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


the success Of the short season Of Wag-
merriam opera in that city makes some
comments which, while directed par
ticularly at Philadelphians, are yet of
general interest. 1T is plainly evil
dent" the Press says, that there Is a
large circle of people whose musical
taste Is in accord with all that Is best
In music and who must be catered to.
This Is not the time nor place to dis
cuss the position OF the Wagnerlan
music-drama. The subject Is a closed
one. The whole civilized world has
come to the feet of the master of Bay
reuth. and the last in the fold, the
French, with the energy Of fresh con-
verts, are already talking of building q
second Bayreuth Wagner drama hall
at Versailles. The enthusiasm for this
music, which was the music Of the fu-
ture twenty years ago but which Is
the music Of the present now, cannot
be underestimated, although 1t may be
misunderstood. The music of the Wag-
ner operas Is on so different a plane
from that of the Italian and French
school that the very name opera is
misnomer, since the word is associated
condition of things than that that pre-
walls. for instance, when Tristan and
Isolde Is sung. Wagner's musical
creations are essentially great music
dramas in which the orchestration is
not q mere accompaniment but as SER
ious a composition as any Of the great
symphonies. Its relation to the Italian
opera Is about that Of the symphony to
a light cencert in which Webers In
vitation to the Dance should form the
principal composition Of the evening.
In consequence, then, a performance Of
one of the great operas, such as 'Sieg-
fried requires the musical taste that
| enjoys Beethoven's 'Heroica.' But,
while the orchestra in the Wagner
opera IL thus, as far as composition
goes, an integral part Of the perform
ance and absolutely essential to its en-
| joyment, since the drama is the thing
| naturally, Wagner intended that the
voice and words should be heard and
not only that, but that the music. voice.
| action should have an appropriate set
| ting. Hence, correct scenery Is also a
requisite. Such conditions mean that
| Wagner operas given by q superb Or
| chestra, sung by capable singers and
set with artistic effect give rise to the
greatest enjoyment, but are blank fail
ures if any or all such features are
wanting.
"The harping on the Importance of
the orchestra leads many who have
| never heard one of the great works
given under favorable conditions to be-
lieve that the music is noisy. This is
a grievous error. Wagner Is not noisy.
On the contrary. he himself in his own
theater arranged the orchestra under
the stage out of the sight of the audi
| ence, and those who conduct his music
in the proper spirit in this country sub
due the tone SO that 1t Is often so soft
that unless most absolute silence is
maintained by the audience the beauty
and melodies of the music are lost. so
that it is not the noise that the Wag-
neriteS go to hear. but such exquisite
effects as the voices of the forest in
'Siegfried' OF the love impasSioned
strains in Tristan These beauties
which lie in these great compositions
are Of an exalted character, and yet
they do not exclude our enjoyment of
other and lighter musical pleasures.
We can still laugh over 'Falstaff' If we
have sat strongly moved in Die Wal
kuere.' The lighter joys are still for
us 1t is so in literature. There are
times when the great dramas enchant
and others when the lyrical masters
give us true delight. The welcome
given to Wagner's great dramas does
not mean we have eschewed Italian
| and French opera. oh, no, they have
their place When we'll given they are
and always will be enjoyable, barring
those that have no lasting merit. And
the managers must recognize this"
The Editor Of this month has anoth-
| er hymn-tune from the prolific pen of
Tallie Morgan. "Our Country's Voice"
Is set to music written in a vigorous
and dashing manner, faithfully por-
traying the spirit of the words. The
| composer Is, however, hard on the ten
ors, in compelling them to sing the up
per f fiat so frequently. About one
fifth Of the tenor notes are written
upon the second ledger line, which
| will make the rendition Of that part a
difficult task In young choir or a
mixed audience. Tallie Morgan is a
great supporter of popular tunes, but
places too much confidence in the sing
| ing capabilities of the average public
Miss Katherine Bloodgood, who sang
at Elm Park church on Monday night,