
II music was secure II was recognized by most i'm
partial judges az q genuine and permanent reform
The first two parts of The Ring of the Nibelung
had been imperfectly aud irregularly represente
before the Bayreuth performance. the prologue
"RhengnlI," having been played at Munich
1869 and the d" Walknre" at the same place
1870 "Siegfred" was published 10 the piano
forte score in 1874 but no part oil I'd
last division, " Die G0tterdammerung." saw til
light until almost the eve OF the festival. ID
Bayreuth Theatre was intended to be the stage 10
the first representation of all Wagners subsequen
works. In writing of the performance III 1876
the correspondent of THE TRIBUNE at Bayreut
declared that of the first results of the reforI
in the style of dramatic music must be reform L
tue German methods of singing and acting. for th
artists OF our day entirely unable to interpret
most of them unable to cOmprehend-these move
compositions. Wagner was keeny sensible of tn
need. and he intended that B,yreuth should becom
tie seat of a new school of This was what h
meant when he stated at the close of the first serie
of performances, that he had laid in that dead an
remote little Bavarian city the foundation OF q no
tional German music,-a statement which wa
much misunderstood at the time and in consequent
everelv criticised He intended that singers shout
he trained there for the adequate expression
thoroughly dramatic and emotional music, not fo
he execution of show pieces, and at intervals OF
lew years be hoped to attract thither the tru
friends of art for series OF festival represent
IONS not only of his own works, but OF the class
cal masterpieces and Of fresh creations also. Ill
new opera. "Parsifal," was to be the programme o.
the first OF these gatherings. Orig nally set for tn
Summer of 1880, it was postponed Tor
tweiyemonth on account of pecunlary difficulties
Later according to the scheme publIshed IN the Al
umn of 1879 were to follow, at intervals. the whol
series Of Wagnerian operas, beginning with Ih
FLYING Dutchman -; but " Renzi was exclude
from the list as youthful indiscretion.
The scheme Of school of art went so far as thu
that the teuor, Unger spent a long time at Bay
rcufh In the study of the legendary and myth
heroes of the Wagner dra mas. But the influence
.uch a project is not to be measured by the nun
,er of IFS first devotces. Every competent arts
who placed himself under WagneTs directions be
came an APOSTLE Of the reform. The effect produce
1y tine performance of 1876 was alone sufficient
1--WE great impulse to the study of the ne'
Method of dellveryj aud even the scores themselve
must in ii ne raise up interpreters.
At the beginning of the Bayreuth enterprise WaR
,cr fixed his residence the city where his theati'
vas to arise and there his home has been ever since
lie took for his second wife IN 1870 Coslma, til
natural daughter Of Franz List and divorced VIII
f Hans Won Blow A correspondent Of TRE TRB
rvF. visiting Wagner in 1875, furnished this de-
criptl0n of the man and of his home:
The smallest boy In Bayreuh knows whore Wagnei
We In fact one might almost ind his house with b
yes shut. IL Il plain symmetrical structure OF uDoD
rlsiye architecture. but nevertheless an innovation o
me- ,iItng ernoled monOtOry OF the place,
: fir,her distinguished by few acres OF garden ID
osed by high euce, when Is no par however TO th'
pnb,ic gaze The garden is Land out with simplicity
sci stocked with young uees. ana contain s,
4 the composers door, under large en-
austc picture, there inscribed IN conspicuous capita
r%o lines in eod letters distributed euch side of III
| doorway explain this curious designation;
Her wo neln Wahnen Frieden fand
Set dieses Iisus Won mir benaunt"
) Perhaps this would be equally good DISSERTATION
or tie tu~atre which stands upon the hlli No douo
peace t. these Faucies only one Of W ich this hous
, epresens. The exterior moeed, does not In
with It's magnincente, bur the III
error IA lifted M aud furnished with pnncely ele.
gance. The valet who answered my petition at U
1ell led me INTO broad spacious ball. IN when stood
large grand piano. The parl0r or library rOou "Ilc
| mis- hall and into this / conducted. Here wa
mother grand piano. aud from the porch as rntere'
the house heard s auother so t1At we eonposer ~
AIKEN care tnat he hail have suiici Mt opportunity
air nj, musical flncles Tue library IS furnished 10 h
mosI sumptuous mannet the cnars ana sofas ricnf w
ho.sered IN saUn the tables OF polished ebony magnn
chandelier pendant from the ceiling, ana on tnr
OF the costly cases hed WITH OOoAs eeeant
] md, IN M he
/ help thinking, while viewing this nyai apartment,
Wagners story of the fate o, the poor Paris mus
/ clan and wondered II he ever dreamed when he WrO
II that lie would have such comfortable snd eegah
,ace IN die m No one OF Wagner's enemies believe
would accuse him OF using music merely u gold lnlnc
No one ever loved art OF music more passionate ely lOr
own elke and ave no doubt tai be considers this ac
cumulatiOn OF wealth one OF the least OF hi9 recon
penses So Thought when the door opened and "asne
no one that sees him for the first time can fail TO b.
struck ny his appearance II his face itseu were No
sinking his dress would be. You see at once That he
| an ecctutrc maE-thougl good deal more here Is !
BROAD, cspacous brow, which might belong to Ioet
philosopher. aud Nature seems 10 nave placed te tioo
lowry one pair Of shoulders Tie cranal lndicsi,O
| of music, imagine Is not easy 10 determine, anu ys
the breadth and fulness over tne unpies "ere i
with the locality ON the phrenooeca pust. aug ""sr
features marked TIE nose Is straight anu ihg,
the eyes somewhat prominent, the CD Droau an'
strong giving pecunar severity To the expression lH
face aud cain are shaved cea VITA tne eAcepIlon y,
narrow fringe Of HAIR which drops down from each ca
| aud meets under the throat The gray, rested mar
combcd back from the forehead ana lnls ueh,nS va w.
ears WagneT's IL strong. sharp intellectual rem,
! but not mellow race lntIt 10 "a tcEbtih FVS'rS
! a1out the cOuutcnance, which sOflens omewhat IL
other wise DoI1c strength, but there no sgn OF lev
or weakness ab mt the man. His smile seems priSn
and the face relaXes its severity for me unei Du'
the critical ncsveness is never quite lost ana you zee
that he could be satricd II he wanted to be- PerhsPs
feet in heighth would be still more commanding
he were taller believe he is about slxtywo years
age lie was dressed IN loose sack ~ oiaeS Velvct
with of the same material butiOnng rather hiHi
his cravat cOncealine entirely TIE shlrt posoi, ID a.
brrechcs OF ample width EXTENDED only 10 the Knees
below The knees were ciose-nIung eISpss; WIN sus
I'm lts hand he carried DON'T care" sort OF we've
| hat, somewhat ike II SEQ ch cap - !,
! Apo ogizinX for the sgOt delay IN receiving me-Io
bsd called once before IN the mOrnuG-be babe Tue
| .enfed and we launched at once mo cOnversatio
hich we conducted IN German, wagner rciuarhl2 th"'
though he perfectly ut come In French ne was sou
| what aIno IN the ngsh tongue your deVeruini.uo
to take the tram this afternoon he std, puts khhe
NV Throat; wish might nave bHG more time tosci"
~ He expressed acknOw ledRmeDt ana THANKS tVr lhc
| Interest wblch felt for him III America anu wa