New-York tribune., 1912-03-15

therefore, surprise his friends not little
to discover that at his first adventure in
the operate field he has been willing to
forego. to large extent, his characteristic
lyricism and in its place to substitute dra-
ma tic defamation, over an orchestral ac-
compartment extremely restless in its ever
shifting tonality. The orchestral part at
times achieves a symphonic consistency and
flow and rises to real eloquence in some OF
the clmacteric movements. as in the love
duet and the final scene. and when pro-
PEELED by the rhythmic pulses which come
from the Roman march II brings agreeable
and much needed energy into the score.
which suffers in long stretches from the
monotony imposed by the interminable dia-
logue
But before going into criticism OF this
nature IL may he we'll to point out some of
the salient structural features of the music.
It was not to be expected that Professor
Parker. having a strong and vital drama
TO clothe with music (albeit one In which
action waits too frequently on dialogue).
should revert TO methods TO which Wagner
gave the death blow. He frankly uses the
system of typical phrases. or musical sym
bols. though he has not seen fit to point
them out in his lectures, nor give them
labels, nor to adhere to them with the
logical consistency of Wagner. In addition,
quite unconsciously as he confesses, he has
made use of a system of characterization
by means of keys This statement must
not be accepted too literally. There are
two prevailing keys for the heroine, F, fiat
major and minor, but If all her music
were to be sung in these keys the monotony
would be intolerable and a blending OF her
voice with the voices of others would fire.
quently have woful results. The dominant
key of Malls music is u major, that OF
Enya G. minor. But stress need not be lald
upon this feature, which we are entirely
willing to believe came unconsciously into
the music II may interest some musicians
but not all: for not all musicians hold belief
in the emotional characteristics of keys
Some do: many more do not. The whole
matter like that of the supposed relation
ship between keys. colors and perfumes. Is
more or less fanciful and at best thing
in which personal equation plays too large
a part to admit of discussion on general
lines also. we fear. thing of affectaton'
| There are many musiCians-Co composers even
who cannot recognize pitch in its absolute
sense. and the rare capacity ought not TO
be expected OF the public. If not pitch.
then certainly not key. A Beethoven might
he privileged to feel that Klopstock's poetry
is too much i'm n fat: we scarcely think IL
called for as a basis of criticism from one
in box or stall at the Metropolitan Opera
House A device Of Wagner's in using IN
strumental color, as he does in 'Lohen-
grin" where the dreamy ecstasy Of Elsa
finds voice not only I'm her words but also
in the timbre Of the wood wind choir. and
the heroic character OF the Knight OF the
Grail in the bright militant tones of the
trumpet is much more to the purpose. But
that is another matter.
So. also is the employment OF typical
themes. or meodic symbols Here the
drama offers elements which actually cry out
for specific musical delineation. The wom-
anliness In Monas nature, in its relation
ship to Gwynn's love. supplies the only
tender emotion which finds expression In
the opera. There is pathos at the last In
the sorrow of the Roman Governor at the
death Of his son, though properly. II Is
tempered with stocism: there is little SEN
timent of any sort IN Enya. who Is a mar
ionette. moved now by Gloom, now by
Mona. now by Gwynn: there IS gentle
sympathy for Nal. the smpleton, but in
its nature it cannot be deeply rooted be-
cause he is throughout only a foil to the
strong passions which move the play In
consequence MOna's musical symbol-the
chief ore Of the drama-acqUires large I'M
portance, and 1t is fortunate that it has 30
much graciousness and insinuating beauty
I'm it. Here it is-not in its fullest. but in
its simplest. it's elementary. phase: