New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-10-06

OF which the second (second measure) Is the be-
ginning Of an old German folk-song which Gretel
sings after II has been intoned by the orchestra.
All the melodies In this act have strong family
resemblance. but this song. which Ia plainly a
cradle song OF the very long ago. Is the only not
composed by Humperdinck. The translation OF Miss
Constance Bache does reproduce the quaint SEN
tlment Of the old song which calls attention TO the
fact that the geese shoeless. The shoemaker
has leather in plenty, but lasts. and so the poor
things must needs 20 barefoot. The fact that the
word ''suse" in the song c'Suse. liebe suse.
raschet i'm stroh?D indicates that II is an old
cradle song "suse" and "sause" common ex-
prcssons in the cradle songs which used TO be
sung in the German churches in the Christmastlde
when the decadent Nativity plays NOW dwarfed
TO a picture OF the manger and a gloup In
adoration) were still cultivated From the old Gus
tom called "Kindleinwegen. which remained IN
the German Protestant Church centuries after the
Reforma ton. Luther borrowed the refrain Susanin-
ne for OF his Christmas chorals. The begin
ming OF the little song which Gretel sings used to be
"Sause lebe Mime" which. OF course. IL Luther 5
"Sausaninne" But this belongs 10 folk-sons
history. What gives the song It's peculiar interest
here IL the fact that 1t dominates the whole OF the
first act. out of portions OF IT, especially the two
motivi printed above. grows a large portion OF the
instrumental accompaniment TO the melodious reel
tative in which the dialogue carried on and all OF
the independent melodies which follow seem to take
their physiognomy from 1t. Through expressive
chs nges not only in this act but later. 1t provides
a vehicle FOR dramatic expression. Thus the joyous
first motif develops into the song with which Hansei
greets his sisters announcement that neghbor
had sent IN milk with which the mother on
ner return would probably cook some rice porridge
c'rice blanc mango" says Miss Bache) and when
Gretel undertakes as she does. TO teach Hansel
how to dance the charming little polka-like tune
which the TWO sing is almost twin brother to the
little cradle song The phrase must be kept IN
mind for It's use by Humperdinck is OF the most
ingenious things in the score. Note what frlsht-
ened effect it has few moments later when II en-
ters into the fathers description Of the witch who
lives near the Lsensein. and It's weird effect in the
last act when q accompanies the Wltch utc'tId-
ton how she loves children
II is the milk that directly brings the sinister ele-
ment into the play. The mother comes home weary
hungry and out Of humor. She finds that the chl1-
dren have neglected their work. and while attempt
ing 10 punish them she ove-turns the milkJug. 1t
is the straw ard with threats OF terrible peat
ing II they do not bring back heaping basket OF
berries she drives The little out into the forest
Exhausted. she falls asleep beside the hearth From
rho distance comes the voice Of the broom maker
trolling a catch which is now merry, now sad. lie
enters in great good numor. however. for he mas
sold all his wares and comes back with good Things
10 eat in his basket and considerable liquor IN MS
stomach TIL now save for the few moments fol-
lowing the entrance Of the mother. the music mas
echoed nothing but childish JOY. All this Is changed
however. when the father nquiring after the chill
dren learns that they have gone into the forest.
He tells the story OF the witch OF the Isenstein and
her dreadful practices. while the orchestra builds
I'm a grewsome picture out of fragments OF the in
nocant song which had opened the act. Fearful for
the safety of her children. the mother dashes into
the forest followed by the broom-maker