Evening star. [volume] (Washington, D.C.) 1854-1972, 1891-02-21
sULLIvAN's "IvANHOE."
The Score Considered simply - Music, and
Its Value.

The Score Considered simply - Music, and
Its Value.
From the London Telegraph.
After Robert Schumann had read through
the score of "Tannhauser," he said to Mem
delssohn, II declare that he (Wagner) cannot
write or imagine four consecutive bars that are
melodius or even correct Having witnessed
representation Of the opera he remarked, 81
must retract good deal of what wrote to
you after reading the score. On the
stage everything is very different" When the
giaIsor had worn of he said, 1.-THE
music, apart from the whole performance. is
poor-often downright amateurish, meaning
less and repulsive." From which it appears
that there are two ways of looking at the COM
poser's share in lyric drama; first, as music
simply; next, as music forming part Of COM
pick creation. 1t is i'll the frst-named light
the second in due time-that we now propose
to examine the music Of "Iyanhoe" Some
general remarks are necessary at the outset
Sir Arthur Sullivan has broken no new ground
in this work, being of opinion. it would
seem. that the composer Of the Golden
Legend could meet all the requirements of an
English lyric stage by means OF the methods
and qualities shown in that fascinating work
He might have considered a new departure
needful in order to signalize duly his first
serious opera; and plenty of excuse might have
been found for him, considering the strength
Of example in the case, had he adopted the
principles Of modern opera as influenced by
Wagner, and given us the symphonic orchestra,
o stage with strictly subordinate musical
interest," whole museum Of 1eit-motiven, and
30 forth. Instead OF this the composer is rep
resented throughout '.lvanhoe" in the familiar
and attractive guise he has worn all along.
modified only to limited extent by special cir.
cumstances while, without adopting the formal
lines OF English opera in the past, he has
changed them in . truly safe and conservative
spirit. Having said this We need scarcely in
sist upon the fact that "Ivanhos" 10 melodious
opera, and that the tune is where it should be-
in the mouths Of the dramatic characters Sir
Arthur Sullivan uses dectamatory music freely.
leagues verses, but, whenever possible, true
voca! melody comes in, with the charm for
which no substitute can be found. Moreover.
it is given fair play. It has no sonorous and
overmastering rival in the orchestra; it is not
merely one thread In q complex web Of sound,
distinguished only a. primus inter pares. Il is
the first truly, but II has no equals. Let no
one run away with the idea that though the
orchestra accompanies, it 10 not often eloquent
and suggestive on its own account. Indeed.
the composers reticent method in this connec-
ton gives all the greater weight to the utter
ances OF the orchestra when permitted to range
itself, 30 to speak, in line with the characters
An important result is clearness and the in
teul8iDleneee OF an argument simply expressed
and directed unswervingly to the main issue
II is not our business At the present moment to
discuss operas 20 complicated in structure
and confuse in utterance that bearing becomes
hard labor. We have only to say, with consid-
cradle thankfulness, that 'Ivanhoe" is not one
OF these, because the composer, seizing upon
the dominant feeling in character or situation,
addresses all his powers to its musical ex-
pressions, leaving collateral things to be per-
ceived by an unpuzzied audience. With regard
to the modern vice Of leading themes, " il NAV
be said that Sir Arthur does not use them in
any manner that Wagnerinn theorist would
recognize. All the world knows how, in the
Golden Legend certain phrases recur to
help suggestion Of something that
has passed. In the same man
ner, and. relatively, to much the same extent,
are recurring themes employed in 'Tvsnhoe,"
but they are neither numerous enough to be
tax upon memory or perception, nor intrusive
enough TO become wearisome, nor employed 20
mechanically ~ TO seem artificial. There re-
mains to add that the composer, whenever an
opportunity presents itself, fully works ont his
thoughts in form, and even preserves the old
fashioned division into numbers" though his
unit is larger than the individual song or duet.
Thus there are seven numbers" In the first
scene. To put . complicated distinction in the
fewest words, We have here not . German, but
IN English opera-English not alons in it, sub
ject, spirit and musical expression, but IN il
relation TO the Engliah Opera Of tie past = s
Development Of and IN Improvement upon Il.
Having regard TO the foundation Of national
opera house among M W cannot exnxgprats TIE
importance OF theas facts. Nay the successors
Of iyanhoe" b. Ike II and not copies Of
foroien modnln :.