The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-04-06

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on5 shada 70 nm accurata drawing
t,h ha x.ith n l.
| ts,iny IN. outlinss" Rut as Mr. Hen.
darson tells no "wh,,a Gluck made
syaeninp changes for the better he
| fa,Iad 10 roach tho root or oil eyu ue
d,d not abolish f,o,, tho onarot,c sta pe
tho cot forms which mada tha ,nusi-
| cian tha sunsrio,. ofticer of tho moot :"
II remained for Richard Wagner not
only to reacb this funda mental diff
cultv Int virtuo,,v IN ravomtionize the
| entire world Of dramatic song He
saw tho tbeater in the hands NJ those
IN whom ART was nothing and gain
evervtbinp. while the nub,,c faded and
sated ceaselesslv clamoreG for new
sensations. Continued attempts OF the
money.seeking managers to satisfy this
public demand which was in its very
nature Unsuitable. had led to q condi-
tion of opera in which the music had no
organic connection with the text. the
ma areantrv and balIets no logical rela-
ton to the pictorial ensemble" To a
| man of the phenomenally active genius
of Wagner. such a spectacle was intol-
| able. and It was inevitable from his
| worry temnerament that he should seek
to hiring order ont of this chaos. His
n,rnose in brief was so 10 blend the
| m,,sic both of the voice and of the in
str,,ments with the snoken sentiment
and the acted emotion of the opera as
70 nrod,ce a tboroueb,v barmonized
| effect unon the auditor. and not TO make
| either The mus,c the rocited verse or
the a ctad nosture even momentarilv in
denendent of the other factors-in other
words "to demonstrate that the mod
arn tbeater had the mower to hiring
itself into the same relation to the
noblest ideal life of man as the Greek
| tba.tar had,
| If was a herculean undertaking. and
;s NOT vet wholly successful Rut It ia
true bevond a nersdventure that every
wear adds to the number and enthusi-
asr, of wagner,s admirers. and the
evolution of the Wapnerian drama pro-
ceeds apace. "The great Bayreuth
master has" writes Mr. Henderson
"been severely censured nv those who
cling TO the belief that music should
always be pretty. for having written
many harsh progressions and for hav-
| ing indulged in remarkable boldness
in his harmonies. These so-called sins
must find their instifica tion in the fact
that wagner was not aiming at purely
musical beautv The whole nurnose Of
his work was exact and Iife-Iike en-.
bodiment of the poet's thought When
the emotions were grand and beauti-
| fuI the music had to ha of simila r
character. II is for these reasons that
we find the snarling anger of Albernich
and Mime. the bitter hatred of Ortrud
the fury of Isolde voiced in music
which is not prettv brt trutbfn, ant
on the other hand. when wagner has
to EXPRESS the sorrows of the Volsungs
the fierce and sudden nasslon of Siep.