WAGNER AS MUSICIAN

Pukekohe & Waiuku Times, Volume 7, Issue 423, 5 November 1918, Page 4

WAGNER AS MUSICIAN

(Written specially for the Times) Conclusion To conform with " Musical's " desire and to explain Wagner's method of musically illustrating his dramas in a thorough and systematic manner would not only require a large amount of space, but would necessitate the continual use of technical terms and a frequent reference to the scores of his optuas. It is quite impossible to attempt anything of the sort here, but enough may be told to show how completely his methods and their results vary from those of other musical composers of all times. Wagner in fact created an entirely n<w art, that of dramatic music. Other opera-writers simply used the stage, not for the purpose of presenting the play in the most telling and effective manner, but merely that thoy might display their powers as musical composers. The action of the drama was checked and hindered in order that singefs or orchestra might show their talents, and the most effective situations were marred by set numbers and concerted pieces. Tin s the music, often beautiful in j its jif, became a draw-back rather tli

At an early stage of hisoareer Wagner mastered the fact that this was false art, and in the face of a storm of angry criticism began to apply his theories in practice. Though the greatest musical creator of all time, and the acknewledged king of the orchestra, he felt that stage music ought to be the handmaid and not the mistress of the drama. With the claim of music to dominate the stage he had no sympathy. Its proper mission was to aid "and elucidate the etoryof the play by a continuous flow of melody surrounding and interpreting, but never hindering, the action. In his hands music became a new forces and exercised on the minds of it, hearers an entirely new significance. In his desire to make music appeal to the understanding as well as simply to the ear, he invented the " leit-motiv " (leading motive or idea). This was a short but striking melodious or harmonious passage either peculiar to some character of the play or to some leading idea of the drama. Thus every telling situation in the drama, or pronounced personal attribute or emotion of the characters, has as its musical complement its own " leading motive " and whenever in the course of the performance this situation or emotion is presented we hear the phrase equivalent to it from either voice or orchestra. Twenty-five centuries ago Homer applied to poetry in a modified form the system of repetition of ephithet or phrase, and both epic and music dramas have gained in intensity from its application. It must not be imagined that Wagner reached the acme of his art in a single stride. His early work was infected by the false ideal of music prevalent and his first opera, " Rienzi," might have been written by a Meyerbeer, or even a Mendelsohnn. But he triumphed gradually over the conventions that hampered his inspiration and evolved the music-drama from his artistic, sense of the eternal verities. Step by step the " Flying Dutchman, Tannhauser,'' and " Lohengrin" each marks a material advance upon its predecessor and when we get to " Tristan " and the four dramas of the " Ring " we hear the unfettered expression of his own unimpeded inspiration. Music is from this out, not an end in itself, but an agent for clothing and surrounding each situation of the drama and emotion of the characters with a continuous flow of melody aiding and elucidating the action, which is no longer checked and hindered by the conventions of opera. Voices and instruments alike are subordinated to the one guiding principle, the successful presentation of the drama. " Musical "seems somewhat apologetic about asking for information about Wagner because he was a German. It is true that he was born in Germany, but he cordially hated the autocratic methods of the ruling powers and his revolutionary tendencies made life in the Fatherland unsafe, so he lived the greater part of his career an exile in England, France and Switzerland. Speaking the one universal language that is comprehended by all nations, music, his message was to all mankind and he is no more the exclusive property of the German people than the equator or the galaxy. The greatest obstacle to the popular knowledge of Wagner lies in the fact that so little of his work can be taken out of its setting and performed separately without losing the greater part of its significance. To be properly appreciated it must be heard in conjunction with the action of the stage, or else studied from the complete score of the opera. It is true that there are not many opportunities for the former, but " Musical " is not correct in saying we never have them in New Zealand. In 1901 and 1907 " The Flying Dutchman " " Tannhauser " and " Lohengrin ' were each performed several tir.ios. Let us hope that ere very long we may be given another opportunity i)f hearing what Wagner's contemporaries somewhat contemptuously styled " the music of th«»