New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1886-12-03

the entire Of Tristan More than any other Of tho
musical dramas OF Wagner with the possible exception Of
"Die Mestersnger 1t shows the spontanety in artistic
creation without which real artwork cannot coma
into existence Wagner has himself expressed nj. pres
erence for Tristan over Others OF his works and based
1t on the solid ground that In tho composition Of this
score he proceeded whoutthoaght OF his own Theories
IN other words he worked spontaneously and not reflect
lively The result Is strikingy noticeable in the crcum.
the than In any other OF the composer much
less inclined to dissect for the pleasure which such en-
De Walkre" for instance, which has also its moments
OF absolute and obviously spontaneous musical beauty
In communities that disposed 70 hold al0of from Wag-
ner TO drive away the bugaboo OF tho socaled leading
complete exposition OF Wagners theories In writing
about Wagners music too much stress Is laid on the
necessity Of being able TO analyze NE music rs II moves
past the sense n this were condition precedent
9e mos s Senb na as n we should have to
public Yet we knoy from the experiences Of the last
three years In this city that TINS Is not true and that on
much more likely to be found In communities with whom
fixed and prejudices the result OF certain de-
ike where work listened to by unbiased hearers
for its own sake II not without reason that some
OF the most enthusiastic admirers OF Tristan"
have been found in France. and that tho
most enthusiastic audiences that greeted the NSegng
Wagner tour under the artistic direction oil Herr scidl
were in Italy.
one Of the most effective elements in wseners method
illustrated in this drama is that OF musical contrast
In the first the graceful OF the unseen sailor Is
nsnuatng in its charm. II is part Of what might 10
called the scenic music Of the drama. IL puts
us on shpbOard and enables 10 share IN the
pleasurable sensations OF the voyage TO Cornwall
Hardly have surrendered ourselves this pleasure
however before Ts0s outburst OF rage turns aten
ton from the 10 the personages OF the play What
innocent delight 10 the singer and TO us has 0Osencd,
know not why for moment an emotional tempest IN
the OF the passenger most concerned IN that voyage
Suddenly as listen TO her mprecatons. the whole
past the heroine reyeaedshe stands before Us not
the helpless xperienced ulcOncerned young princess
OF the other poems but fully developed furious WOMAN
a tragic heroine ripe for destruction.
The device admirably effective and Wagner has at
blow introduced the two varieties OF music which are 10
relieve each other and in turn vtaze the dramatic con-
of the We find then listen that the rugged
vet tender hirreHai a character at once picturesque
and amiabe, shares In the bright, flowing. vigorously
rhythmical music, which tells of unfettered breeZes,
heavng bil0ws and popular pride while 10 I'sdn ana
Isolde Is given the music made out OF Few phrases winch
as they unfold themselves and again In an IN
hne variety combinations and with continually chang
sciousness in q wonderfully vivid manner the soul tor.
ments which consuming them. This alienation OF
the kinds of music is equally II even more effective
where In place the melody we have tho
first mouInful and then joyous ppngs or the Watching
shepherd lad mingled with lOngrawn tones that paint
the ebbing away of TrasS vital powers and. the out
OF his cvered fancy Here too the Joyous pastoral
melody Is used with tremendous power to build up Ge
climax which with lS0lde just the the eager
music precipates the outburst OF passion after the
draught in the first act. go
Rut ID cannot be too strongly emphasized that this Is
all music which must heard with the eyes the stage
pictures attention the utteances OF the act0rs
Otherwise much of it will weary with its restless change
O. KEY and its want of measured period