New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-08
MUSICAL COMMENT.
GRTTRY VERSUS WAGNER.
ORIGIN OF THE LEADING MOTIVES AND THE
HIDDEN ORCHESTRA - FAMOUS 'o
PO>EHs AND THEIR WORKS -FoLh
SONGS AND FOLK LORE.

PO,EEs AND THEIR WORKS FOLK
SONGS AND FOLKLORE.
The last six instruments of the sumptuous pun
, cation Famous Composers and Their wins ,,h
10 to a inclusive, almost wholly occupeu W." w.
the discussion OF French composers. Tne Italian
school Is disposed of in critical biography "a
from the pen of b. Il. Woolf. of Boston, anu al
ESSAY Music in Italy" by Martin Eoeder
Young German teacher and composer whose "ai"
ing was largely acquired in ltay. rie"O 49,
American writer's treat Of the French schoo' We
division being accomplished as foo"s'
''Rameau" "Gretry," "Auber, MasSehe' am
Saint Saens" Oscar Commettant "Berlo@ II.
Julien: "Gounod' and Music In France A'"u'
Pougin; "IIalevy" and Ambrose Thomas' d. -,
Woolf; "Boeldeu," 81. c. Eson; Menu anu
'Herold." George z. Upton; "Bizet' fhihp ii'e.
The French writer's stand at the heau Vi '"e"
class in their own country and are the pes' N'o".
on this side OF the ocean. The American WHITES
are among the best known critics in the United
States Mr. Woolf being the Editor of THE Satur-
day Evening Gazette" of Boston; Mr. Esoh .he
music critic of THE Boston Advertiser, MI p
ton an editorial writer on The 1rlpuhe vi N"'-
caso, and Mr.. Hale the music critic OF Inc pos
ton Journal" The occasion which the Juxtapos'-
ton offers for a comparison OF the Styles anu
methods of the two classes Of writer's Is tempting
but must be put aside in favor OF lie" opser'a-
tons the extremely interesting matter prousn'
forward in some of the essays. 1t is pleasant now
ever to record the impression made by Il peiu9ai Vi
the biographies that the American writer's more
than hold their own with the French in every re-
spect They write % gracefully, more compre-
hensively and tersely and judge little more as
passionately being less under the DOMINION vi
patriotic feeling. Mr.. WoolfS estimates Oh haiey
and Thomas disclose that his sympathes go out
In somewhat larger measure to the former than 70
the latter but II cannot be said that ne mas zone
any injustice to the eclectic Thomas Mr.. Hale
shows an easily pardoned enthusiasm In his study
OF Bizet. and with much justice but perhaps a III
tie more timdity than was necessary under the
circumstances speaks Of the probability OF his be-
ing cassed with Wagner and Verdi as the men
of mighty influence the opera of the last years
of this century" The example of the fiery young
Italian school Of to-day has already taken that
propositon outside the bounds Of mere probability.
1t is only natural that the best writings in these
numbers should be found devoted 10 the most
modern composers. Boiedieu, Mehul Herold. Lully,
Rameau and Gretry are treated uniformly in a per-
functory manner. while Pougin. Julien and Com
mettant glow with enthusiasm in writing about
Gounod Berlioz and Auber. They are writing OF
men whose personalities and times they know, ana
the conventional tone OF biography Is lost IN am
mated description and exposition. Each OF the three
men, moreover, holds u brief for his country, fact
that initiates little against the value OF his crit
icisn. though it Increases the charm of his writ
might be sufficiently indicated in the one circum-
stance that both julien and Pougn seem to be-
lcye that great service was done to Goethes
Faust" by Berliozs Dramatic Legend C'La Dam
nation de Faust) and Gounod's OPERA view
which would horrify even the most tolerant ana
lberal-minded German lover of Goethe's master
piece NJ. Commettants patriotism finds more In
terestlng expression in the claim which he puts
forward in behalf of Gretry the inventor not
only Of Wagner's invisible orchestra, but also OF
his system leading motives or typical
phrases There is nothing new in this contention
but it has not been widely discussed that an
exposition OF it will be a waste of time
So far as The orchestra is concerned the matter
is easily disposed OF by single piece Of evidence
In the chapter OF his Memories ct Essais sur la
Musique" devoted to his plan for new theatre.
Gretry wrote as follows
Il should like the auditorium OF my theatre to
be small holding at the most 1909 persons, and
consisting OF a sort Of open space without boxes,
small large. because these hooks only encour-
age scandal or something worse. | should like the
orchestra to be concealed that neither the mu-
sIcans the lights their music stands would
be visible to the spectators. The effect would be-
magical. the more 1t Is always understood
that the orchestra is not supposed to be there
Here certainly IS plain and unmistakable de-
scription OF the plan which Wagner realized at
Bayreuth. But the essential idea is no more novel
in the case OF Gretry than in that OF Wagner. II
the latter failed 10 credit the former with the
plan. 80 did Gretry forget credit Peri. who con-
cealed his musicians behind the scenes nearly two
centuries before Grcry suggested his hidden
chestra. and perhaps did Peri who had the
example OF the ancient Koman pantommes before
him. To talk OF priority OF invention in respect
of this device is arrant folly and nothing else.
Tho question touching the so-caed leading
motives is not so easily disposed OF in view OF
the prevalent misunderstanding concerning Wag
nor's system. Let us hear what is said the
subject. and then consider it in the light Of the
facts in the case. In his essay NJ Commettant
uses these words speaking of Gretry's master
piece, Richard Occur Dr. Lion
1T Is interesting to remark in regard TO this
opera that Grctry made Of certain portions of the
celebrated ballad. Tine nevre bruante.' sort OF
lett motif after the manner OF Wagner. Indeed.
this fragmcntary theme returns again and again
under different aspects at least nine times in the
course Of the score. AS to the characteristic
theme Of Richard Occur de Lion 0he fragment
AIRY ballad considered In its transformations as
playing the part of the modern Lett motif), it is
curious to notice that Gretry used it in this comic
opera with exactly the same idea as Wagner in
his lyric dramas Whenever allusion is made to
the royal prisoner described in the ballad sung by
Blonde fragment of this air appears. And when
Blondel sings to this air. but in common
measure. the following words:
La voix penetre mon anne.
Jc In comais, madame.
is 1t not writes GIetry as though he said Ills
voice has gone to my heart while he sang the air
which he made for you" "
SO Tar NJ Commettant. In OF his letters
from the Paris Exposition of 1875. Or. Hanslck
touches upon the same point in these words The
Romance Of Blonde occurs nine times In the
course OF the opera either in whole part "a
Lett motif 100 years before r. Wagner. each time
different. now played. now sung. by voice,
10y more. with simple. anon with richer
accompaniment" From this description il
naturally led to believe that Gretry had really con-
ccved the idea of typical phrases factors in the
construction of his score. Let us see how the
facts agree with this notion. The story OF Rich
ard Occur de Lion Is the familiar legend OF his
discovery of a faithful minstrel who goes through
Europe disguised and singing ballad OF the
Nlnn's III. hulll l. linnn