New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-08-13
Genesis of Rubenstein's Work.

While / was engaged in writing the
programme book for the music festi-
val given in New York in 1881, at which
"The Tower Of Babel" was performed
IN a truly magnificent manner, Or.
Leopold Damrosch. the conductor OF
the festival, told me that Rubinstein
had told him that the impulse to use
Biblical subjects in lyrical dramas had
come TO him while witnessing a ballet
based on Bible story many years be-
fore in Paris. He said that he had sell
ocm been moved so profoundly by any
spectacle as by this ballet, and 1t sug-
gested TO him the propriety OF treat
ing sacred subjects in manner worthy
Of them, yet different from the conven-
ticnal oratorio. The explanation has
not gotten into the books, but is not in
consistent with the genesis of his
Biblical operas, as related by Rubin
stein in his essay on the subject
printed by Joseph Lewinsky in his
book "Vor den Coulissen," published
in 1882 after at least three of the
operas had been written. The com
roser's defence of his works and his
story of the effort which he made TO
bring about realization of his ideals
deserve 10 be rehearsed in justice to
lis character as man and artist, as well
as in the interest Of the works them
selves and the subjects, which, be-
lieve, will in the near future occupy
the minds Of composers again.
"The oratorio," said Rubinsteln, rs
an art-form which have always been
disposed to protest against. The best
known masterpieces Of this form have,
not during the study Of them but when
hearing them performed, always left
NE cold; indeed, often positively
panied me. The stiffness of the mu-
steal and still more of the poetical
form always seemed TO me absolutely
inconeruous with the high dramatic
feeling of the subject. To see and
hear gentlemen in dress coats, white
cravats, yellow gloves, holding music
books before them, or ladies in mod
ern, often extravagant, toilets singing
the parts of the grand imposing figures
of the Old and New Testaments has
always disturbed me to such degree
that ] could never attain to pure en-
ioyment. Involuntarily ! felt and
thought how much grander, more i'm
pressiye, vivid and true would be all
that | had experienced in the concert
room if represented on the stage with
costumes, decorations and full action.
The contention, said Rubinstein IN
effect, that Biblical subjects are Ill
adapted to the stage because of their
sacred character is testimony OF pow
erty for the theatre, which should be
an agency in the service Of the highest
purposes Of culture. The people have
always wanted to see stage representa-
tons of Bible incidents; witness the
mystery plays of the Middle Ages and
the Passion Play at 0berammergau
to-day. But yielding to a prevalent
feeling that such representations are
PROCLAMATION Of sacred history, he had
conceived an appropriate type Of art
work which was to be produced in
theatres TO be specially built for the
purpose and by companies of artists to
be specially trained TO that end. This
nrt-work was TO be called Sacred Opera
(oeistliche ODer). to distinguish 1t
from secular opera, but its purpose was
20 be purely artistic and wholly sepa-
rate from the interests of the Church.
He developed ways and means for rails
ing the necessary funds, enlisting art
lists, overcoming the difficulties pre-
sented by the mise en- scene and the
polyphonic character of the choral
music, and set forth his aim in re-
spect of the subject-matter Of the
dramas to be representation in chron-
illogical order of the chief incidents
described in the Old and New Testa-
ments. lie would be willing to include
IN bis scheme Biblical operas already