The sun. [volume] (New York [N.Y.]) 1833-1916, 1893-09-17
oPERATIC ART IN GERMANY.
,ovpE1I1IoN or COMPOSERS IN ONE
.CT OPERAS AT GOTTA

VIC -.,.., share the PrIze Revival
o. r., or the Oid Op rattle Favorite-.
Son, Mot inaptly has the "Caval-
p.',i,a,a" been termed an epoch max
Fxt for avon II one disregards the dues-
Jus I,s intrinsic worth or that OF Its rela-
W. -, tho reiuven escsnce OF operate art In
80. ana cannot but be struck by the very
-, manner In which II has Influenced the
s..i.ncy Of cnntcmporaneous musical taste.
,.,y,snt length Of time has passed by to
49,, mo- for all OF the oft adluced reproach
"tsmporary fad" The novelty OF the
",.,,r.ri. has long since worn OF. and yet
t'i, Hr,,ly maintains its hold on the
,,,rnsof the various Continental playhouses
v,,,,i,uas 20 influence in n marked degree
Lat nr,ducts OF the modern operate
w Tho, years ago the most seductive
ID, for thu rising young composer was Wag-
A. prasent l. ss0ms unpuestionaoiy TO
be MascaGhi. ,,,,
man IN the recent prize contest OF
~, nut. Of save ohurg- Gotha for the best
.,..art ,p,ra watch. even to the uninittated.
..,,,ssta ut once a German Roland Tor the
,,,iIan oliver that had been SO successfully
,,.,ituteI by Signor Sorzogno some yenrs
40, His HiGhness the Duke is we'll known
...musleian with certain creative faculty
- Ia
snar,s and compositions OF more or less
,sIns one Of which. Diana OF Solanza.' even
to,,d i,s way across the ocean. and had the
ais,in,,ion OF appealing to the fastidious taste
Nth. METROPOLITAN Opera House patrons The
mai, not content with resting on his laures
=. COMPOSER, took 1t into his head
a. avnre also as Mecenas. for which his posi-
IA, .minently fitted him. and in answer to an
.nnsal that went forth to the musical talent OF
Germany, no less than one hundred and
tusnty.four replies. in the shape OF one-act
oneras. we're sent in. AS might have been ex-
,..,ad the majority proved OF very inferior
or,,;.v indeed; at least. such was the dictum
a, the Judges whose difficult task it was.
within the short space Of three m onths. care
hIy TO weigh the msrits and dement's OF the
various works and to arrive at decision
that should be as equitable as it was satisfac-
tory. This In view Of the various ideals and
tendencies the different Judges accepted as
models aud guides. was naturally extremely
difficult to arrive at. Indeed. such was the lack
81 final unauimty. that in order to reach any
decision at all q compromise was effected.
whereby two works. representing. as it were.
,vo different schools OF operatic composition.
ware finally chosen. and two half prizes dis
tributed. instead OF the indivisible ono that
had originally heen contemplated.
"Eyanthia" was the title Of one opera. " The
Rose OF Pontevedra" OF the other. the latter
from the pen Of q certain Forster. already
tayorably known among musicians as the
composer OF several operas and ballots. o song
writer and musician OF no mean requirements.
The former work. both as to libretto and score.
claimed as its author certain Paul Umlauft
o, Leipsic whose name Is less familiar than
that OF his fortunate colleague.
.-A - L.. 1T T.
Greece at tho time OF the war against the
aso-called pond Of friendship between two
youth. there and then assumed a sacred. sac
shsis mut to o s Of delitS Which Sound
them to everlasting friends ship and I'm posed on
piighted troth. in accordance with this Gus.
!oai. that 70; modern skepticlsm, is not
I'VE i've Young 1Sn tirssks. Dim.irios and Ea-
MAIDEN sef SF Ris sas5 b ,RtS .sh
ANIMATED before the latter youth cenhding
to Dpr'b,cs the secEet of his love Tor Erantud.
pens tina D!ult'rios. too. has fallen victim to
Erantha,s charms. and thus his friendship.
ever lie pleads his friends cause with the
H.aitsn. but to such purpose that. thinking it
Is Of himself he is speaking, she confesses her
w"o,r is not the man her heart has chosen. but
IT, trend Tor whom he speaking An inter;
their mutual passion then follow, but with 1t
,lle determination to make a sacrifice of their
hoge7er. WAC has been silent witness OF this
ssne anticipates their Intention by lea ling
small btnd o! devoted followers into the thick
s't o the fray. and returns from the Tight
mortally wounded. in time to bestow his bless
lag m the two lovers
his work possesses many Of the good. as also
h2t lew Of the !nfertoTlualties OF The libretto
roth in the rreponderance OF rec,tatiyes as in
tie use OF the leading movement. follows
thgugl 1t must be admitted ut a Considerable
master. The a-act FORM however hardly
lends Itself 10 such treatment. concentration
ana laconlSm being prime requisites to y sac
cesslui solution q the problem set the various
competitors In ;he prize contest. The dra-
matte cItmaxes that follow one nnother in
epeh Quick succession and with such trresist-
ible force In the "CAvaleril." which for q long
Tine to come must needs remain the uodel for
this pecu lar species OF operate work. are al
most entirely wanting. Instead OF u story
pa'pitatrg with interest and veristmilituGc
sobr Of tas Is Ssf .h in wach he
cal types 1.-THE French classical stage. The
success OF "Evanth.a.' therefore. such as 1t
much as to the wholly admirable manner in
s wntch !. was performed ~ the principal
Ho'ra'h Schuch had bestowed the. most
loving care or its preparation. and that no
eGnductor Of the present day is more able and
wiling to 10 Justice to the intentions OF a
composer. when once he has taken work in
hahdi is nowadays as universally acknowl;
sissd 10 Germany as in the Saxon capital
IstH which for the past years has been the
scene Of his musical activity. The leading
~, o. '.Eyanthin" were in the hands q
frau.en Nation and Herren Scheidemantel
ant Antilles, who proved them selves well wor.
ny OF the nigh reputation they ENJOY on this
side pt the water.
Wamstrically opposed in tendency. rs also
m rs DISTINGUISHING, characteristics was, the
second work. For-ter's Rose Of Ponteyedra."
which had been chosen as ;eaualy worthy OF
She comp ,ttiYe prize. While Eyanthia' may
De regarded as the expression Of N otrrn Ger
man "-'-WaGnerian musical thought. ham
pered Perhaps. By the restrictions OF an nm
ssontet art form. the Rose OF Ponteyeira"
pears what may be set down rs too striking
resem bance to tho famous Italian model, the
success NJ which will PROBABLY be an irre5StI-
99e lacentive to young composers for many
daytO come.
/. The Rose Of Pontevedra" is a young Span
sh village beauty. who in a prologue that can
?. rssaried as az, application Of Ialllil'S
tstead Ie during the 20 ayallcr a overture.
tnl' a wiling ear to the advances OF Don
yuan q most uncompromislng operate quail
gt.r t.ip ia ,.I '.,,Iia klt' n