The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-12-11

manner, hut there 70 no aftsmps - thoss
extraordinary polyphonic blsads whsch
Wagner uses When two thoughts wors
together or in opposition. Nor !. there
any thsmatic development in the gym
phOnic style which the BAyreuth masesr
adapted tn the purposes OF dramatic
d.iineatIon. Il u not important that a..
these themes should be enumerated
and named. Il rs sufficient for the pres
ent purpose to note tho principal motives
a. they appear
The opera opens with briei intro
PRODUCTION in q major. four-fonrth um~'
allegro non 'roppo. ~ measures u -
built chiefly Oh the Redemption theme,
which u used throughout the drama to
typify the salvation Of the renegade
johnson This theme il rapidly worked
up TO i fortissimo and the prelude Gomez
TO a crashing end with four measures
Of 'ragtlm.- pealed out by the brass.
This il the johnson motive. and il is
used significantly in one or two places
IN the play Why Mr.. johnson OF Sacra
msnto should live in ragtime is a matter
which need not h. discussed now.
After pause during which the curtains
open. thu. opera begins in L major. six
eighth time. moderate. The boys are
heard shouting outside. and at the ending
81 the fourth measure the oboe sings a
theme which may he called that OF Min
rr's pleading After the beginning Of
A., I n re-ts in silence till Minnie in the
last -rrn~ goes from boy to boy"
pleading for Johnson's life. and then il
IL allotted TO her voice. Certain episode
themes are heard in tho development
Of brisk orchestral movement while men
of tn. camp boisterously enter. They
sing a quaint minor refrain to the ancient
words -Dooda day This is heard again
in the last scene when the boys learn that
Johnson has been caught.
The first elaborated lyric moment IN
the drama 10 reached when jake Waiidce.
the camp minstrel. is heard singing in
the distance. Then begins the home
sickness melody already referred to-
This IL worked up afterWaitaes' entrance.
With solos for several minor characters
and an ensemble. accented by a rhythmic
hammering OF fists ON tables.
The number is interrupted by the
hysterical outburst Of LGrksns. and
brought tn its end after his exit with q
clever employment Of the old device 81
singing with closed mouths. This home
sickness theme is rather subtly intro
duced again just at the end Of the school
scene and still again In the closing meas-
ures OF the opera when Minnie and JOHN
son are going away.
A quarrel between Sonora and Rance
IL worked up with much orchestral hustle
and the entrance of Minnie, who inter
rupts il, brings with it O very poignantly
theme which may be called
the N innis motive. II recurs frequently
in more or less modified forms. After this
the nett new music is heard in the school
scene. Here n innis has q good solo.
The ARRIVAL Of the pony express brings
a bit Of scenic music. and q reference to
III. road agent causes a return OF the
Johnson ragtims theme in the strings
Presently, when the boys have left
" innie aud Rance alone in the bar. We
hear new melody, which We afterward
find ~ closely related TO the true love
theme of the opera. RrRcs's is the false
love This has a touch Of flavor which |
The composer intended to be American
Curiously enough one phase OF it ia
strongly reminiscent OF a clearly cut |
phrase in Ethelbert Nevin's once popular |
-SarCisse
In. ensuing duo between Minnie and !
Renee contains some pieces OF offended !
melody in PuCcini's characteristic manner |
and is one OF the effective passages Of the |
opera Johnson enters abruptly to his |
own theme. When he IL leaning on the !
Conhn ued on Screrh P10e