The sun. [volume] (New York [N.Y.]) 1833-1916, 1896-04-12

Karl
Such being the state Of affairs, the announce
ment OF a new work from the pen of Karl Gold
mark, the composer of Die K0nigin Won Saba
and tdcle p,fnceps among the living German
operate composers, could not fail to arouse
moro than usual interest. 1t is nearly ten years
since Merlin" the psccessor to The Queen Of
Sheba." was brought rrt, and one has to 20 back
again almost the sam" length OF time to the day
when, with his first work. his fame as an operate
composer burst upon the musical world. As
during these years his symphonies. overturcs.
concert pieces. chamber music, and songs have
been comparatively few. IT will be evident that
he works slowly and with the utmost care.
Karl Goldmark. a Hungarian by birth. and
In the realm of music essentially n self-made
man. is one of the relatively few composers
who in their works can boast an individuality
of their own. and. though having written much.
still have new and valuable ideas. He need not
cover up poverty of invention with the glitter
OF instrumental investments; his inspiration is
apparently rs fresh and spontaneous to-day as
it was twenty-five years ago.
For this latest work his librettist has gone
neither to the Bible nor to the Arthurian le-
gend; another source has been found. which,
for similar purposes. has never been used be-
fore-the works of Charles Dickens-and since
this Is apparently the day for fairy tales set to
music, where. could q prettier or more whole
some one than THE Cricket on the Hearth" be
foundi OF course, 1t is not 80 familiar in tho
German translation rs in the original. and this
may be the reason why, in its adaptation for tho
purposes OF n iioretto, various liberties have
been taken with the characters and situations.
The most inexcusable of these is the calm
suppression of one of the most lovable
figures In fiction, Cdlob Plummcr. whom
playgoers in America and England have
taken to their hearts. Bereft OF this character.
the story as such loses much of its original
charm, and Is reduced to a more or less trlte
and clumsy tale OF jealousy, which at its climax
suggests rather forcibly the closing scene In the
first act OF " Pagliacci.' When CdIeb Piummcr
has had to make way for tho needs and per-
plexities OF the lihrettist, one cannot DO sur
prised to find thnt Bertha, the blind daughter,
has been sacrificed. and even the immortal Tillu
SlOttbob, with her infant charge. and that pet
among all the animals in fiction. Master Bounccr.
Tho absence of the baby Is, however, not
SO much to be regretted. as otherwise we
should not have had the exquisitely tender
musical passages In which Dot dreams Of the
joys OF motherhood, and the effective tableau at
the end OF the second act, where John Pcerybingle
in a vision sees his diminutivc other self. the
son and heir whom the Crickct promises. n baby
position who is to crown his domestic bliss. Mr..
TucklstOn, the +" grim ogre" who. in the gallery
OF Dickens's character portraits, may be counted
among the hest skrtched. is degraded for the
purposes of the opera libretto to the office of
buffoon. who. with his Dundreary whiske rs and
Rrotesque finery, Is supposed to represent the
comedy element. 1t is related OF Victor Hugo
that he was most unhappy over the use or mis-
use to which his plays had been put when they
were turned into opera texts. but surely had
Dickens ever dreamed that his stories were des-
sIpal ap,a 20 uaHN.A cha Am nrnnaa hn punp1l
have had far more cause to hewall the clumsy
manner in which it has now been done.
Hearth" the score OF Goldmark, which illus
trates II, makes n demand uron the full, re-
n T19nSTs 1' and and % sEiiiad S ose is seedcd for PH any a" az
orchestra ~deyolves at least fifty per cent. OF the
OF moderate length. in which the pregnant
themes OF the work appear. and the character
the curtain rises on the home OF DIT and John.
II Is shronded from our view; to be sure, Just
OF fairies. who sing the praises OF domestic
happiness and contentment.. Then appears the
e cr!f in tl PsTsonf FrSu p Fo 9Hs Of w !Ss m RrG adSi,ic slH 20
soprano voice, which She uses forthwith to pro-
fs"r"bmgie Hs%rtn, fiji. ssIf'inStroaanr'cStor"v task
accomplished, she makes way for Dot, who OF
has perhaps bes; preserved her Distinguishing
characteristics. The good, wholesome; English
common sense mas nhu 10 make way Tor n GER
tain amount OF German sentiIncntality, but she
still remains a dear little woman while await
ing PeeTybtnpif, anu, musing over the expected
advent OF P~cerubinglC, Jr, she Is visited by
MAJ, Fielding, who Informs her that Edrdrd,
not having been heard OF for seven years, che
has decided at las to marry 1dckiet0n, who
has promised to provide for her blind foster
father Cdls,h. G!tiicftg being somewhere IN the orig
the old toy maker, thinking probably that as the
latter was not to be seen II mattered little II he
introduced this innovation, OF course Man Is
broken hearted, after the fashion ~ operRtic
melodious, though none too faclle ditty. A
post horn Is heard in tho distance, coming
nearer and nearer, until John finally arrives,
hardly, more like the carrier Dickens meant
than his gold laced coat and Spanish mantle are
like anything that ever originated on English
soil. He and Dot have a scene together, in which
his happiness to be home once more aud his
affection for her FIND musical expression, lie
brings an old traveller tEdTdrt In disguised
back with him, and from him we hear one OF tho
lyric gems uf the work, EdlriId, ike all
opening song a. well ms the travellers and sea-
mans ballad, together with the love duet In the
last act, at first hearing impress themselves on
the listeners as among the most taxing OF the
OF villagers, who came In quest OF the mail that
John has brought. brings the first act To u
spirited end. In the second, the scene
OF which 10 laid in the garden. in front
couple at supper, visited by Marp, on the eve OF
her wedding. and by IdchletOn. EdIrdTi also Ia
present, still disguised as an. old man, and the
display Of some t%rinkets he has brought homo
with him from foreign lands is an opportunity
20 Introduce an ar les bDOuI, which, IL Is said,
was a waltz originally intended for the ballet
With which the opera was 20 have ended As
GOldmArk put the air into the mouth OF his
prlmA donna 10 al unguArded moment Ed
Ddrd dlseI9seS MS iaehtlIy 70 D9t but