By Francis Hueffer
Francis Hueffer (1845-89) used to be born and studied track in Germany, yet moved to London in 1869 to pursue a occupation as a critic and author on tune. He edited the sequence 'The nice Musicians' for Novello and Co., used to be tune critic of the days, wrote libretti for a few now-forgotten operas, and was once an early recommend and interpreter to the British of Wagner. among his Richard Wagner and the track of the longer term (1874) and his translation of the correspondence of Wagner and Liszt (1888), he wrote Wagner in his personal 'Great Musicians' sequence in 1881 (two years ahead of the composer's death). The ebook surveys Wagner's existence and his musical writings, and a separate bankruptcy is dedicated to every of the operas (except Parsifal, which was once now not played till 1882). it is a attention-grabbing modern review of the standard-bearer of the 'music of the future'.
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By his wife's unfortunate rashness he is now compelled to disclose his origin and name, as Lohengrin Parcival's son, the Knight of the Graal. The piece in which this is done, showing the ' Graal-Motive' in its fullest development, and the impressive melody of his parting song, are amongst the most beautiful parts of the opera. Elsa's brother, who has been bewitched by herself into this form, but would have been released without his sister's indiscretion ; now he is doomed for ever. But in this last emergency the divine power intervenes again.
Forgetful of its higher artistic aims, it lost hold of all poetic meaning, and was degraded to a mere display of skill on the part of clever vocalists. If formerly the composer had encroached upon the domain of the poet he now on his part was made the slave of the singer, who with great real merit as a vocal virtuoso, combined perfect innocence of higher artistic intentions. WAGNER. 53 It was against this omnipotence of the singer that the great German composers protested when they took up the barren forms of the Italian Opera, and filled them with new vitality.
Preludes and interludes), and ensemble pieces for the singers. Alessandro Scarlatti first used the regular form of the aria in the opera, which henceforth became entirely dependent on musical purposes. Certain established forms of absolute music, such as finale or duet, were bodily transferred into the action of the piece without any regard to their poetical propriety. In the course of time the poet became the bondsman of the musician, and had to arrange his libretti (as they were ignominiously called) entirely according to the arbitrary decision of the latter.