The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-12-29


that goes without saying Any child
which Is not cursed from ito cradle by
social position can pick out a kinsly
nature, disguised though bs in rags.
The advantage II This kind Of child IL
'ha' many years Nave not been spent
. IN teaching It that cheap clothing ~ the
: hads. % degradation. This worldly
wise child does not appear in the German
symbolic drama. Their. all children are
- wise a. he fairies are
! Il seems that when this drama was
! produced in Germany il was bitterly
attacked by Friedrich Rosch in the AHgs-
meme Musk Zsi,HHg. He said il was
'un- Gsrmsn in the con-t ruction Of the
language. un-German in its tendency.
un-ierman in its incredible pornography.
Let us hasten to declare that we do not
believe a word OF this The treatment
, Of The scene in which the B0oss Girl be-
comes the beloved OF the kin0's Son
IL undeniably stupid IN treat ment The
struggle over the wreath and the UNI
awaiting tears after it IL broken are
EXAMPLES ot German symbolism AZ it,
worst A Frenchman would have ouched
this seen" with airy and enchant ing
frankneSs but there are minor Incl
i dents 20 which the irate Berlin crit ia may
have referred There j. an unsucces--
I fully erotic damsel in Act III hut she
il quite evanescent She cannot be- re-
gard.d a. Charact erist ic OF the drama
AZ "A whole The work - ldealist ia and
! -ymbolical. and II IL going to call for
"A good deal OF kindly imagination. of
willing surrender TO the liz erary premises.
on the part of this public.
3 This surrender ought TO he greatly
/ facilIt at ed by the general charm Of Mr.
/ Humperdinck' music. As m the tragic
score nf Tristan und Isolde the mar
vslious music Of wagner's second act
transforms philosophic hair splitting into
supreme poe~y OF passion. so here We
shall find that in certain moments the
strong pinions of song wait a somewhat
lame and hsltinx symbolism into the
aerial regions Of glorious dreams
The score - one of those which the
/ Germans classify a. all theme That
means hat II L. made a. those of Wagner
are. out Of numerous represent alive
melodic fragments 4 thsmatic hand
book like those manufactured by Won
Wolzogen for the Wagner works would
not be ami-- But the general public
il easily ati-fed IN this matter IL II
recognizes three or four of the most
import ant mot ives II IL content
And II IL by no means incorrect IN its
attitude The enjoyment of a rhemaiic
music drama does not and cannot rest
upon tabulation of the various themes
~ they pass in review The composer
who comprehend- this met hod devise~
his themes TO characterize certain per
sons and to indicate. certain dominant
Thoughts in the play They should do
this wi,hou, III. help OF nomenclature
They must create the necessary musical
atmosphere. whet her we perceive their
separate entity or not II - very help
ful to our enjoyment to know them
but We should not be berefr OF all pleasure
II W. do not Therefore This account OF
the lyric -koni gskInder- shall make no
attempt 'o furnish forth a analogue OF
all the musical themes There are Few
which are 80 significant thai they must
b. ment ioned Some Of them are heard
most pert Inently IN the pr"ludes to the
different acts Others are episode. and
still others are intrinsically scenic The
attentiv. hearer will easily identify those
of IN. most pregnant significance: the
others play their parts in the score wi, b
OUT obr rusion upon he analytical consid-
GRAFTON
D.
xb.p tb. curtain rise. L. play.d IN an
.x,.,d.d 81, horation Sy IN. fut. aIon.
I, !. the them. Of th. Zoos. GirI and u l..
hoard Frequently throughout RI. opera
Wb., the G;irI lean. over IN. trough under
,h., ,,,,, and seeing her inverted image
in RI. water exclaims How beautiful I
am W. hear this theme in inversion. and
this new and captivating melody endurs-
in tn. score a. the motive of the maid $
h.,mtv
rb. o. ,h.me given out al the be-
Ginning ~ ,h. first prelude :. repeated
g., h..for. IN. .ntranc. Of tn. Xmas
sor. II j. his motive. and tits frequently
h.,rd Ru, her. again Hunperdinck has
.ha,, b,. ,nu.ic,l skill and poetic INA ri
cation m rh. ,ls, OF development The
L., ,hras d..c.pding notes Of this theme
a.. ,,tiliz.d Tn build ND much Of the ssnti-
mental melody II IN. score. and they