The mirror. (Stillwater, Minn.) 1894-1925, 1909-01-14
Wqbat rs WaQf1er?
~~~~~


serves as Cup-Motif. In its later
development, the system of lal cling
characters is retained but Motifs are
amplified and made to express emo
tions in a highly complex manner.
This is not the occasion to introduce
discussi, n of the zeit-motif, which has
inlte1 been the subject OF some re-
markably solid tones; suffice it to say,
that there seems no reason to suppose
that it is an essential factor of opera
or of music-drama.
In "Tannhauser," we arrive, if not at
the fully-developei Wagner, at least at
a Wagner of whom his principal So
prano could say, "You are genius, Of
course; but you do write the maddest
stuff" The story of "Tannhauser," as
of practically all Wagner's works, is
based on medieval legend, and pie It's
curious medley of paganism and
Christianity. The hero spends y. ar
among the unha!lowed pleasures Of
the Venusberg, which finally create an
inevitable feeling of safety. Accord
ingly, he decides to return to respecta-
bic society, add one of the most beau-
tiful transitions in all Wagner's works
results. TheIevels on the Venusberg a e
worked up to pitch of Bacchanalian
frenzy, when suddenly the whole crew
disappears and nothing is heard but a
shepherd singing an unaccompaniei
rustic ditty. "Tannhauser" also con-
tains two of the most generally known
selections" from Wagner's works, the
Pilgrims Chorus, and the Invocation
to the Evening Star.
In "Lohengrin," the last work of the op-
era-period, there is noticeabiy further
development of Wagner's genius, and
at the same time some curious anoma-
lies. The entrance of Lohengrin in a
boat drawn by swan is splendid
stage-picture (when the machinery
works. and, in general, the music as
signed to Lohengrin, to Elsa, and to
the king is rich in its beauty. On the
other hand, there are two parts, those
of Frederick and Ortrud, in this opera,
which call for self-sacriicing devotion
to the cause. Besides Icing the vii ain
and adventures of conventional ii melo-
| drama, Frederick and the partner of
| his crimes have to sing thru much music,
which is not only discordantsbut unin-
teresting. On the contrary, tie Herald,
who has about thirty bars to sing, is
the enter of interest for tie time be.
ing. His part, in fact, calls attention
to the fact that, even with our long
familiarity with Wagner's harmonies
an accompanied passage still has
somewhat the character of an oasis in
the desert. In "Lohengrin" occurs the
famous "BridaI Chorus" which most
men hear once in their lives, without
however, paying much attention to it.
| Next in order to "Lohengrin" chro
nOlogically, come two music-dramas OF
the four which comprise the colossa
work, "The Ring of the Niebelungs.'
From the composition of these, Wag
ner turned aside to write what was in
tended to be short, practical work
but what proved ultimately to be ths
most complicated of all his works, ant
the one in which, in cert ain respects
his genius reached its highest develop
ment. This work was "Tristan ant
Isolde" the basis of which was one o.
the most popular legends of the middl,
ages, which has been treated in moderl
times by Matthew Arnold, Swinburn
and others. This is, at present, tn
most frequently represented of all hi
works, partly because its scenic re
quiremeEts are comparatively modes
} and partly because it contains three o
the best acting, or rather singing, parts
those of Tristan, Isolde and Kin
Mark. "Tristan," however, is certainl
not music-drama, according to Wal
!, ner's theory of subOrdination of th
! music to the drama. 1t is, rather,
A long lyrical poem, in which the musi
is dominant. From dramatic poin
j, of view the duet between the lovers i
: Act Ii. is inadmissible, and the lectuI
t which King Mark gives them Tin yer
: impressive music) would seem ridicl
J, lously prolonged, were it spoken. It
8 safe to say, also, that Tristan" is th