New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-03-04
MIR. KREHBLEL'S LECTURE.
"PARSIFALn ANALYZED AND EXPLAINED.
ITS CONNECTION WITH ARYAN TRADITIONS
pECUIAMTIEs OF ITS MUSIC.

PECULIAMTIEs OF ITS MUSIC.
H. f. Xrelbies lecture on Wagner's "Parsifal' at
t1acted good sized appreciave audience TO the Met
ropolitan opera House Assembly Rooms Yesterday az
ternoon In spite Of the stormy weather MI Rrehbiels
ANALYTICAL explanation Of Parsifal' was ably illus
trated by Henry Holden IIuss at the planofOrte. Mr.
Krehbie told the story of tho drama, traced It's con-
nectons with Chrisanized Aryan traditions and
wrought out for his hearers wellprescnted study OF
the work. In order to clear the decks for action,
As lie expressed IT, Sin the musical department of the
story Mr.. Krehbie gave the following guide as to
how the study of the drama should be undertaken
Even at the risk OF confusing YOU with paradox
wish TO say that in Parsiial which cndures separ3
ton of its poetic scenic and musical elements less
graciously than any other Of Wagncr's dramas, the
music must be relied on TO bring about Recommendation
between modern thought and feeling and the rene
worship and mOnkish theology disclosed IN the aouVh
The music reflects the spirit of that Divine Passion
which is the kernel Of theological Christianity. It's
fundamental elements suffering and aspiration
This suggests the necessity Of clear understanding
concerning the manner IN which the musical side
OF the drama ought TO be approached. lhere
s extremely little music in the score that Is
descriptive Of external thinGs-less than In any
other Of Wagner's works. II is Ike that OF IT'S
tan und Isolde which deals much more with mental
and psychic states than with the outward things oil
nature 1t is music for the feelings and the imagination
rather than the fancy. In studying such music there
is as much danger in attempting too much a IN al
tempting too little. We ought to be clear IN our
minds as to our purposes If music does not sur The
emotions quicken the fancy or fire the imagination II
is bad music no matter who composed 1t or how faith
fully it may fit preconceivcd scheme of construc-
ton.
al we confne our study Of Wagner to learning
the phrases out Of which lie constructs his musical
fabric and the which not he but other men nave
gdven them, we WILL at the last, have enriched our
minds with themat!c catalogue and-nohing else
We will remain guitess of knowledge unless VIC learn
something of the nature Of those phrases by noting
the attributes which lend them propriety and Illness
and can recognize measurably at least, the reasons
for their introduction and development. Those at
tributes give character and mood to the music con
structed of the phrases If we arc able to feei
the mood we need not care how the phrases which
produce it have been labelled II we do not feel the
mood we may memOrlze the Whole thematc catalogue OF
Wolzogen and have our labor for our pains Better
know nothing about the phrases and content yOufse
with simple sensuous enjoyment than spend your time
answering the badest Of all the riddles Oh Naghers OF
chestra, what am playing nowP
But VIC are not reduced 10 choice between these
two extremes In every drama Of Wagners thcTc
are employed certain dramatic and ethical principles
as we'll as agencies The development Of these pfIh
cpes I'm the conduct and words Of the pcrsonages gives
lis the action and significance Of the play For pfh
c,ples and agents Wagner provides musical symbols
he nature OF the principles the character OF the agents
explain the form and spirit OF the s!mOoI' 'ie sy
bois in turn sometimes help us 10 understand the real
the fundamental Ideas OF drama; therefore, ana ap
prcciated the fitness VI their SYMBOLS, we VII ha'o
penetrated near to the heart Of the art work. TAP
The next lecture of Mr. Krehbles Richard
Wagner and HIS Lyric Drama, VII Viii De e'VGi
CThe ProlOgue).'