New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-02-16
Something About Mozart's Mage
Flute" and the Bird in Wag-
ner's "Siegfred."

neI OlcgiIiCu'
In the ordinary course of things new
opera. or an old opera which has been
revived in manner which places II
among the special features AT the Metro
politan Opera House is entitled 20 FIVE
performances in the course of season
once at each OF the weekly subscription
nights and the Saturday matinees. Mo-
zart's Magic Flute" has already had
six representations. but has not yet been
given to the Wednesday subscribers.
which circumstance il may be assumed
explains its inclusion in tins weeks list.
II has shown sufficient attractive power
however. 10 Justify two extra perform
ances and has met with popular approval
in spite OF the drawback OF a very ineffi-
cient representative Of the Queen OF Nigh,
in the earlier weeks.
Under the circumstances it might seem
childish 10 carp at any feature of the per-
Torrance but an expression OF disap-
prevail I1ay ytc be allowed that by
few faults Of commission and few more
of omission Mozart's opera was prevented
from reaching its full effectiveness. More
careful consideration Of details 10 lie
learned from closer study OF book anu
score would have disclosed TO stage mama
ger and conductor how larger measure
of beauty could have Aeen attained. In a
review of one of the performances attcn-
ton was called by The Tribune writer
ID the harm done 10 the overture DE
having the reiterated chords when
separate its fugal and free divisions
PLAYED behind the curtain. Mr.. Hertz
purpose in doing this was obvious enough
The solemn chords are a symbol which
occurs in the temple scene Of the drama
where they are supposed To be sounded
by the priests. TO indicate the acceptance
of the neophyte by the brotherhood
Critics have quite universally accepted
them for a generation as bearing some
relationship to Freemasonry. and Mozart.
devotee OF the order. may well have
had this notion i'm mind. though the
writer found a parallel device few
years ago in the overture TO "Gunther
Won Schwarzburg, by Ignaz Holzbauer
a German opera produced in Mannheim
fifteen years before Die Zauberfl0te
saw the light OF the stage lamps. Mozart
knew Holzbauer admired him and was
familiar with the music made az Mann.
helm. Be that as il may, however the
appeal TO the imagination which Mr.
Hertz aimed at was of much less impor'
lance than the effectiveness Of the chords
as part of the overture. and this was
sadly marred by loss of sorority and also
Of purity of intonation due to the fact
that the instruments were screened from
the audience by the heavy curtain. Al
musical sounds do not remain pure in in
tonation when filtered through materia
substances. nor does their brilliancy re.
main unimpaired even when their pitch
is retained.
1t is possible that the device 10 which
Mr.. Hertz sacrificed musical beauty in
this instance compelled the engagement OF
additional players; if so. would not the
money have been more wisely expended
in the employment OF the two basset horns
which MoZart's score calls for. and for
which Mr.. Hertz substituted clarinets
The basset horns, II is true. are not called
for often. but they are essential in pro-
ducing the characteristic color which Mo-
Fart gave TO the march and prayer Of the
priests, some of the most impressive music
in the opera. The manner in which Mo-
Fart employs the instruments In his or
chestra lends a delightful charm to the
opera. How marvellous is the soft radi-
ance spread over the first song OF the
three genii by the sustained tones Of the
flutes and clarnets How bewitchngly
suggestive OF their airy nature the fiut.
tering figure of the fddles above and be-
low their second song That figure In
itself ought 10 have sufiiced to tell the
stage manager how the genii ought to APP
pear and disappear throughout the opera
The people of Aiozart's day saw the boys
descend to the stage and leave it In a
Fiuguerk-that is. flying machine How
awkward such an apparatus was nearly
century and a quarter ago may be i'm
aglned when one recalls the swimming
machines OF the early performances OF
'Rheingold' at the Metropolitan Opera
House and elsewhere. Now the Rhine
mixes dart through the green waters like
veritable naiads. Peter Pan and his little
friends fly in and out the window at will
and the sylphs float up and down in the
air above the sleeping Faust like pretty
butterflies. Why should not our genii do
the same and SO make good Mozart's de-
scriptive music?
Come to think of it. why should the
Kndbcn not be real boys instead of
women? The voices Of boys would b.
ravishing in Mozarts music. We haven't
even shadow OF doubt that the COM
poser had the sound of boys voices In
his mental ear when he wrote the music,
though he may have felt the need of an
adult female alto for the lowest part.
ven in this part however. there are only
so or three passages which call for
zones which are rare in singing boys. 1t
Is plain, from his treatment OF the vocal
parts themselves. az well as the instru-
mental accomplishments. that Mozart
wanted to differentiate between the music
Of the three ladies who belong to the