"The Nibelung's Ring". an Analysis of Richard Wagner's Trilogy
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"The Nibelung's Ring". An Analysis of Richard Wagner's Trilogy. The Valkyrie (Continued) Author(s): F. Corder Source: The Musical Times and Singing Class Circular, Vol. 23, No. 471 (May 1, 1882), pp. 246-253 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358336 Accessed: 26-02-2015 19:58 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Thu, 26 Feb 2015 19:58:27 UTC All use subject to JSTOR Terms and Conditions 246 THE MUSICAL TIMES.-MAY I, 1882. rpertoire,which have proved more attractive perhaps be studied and encouraged here as much as it is in than any others,not, certainly, because oftheir novelty France and Italy. This is the only countryin Europe -for that is past-but in no small degree because the where opera is still regarded as something exotic, burden of effecthas not been sufferedto fall entirely and ours is the, only literature in which it is almost on the chief performers,due attention having been universally treated in a spirit of mingled flippancy bestowed upon the mise-en-sceneand the singing and and unbelief. Much of this spirit of irreverence is grouping of the chorus. During the recent season due to the old and favourite assumption that any- " The Flying Dutchman" has been given by this thing in the shape of a librettowas good enough for company with a propriety and completeness of musical treatment. Hence the degradation of the ensemble that could leave little for the composer once honoured name of opera. With the complaint himself to desire; and among other works which that opera had become degraded arises the question, have been renderedwith remarkable efficiencyshould when and by whom was the downward movement be mentioned "Tannhiuser," " Rienzi," " Mignon," towards complete degeneracy detected ? Gluck, Balfe's " Moro " and "The Bohemian Girl," and Sir Beethoven, and Weber-all three-made successful J. Benedict's " Lily of Killarney." The performances effortstowards its elevation and regeneration. The of " Lohengrin" were not equal to those of the former,particularly, not only in his remarkably dra- season before last; but in other respects the mem- matic compositions, but in his writings and letters, bers of the company have exhibited a great advance. shows a clear sense of the vastness of the unexplored Mr. Ludwig, in particular, has developed into a futurefor the music-drama. There need be no fear dramatic singer of the highest order. His Vander- that the coming composers of dramatic music in deckenis one of the most impressive and poetical of England will necessarily be dependent upon the form operatic impersonations, while his rendering of the and structureof the Wagnerian operas, although they declamatory music of Telramund in "Lohengrin " will be exponents of the so-called Wagnerian theories. abounds in fine qualities, among which is con- For the chief of these theories-those essential to spicuous the rare discrimination of his dramatic the highest development of the drama in music-were action. Excepting the especially noteworthy pro- articles of faith with Gluck and Beethoven, and duction 'of "The Flying Dutchman," it is in their were with them the recognition of certain great performance of " Mignon " that the strengthof Mr. fundamental truths, the unnecessarily clamorous Carl Rosa's troupe is most fully displayed. The annunciation of which by the followers of Wagner librettoof M. Thomas's opera is very little superior to alone has prevented their universal acceptation as that of M. Gounod's " Faust," for MM. Carr6 and truisms. The pamphleteering army, in the guise of Barbier never took greater liberties nor played pioneers, have scaled certain well-marked heights merrier pranks than they have done in these in- and taken possession of them in the name of Wagner, stances with Goethe's works. " Faust" has, of making them the headquarters of a vigorous pro- course, sufferedmore severely and lost immeasurably paganda and the base of operations in the future, more than " Wilhelm Meister's Apprenticeship"; apparently oblivious of the fact that these heights but the libretto of " Mignon " is scarcely of a nature had been previously occupied by Gluck and others, to inspire enthusiasm, and its English translation, and that Mozart was not unacquainted with them. with the reprehensible fustian of its spoken dialogue, But whatever the degree of influence to be exercised is even more depressing. In spite however of these on English Opera in the futureby the teaching and drawbacks, this charming episode of Goethe's example of the great master of modern music-drama, romance is given with so admirable an espritde corps there can be little doubt that through it a great by the Carl Rosa company, that much of the spirit stimulus is given to composers, and that a revival of the original workis retained, rendering the illusion of English Opera is no longer to be regarded as far more complete and the whole performance of far visionary. higher dramatic excellence than the interpretations of this work on the Italian stage. Miss Gaylord's impersonation of Mignon is neither that of the " THE NIBELUNG'S RING" WAGNER'S TRILOGY Op6ra-Comique nor that of the Italian Opera, AN ANALYSIS OF RICHARD both of which have their traditions which are BY F. CORDER. and followed; it is, usually carefully conventionally THE VALKYRIE (continuedfrom page igo). on the other hand, one of such originalityin concep- act is more and terrible than ever. tion as to amount almost to a creation. An operatic TIHE third stormy like this is of a Here we have the famous Valkyries' Ride, a portion representation necessarily very and different of excellence from those of the old of which forms the Prelude. In this original degree of music the wood instru- of English Opera; but even when a modern strange piece descriptive days ments execute shakes, the violins descend- English opera, like Sir J. Benedict's "Lily of Kil- continually is there is no need to fear forthe ing arpeggios of great difficulty,while the brass has larney," considered, the bass instruments futureof This work,which preserves the exultant bounding melody, English Opera. in an motive con- so much of.the simple melodic charm of the works accompanying important always of Shield and the old ballad-writers, attracted good nected with riding:- houses last season, and, indeed, there is no reason narrow limits of this should -No.33. IVN _ outside the bigotrywhy - simile. not be so. If English Opera has never known a very - .. robust and lengthy term of existence, it is because we were, as a nation, cut off from the large and vivifyinginfluence of continental art, and it is only I L Iir Igo. through the intimate and extended artistic inter- -- . ' course of the present day that the vitalising force I - -P -- _ of more liberal views of the music-drama is now -*--- . asserting itself here. It is to be hoped that Mr. Carl Rosa will be able next season to give us " The Veiled of Mr. Villiers On a wild mountain-top eight Valkyries assemble, Prophet" Stanford-- Valhalla. that this work will prove the herald of a new to ride together with their chosen heroes to order of things, and that native dramatic music will They wait for the ninth, Wotan's favourite,Brynhildr. This content downloaded from 128.235.251.160 on Thu, 26 Feb 2015 19:58:27 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MAY I, 1882. 247 Presentlyshe is seen swiftlyriding towards them On the others shriekingwith horrorat such a with only a woman on her saddle. In terrorand frightfulsentence, the furiousgod drivesthem away haste she comes to seek forrefuge among her sisters. and bids them shun this mountainfor evermore, On hearingher unnecessarilyfull explanationsthe underpain of a like doom. With wild criesthe troop Valkyriesare horrifiedat her disobedienceand refuse hurtlesaway on the wings of the storm,which then to help. On her inquiringfor a place ofsafety, one subsides, and the Valkyries' ride music gradually of the sisters mentionsa dismal forest,shunned by dies away intosilence. Wotan, and haunted by Fafnir,who has changed Now a pleadingphrase- himselfinto a in whichform he lies over his dragon, No. 36. Ob. treasure-an oddway ofenjoying it. Then Brynhildr is seized witha nobleresolution. She willheroically surrenderherself to Wotan'swrath that Sieglinda may Cor.Ing. have timeto She escape. says: appears, in combination with Wotan's grief-motive, Fly then swiftly soon fades and speed to the east I No. 31, and away as Brynhildr,prostrate Bravely determine beforeher father,raises her head and-quite unac- all trials to bear-- to for hunger and thirst, companied-ventures plead humbly forgive- thorns and hard ways ness: smile through all pain Was it so shameful, while sufferingpangs, whatI have done, This only heed that for my deed I so shamefullyam scourged ? and hold it ever: Was't such dishonour, the highest hero of worlds what I have wrought, hidest thou, oh wife, that it should rob me of honour for aye ? in sheltering shrine.