MU SIC Fo lio Siz e FOR VO ICE ’ K n r K u n dr ’ s Er zdlzlu n s a rra ti e . A ct u d y N v ( y g ) II . ’ Pars if a l s T r i mph Den b ezl’g en Spear zc/z br zng 1 1 m ’ u euclz zur zlck A ct II en or ) . T FOR PIANO SOLO Prelude A r r a n g ed by Otto S i n ger Pa rsif a l a n h e l o er Ma i en s A c t II d t F w d . A r r a n g ed by Otto S i n g er oo a S el l A c t III . r r a n e o i n er G d Frid y p . A g d by Ott S g ’ m f m en t II r r a n e . or a s La . A c I C F. A t t A g d by M . T i los i n Sce A c t III ra nsform a on a nd C n e. t , g A r r an g ed by Otto S i n g er Ea s T i i on r r an e F. Be er O 6 ra n scr . y pt A g d by y , p 3 T ra n scri tion r r an e L . G ob b a erts O . 1 p A g d by , p 49 r r a n e en r i r Potpourri . A g d by H C a m er FOR PIANO FOU R HAN DS ' P rel ude Vor spzel) A r r a n g ed by En g elb ert Hu m p er di n c k c t Th e Sac red Rel i cs ( Da s Ha ll/ mm ) . A I A r r a n g ed by En g elb ert Hu m p er di n c k r lzw n Th e Swa n ( De Sc a ) . A c t I A r r a n g ed by En g elb er t Hu m p er di n c k i a l a h e l e a i en s D ze Blu m en m a dclzen Pa rs f nd t F ow r M d ( ) . A c t II A r r a n g ed by En g e lb er t Hu m p er di n c k r zt z u r A Good Fr ida y Sp ell ( Cb a fi e ags a be ) . ct III A r r a n g ed by En g elb ert Hu m p er di n c k Closi n g Scene ( Die Er lésu ng ) . A c t III A r r a n g ed by En gelb er t Hum p er di n c k IN BO O K FO R M Sel ect ions f or P i a no Sol o r r a n e o i n er In a er A— g d by Ott S g . p p Select i on s f or Pi a n o Fou r Ha n d s . r r n e n l er m er i k n a . a n c I er A g d by E g e b t Hu p d . p p LlBRETTO . i h En l i s a n d er m a n ex ex l ana or ( W t g h G t t , p t y i n r o c i on a n d th e l ea i n m otiv es in m s i c a l n o t du t , d g u R h A GUIDE TO PA R S IFA L By R IC HA D A L DR I C H . ( T e or i i n s of th e r a m a i ts s or a n d a n a n a l s i s of th e g d , y , t . y m u si c W ith th e l ea di n g m oti v es i n n ota ti on . W ith ei ght i llu s tr a ti on s of s c en es f r om th e d r a m a ) In c l o i l to 1 00 th , g t p $ . ' P u b ltJb ed by A Gu ide t o Pa r s if a l T HE MU SIC D RAMA O F RICHARD W AGN ER I STOR Y flN D M USIC I TS OR IG N , , H L H RI C ARD LA D RI C BO ST O N O LIVER DIT SO N CO MPAN Y N EW Y O R K CHICA GO P HI L A DEL PHI A H LY N HE . E. D N CO C . H D N CO . O . AS . ITSO ALY J ITSO CO P Y R I HT M MIV BY O L IVER DIT O N CO MP A N Y G , C , S [ A GU IDE T O P A R srr A L J PR EFA C E little book can make small claim to origi S m for i nalit . I y It an attempt to asse ble, the nter “ of est and guidance listeners to Parsifal , some of f the most important acts about the sources , the origin , the characters and the poetical and musical structure of that work . The author acknowledges ’ a special indebtedness to Maurice Kufferath s “ ” ’ Wolzo en s book on Parsifal , to Hans von g ” Guide through the Music of Parsifal ; in less ’ “ Kr h iel measure to H . E . e b s Studies in the Wag ’ i . ner an Drama , and to W Henderson s biog h rap y of the master . For permission to use por tions of his articles published in The N ew York Times n , he desires also to express his tha ks to the f publisher o that journal . C O N T EN T S PA GE I NTRODUCTORY R PA T I . T HE O RIGINS O F PARSIFAL T h e First P erform an c e T he Sources of the Drama R PA T I I . T HE STORY O F W AGN ER ’ S PARSIFAL T he Characters of the Dram a R T PA I I I . T HE MU SIC O F P ARSIFAL T h e P relude A ct I Ii ct II . Act I I I . BIBLIOGRAPHY ILLUSTRATIONS SCEN ES FROM PARSI FAL A S GI V EN AT T HE METROP OL O E E N EW K ITAN P RA HOUS , YOR . ‘ r P /zozo r a /zs b P a ck Br os o Me or in a l dr awin s a F om g p y . f ig g m de éy ’ H Bun k/zer o? ° o z m z 69 V e a . C . , P A GE F T HE I n T HE O G . S e e 2 HALL RAIL Act . , c ; Act I I I . , ' ’ Sc ene I Fr on tzsfizece W D BY T HE K E A I en HE . c t S e I T . OO LA , c T HE W A Y T HE E E r an sf orma on P an O N TO T MPL . (T ti o r am a) A ct I ’ E A n 1 ct . S e e KLINGSOR S CASTL . I I , c ’ B G DE . S en e 2 KLINGSOR S MAGIC AR N IN LOOM Act II c , 4 2 ’ D R r an sf rm a on KLINGSOR S MAGIC GAR EN IN UINS . (T o ti S en e 2 S ene . c ) Act I I , c ’ D HE E . S ene 1 0 GU R N EMAN z s HU T BY T . M A OW Act I I I , c , 5 T HE E E Tran sf rm a n P an O N T HE WAY TO T MPL . ( o tio o rama) A ct I I I . [xi] INTRO DU CTO RY ' R S last roduct PA IFAL , the p of Richard Wag ’ f ner s long creative activity , is di ferentiated in many ways from any of his previous works , and from any other lyric drama . In subject and in f style , and in its general e fect upon the stage , it stands by itself . It is a religious drama ; Wag ’ “ ner s designation of it as ein Buhnenweihfest S ” “ piel , may be translated as a sacred stage fes ” tival play . Its subject and the treatment of it are mystical : there are many religious elements in it ; the philosophical tendencies of its outlook upon life are more deliberate and more obvious than those of its predecessors . There are ethical bases upon which many of its fundamental ideas and incidents rest . There are deep and complex sym holisms conveyed through the characters and their interplay in the action of the drama . Its music ff ‘ shows di erences in style and manner, as well as in the general quality of its inspiration , from that ’ — of any of Wagner s previous music dramas in which it but repeats the history of its predecessors ; for one of the facts that most astounds the student of his works is the progressive change that marks them from “ Rienzi to “ Parsifal They are all ’ unmistakably Wagner s ; yet each one is a differ ent expression of the same musical spirit , and the series shows a steady advance in the power, [xi i] Introducto ry b i of complexity , su tlety , and orignality the purely musical part .