The Norfolk Virginian. [volume] (Norfolk, Va.) 186?-189?, 1896-03-11
WAGNER'S "PARsEFAL"
Mr.. Thomas W. Suretse's Last Lecture a
Gem In the Sacred Musical Line.
LITERARY AND MUSICAL CENTRES
OF University Extension to no Es.
tnbiished Here Next Scnson-rhe
Grcnt Educationni Fcnturcs a
Synopsis of Ms. Sureite'x Recent
l.ecture-wngncr aud IL In Music.

The recent lecture on "Parsiral," de-
liHcred III this city by MIR. Z. W. Su-
rettc. under the auspices Of the Univer-
sity Extension Centre. was u most In
tcresting n important event IN the
musical history of Norfolk. Wagner's
"Parsifal," as given ut Bnyreuth, is the
mecca OF the music-lovinE world. Those
who have not visited Buvreuth may
congratulate themselves OH this rare
opportunity presented OF giving Il dis
tinct idea OF this great performance. MI.
Surctte seems to have been most deeply
inspired, rot only with the musical
and dramatic onder of Pnrsiral, but
with the great ailcgorical and religious
significance of the story as well. When
II Is sGid that the large and cultured an
diencc present last Tuesday evening re-
nectcd to n remarkable degree. Mr.. SUI
rctte'S enthusiasm II r%cvcrcntinl APP
probation of the great music drama,
surely no higher compliment could be
paid him as II lecturer and "A musician.
Below is Il synopsis of the lecture,
which all who were present will he
glad to have. 1t is the wish of the centre
TO perpetuate itself. and In Offering for
next year the double course of music ana
literature, II hopes for Il cordial support
from The public. The pledges will be
received by Miss Nicely. Secretary of
the Centre. at No. 8 College Place:
Mr.. Surette began his lecture by de-
scribing the difference between a WnE-
ncr music drama. and the old style of
opera. This difference consisted In the
entire giving M of the set arlas and
other pieces which were so charactcrIs-
tic of operas of the Italian school, Wug-
ner's idea being first. last, always,
that nothing must interfere with the
dramatic action of the play. not even
the music. With him the action. the
stage effect and the music were all made
To Express the dramatic idea Of each
particular scene. In the Old opera the
hero and heroine would sing a long duet,
or the prima donna would have u bril-
liant aria, no matter what the circum-
stances of the play. ANY dramatic In
c~ongruity was thought nothing OF pro-
Hided the music was bright and tune
full.
In addition to this very important.
this vital reform, Wagner always made
his music 1T the situation. His power
OF expressing musically the attributes
OF persons and the idea OF II situation
was unsurpassed. This the lecturer H.
Illustrated by playing several motives
from Parsifal.
After this clear explanation OF wag-
ner's methods, Mr.. Surette proceeded to
take his hearers on the Journey down
the kline from Cologne to Bingcn. The
s~tereoptican Illustrations were thrown
on the screen as the lecturer preceded
To describe the various beautiful scenes
on the noble stream which is so idrnti-
fled with German mythology.
Many of these legends served to fur
nish Wagner with material for his
operas. Tho Legend OF Scicrried and
the Dragon, and of the Rhinc-Gold for
example. The views were very crrec-
tive and interesting.
After a brief glimpse of quaint. old
Nuremburg, Bayrcuth was reached. ana
after showing n few views of Wagncr's
honse and the theatre. the lecturer pro-
cecdcd to tell the story of Pnrsifal.
II story has been told in these col
umns and 1t is unnecessary to repeat Il,
here. To illustrate and describe parsi-
fnl Mr.. Surette played the piano and MIR.
j. j. Miller the organ, and. as the story
progressed, different views OF the scenes
described were thrown on the screen.
BY these means the hearers were able 10
follow the story. see the principal stage
pictures and hear the music at the same
time.
Mr.Surette running commentary
on all this, describing the different per
sons in the play and how Wagner had
treated the development Of each cha
acter In the music. Paraifal, for exam
pie. comes into the story a. boy. bred
in II forest II knowing nothing of the
world: he is clad in skins. the motive
which Wagner uses to characterize him
is free and tastes of the woods. Ven
the whole drama is nearly over and
i'arsiinl. having conquered temptation
and reSained the sacred spear. cotncs
back TO the great castle after his MANY
years of wandering. the motive which
before vas SO %buoyant and nnrcstrained
is sombrc and mysterious. fun OF the
sadness Of the knowledge of sin and of
his fruitlcss search after the Grail war
denS.
All the different motives were pla we'd
and expressed-thc motive Of the slcra-
ment. with its intense expression OF
religious emotion. and with the exuuis-
lite ~harp-likc effects which accompapv
1t. The solemn Grail motive. which
seems to express the holy influence which
the Grail has over the KNIGHTS: The wild
kundry motive with its hcadlong de-
scent; the triumphant motive of Faith.
which takes on afterwards a tenderness
like the peace of Heaven itself. All
these were presented to the audience 20
clearly as To bring out the wonderful
impressivencss Of the whole opera.
AT Bayreuth. MIR. Surcttc said. not n
sound of applause interrupted the course
of the opera. 1t seemed more like n
religious service than an opera