Wausau pilot. [volume] (Wausau, Wis.) 1896-1940, 1906-01-16
LECTURE ON PARSlFAL.

The music loving people of Wausau
were given rare treat last evening
when they congregated at the M. h.
church to hear DIR. Rabinkam, lecture
on Wagner's last and most perfect COM
| position, s'Parsifal" The lecturer was
accompanied by Mr.. Lattimer, organist
of All Saints Cathedral, of Chicago,
who played parts of the opera as the
lecture progressed The night was very
inclement, the rain of the early part of
the day having turned into snow and
with it there was clustering wind.
Notwithstanding, the attendance was
all that could have been expected.
Quite number were present from Mer-
rill. The lecture was given under the
auspices of the Ladies Literary club
and the Tuesday Musical club and to
them ali credit is due for the great pleas
ure of the evening. The lecturer was
introduced by w. H. Mylrea. The PILOT
can only give very brief outline of
DIR. Rubinkam's remarks
He said it was the wish of the COM
pc er that Parsifal should never be Civ
en- on any stage outside of the Wagner
Theatre, at Baireuth, as this was built
and dedicated by him n which to give
ideal interpretations of his works.
Frau Wagner succeeded in keeping the
sacred festival play exclusively in
"a
duced in the Metropolitan opera house
in New York, ON Christmas eve, shat
tering the sacred superstition of the lit
tie Bavarian town, but giving to the
world at large, one of the most beauti-
full, most sacred, compositions that has
ever been written
DR.. .Rubinkam tried to maintain, as
nearly as possible, the attitude of rever-
ence, and one could almost imagine
ones self in Baireuth, as the lights were
lowered, and a sacred stiffness pre-
vailed. While Dr. Rubinkam related
to US the ancient German legend, Mr.
Lattimer played parts of the opera on
the organ, the music being the beauti-
full background of the great drama, as
Wagner intended it should be-
The prelude of the drama opens with
the solemn strains of the theme of the
Last Supper. 1t becomes one of the
principal themes throughout the drama
to signify the sacredness of the Knights
of the Grail. The second theme is the
Grail itself aud one of much solemnity,
and the third is the triumphant motive
of Belief With Kurdry we find as
ISOLATED, three principal musical ideas.
The first, places before US the wildness
of her nature, the stormy il, ght and the
curse of laughter The second theme
represents the power OF magic, exer-
cised by Klingsor in the control of
Knndry. Lastly, we have one of those
simple themes which always mean
sympathy and helpfulness in Wagner's
music.
Two themes are especially associated
with Parsifal; the first is that of his
mother, Herzeleide, and the Farsifal
theme, which appears throughout the
drama wherever the Knight appears.
When Parsifal, enters, after having shot
the swan, we hear the beautiful swan
motive from "Lohengrin, +" and as Gurn-
emanz leads him TO the castle of the
Grail, he hears the bells. This theme is
heard d;stantly at first, but gradually
swells to a grand peal. AS we come to
the hall of the Grail, we hear the must
cal representation of the cry of the
Saviour; the love feast which follows is
mP1e IN Of themes relating 10 the Grail
and tns Kni ghts.
The opening of the second act brings
the motives of Klingsors sorcery and
the suffering Of Amfortas into active
play. The music is stormy, at times
furious until the flower maidens appear
to tempt Parsifal, and then we come to
passages of melody and finally enter
the exquisite Good Friday, with the
return to the Castle of the Grail, the
fundamental motives are brought in
again and the development of the
theme reaches its beautiful climax.
DR.. Rubinkam and Mr.. Lattimer held
the audience as if in a magic spell for
nearly two hours, and every moment
was thoroughly enjoyed by all. After
the lecture, a reception was held in the
parlors of the church to which large
number of those present remained. 1t
was certainly a most charming and sue
cessful event.