Evening star. [volume] (Washington, D.C.) 1854-1972, 1888-03-17
wAGNER.S MUSIC.
The Appreciation ia this Country %
Dramatic Composition for the Saage.

Written for THE EvESIsG STAR
Nothing can be more surprising than the r..
markaole revolution In sentiment that has o.
CURED In this country with regard 90 the music OF
the great German composer. Richard Wagner Ten
years ago the works OF Wagner were COMPARE
lively unknown In the United states He was ap-
preclated and understood by but few OF our lead
ing musicians ana the manager OF an opera CON-
pany who signifed his intention OF prescribing a
wagner opera was looked upon as taking a RISK
that could result only In disaster
EDUCATING TO A HIGHER STANDARD.
Nj. Theodore Thomas. with foresight. iud gmen at,
and perseverance for which we are now sincerely
grateful, may be justly termed the pioneer OF th.
new German school in America, and. although his
efforts 10 educate vs. up Co a higher standard ~
musical culture were az first received with rfdicu..
and public distrust, yet, with determination ana
tinued TO interpret Wagners works until now a..
has the qualification OF beholding his prophecies
fulnlled and almost the same enthusiasm ''ylnced
for Wagner In this country is manifested In
Germany. No greater proOf of this -
needed than II given la the history
Of Wasner1an opera As presented bv
Opera Co., and the great German opera Troupc,
which sang IN New York during the season Just
patronage on wagner nights" was far greater
than that for any other PERFORMANCES, not even
excepting Beethovens "Fidelio.-
IL may De safe, also. 90 conclude that even In
Italy the genius OF Wagner has made ID self reit i
the great compositions OF the last fifteen year,
Verdi has evidently caught the Inspiration ana
melody with the thrilling dramatic" orcheSira-
ton and grand chorus effects.
MUSICAL Reform
Richard Wagner inaugurated an entirely new
system On fact, a reform) In musical composition
for the stage. In the modern school the dramatic
In opera was made almost entirely subseryient 10
IL frequently happened that the COM
poser wrote his airs long before the dramatic
author wrote the libretto, and perhaps he often
had but a faint conception as 10 what particular
melody would be made 10 mt the dramatic situa-
ton which the writer OF the libretto woula assign
MANY Instances suffered from imperf.,ct ana made
quate dramatiZat1on- After the nbret:o was CON-
peted the music 20 MI In the dialogue was written
and the whole was sung before an audience that
desired only the qualification OF their musical
taste and who viewed the dramatic as only a vehl-
Gle for carrying the music THIS plan was emit
be desired, but Wagner appears and
CALLS HALT.
He says: 'My brother composers you are wrong
In your theory. Instead OF the dramatic author
writing up TO the composer Will Try the reyers..
and make my music M 1e p,og." He states rim-
ther: The error In the opera rs a species OF art
has consisted In the fact that a mere means OF ey-
pression-that n, music-has been made tie end
while the end OF expression the drama. has bss'n
made the means; and thus the actual lyric drama
has been made TO rest upon the basis OF absolute
music. In other words, I'm the modern Italian
climax, have no In eres. Tor the audience: they 20
simply TO hear certain arlas, duets and concerted
pieces whereas the dronsa should be made The
center OF interest, and 10 IT'S illustration music
well as the other arts. should lend its AID. The
music should spring directly from He teri, and the
S, ar sn !, , give an ana eoor 70 .ne
mere instrument OF accompaniment and become as
closely idenuired with the purpose or the play "A
ne, and as It were. commenting on and enforcing
he text"