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Was ihr den Geist der Zeiten heisst

Da ist's denn wahrlich oft ein Jainmer!
Mann läuft euch bei dem ersten Blick davon."

Faust.

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tor, is, in some sense, creative, and on a level of Lohengrin may do 18 good. Let iis see how all. But the proper study of mankind is man; with composer and poet. And as everybody is the dose was inixell, administered, and re

and we turn from the natural features of the ready to admit that the secret of a telling per ceived.

scene to the glittering array of princes, knights, formance lies in the individuality of the exech

and soldiers, drawn mp around King Henry the

Nearing Covent Garden we are sensible of a tant, I would ask, why commit the suicidal

Fowler. The action soon begins. Four truinnoistake of tying him down to the ipsissima special occasion. The long rank," the hur. verba of authentic dynamical nuancos; or rath- rying of visitors on foot, the prevalence of peters—there are sixteen somewhere about the er, as is most frequently the case, the total ab

appropriately bjund in the loudest theatre, and all are not good---execute a fan

fare, and a Herald (Signor Capponi) steps forsence thereof? Why should one continually ) who sell' books of the words “in both lan- his vassals.' The vassals say they are ready to

of colors, and the feverish activity of those ward to explain why the King has summoned ** This is all very fine, but it is not Bach! or it guages," all bespeak a great night. The lobby fight, and the King (Herr Seidemann), in a is not Beethoven!” Indeed! What is it then?

is crowded, and long before the time when voice which suggests that the damp air of the

Signor Vianesi lifts his bâton the unreserved Low Countries scarcely agrees with him, gives Mein Freunil die Ze'ten der Vergangenheit parts of the house are crowded to excess. A Sind uns ein Buch mit rieben Siegeln; good look at the packed amphitheatre and gal- eric of Telramund (M. Maurel) why disunion

particulars, winding up by demanding of Fred. Das ist im Grund der Herren eigner Geist, lery, the tenants of which will “ assist,” in no

and strife prevail in those parts. Frederic In dein die Zeiten sich bespiegeln,

conventional meaning of the term, at the per- steps forward to say that Elsa (Malle. Albani), formance, repays trouble. The Teutonic ele

ment is there in strong force, signalized by his ward, and daughter of the late Duke of If executants are admonished to stick to the round florid faces, a profusion of straw-colored Brabant, was strongly suspected of having letter and not hing but the letter-wbich, by the beards, many, spectacles, and a prevailing this account, he (Frederic) could not marry

made away with her brother Gottfried. On war, now and then includes queer misprints, expression of that solemn thoroughness which her, as had been arranged, but had chosen Orwh: t literal 1payinugos, what chimerical beast, characterizes the worshipping German mind. trud (Malle, d'Angeri), whom he presents to shall not be foisted in upon us some day, with It is a great occasion with our cousins. They the monarch. Frederic winds up by charging all the alarming authority of “ classical tradi are in earnest, and, should the indifference of Elsa with fratricide, and claiming the Duchy as tion?" EDWARD DANNREUTHER. Englishmen be very conspicuous, may wax an

his own.

All this (13 pages) goes on mostly in (To be Continued.)

gry--a grave matter in these times, if not a
casue belli. Lower down, the reserved seats fill said of Tannhäuser " the four-and-twenty keys

such recitative as proves the truth of what was
quicker than they are wont to do, and even
Lohengrin in London.
there a certain gravity prevails.

do not afford a good basis for the ear.” A GerEves that

man critic once wrote, à propos to the music of (From the Daily Telegraph.")

most often have opera-glasses glued to them are this scene: “ It is mere bungling-nay, it is

fixed upon unfamiliar pages; heads that usually filth, the most despicable violation of the rules At last, after years of waiting-weary wait: nod to a circle of acquaintances are quiescent of art; and if any one should cry out and tell ing, perhaps, we may not call

it-the English in the act of trying to comprehend the “myth us that we are stupid because this music does opera-goer

has seen and heard Richard Wagner. There is reason for congratulation in the fact represents to us, who are only "

matter," which, as we have lately been tol is not please us, we appeal to a far more certain itself, stripped of all attendant significance. consecutive generations,” the “

compounds of

organ than the brain, and reply, You cannot Ever since the reformer of opera began to make

pure symbols of primeval forces.”

possess ears if you are fond of revelling in such

Even Royalty basks in discord.'” We will hardly go so far as this a noise in the world, he has been to us a vague the dawning light of the day of future opera. writer, but in good sooth Wagner's wild shrieks ly-defined and shadowy personality. Now and First to enter the Royal bos are the Duchess of of liberty from the dominion of the tone-family then, in concert-rooms, we have caught a

Cambridge and the Duke and Duchess of Teck, glimpse of a figure which, we were told, resem after whom come the Prince and Princess of

are distressing enough to make us ask him for bled him very slightly; and once, on the stage Wales and the Duke of Connaught with their tells us, referring to the discovery of the rela

an explanation. He is ready, of course, and mot unattractive, personality, which Wagner's to discerning eyes than these "dignitaries" is tionship of all tones, that “: music shot up into friends said was a representation of his imma the gathering of men and women famous in the absolute musician, swimming about without an ture youth. Otherwise, the great man has re worlds of literature and art. sembled to as one of Ossian's shadowy heroes, orating from a distant mountain-top, while cent compliment to Wagner, which should age. Before him he saw naught but an endless

here who can claim to be anybody," a magnifi- object and without repose, began to lose courbisoform loomed vaguely and mysteriously gratify his ambition, even though his opera be heaving mass of possibilities, but was conscious teurs cared little about the matter. They had Vianesi, with a shade of care upon his face, obliged to regret his immense swimming capahissed off the stage. But now appears Signor of no object within himself to determine them.

Thus the musician alınost felt their Beethoven and Mozart, their Rossini and which those who know what Wagnerian opera ibilities; he yearned for the still creeks of his Meyerbeer, their Donizetti and Auber-operatic exacts can readily understand. A minute's composers quite good enough for them; and so pause, and then the prelude begins. We do banks, the water flowed tranquilly in one defi

original home again, where, between narrow it happened that, if ever their eyes rested upon not like the manner of its beginning. Lisztnite stream." Hence the sway of the limited the misty outlines of Wagner's figure, no spec- describes the opening bars as a ial desire was excited. But men and women

vaporous tone-family, from which a strong swimmer like.

ether," but we find them neither vaporous nor cannot long see anything dangled just out of ethereal, but siraply a commonplace sequence shooting rapids, tumbling down cataracts, and

Wagner is of course free. He can plunge about, their reach without wishing to grasp it. For this reason, if not on account of an intelligent much too loudly. This ill-advised opening less gyrating in whirlpools, with an immunity of interest in the question which Wagner repre- sens the effect of the crescendo which'illustrates does it. But the action of the drama goes on. sents, there grew up amongst us a real curiosity the descent of the Holy Grail. Wagner himto know what the most notorious of modern self says of this prelude that it suggests a

Henry determines to sit in judgment then and musicians really is. The extent and depth of that curiosity may be measured by the fact that midst the sacred vessel.” He goes on: “The appear. “iniraculous troop of angels bearing in their there upon Elsa, whom the Herald summons to

The royal maid is supposed to be Mr. Gye yow counts upon it to repay an expen- holy procession draws nearer; the heart of the wandering that way. At any rate, she hears diture of some £4,000 upon the production of elect of God gradually exalts itself, it cnlarges, the trumpeters (as we do emphatically), and Lohengrin. It was well , therefore, to have it it dilates; ineffable aspirations awaken in him; enters, attended by her women.

The King appeased. But what Wagner did the people he experiences increasing happiness in finding asks if she will be judged by him. Elsa congo out for to see on Saturday night? There are many forms of him. Here he shows himself and when, at last, the Holy Grail itself appears of a resplendent knight and champion, whom

himself attracted by the luminous apparition, sents, and goes on to tell, in dreamy fashion, barely distinguishable from the mass who labor in the midst of the sacred cortège, he falls into visions have made known to her.

The music in the same field of art. There he is recognized ecstatic adoration, as though the entire world is here full of tenderness and beauty: It is by wearing a kind of motley, balf conformable had suddenly disappeared.' All this is hidden melodious besides, and the ear rejoices in it as to usage, half eccentric, if not wholly new. Yonder be stands alone in his glory, bearing no

from the bulk of the audience, who recognize the eye, after long gazing at sandy desolation, likeness to anything in heaven above or in the gestive movement, wherein the orchestra is ing palms, no more than a highly-colored but vaguely sug- revels in the sight of verdant fields and tower

Moreover, Malle. Albani sings earth beneath. The revelation of this latest handled with consummate skill. The Teutons charmingly, and gives a foretaste of the exceldevelopment would perhaps have been too much for us, and it was fortunate that Mr. Gye the entire world had suddenly disappeared,' aloft are, of course, an exception. With them lence which will characterize her performance

as a whole. Moved by the favorable impression presented Wagner in an earlier and less strange and they like vacuum so much as to clamor for which Elsa has produced, Frederic claims the aspect. There are some things, and Wagnerisin its renewal, which boon Signor Vianesi oblig- ordeal of single combat. The King consents, is one, up to which men must be educated. The ingly grants. Then the curtain rises, and we and, the lists having been prepared in solemn eye accustomed to darkness is blinded by a rushi

are translated to the banks of the Scheldt, near form, calls upon Elsa to name her champion. of light. It needs to pass gradually into the Antwerp, nine hundred years ago—a splendid She chooses the hero of her dreams, vowing full glory of day: So must the musical ama- picture, and one that does intinite credit to that his shall be her hand and crown; whereteurs of our benighted nation-Philistine, we believe, is the appropriate term

Messrs. Dayes and Caney. Over the foreground upon the Herald, backed by his noisy trumpet

progress stretch the arms of royal oaks, and in the dis- ers, again and again calls for the favored wartowards the complete Wagver. The Nibelungen tance, bordered by rushes, flows the "lazy rior without avail. In an agony of apprehenTrilogy would confound us. The milder dose | river, while a bright sun sheds its glory upon sion, Elsa and her ladies fall upon their knees

to pray for his advent. As they do so, the its interest to the end. Thong), the plot is not far other, and stirring the pulses of the listeners, as crowd nearest the river utter words of astonish- advanced by all this, the seeds of mischief are sown knight after knight, all mounted, and attended by ment, and presently is seen, in a small boat when Ortrud cautions Elsa against her lover's de- squires and men-at-arms, arrive upon the scene. drawn by a swan, a Knight covered with re ceit, and urges the fatal step of discovering his name Finally, the King enters, and German chivalry is splendent silver armor. It is Lohengrin (Sig

and lineage. Elsa rejects the counsel with mingled ready to march against the enemies of Fatherland. nor Nicolini), who comes, not in visions now, pride and pity, but her enemy is confident enough Nay, not quite ready. Lohengrin, the chosen leadto fight for the cause of innocence and beauty. D'Angeri plays her part effectu:ally here, and again tarrying. Elsa next appears sa ! and weeping, and

er, has not come, and great is the wonder at his A wonderful double chorus expresses the astonishment of the op-lookers--such a chorus as singing and her truthful, engaging conception of the Malle. Albari surprises us by the excellence of her then Lohengrin. In a few words, the knight declines

to proceed with the campaign, announcing that Elonly genius could have written; because sug; character. She had done nothing so well before.

sa has been false to her allegiance. He then, in a gestive in itself, without help from words, of The duets over, we enter upon another scene of long and trying solo, declares himself a servant of the tumultuous feelings incidental to the situa- pomp and splendor. Day breaks to the noise of the Holy Grail, sent on the mission he had pertion. Here, not the Germans up aloft merely, multiplied trumpets, and its business begins with a formed, but now bound to return because his name but everybody is delighted, and, in response rigorous double chorus, which is interrupted by our

and character had been revealed. Amid the wonto loud applause, Signor Vianesi repeats the friend the Herald and his attendant wind instru- dering exclamations of the crowd and Elsa's remorsechorus. Well for him that Wagner is not pres- ments, who come to place Frederic under ban, and ful entreaties, the swan meanwhile again appearing, ent to witness the dramatic absurdity of a crowd proclaim Lohengrin, Guardian of Brabant. The Lohengrin prepares to bid farewell, bequeathing to making believe to see an apparition in the dis multitude of knights, and soldiers acquiesce in both Elsa's brother, shculd that missing youth return, tance, when, all the time, it is waiting only a proceedings, after which the Herald announces the his sword, horn, and ring. As he steps towards the few feet off. The assembly welcomes Lohen immediate marriage of Lohengrin and Elsa, to be shore, Ortrud pursues him with reproaches, boasting

Here that she by sorcery had transformed the young heir grin in a few. jubilant bars, after which the is occasion for another vigorous chorus, while four of Brabant into the swan, and that had Lohengrin strange Khight dismisses his swan, and comes knights hold aloof and grumble among themselves tarried the spell would have been undone. But her to the front as a short chorus is sung in his at the favor shown to a stranger. With these Fred- triumph is shortlived. The dove of the Holy Grail honor. At this point recitative begins again. eric makes common cause, promising to unmask his descends, and hovers over the head of Lohengrin, Lohengrin is accepted by Elsa as her champion conqueror, for whose crowning fortune preparations who loosens the chain from the swan's neck. "Imand husband, subject to the condition of ask are now visible. The wedding procession of “Lo mediately the bird disappears, and in its place we ing no questions about his name, race, or coun hengrin” has been so often heard in concert-rooms see the missing lad, now restored to Elsa's arms. try. This matter arranged, Lohengrin denies lately that we permit its familiar beauty to pass Lohengrin looks sadly upon their joy, and, harnessthe charge of Frederic, and the two knights almost, unnoticed as our eyes rest upon one of the ing the dove to his boat, is drawn away, while the prepare for combat, while the Herald warns all most splendid scenes ever shown within the walls of music of the prelude drowns the death-shriek of Or

trud, as the curtain descends for the last time. It and sundry not to interfere. But, before the the “Garden.” Each of the dreses of the ladies is a struggle, it is necessary to invoke the justice of study in its way, and the coup dæil presented by the is now nearly one o'clock, and the house has thinned, Heaven; Henry descends from his throne to glowing masses of color and the sheen of burnished but there are enongh enthusiasts left to keep up a act as priest as well as king; and another vast

armor cannot readily be forgotten. Among those stentorian roar of approval, to cheer Malle. Albani, eti semble echoes his prayer.

The episode

who stand aside to let Elsa precede them into the Signor Nicolini, and Signor Vianesi as they deserve,

church is Ortrud, but the trial to her pride is more and to put a final stamp of success upon the evengrandly conceived and worked out, but its ex

than she can bear. Fiercely she confronts Elsa at ing's work. Success in many respects has, no doubt, ecution is a sad business; ears already shocked the door of the minster, and hurls at her bitter scorn. been richly deserved. The splendor of the mise-enenough by Wagner's doings ainong the endless contemptuously demanding, amid the exclamations scène, the stage management of M. Desplaces, the heaving mass of possibilities,” being tortured of the on-lookers, who the bridegroom is and whence remarkable attraction of Albani's Elsa, the earnest by singing not even approximately in tune.

he comes.

The scene is prolonged without lack of efforts of the other principals, and the comparative We now watch the encounter with breathless yigor till the King and Lohengrin enter. Reassured excellence of the orchestra, are features well worthy interest. Frederic is worsted, of course; and, by their presence and their reproof of Ortrud, of approval

. On the other hand, the chorus often as he crzeps away, Elsa begins a song of tri- another attempt is made to enter the church. But sang distressingly out of tune, and there were freumph, which expands into a lengthened and

now Frederic confronts the procession, and once quent contretemps of a nature to call for precautions

more altercation begins, this time being carried on against repetition. elaborate finale of a common-place character, throughout a lengthy and turbulent ensemble which, And now the question arises: Will “ Lohengrin” and productive of no more than vulgar effects. however it may aid the dramatic effect, cannot boast commend itself to the taste of English opera-goers, Upon this the curtain descends amid roars of of great musical value. As it goes on, Frederic finds and establish Wagner amongst us?, Of its present applause that ouly cease when the principal opportunity to instil more doubt into the mind of success we have no doubt. It will be the feature of performers have twice bowed their acknowledg- Elsa, and with a perturbed spirit the Royal bride the season.

But how as to future seasons-how as ments. So far the opera is a success.

We are

for the third time ascends the steps of the minster, to the theories it illustrates ? Can our amateurs dazzled by the splendor and chivalry of the pursued by Ortrud's vengeful looks. At this point transfer their allegiance to music without form ; to scene, impressed by the poetic beauty of the the curtain falls, and gallery and amphitheatre ihun music as the slave of poetry; to music which is mestory, and, hardly less, by the novel character der a second approval, louder, if possible, than the lodious only by snatches, and is charming only in of its musical treatment. But are we satisfied

first. The principal artists again acknowledge the the degree in which it is a violation of Wagner's as well as excited ?

advanced opinions ? They may do so, and it is even applause, to which some of them at least have a Some of us, at least, good right. First among these is Malle. Albani—a possible that Beethoven, Mozart, Rossini, Weber, must answer, "No." Weary of blazing True Elsa under all circumstances and after come and the rest, may vanish froin our lyric stage in tone-color, endless surprises, unmelodious dec- Malle. d'Angeri, M. Maurel, and Signor Nicolini, favor of an entertainment which dazzles and excites lamation, and the constant strain at which the who, as far as looks goes,is a Lohengrin sans reproche. without satisfying the higher faculties of mind and composer works, we doubt-while calling to we are now within half-an-hour of midnight, and intellect. But success of such a nature could only mind the dungeon scene in Fidelio, and the

numerous departures from boxes and stalls' take be temporary. Music is not an affair of declamation, supper scene in Don Giovanniif this be the place. But the enthusiasts up above hold out, and tremolos, trumpets, chromatics, and general swimonly true dramatic music.

in scarce, diminished numbers address themselves ming about in the vast ocean of tone. Music is tune, The curtain rises for the second time upon the to what yet remains of the work.

form, key-relationship, and adherence to those conPalace and Minster of Antwerp. It is night, and we can just discern the figures of Frederic and Or- tive introduction to the third act, and will, there sity. Wagner may triumph awhile, but the masters

Every arnateur knows the very bright and effec- trapuntal laws which can never be violated with

impunity because they spring from a natural necestrud clad in sombre garments and seated on the fore, not be surprised to hear that it was encored in will return to their old place, and after all, tèmposteps of the church. . A long orchestral introduction spite of the lateness of the hour. The pretty chorus is supposed to describe their feelings, and certainly sung by the attendants of the wedded pair as they the German critic already quoted, “ certainly does

rary good fortune means little. “Success," writes manages to be lugubrious with facility; after which conduct them to their chamber is not well rendered, comes an extended duet. Here we find Wagner's and makes no effect, scarcely any applause following | have to do with no insignificant person, but with one

prove something for Wagner; it proves that we theory of the absolute subordination of music car the retiring footsteps of the singers. Elsa and Lo distinguished by varied intelligence and endowed ried out to the bitter end, and productive of nothing hengrin are now alone for the first time, and we but "a continuous surging of shapeless, and, as it have a love duet marked here and there with pas

with energetic mental powers, for without these such were, fluid sounds." One result is, however, that we

success and such works would be impossible. But sares of such exquisite beauty that the veriest are forced back upon the story, to discover that the stickler for accepted form might pardon its absence and yet knock in vain for admittance at the gate

a man may be still richer in gifts of this description, husband and wife, after calling each other 'hard on their account. In the course of this duet Elsa within which eternal art resides." names, agree not to abandon hope. Ortrud, a sor- puts the fatal question as to her husband's name, and ceress and a Pagan, undertakes the work of revenire insists, notwithstan ting his entreaties, upon an anupon Elsa and Loheugrin, and fortune aids her by swer. At this moment Frederic and his four knights

(From the Pall Mall Gazette.) sending the Royal maiden to breathe the early burst into the room, but Lohengrin passes his sword A king, two knights (one good, the other bad), a morning air on the balcony of the Palace. In a through the leader, dismisses the followers with con virtuous princess, a wicked enchantress, a swan, and charming strain - one of those gems of melody tempt, summons Elsa's ladies to conduct her to her a dove are the active personages in this drama, which show that Wagner might have worn the own apartments, and declares his intention of re which introduces three states of ecstasy, including mantle of Weber as head of the romantic school - vealing who he is and whence he came at the place two visions ; several miracles (including one miracElsa expresses her joy, and then Ortrud, who has and under the circumstances which witnessed his ulous transformation), one tournament, one attempt sent Frederic away, appeals to her compassion. arrival. The rush of these events is great after the at murder, one death from stabbing, three marches, Another long duet ensues, but it does not weary us calm of the long love duet, and the music, albeit four grand pageants, and five horses. The piece is like the first, because Elsa is present, and around full of characteristic passages, has a nervous force full of tumult, picturesqueness, character, and color. her Wagner preserves an atmosphere of tenderness impossible to overlook. A change of scene takes us All that is pure in the play is presented in symboliand beauty, sometimes inexpressibly grateful to the again to the banks of the Scheldt, and once more

cal white. "The miraculous swan, the mystic dove, The musie, moreover, ably suggests the Wagner revels in trumpets. The strident instrn are of course white. The girlish little lad into contrast between the two characters, and so sustains mients are heard everywhere, clashing against each I whom the swan is ultimately changed, or rather

senses.

one.

66

der "

retransformed, shines in white armor, and whiter to the angelic couple, Lohengrin and Elsa. Set to must be perfect at all points. Lohengrin, if he loses silk. Lohengrin wears a silver helmet, surmounted music as Herr Wagner has set them, the cries of the one atom of his flesh, will be at the mercy of every by a silver swan, carries a silver shield, is encased false knight and of the malicious enchantress who Let him, however, preserve his bodily integin silver armor, and has nothing unsilvery about is urging him on his villainous course suggest not rily and he may defy attacks from all sides. This him but his little horn of gold, and a black heart. the wicked so much as the wearisome. The so-called can only mean that the true knight, like Lohengrin, shaped escutcheon on his breast, frem which stands singing of this objectionable couple is both harsh must be careful of his honor, Once touched it is out an emblematic swan-once more in silver. Elsa, and tedious, and about half the second act is filled gone. typical maiden of ancient ballads, suffering under with it. Is it absolutely necessary that bad char * Lohengrin” may be viewed in a great many foul calumny, but spotless as snow, is clad in white, acters should sing bad music? We think not. different lights-as an opera in the ordinary sense in white and silver and in white and gold. The Bertram in “ Robert le Diable,” Mephistopheles in of the word, as a spectacular piece, as an interesting King, too, rides a white horse, which Wagner would Faust,” sing melodies which are no doubt of a sin. drama, as a sort of miracle play, full of naïveté, not have allowed him to do if he had not intended ieter character, but are melodies all the same. quaintnsss, and symbolism of all kinds. Its restless to show that he considered him a good King at Kaspar, again, in “ Der Freischütz” is at once tune character will tell against it here, till English audi.. henrt. The bad characters, on the other hand, are ful and grotesque. Ortrud and Frederic, however, ences acquire a degree of hardihood to which they ill dressed in dark brown or in dull red. The vile seem to be, not singing, but grumbling and grunting, have yet to be disciplined; but no one who is capaFrederic of Telramund is exhibited in the garb of a spitting, cursing, and swearing in music; which is ble of taking an interest in things dramatic can fail beggar; and the wicked Ortrud flaunts about in neither nice nor necessary. To Elsa and to Lohen- to bə moved by it in some way, and most persons crimson and spangles.

grin the composer, as of right, gave his best. must carry away from its representation a deep Whatever else it may be, “ Lohengrin” is not

To Ortrud and Frederic, however, he has given impression of its beauty. If we except the well dull. Apart from the beauty of much of the music neither his best music nor his worst. He has ilot known introduction to the third act, with its vignand from the general interest of the drama, it is full given them music at all, but only certain anmusical rous melody for trombones accompanied by a twitof passages which strike the eye, the heart, the in sequences of musical sounds. The duet between tering of violins; the graceful music of Elsa's bridal agination, or all three together. Nothing can be Ortrud and Frederic at the beginning of the long procession, which is " tuneful in the ordinary sense grander than the combination of sights and sounds second act is something terrible. The succeeding of the word, and the thoronghly beautiful prelude." in the scene where, while a procession of soldiers in duet between Ortrud and Elsa is a little better by none of the “Lohengrin” music ought ever to be gorgeous uniforms and priests in the brightest of reason of the passages for Elsa. But Ortrud's defi heard apart from the drama to which it belongs. robes moves across the stage in the midst of a crowd ance and Frederic's accusation in the same intermi- But the work, as a whole, is very effective, and waving branches on all sides, the ringing of church nable act are odious. Neither the first por the third Elsa and Lohengrin are the two most poetical fig. bells and the pealing of the cathedral organ are

act should be touched, both being full of beautiful lires of the modern stage. heard simultaneously with the varied tones of the music for Elsa and for Lohengrin. But the second many voiced orchestra. This and other scenes like

act is nearly half as long again as either of the two it in an opera which abounds in pageantry may renothers, and what makes it so long are Ortrud's and

(From the Musical Standard, May 25.) Lohengrin” open to the charge of sensationa- Frederic's very disagreeable solos and duets.

The most important part of his theory, and the lism-for the amount of pure art which goes to the The part of the King was feebly sung by FIerr most proininent feature of “ Lohengrin,” is bis composition of such scenes is very small. But there Seideman, a new arrival from Germany, wnose voice, fondness for recitative and aria parlante. The Ital. are also scenes of the greatest simplicity for Elsa, under a long course of Wagner, seems to have give ians designate arin pırlante as that species of canti. for Lohengrin, and for Elsa and Lohengrin together, en way. Signor Capponi, perhaps because he has lena which lies between air and recitative a temno. scenes which are full of emotion and which, apart been trained in another school, but probably for There is nothing new about the form ; Handel frefrom scenery and with the commonest costumes, more simple reasons, and because he possesses a quently used it, and the greater part of Purcell's could not but effect the listener. “Lohengrin” is, in naturally magnificent voice, did full justice to the famous song of “ Mad Bess" is written in this de fact, a highly poetical melodrama, in which the Herald's music. The chorus, shaky at the onset, clamnatory style. It unquestionably has its advan. mystical and the actual are strangely blended togeth got firmer as it went on; but it has yet to familiar- | tages, one of which is to allow the ear to repose er, theugh not more strangely. perhaps, than in some ize itself with a style of music the like of which it after the fatigue occasioned by long continned or of the plays of Shakspeare and of the great Spanish had never known until “ Lohengrin was placed too strongly accentuated rhythm. But it may be dramatists. It is full of the most delicate subtleties before it. It is required to ejaculate, to declaim, to carried to excess, and this is the great point in which and of the most palpable realities; fights on the express emotion in various ways, but not, as a rule, Wagner so grievously sing. Hundreds of pages, instage and suggestions of spiritual influences, over to sing. The orchestra was perfect, and the con deed almost a whole opera, of aria parlante constipowering blasts of trombones and luminous appari- ductor, Signor Vianesi, well deserved the special tutes a weariness almost insupportable. Half an tions, real horses in the Astley style, and visions of summons with which he was honored at the end of hour's discourse in no particular key, and accom. miraculous troops of angels. Liszt's rhapsodical | the performance. Wagner's orchestration is known panied with apparently purposeless modulations, description of one of the most striking scenes of the to be one of his strong points; and the effect of his will not make up for a patent lack of melody, whatopera—that of Elsa's bridal procession, to which various combinations of instruments, which are often ever the most uncompromising partisans may say Wagner has composed music worthy of Weber and made not for their own sake but to serve from time au contraire. The paucity of melodic airs is not an quite in Weber's style--may be quoted as an exar to time as a characteristic accompaniment to the improvement, and the substitution of aria parlante ple of the sort of enthusiasm with wbich Wagner in personages on the stage, was sure not to be missed. does not constitute any pleasing advance in art. his best moments inspires his fanatical adinirers. More worthy of remark was the style in which the Melody is a gift that is but sparingly possessed by

During this scene,” says Liszt, “ Elsa reappears at instrumental introductions or preludes were played. Wagner; but to pretend that this is an advantage, her balcony, and passes along the galleries of the The soft, spiritual prelude to Act 1 and the vigorous and to sneer at pettiness—as is done by some of his palace before descending to the street. Behind her quasi-martial prelude to Act 3 were both encored. adherents—is as ridiculous as was Berlioz's pretendslowly passes a long cortege to music of a soft but Elsa was also compelled to repeat her beautiful ed dislike of the fugal form. One is insensibly reearnest character, admirably in keeping with the prayer-rather a mistake from a Wagnerian point minded of Cherubini's sharp comment on this, "Yes, approaching religious ceremonial. Trembling with of view, since by the Wagnerian doctrine all ®“ re he dislikes fugue becouse it dislikes himn." emotion, the Princess advances, looking more lovely peats” are forbidden; and Lohengrin bad to arrive And yet there is melody in “Lohengrin," and some than ever in her crown and silver-mounted robes. twice over, for the sake of the wonderful orchestral beautiful music; but these portions are just those The passionate strains of the orchestra are inspired rush by which his miraculous approach is indicated. that the Wayneriles protest against, and regard as at once by love and devotion, but ao mingled that This was clearly absurd. But a great deal of what weaknesses of the composer's immature yonth in. it is impossible to discriminate between the two. a mad doctor might call“ furor Teutonicus” was volving principles which in bis later works be bas The Princess, at once a saint and a woman, walks raging in the galleries ; and it seemed probable entirely cast away. What success attended the perwith downcast eyes; yet the strains of the music enough at one time that every piece, or rather every formances of " Lohengrin” on Saturday and · Monseem to reveal her thoughts, and in the vague mys- distinguishable beauty in every scene, would be re- day last is, we believe, to be ascribed solely to these tic ardor of its majestic crescendo we may read how demanded. Yet some of the finest things even in fragments. It would be affectation, which the most burning and yet how chaste are the glances which the first act, when admiration was fresh and fervent, pronounced adherent would hardly be guilty of, to are concealed beneath the drooping eyelids." That had to be passed over. It was impossible, for in- pretend that the interminable recitatives met with is, of course, extravagant. But it seems to us less stance, to call upon Malle. Albani to give a second the slightest favor. The house was filled with Teuextravagant now than it did two days ago, when time the eloquent outburst of gratitude and joy with tons rallied to the support of their countryman, but we had not seen Lohengrin” at the Royal Italian which poor Elsa hails the victory of her champion, even they could scarcely raise a hand in support of Opera, and Malle. Albani as Elsa. Elsa is the soul the Knight of the Swan, over Frederic, her accuser. these dreary restless things. The ioberept guod in of the work—or, perhaps, it would be juster to say This was one of Mulle. Albani's most dramatic points the work shines out all the more brilliantly by the the heart and soul of the work are Lohengrin and though it is not for particular points here and contrast with this aria parlante ; and contrast—that Elsa together. Both characters are perfectly played there, but for her general conception of the part, most valuable feature of music - lent a certain at the Royal Italian Opera.

that she deserves praise. The fair-baired heroine amount of charm to the gems, and unquestionably The griet of Elsa, falsely accused, her ecstatic vis- of the mediæval legend, calm under calumny, strong increased their brilliancy by comparison with the ion, and the mysterious arrival of Lohengrin, Elsa's in her innocence, full of devotion to her deliverer, dulness of preceding parts. prayer and Lohengrin's victory (in Act 1), Elsa's but urged by a fatal curiosity to put to him the Excepting the arias parlantes, or recitative, as bridal procession (in Act 2), the orchestral intro-question which he must not answer, is perfectly rep some may prefer to call it, the solos in the work are duction and bridal chorus, the duet for Lohengrin resented by this admirable artist, whose voice, insignificant. The same may be said of the chorusand Elsa, and finally Lohengrin's declaration, fare. moreover, gives melody to phrases which are not es with but trifling exceptions. They are for the well, and departure (in Act 2) are the scenes and always in themselves melodious. Malle. Albani has most part short, jerky, very ugly, and very hard to incidents that chiefly stamp themselves on the mem had the advantage of studying the part of Elsa under sing, The orchestral preludes, &c., are, though ory. If we also reinember the singing of Ortrud | Herr Wüllner, the Kapellmeister of the Court The small in nuinber and limited in scope, interesting, and of Frederic, singly and together, it is to wish atre at Munich, and to his intelligent and careful and in some cases novel; but Wagner does not bewe had not heard it. The vocal utterances of these instruction much of her success in this difficult but lieve in pure abstract music, and so, with the excepdiabolical personages, represented, we feel sure, with far from ungrateful character may be attributed. tion of the attempted illustration of the descent of great ability by Malle. D'Angeri and M. Maurel,

tar Thermoratete" Lohengrin "seems to be that if a the Holy Grail, to be found in the opening prelude, though with an ability we are unable to appreciate husband treats his wife well she should not be too he places little reliance on these mere instrumental -are obviously intended to contrast with and to inquisitive about his private affairs, apart from her; movements. We may dismiss the concerted music enhance the beauty of the melodious phrases assigned and also that to be able to resist his enemies a man for the soli voices without remark; it is of no im

Of

portance, save for its absence of recognized form, dresses could ever have existed, much less that la- Berlin in 1824, he too, found the harpsichord of and its singularly harsh unvocal phrases. One pe- dies thus attired were just as attractive, if not more Fasch (founder of the Singakademie there) still culiarity is certainly worthy of note. Wagner has so, than they are now. We may the more readily preserved, and has recorded his conviction that the succeeded in doing one thing that no composer has understand our ancestors' admiration for the thin Berliners would not have exchanged it for the finest ever done before: he has written a duet for one and biting plectrum-twang (here Sir Robert first Broadwood Grand which England could produce. voice. The whole the first scene in the second touched the strings of the piano with bis finger-nails, Let us (continued the lecturer) recal the names of act-running to 24 pages in the vocal score copy and then struck the keys in the ordinary manner) some of the virtuosi who, in England and abroad, is taken up with a duet between Frederick and Or- by reflecting that they were accustomed to this sort

were famous for their manner of touching the_keys trud, who are seated on the steps of the minster. of tone in their other instruments. Thus their of these old relics. There were the German Bachs Each character sings alone, and though they plot shawm, chalumeau, or shalıny (derived from the -a numerous tribe-of whom John Sebastian and long enough to overthrow a dynasty, thev never calamus, or reed), their hautboy, bassoon, and bag- his son John Christian were chief. Later on too sing together, save in the last 28 bars, and here pipe-all partook of this quality. The early English there was Mozart. Of the French Couperins there they sing in unison! This is surely the most origi- stringed instruments, too, those“ chests of viols.” were ten, all famous, though none so great as Fran. pal Jnet extant in music.

in which they delighted, were of nasal timhre, and cois, called Le Grand. Our French list would not Tested by. Wagner's own principles, we have not at all what we should call mellow. Of this there be complete without Madame Laguerre, chamber shown that his music fails; examined from a more is amusing evidence in the catch written by Henry musician to Mdme. Montespan (1680—1721). sensuous point of view-that of pleasing the ear—it Purcell (whose portrait hangs on yonder wall) in Fasch, harpsichordist to Frederic the Grent, we is equally at fault. To a great extent, Wagner has ridicule of the viol-di-Gamba, or knee-viol, of the have just spoken. Then, in England, there was been taken on trust in this country; no first-class Rev. Mr. Gostling (the bass singer admired by Handel, and Kelway, whom old Mrs. Delany thought musician, no prominent amateur, no noted critic has Charles II.) The burden of this catch ran thus :

little inferior to him. Travers, also, and Battishill definitely declared in his favor. It is now the duty

Whet, whet, whet,

-cathedral writers as well as harpsichordists-and of the small, but ardent circle of his admirers to ex

Sweep, sweep, sweep;

Worgan, and wild Tom Rosingrave, who, the son of plain the cause of his failure; and, as they can pour

Zingle, zingle, zing,

an Englishman, became, as usual, "more Irish than out words and libitum, no doubt this will be done.

Zit, zan, zounds!

the Irish themselves.” He it was who compared Happily there are not enou -h Baal worshippers

Even so lately as 1768, when Zumpe, a German Scarlatti's transcendent harpsichord execution to here for this country to bow the knee to the new harpsichord-maker, began to make pianos in Lon.

“ ten hundred devils at the instrument.” Nay, even idol. Neither the principles nor the materials of don, he songht to imitate the harpsichord tone ; and his subsequent love-making was characteristic of the which “ Lohengrin” consists will find acceptance in when old John Broadwood, by using a thicker cov. man; for when jilted by the lady of his choice, he England. To maintain that they represent a desir. ering for his hammers, produced a softer timbre, the borrowed a simile from the harpsichord, and declared able advance in art, would be to glorify chaos; to harpsichord players found fault with it as " tubby that he distinctly perceived his heart-strings crack place ugliness on a pedestal and worship it as a

and dull." If, however, our tastes have changed, the moment she rejected him; this he called his virtue.

even if we are wiser than our fathers, it seems a crepation, fancifully deriving his seneations from the Something more, too, than pretty scenes, rich pity to destroy their work so ruthlessly as we do. Italian verb crepare,

" to crack.” Indeed he somedresses, a large outlay of money, fine singing, and Among the lectures on Irish music read in this hall times believed that Satan played upon this fanciful thoughtful acting, is nesessary to constitute an opera two years ago, one was devoted to the harp, in which stringed instrument. In Ireland the Hon. Garret which shall take rank, and retain it, on the stage. I drew attention to the wholesale destruction of Wesley (or Wellesley), second Lord Mornington, Musicians demand a sound and intelligent construc

those instruments, a demolition so wanton and so and the Hon. Mr. Brownlow, afterwards Lord Lurtion; and to that must be added, artistic beauty. sweeping that except the ancient and beautiful spec gan, were famous harpsichordists. Three more Neither of these essentials does “ Lohengrin” pos. imen fortunately preserved in our own College Mu- famous players-ladies-must conclude our list. sess in a sufficiently ample degree. Wagner is a

seum, scarcely one antique harp can be found in Lady Hamilton (Nelson's friend), who had a fine sort of musical chameleon, and so almost all that Ireland. Much the same may be said of the harpsi- Shndi harpsichord at Naples, and was, besides, has been written about him possesses a certain chord and spinet. Those who possess specimens described by Mozart's father as a “most expressive amonnt of truth. His music is occasionally beauti. (and they are very few) have either permitied the clavier player.” Mrs. Billington, who performed in ful, and yet often intensely ugly; tender, and yet jacks” to be pulled out by children, or converted public at six years of age, and of whose legato Salonoisy; powerful, and yet puerile; onggestive, and the instruments to even baser uses. One lady I man (who brought Haydn to England) said, “ Sare, yet incoherent and meaningless ; his orchestration know to have employed the case of her harpsichord she sings wit her fingares!” Lastly, the Princess streporous and yet ethereal. Rameau, Gluck, and

As a pantry-press, and kept butter and eggs in it, Czartoryski, consort of the Polish noble of that name. Méhul have preceded him in theory,;, Cherubini and the jacks and strings being destroyed. Some of the This lady-one of the most attractive women of her Meyerbeer have supplied him with examples of letters I received on this subject would excite a

time-was born in 1743. She visited London in “laying out and treatment” that he has made good smile. Here is one :-“Sir–in reply to your ad company with the Russian Ambassador. She was use of; while his orchestration is largely borrowed vertisement I beg to say I have got a harpsichord, also admired by the Duc de Lanzun, the French from Weber and Berlioz. unhappily, copied from no one; indeed, so singular tion, but the insides is all gone !” His vocal writing is, which you can have for £2; it is in capital condi- Ambassador; accompanied by both, she quitted

In several in England for Belgium. There the two Ambassadors is it, that one might almost term " Lohengrin” an stances where it was reported that harpsichords ex

fell out and had a duel about her. So national was orchestral opera with a vocal accompaniment, and isted, such as at Castletown House, in the county of she, that she turned her palace into a hospital for frequently the vocal parts quite spoil the highly Dnblin, and at Ballycorus, on the borders of the the wounded, during the Polish Revolution of 1830; colored orchestral writing.

Wicklow bills, it turned out that the so-called harp. she died at an advanced age in 1834. Her portrait,

sichords were only old pianos with dates of 1790 in including that of her favorite harpsichord, engraved Keyed-Stringed Instruments of Music. 1800. Again two of my former pupils had married during her visit to London in 1770, hangs yonder,

into ancient Irish county families; both ladies adjoining that of Mrs. Billington. Sir Robert Sir ROBERT STEWART'S LECTURES AT DUBLIN

thought there was a harpsichord somewhere. At Stewart now dealt with the names of Tabel (a FlemUNIVERSITY.*

length one was found in a harness-room in a remote ish emigrant, who was the first to manufacture IV.

part of the building—the other in a dark cellar. harpsichords, in England; he had learned the art The fourth lecture on keyed instruments, which Both the instruments had been utterly destroyed by from Rucker's successor), also mentioning his two took place on Saturday, April 3, was the most fully damp and neglect. I trust, however, that by direct. workinen, Burkhardt Shudi (the founder of the great attended of the series. The body of the ball was ing attention to the matter, some of these once-val-firm of Broadwood), and Kirkmann. The latter, filled, also the platform reserved for the families of ued old instruments (for in some families spinets who married Tabel's widow, seems to have secured the College “ dons” and the performers who illus were left by will to particularly musical individuals), the lady by a sort of coup de main, giving her but trated the lecture. The crowd still increasing, how. may, yet be rescued from their neglected state and half an hour to decide whether she would have ever, the organ gallery was opened and soon occu

rendered playable. Many harpsichords had been or not, but swearing that married he bad resolved pied. At two o'clock Sir Robert Stewart came for- destroyed for the sake of their beautifully painted to be that very morning. The lady consented, and ward and said

panels. I myself was witness to this process of by this union of two fond hearts, Kirkmann having

destruction, for when visiting Erard's factory last secured not only the good-will of the house, but a Such of my auditors as heard the lecture of last year I saw a set of panels, representing nymphs, stock of seasoned timber, and every requisite for Saturday, and can recall the singular tones produced shepherds, and satyrs, about to be fastened outside harpsichord manufacture, soon rose to wealth. When by the quills on the strings of the harpsichord, may the works of a new grand piano. I thought how guitars came into fashion to the detriment of the have, perhaps, felt surprise that our forefathers could much better to have left the antique instrument in harpsichord trude, Kirkmann shrewdly averted ruin, have so long endured, much less admired, anything its own qnaintly ornamented case, and to have and caused a revolution in taste by presenting all so different from the keyed instruments of our day. I enclosed the magnificent Erard work in their usual the milliner's apprentices and maids with guitars. Bat, in such matters, allowance must be made both plain but elegant envelope of rosewood. In England He had them also taught to play. This degraded for the effect of babit in the hearers and difference people are not generally so destructive; it is a the guitar from its place among fashionable accomin the instruments themselves; for, although we conservative soil, and about forty of these old relics plishments, and restored the harpsichord to public were fortunate in obtaining a spinet and a harpsi- were recently collected at South Kensington. It is favor. In the 17th and 18th centuries there was less chord for you to hear (and I do not think that in the interesting to recall such descriptions of old attention paid to expression in music; such refinewhole of Ireland there now exists one other), still instruments as that of Burney: “ The most magnifi

. ments as forte, piano, slurs, and doubly-dotted notes, we cannot be said to bave heard the harpsichord to

cent harpsichord made by Shudi for Frederick the rarely written down, were taught by the conductor advantage, the tuners who understood the proper Great, all silver and tortoiseshell,” (what has become

at rehearsal. But as the 18th century advanced, quilling of these instruments baving long departed, of it?). I find (continued Sir Robert Stewart), that and expression became more sought, men were no and the proper style of touching

the keys being, to the old harpsichord on which Queen Hortense, the longer satisfied with the harpsichord. It has been some extent, lost. Custom is indeed all-powerful. mother of Napoleon 11 1. practised, is still religiously often remarked that whenever social or political To borrow an illustration from dress-can we con preserved at the Chateau of Arenenberg. You will wants are experienced they are generally supplied ceive anything more unbecoming than the fashions recollect that to this lady (a scholar of Madame in various places, and nearly at the same time, -of ladies' dress from 1780 to 1820 ? When young Campan) is attributed the well-known air, “Partant

• the hour" in short “produces the man.” So it people of the present day are shown fashion books pour la Syrie” (a few bars of the air were here was with the pianoforte; within a few years of each published between the dates I have nained, they played). Most visitors to the interesting “Hotel other, in Italy, France, Germany, and England, were smile incredulously, and are slow to admit that such de Cluny” will recollect the curious Italian spinets produced instruments closely resembling the piano* Reported in the London Musical Standard.

included in that collection. When Logier visited | forte as we see it. The priority of date, however,

Dwight's Journal of Music.

belongs to the Italian inventor, Bartolemeo smile on her face, and a few bright words of wel. utes at a time, half an hour is quite enough of exerChristofali, who, in 1711, first struck the string with come, prompt as usual to the minute.

cises for the strongest throat. That is where Warhammers, and called his invention by an Italian Emma," said I, looking at the clock, “this is tel is wise, and really his method is too hard on any name. Marius, of Paris, produced his “ Clavecin a what I call being on time; are you in the habit of voice to sing even that amount every day year in and Maillets” in 1716. Schroeter seems to have hit on making your entrée with that other bird ?” year out, without taking away all of its freshness and his “ Hammer Clavier" in the following year at “Oh,” she said, langhingly;“ I usually manage to beanty before it is what he calls “perfectly posed.” Dresden. From the imperfect communication which get here just the moment the pupil before me finish However, if scholars study with sense, I do not then existed between various European countries, es her hour, as I never care to lose any time; but think they could find a better person to train and and from an examination of the evidence adduced, it here comes Wartel, and I'll introduce you."

“place” the voice (to express properly the meaning is unlikely that any of these three talented men I looked up, and saw standing before me Nils of the word “ pose” as it is used in this sense.) borrowed from the others. To Dr. Rimbault belongs son's professor, P. Wartel, the man that holds his To quote the exact words of one of his most promthe credit of fixing the date, and by him the evidence pupils as with an enchanter's power, and teaches ising pupils, “ he makes you hit the notes just like of the priority of the Italian invention is clearly them how in their turn to enchain and fascinate a hammer, and that is what poses the voice and established. So heedlessly, however, had this been others. As he stands before me, a pen picture of makes the intonation perfect.” Some voices are treated that not unfrequently some one of the three him may not be uninteresting to you. He is very naturally posed, and for such as these Wartel's meth: names—Christofali, Marius, or Schroeter—bad been tall, with straight form and broad shoulders. The od could have in a very short time only the effect of altagether omitted by writers on the subject. In hair is tinged with gray, while the beard is quite hardening it,—a thing which is never agreeable, the pianoforte action it was necessary altogether to white. The eyes are black, brilliant and shrewd, and which is only necessary for those who have a sever the connection between the key and the ham- , yet a kindly expression flashes from out their depths constant tremolo. mer after the blow has been given; this did not, and lights up the old face with a transient glory Wartel is a great teacher, let people say what exist in the ordinary mechanism for ringing bells, that seems to tell something of that wondrous inag- they may; as evidence of his work he has given nor in the organ, clavichord, or harpsichord; but netic power that he exercises over each and every to the world some great singers, and one alone it formed the great difficulty in the pianoforte person who enters his apartment. The cheeks are was sufficient to make his reputation as a teacher. mechanism. To remedy this had been also the ob- sunken, and the complexion is pale and dark. The This year, Miss Julia Gaylord, after only a few ject of the English inventor, Rev. William Mason, forehead is very broad and high, and his slight bald- months' study, was engaged by Carl Rosa for Eng. Canon Residentiary of York, a friend of the poet ness near either temple makes it look still broader. lish opera, and has had great success,

She is an Gray, and also a poet, an essayist, and a most in His voice is low, and he speaks with a searching American girl, who will no doubt have a distin. genious mechanic. Mason bad invented the "celes kind of undertone running through every note of it guished career as a prima donna, either in English tinette," a little keyed-instrument, alluded to in the that makes one feel as if "the whole truth, and or Italian opera. Her personal attractions are as

Delany Correspondence," and passed with many nothing but the truth,” could ever be told him with rare as charming, while her voice is bell-like, and persons as also inventor of the piano in England. impunity.

it already shows some careful cultivation. She is The musical illustrations of the lecturer included The moment I saw Emma move, I knew that sbe creating quite a furore in the British provinces, and one of the pedal clavichord sonatas of Seb. Bach, was ready to commence her work; so we left the also in the larger cities of Liverpool, Dublin and composed for W. Friedemann Bach in 1723 ; also little salon and went into the music-room where Glasgow. She has great dramatic ability, and we Schumann's study No. 1, in C major, for the pedal Professor James, the accompagnalenr, was already wish her every success. piano; these were played as trios for violoncello, seated at the piano. I am not going to tell you harmonium, and piano, in the absence of a pedal in. how Miss Abbott sang, as you all know that she strument. A lady also played the allegro from sings beautifully, but I shall describe Wartel's Bach's “ Concerto in the Italian Style," and the method, his manner of teaching, and his rooms. lecture was concluded by the members of the The pupil stands beside the piano, and he seats University Choral Society singing “ Lord of all himself directly opposite, where he can watch every

BOSTON, JUNE 12, 1875. power,” a little anthem composed by the Rev. W. move, every gesture, hear every tone, and direct Mason, above alluded to. There will be two more things in general. The pupil commences to sing,

Translations from Writers about Music. lectures delivered, dealing with the modern grand and Wartel begins to move his head in time with piano, and the various novelties introduced, from the music, humming with the scholar a bar here ART LIFE AND THEORIES OF RICHARD WAGNER, time to time, in keyed instruments.

and there, sometimes in unison, sometimes in har selected from his Writings and Translated by (To be Continued.) mony, always in perfect accord. Sometimes at

Edward L. BURLINGAME, is the title of a handsome every other measure the student is interrupted A Visit to Maitre Wartel-American Op- with such expressions as “ Softer, my child;" duodecimo of 300 pages, just from the press of Henry

“ More legato, my little cat ; eratic Singers in Europe,

* Londer, more ex

Holt & Co., New York. It forms one of their “Am. pression,” etc., etc. It must take no small amount ateur Series,” which has already given us the We reprint from the Chicago Times a portion of a of composure to be able to have one screaming at Paris letter describing an interview with M. Wartel,

Diaries and Correspondence of Moscheles, and the you every other moment, and yet keep steadily on the great singing master.

singing, changing the tone and style according to Antobiography and Memoirs of H. F. Chorley. It Paris, May 7.-- We drew up before the door of 39 the teacher's directions ; but all of Wartel's scholars is to be followed by a similar volume of translations Rue de la Chausse D'Antin. That is where Profes-get used to this, and it is astonishing how they can from the Autobiography and Musical Grotesques of sor Wartel lives, and we were going to call on the obey the tones of his voice.

Hector Berlioz, by W. F. Apthorp. old teacher and hear him give a lesson. I stepped His great specialty is posing the voice. Tenor up to the concierge, who is very polite, and he, di- and soprano, bass and contralto sing after the one

In the book now before us, the American reader vining my inquiry and seeing a roll of music, said, ' method, but, strange to say, his most successful

will find copious and truly representative selections Maitre Wartel ? Yes, he's at home; third floor, , scholars have been ladies. Somehow or other he from the nine octavo volumes of Wagner's collected court.” He smiled, and we walked toward the court. perfection, as all acknowledge that Wartel's pupils iar with the German language. The selections are first door to the right—entrance from the inner knows how to train and pose the female voice to writings, hitherto a sealed book to those not familYou see, any one that goes to 39 either wishes a know how to sing in tune, and to execute honestly lesson or a stylish dress made, and the old porter and smoothly the most difficult forid music. He

made with judgment, so as to afford a good idea of knows when the “ folks look musical,” and when evidently believes in the old saying, “ slow but Wagner's literary faculty under various phases, as they have an eye to the latest modes. Our appear. | sure,” as his scholars often study rears before taking well as of Wagner as a man and what he means, ance evidently said “ Wartel” plainer than any up an opera. He has great faith in the vocalisés, French could have done, and following directions, which are really songs without words, and are from

what he is striving to accomplish. His ideals, his we soon found ourselves pulling a dark bell-rope the first interesting to the pupil. He uses the stud extravaganzas, his egotism, bis sharp power of critand awaiting entrance to the famous study-rooms of ies of H. Panofka as the first series ; next those of icism and of satire, his sincere admiration of Beet. the more famous French singing teacher. The M. Masset, and afterward, for the most advanced

hoven, Weber, and other great masters, whom he door opened, I felt a queer sensation creep over me, scholars, the vocalisés of Righini and Damereax, something as if I were about to be magnetized. which are quite as difficult as any opera that could for the work of the translator is faithfully done.

seems so ambitious to supplant, speak for themselves, Have you ever been to a fortune-teller's ? Well, I grace either the ancient or modern repertory. The suppose not; I haven't either, but I have heard all pupils all study with him at a certain hour of each First comes his short Autobiography, simply told, about such things and imagine one's feelings must day, and at another hour they have a lesson with in a brief and pithy style, beginning : “My name be something very similar to those that steal over Professor James, who has been with Wartel eighteen is Wilhelm Richard Wagner, and I was born in one when entering the room on the third floor of years, and who teaches all of the operas and takes Leipzig on the twenty-second day of May, 1813;" but 39. A dark-haired maid answered our ring and them through with the vocalisés. Wartel himself it comes down only to the year 1842: a brief record told us that Professor Wartel would see us directly. never hears them sing in opera, unless just before a of his subsequent life is supplied by the translator. I looked at her and again felt those queer sensa pupil leaves she might wish to show the perfection Then follows a series of his earlier writings, fantas tions. She said, “Come this way," and we strag of her voice and style to her dear professor. Then tical, romantic, or satirical, which form the lighter gled by a table laden down with Howers and pretty she chooses some aria, or scene, and the old man and most readable portion of the book. The first nick-packs into a narrow, dark and very long corri- hears in the selected piece the great good his in- is “ The Love.Veto," the story of the first performdor, that took us past three large rooms into a little terminable scales and exercises have done toward ance of a youthful attempt at opera, with a wild plot ante-chamber, or salon for visitors, where we sat forming the voice and preparing her for the more suggested by Shakspeare's, Measure for Measure. down on an old-fashioned sofa, and awaited the com ambitious work of loarning Verdi or Mozart. One The cleverest of them all is “A Pilgrimage to ing of the “Master."

day the scholar sings nothing but scales, and the Beethoven,” told as if it were his own, though it is You see Miss Emma Abbott had invited us to

next day nothing but the vocalisés. Two pupils purely imaginary, and full of humorous description, hear ber lesson, and the appointment being for 3 have an hour together, and one sings ten minutes particularly of the hated “ Englishman," who hauno'clock precisely, I looked up at the cuckoo's house, while the other rests, making the lesson of each ted him on the way to Vienna, drawn thither by and saw that we were five minutes ahead of time. Two one-half an hour in length; this is all they sing dur- the same magnet, and who clung to his skirts until minutes passed; three, four, and we heard dainty ing that time, though of course the advice he gives he finally gained admission to the inaccessible masfootsteps in the corridor. As the door opened, and to the other during the alternate ten minutes is the

He draws Beethoven into conversation about the cuckoo sang the first of its three notes for same as a lesson to one who cares to learn from ob- Opera, and in the coolest way makes him discourse the hour, in tripped Patti's little protegée with a servation. Besides, using the voice hard ten min. | fat Wagnerism! In the next piece, “An End in

ter.

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