New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-08-01

greater part in notifications Of old methods rather
than the invention Of IN Germany attempts
have been made over and over again 10 follow Wag-
ner's system, but though few operas thus produced
have had temporary success, in the end il has
been found that the experiments have all ended in
failures II was but natural that the fact should
provoke discussion. II no one could write success
fully In Wagner's manner, there future for
the lyric drama outside OF "a return 10 the style
which he had striven TO overthrow? II there was
such future the fact not proof Of the failure
Of the Wagnerian movement a creative force?
The question frequently answered in spirit
antagonistic 10 Wagner but many Of the answers
were overhasty and short sighted II needed only
that one should come who had thoroughly assimi-
lated Wagncr's methods and had the genius 10 ap-
ply them IN a spirit Of individuality demonstrate
that it possible 10 continue the production Of
lyric dramas without returning TO the hackneyed
manner OF the opposing school The composer who
did this Engelbert HUmperdmclz. and it is par
ticularly noteworthy that his demonstration ac-
CURED its most convincing force from the circum-
stance that instead 81 seeking his material in the
myths Of antiquity, IS Wagner did. he found them
in the nursery
While emphasizing this fact however il IS wen
not 10 forget that in turning tle literature Of
folklore for an operate subject Huuuerdiuck
only carrying out one of the principles for which
Wagner contended. The Mochrchcu Of a people are
quite much reflex of taeir intellectual. moral
and emotional life as their heroic legends and
myths. in fact they are frequently only the .ras-
ments Of stories which. when they were created,
were embodmouts IT the most profound and inn
F-esslve religious conceptions Of which the people
were capable. Tho degeneration Of the sun God
or our leUtouir furolathfrs into The Hans of
'i-iI0ms tale. who could not learn 10 elfge- and
rhake, through The Sindote q the ''Vozrluea saga
and the Sieglried Of the ''Nibe'uug-rfea'' is SO
obvious that il needs 100 commentary Neither
should the translation ~ RryDhud into Dom
ToeScher. the Sleeping Beauty OF our ciUdreu's
tales. The progress illustrated in these examples
is that from my ia 10 Maehrchcn, and IIumperdinck
IN writing his fairy opera. nursery opera il you
will paid tribute German nationality in the same
coin that Wagner did when he created his Ring
OF the Nibelung"
Everything about "Hdnse und Gretelr is charm
ing those who feel their hearts warm toward
the family life and folklore Of Germany of which
are. or ought 10 be. inheritors. The opera
originated. like Thackeray's delightful "freSide
pantoinime for great ANA smau children" ''Tie
Rose and the Ring" The composer has a sister.
Frau Adelheid Nette, wife OF a physician i'm CO.
logne She without any particular thought of
literary activity, had been in the habit of writing
little plays for production within the family circle
For these plays her brother provided the music In
this way grew the aIst dramatic version Of the
story Of Hansel and Grete, which everybody who
has had a German nurse or has read Grimms fairy
tales knows tells the adventures of children.
brother and sister who. driven into the Voo-s. fell
into the tolls Of the Crust Witch CHHusperhcrej.
VINO elitel ltlle boys ana INTO i.tI
built Of gingerbread and sWeltrutats. and there ate
Them up. The original performers of the principal
characters IN The play were the daughters Of Frau
Wette. Charmed with the effect of The fancifuI
little comedy. Herr HUEperdiuck suggested its ex-
panrion into piece az theatrical dimensions: and
the opera was the result II was brought forward
Tor the first time ia public December %. 1888. ia
Weimar, ana created SO ur9fo-uI au impression
that II speedily took possession OF au the principal
theatres OF Germany, crossed The channel into
10.
Italy, and reached America I.,1hin two years. It's
first performance ga NeN y 9rk was IN an English
version IL Days Theatre October G. 1885. There
were drawbacks I'm the representation which pc
vented success but after il had been Incorporated
IN the German Iepcrtpry ~ the Metropolitan Opera
House in the season Of 1855 III became as lauc!
OF a permanoucy as amy oaeIa in ile .ist
Humperdinck has built up the musical structure
OF .Hansel und Gr-tel" ia the NarneTian manner,
but has done il with so much HUeucy and def
ness MAT q musical layman might listen TO it
from beginning 10 end without suspec.ing the
fact save from the occasional employment OF
what may be called Wasneran !dloms he Iii-
lie work Is rcDlete with melodies which, though
Original. bear a strong family resemblance 10 two
little sonss which tho children sing al the be-
ginning of the first and second acts. and which
veritabie nursery songs ia Germany These
duties and the principal melodies corsOrted with
them contribute Characteristic motifs QUA Of which
the orchestral part is constructed. and these
motifs developed iu aceugdanoe witt an inter-
related scheme every bit as logical and consistent
tire scheme at lie bottom of Tristan and
Isolde As in thot stupondous steal tragedy.
the orchestra takes The part played ay Tile chorus
Greek tragedy. ia ''hanscl und Grelcl" O.
unfolGs The thoughts, motives ana purposes Of
the peIsOnaees ~ tie play ana lays bare The
simp!1 mysteI.ee II the plot and -ulut,rplo1. r.e
careless ia pintss 81 Tie "Il3rcu. the 4ppg-aai.-
sion OF t.il parents promise and llihlmeut ,..i-
clantment AID aisenchantmeut-all these things
are eAp0uHded 5y t-c orchestra .n d line food
% music highly Ingenious IN cOntrapuntal text
IRE. rich in Instrumental color. full u Thythmcsl