The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-05-08
Continued from. ApriI %


ern can be good every recent improve
ment is an unwarranted encroachment
upon the sacred systems, ideas and
methods of the past. Let us now turn
to American opera. The conditions I'm.
der which native opera must eventually
assume its position in this country are
similar, in some respects, to those under
which German opera had its rise, yet
differing from them in others. For
many years the Italians had retained a
virtual monopoly Of opera writing, and
the works of that school were received
as standards by which all other works of
that class were to be measured, and to
which they must conform or be deem
ed worthless. Mozart had Germanizsd
italian opera to some extent in his own
writings, yet none of his works could be
considered German opera the Italian
forms and modes of treatment were too
pronounced for chat, and the majority Of
German composers of his own age, as
well as for a long time after, were con-
tent simply to throw all their energies in
to the attempt to acquire the Italian style.
It was reserved for Weber with his d" Der
Freischutz" to place German opera up
on firm foundation. This work is
both in spirit and treatment, purely, in
deed, intensely, German. Phenomenal
ly successful its first appearance upon
the stage, it placed native art upon a
firm footing and demonstrated beyond
question the possibility of founding a
German school. Now, to a certain ex-
tent, we may find a parallel at our very
doors. American opera, like American
musical works of other classes, are very
generally despised, but for no good rea-
son, except that some worthless works
have been by some means accorded a
hearing in the past. But the same feel
ing which led the Germans to look down
upon the attempts at establishment of a
national school of opera, and to prefer
and uphold the italian in opposition to
it, is to be found throughout this coun-
try, where it is perhaps even more bitter
as regards American and foreign works.
American opera, if it come into being at
all-and we believe it will-must strug-
gle for existence under the different
material conditions from either the Ital.
ian, French or German. Instead of the
fostering care Of loyalty and nobility, ii
must depend upon itself to gain q hear.
ing, and, if successful, to keep the stage
The first will be a difficult task, because
of the universal prejudice which declares
q really meritorious American work to
be an utter impossibility. This may
seem strong language, but it is amply
borne out by the facts. A new work by
an Italian, French Or German, or even
an English writer, is judged with at least
some show of fairness. 1t is listened to
respectfully on the supposition that il
has merit. But an American work, by
whomsoever written, derives its con.
domination from its birthplace. Nation
al pride, which assists the composers OF
most other nationalities to success, if
one be desired, does not enter into the
problem in this country The average
listener considers it his duty to find
fault-the more the better. And if his
musical knowledge is not sufficient to
enable him to discover faults:it is all the
same; he draws upon his imagination
His duty is plain-to uphold his reputa.
ton for discrimination, if he have one
to gain such, ifhe have it not, by declar-
ing the work worthless. There are
Americans, and they Will be more num-
erous in the future, who, as prepare
ton for their work, devote years under
the best European masters to the study
of musical form and the technique OF
composition, acquainting themselves
with musical literature of all kinds, fam
iliarizing themselves with the peculiari-
ties and methods of thought of the great
masters for it is only when this is &C
complished, and they have become in a
measure, at least, heirs to the treasures
of thought of a past age, that it is posi-
BILE for man to labor understandingly
in the field Of musical composition.
Few people have any idea of the amount
of labor and patience involved in the
construction OF an opera. From one to
five years varying according to the
character of the work itself, and the rap
idity of thought of the writers, as well as
the care exercised), are required for its
completion. The critics can usually dis
pose of it with ease in single night It
is a well-known fact that Beethoven's
" Fidelio," Mozarts "Don Giovanni"
and Wagner's "Tannhauser," were IN
successful at first 1.-THE first mentioned
being complete failure), yet it is doubt
full if an American work under similar
circumstances would ever be accorded
second chance, for the judgement of an
American public could never err in this
matter. So much for American opera
writers. But like all other writers of
musical literature, I must say something
concerning Richard Wagner, as a COM
poser. 1t seems that such a writer, in
these times, should be considered the
king bee' worker for the future. That
Wagner was an eminent musician and
therateur Is universally conceded but
that his excruciating music will be popu-
lar IN the future-as it certainly is not
IN the present times-is an overtax, or
possibly not, on our good-natured ere.
dulity and imagination. Wagner drew.
In imagination, upon the future for a
homage which the present age refused
to pay-which is, at best, only a pro-
tracted oblivion. 1t appears as if he |
tried to follow the example and ESSAY
the role Of the Jewish prophets, who, in |
times past, made us a PRESENT of the
FUTURE. This from the Chicago Neacs ex-
plains Wagner's writings perfectly:
My dear, wish you would tell the
servant to stop moving that furniture
around in the parlor. I'm sure she has |
broken some of the vases and Sevres-
ware
"I hear no noise, Christopher"
"There she has dropped the clock
heard the shade smash p
why, Christopher, how silly you are |
That's not the servant moving the furni-
;ure that's Birdie practicing Wagner
an sonata -