Give an account of the work of Felix Weingartner.
Give an account of the work of other German writers of symphonic poems.
LESSON LI.
German Opera Since Wagner.
Goldmark.—Among those opera composers who are not direct imitators of Wagner, Carl Goldmark (Keszthely, Hungary, 1830) is the most noted. Son of a cantor in a synagogue, he showed decided musical taste while still a child, and at twelve played the violin in public. After a few conservatory lessons at Vienna, he was forced to make his own way, and live on the small salary obtained in theatre orchestras. He taught himself piano and singing, and was soon able to teach others also. He trained himself by reading the scores of the great master-works. In purely orchestral composition, his first success came with the “Sakuntala” overture, inspired by the story of the Oriental nymph of that name, who is wooed, forgotten, and found again by the Indian king, Dushianta. Later overtures are “Penthesilea,” “Spring,” “Prometheus Bound,” and “Italy.” Goldmark wrote two symphonies, the first (“Rustic Wedding”) resembling a suite of tone-pictures, while the second is in stricter form. He has also published a violin concerto, some chamber works, and vocal pieces. His music is marked by richness of harmony and warmth of instrumental coloring.
Goldmark’s Operas.—His first opera was the “Queen of Sheba,” dealing with the infatuation of Assad for that queen, at the court of King Solomon. Its scenes of splendid festivity and dramatic power, and its delightful music, won it an immense success, and Goldmark was nicknamed “Court Composer to the Queen of Sheba.” “Merlin,” his next work, is based on that wizard’s love for Viviane, in the days of King Arthur. It contains much noble music, but the libretto is weak and confused. “Heimchen am Herd” is an example of the style of Folk-opera introduced by Humperdinck. It is a setting of Dickens’ “Cricket on the Hearth,” and its music shows a most delightful freshness and charm. “Die Kriegsgefangene” treats the story of Achilles and Briseis with much expressive power, while “Götz von Berlichingen” is a setting of Goethe’s novel of that title. “Der Fremdling” (The Stranger) is a manuscript work.
Engelbert Humperdinck.
Humperdinck.—Engelbert Humperdinck (Bonn, Germany, 1854) won a remarkable success with his Folk-opera “Hänsel and Gretel,” a work which has almost founded a new school in Germany. Humperdinck studied architecture at first, but at Hiller’s advice took up music. “Hänsel and Gretel” is the story of two poor children who are left in the woods by their stepmother. They find a gingerbread house, inhabited by a witch who wishes to eat them; but Gretel pushes her into her own oven, and frees all the children previously under her spells. The greatness of this work, like that of Weber’s operas, in their day, lies in its union of the popular Folk-song style with the richness of modern orchestration. The music is fresh and tuneful, with an appealing sincerity that carries it directly to the heart. At a period when other composers seemed able to produce nothing but weak imitations of Wagner’s operas, this work won universal recognition. Humperdinck has produced several other fairy operas, such as “Dornröschen,” “Die Königskinder,” “Saint-Cyr,” and “Die Sieben Geislein,” but none of them has gained any lasting success.
Kienzl.—Another composer of originality is Wilhelm Kienzl (Waizen-Kirchen, Austria, 1857). He studied at Graz, Prague, Leipzig, and, finally, with Liszt, at Weimar. He, too, served as conductor in small theatres. His first opera, “Urvasi,” is based on an East Indian subject. Its music is brilliant, but lacking in dramatic effect. “Heilmar der Narr” deals with the magic healing qualities of a seventh son, who forfeits his power if rewarded; he cures his sweetheart, but loses his gift because he wins her, whereupon she sacrifices herself to bring back his skill. Kienzl’s greatest work is “Der Evangelimann,” treating of a true story of two brothers in a small Austrian hamlet. Both love the same girl, Martha, but she prefers Mathias. Johannes, out of jealousy, sets fire to a house where the lovers are meeting, and denounces Mathias as the incendiary. Martha tries in vain to save him, and he is imprisoned for twenty years. At the end of this term, Johannes, who has been prosperous and respected, is confronted on his death-bed by Mathias, who forgives him. This opera has been given in many countries, and translated into several languages. Its music shows much dramatic force, and goes far to redeem those scenes in the libretto that are lacking in action. A fourth opera by Kienzl is the tragi-comedy “Don Quixote.”
Schillings.—Among the composers who have modelled their works on those of Wagner is Max Schillings (Düren, Germany, 1868). He studied law at first, like Schumann, but soon turned to music, and became one of Wagner’s active assistants at Bayreuth. His “Ingwelde” is one of the many Viking operas that have followed in the lead of “Tristan and Isolde,” and aimed at effects of dramatic power. Ingwelde is forced by a careless oath to follow Klause, enemy of her husband, Gest. Bran, Klause’s brother, loves her also, and kills Klause. She returns to Gest, but Bran follows and kills him too, after which the pair die together. “Der Pfeifertag,” a later work, is evidently inspired by “Die Meistersinger.” It is a confused account of various adventures on “Pipers’ Day,” a mediæval festival. The chief episodes are the reduction of an excessive toll paid by the pipers, the pretended death of one of that Guild, who thus obtains a eulogy from a rival, and the union of two pairs of lovers. The music, though worthy, can hardly stand comparison with that of the great work upon which the opera was modelled.