New-York tribune., 1910-03-07

fully edited a. Schirmers : seems TO be olnn
all mention of it? W. /. COk.
New York, Feb. p, 1910.
our correspondent might have gone
further than the Schirmer vocal score
and the ubretto and remained in ignor-
ance touching the question which he
raises in fact, he might have gone TO
the manuscripts of Wagner himself,
without finding an explanation of silly
device which has prevailed in the
opera houses of the world for the last
fifteen years or more. Notwithstanding
that il flies in the face of a poetical pur-
pose of the poet-composer When "Das
Rheingold" was brought forward at the
Metropolitan opera House, in January,
1882. The Tribune's reviewer directed at
tention 10 the fact that the stage man
ager had turned what in Wagner's book
IS only q thought in the mind of Wotan
into a thing Of brass and steel. Wotan,
just before stepping upon the rainbow
bridge and giving his hand 10 F'ricka.
stopped and picked up sword, which
he brandished as its musical symbol
flashed through the orchestra. Where
did the sword come from? The question
was put at the time to Mr.. Seidi, who
answered that it might be assumed that
il was part Of the horde which Fafner
had neglected 10 carry off. The fact
that this was d gross perversion of Wag-
ner's purpose being urged upon him, Mr..
Seidl replied that Wagner himself had
approved the device. III a review of
the Bayreuth performances. published
il Die Redcnden Kunste." We read about
the same time:
In "Rheingold." when Fafner gathers
UP the horde, he unexpectedly finds in il
q sword and throws it away as not ap-
pearing valuable enough 10 him. Wotdn
then lifts up Nothing. This scenic per
forInance is said TO have come from
Wagner and 70 rest upon verbal tradi-
tiotl; but since II is not TO be found in
any edition, I would prefer 10 dispense
with the bit OF naivete.
Mr.. Seidl was therefore right in claim
ing Wagner's sanction for the episode as
il was handled then and has been ever
since, but that fact does not redeem the
palpable absurdity and only serves to
show that Wagner distrlsted a concep-
ton which originally was profoundly
beautiful It was one Of those appeals
which he made 10 the imagination of his
hearers while composing, and afterward
vulgarized and ruined for the sake of
cheap claptrap. Observe how clear and
impressive the incident is treated in the
score Of "Das Rheingold." Wotan has
finished his apostrophe to Walhalla, 10
which re was moved by the sight Of the
rainbow bridge stretching from the val
ley up TO the mighty fortress. The gor-
geous simmer Of the rainbow music is
still about him. Suddenly the sword
phrase sounds in pompous proclamation
from the orchestra, and Wotan. "as II
inspired by 4 grand idea" sings very
resolutely':
60 now 40 ! greet the castle
Secure from fear ana terroTs
The sword phrase is heard again. begin
ming piano and swelling TO crashing
fortissino chord. Wotan turns SOL
EMMY to Fricka":
Follow me wife
In Walhana bde win nae.
,rbe grand idea" with which he is in
spired is obvious 10 all who know the
traeedv. An awful task has devolved
unon him. Murder and theft lie 4 his
door and tho thought Of them had OBJ
scurod his pleasure in the possession Of
yCsi,,slla al day long. with the hane-
fuI ring fearful curse hss entered the
-.,ria - t1,e direct consequence Of his