III.
Wagner[56] (1813-1883). The recorder of the history of music and of orchestration can find no more inexhaustive topic than when he approaches that of Richard Wagner's epoch-making innovations. What is more, the literature in connection therewith is so voluminous, that opportunity for even the slightest original deduction is denied him. No alternative is left him other than to restate in condensed form what the cardinal features of Wagner's ideals and reforms were. Such a review is indeed indispensable if these pages are to be complete.
At the time that Wagner entered upon his career, German dramatic art was largely under the subjection of Meyerbeer, for Weber had not yet won universal popularity. The singer still reigned supreme; dramatic orchestration was primarily realistic and bombastic. Wagner himself betrayed in his earlier works how tempting and insidious the influence of Meyerbeer's dazzling mannerisms and idiosyncrasies could be. Moreover, in order to realize the full significance of Wagner's artistic growth, one should not lose sight of his youthful enthusiasm for Italian melody, even though his subsequent creations proved him to be a Teuton through and through, both in sentiment and in art.
The highest ideals of German opera culminated in the music dramas of Wagner. As musician, poet, dramatist, and master of scenic effects and theatrical requirements, he grew to be the champion of national art, a self-appointed reformer not alone of opera as an end to itself, but as a means whereby the conditions of social life might be inspired and uplifted. And the remarkable concentration of his musical thought, his rare gifts as a poet, and his noble histrionic conceptions proved him worthy of the task. The philosophical aspect of this attainment embodies intimate connection between drama and music; merging of voice and orchestra; intensification and completion of the singer's thought by means of the orchestra; finally, dramatic illusion whereby conditions of mind rather than dramatic situations are portrayed. By developing the so-called Leit-motiv, Wagner discovered a most potent factor for recalling past events, for emphasizing those present, and for anticipating those of the future. The Leit-motiv was, moreover, particularly well adapted to reveal the true conceptions of the composer himself. Vividness of portrayal was enhanced by means of intricate combinations of melodies and figures, free chromatic harmony, unfettered modulation, and elaborately conceived dramatic as well as thematic development toward some supreme climax. The application of the Leit-motiv theorem was conducive to greater license in the treatment of vocal interpretation. A fusion of parlante and the arioso was the result, and in later works the comparatively unintelligible enunciation of combined vocal forces was obviated by discarding the chorus almost altogether.
Retrospection shows us that there were originally three distinct divisions in opera: the recitativo, the aria, and the ritornello. At first the ritornello was but the repetition of the cadence, but developed subsequently into a transitory period intended to complete an unfinished vocal phrase or to describe the action on the stage. Later, a union of these three distinct divisions resulted in the arioso, or fragmentary cantilena joined to recitativo. The parlante or musical declamation over a melodic phrase in the orchestra originated in opera-buffa as developed by Piccini and Paesiello; subsequently Spontini transplanted it into serious opera. It is equivalent in spoken drama to melodramatic recitation. Wagner's style is therefore nothing more than an additional link in the chain of natural evolution.
The pith of Wagner's ideals may be summed up by saying that he aimed to substitute a noble form of art in the place of mere pleasure-giving and sensational fabrications. Music, poetic ideas, action and stage setting were all to be worthy of the subject intended for presentation. His choice of subject for dramatization was restricted to such as could embody characters capable of being treated morally and intellectually as well as æsthetically. Wagner above all others defined the true mission of German national art and guided her to a tangible realization of that mission.
IV.
Wagner's operas and music dramas may be divided into either of two general classifications. The first treats of the musical contents and structural form of his dramas, and of the evolution of his philosophical ideas. The second relates solely to differentiated style of orchestration and numerical distribution of instruments.
The first classification embodies three distinct groups. The first of these groups contains all of Wagner's earlier attempts including "Rienzi," which is modelled according to the French and Italian "historic" school. With the exception of "Eine Faust Ouvertüre" which belongs also to this category, only occasional indications of marked genius are to be found in these works. The second group includes "Der Fliegende Holländer," "Tannhäuser" and "Lohengrin." These display a radical change in style, form and treatment, pronounced originality, continuity of music and a fusion of recitative and aria. The topics chosen for dramatization treat of German myths, mediæval legends, and chivalrous ideals. Indications of the Leit-motiv principle, though used in an unobtrusive manner, are in evidence. The musical forms are not yet influenced by the profundity of thought and reflection that characterizes the works belonging to the third group. The third and last group includes "Tristan und Isolde," "Die Meistersinger von Nürnberg," "Der Ring des Nibelungen," and "Parsifal." The complete fulfilment of Wagner's philosophical theories are here exposed. Wealth of harmony, characteristic rhythm and intensity of expression are combined with poetic reasoning, depth of thought and vivid dramatization. The centre of gravity, so to speak, is transferred to the orchestra. Sprech-singen is emphasized, whereas the Leit-motiv principle reaches its full development.