Portal de Periódicos da CAPES

Six Violin Pieces. (Op. 177.)

1891; Volume: 32; Issue: 579 Linguagem: Inglês

10.2307/3362497

2397-5326

Cornelius Gurlitt,

Musicology and Musical Analysis

removal of its headquarters from Brussels to the French capital.He is one of the best informed of Belgian writers on subjects connected with musical art, more especially in that most modern phase of it which is represented by Richard Wagner.The present volume has every appearance of having been written con czmore.In it the author traces, with considerable erudition, the origin of the Holy Grail mystery, and its literary treatment and successive transformations of the legend in the 4; Sainct Greaal " of Robiers de Borron, the " Percival " of Chretien de Troies, and the ;'Parzival" of Bolfram von Eschinbach.In the light of these, its mediaval predeces-Wsors, the author then proceeds to examine at some length the characteristics of Wagner's drama as such-z.e., apart from its musicaltreatment.Hisreview of the latter is reserved to a final chapter, which contains a very able analysis of the score of the work, and of its intricate mechanism of leading or representative themes, through the maze of which he conducts his readers with the ease of one who has mastered its complicated ramifications.The following translation of a passage, taken at random from the volume may suffice to sum up the author's standpoint in regard to Wagner's last music-drama: " Profoundly touching, by dint of the emotions it stirs within us * dramatic in the highest sense through the mighty conflict of passions it represents; intensely human in the grand philosophical idea it embodies: ' Parsifal ' is distinctly a creation of Beautybeautiful in its poetic conception, beautiful in its form, and in the moral elevation of its artistic atmosphere."Intending wisitors to the Bayreuth Festspiele cannot do better than study M. Kufferath's book.If it is somewhat exuberant now and then in its enthusiasm, it will prove none the less a most trustworthy guide to the intelligent appreciation of an undoubtedly noble and unique art-work.O God of Bethel.Anthem.The Morasislg, Commnnion, and Evs11izg Ser7oicc.Set to music in the key of F, by Edwin D. Lloyds.[Chappell and Co.] THE composer of this Anthem and Service has favoured those simpler forms of construction which do not appeal in vain to unambitious singers.In the pursuit of this idea he occasionally lapses into conventionality, but it is creditable to him to find that he never actually drifts into the commonplace, though at times his modulations are not free from the suspicion of having, like Swiss soldiers, done duty for other leaders.The Morning Service consists of the Te Deum and Jubilate; of the Communion Service only the Kyrie, the Gloria Tibi, and Laus Tibi are set, the Credo and the Gloria, the more important portions of the Service, not being included in the publication.The Magnificat and Nunc dimittis of the Evening Service are among the most successful portions of the setting.The Anthem is composed to Doddridge's well-known hymn.B woellther Taschezz-Kalendcr fixr I89I.[Berlin: Bote & Bock.]THIS handy and very neatly got-up almanack contains in addition to the requisite calendar and diary, a series of interesting and instructive articles relating chiefly to 4;Tannhauser," in view of the forthcoming first performance of that work this year at the Bayreuth Festspielhaus.The " Tannhauser " legend, its dramatic treatment by Wagner ithe music, and, finally, the history of the opera since its first production in I845 at Dresden are here dealt with at some length; a table of the principai representative themes being appended to facilitate the appreciation of the score.That these latter have here been labelled with such extravagant designations as " Die Sundensucht," " Der bannende Blick," &c.(which we shall not attempt to translate) can however scarcely be said to be adding eloquence to the poet-composer's musical characterisation, and moreover, they are totally uncalled for in this early work of his with its comparatively few recurring themes.The present being the centenary year of the death of Mozart, a short article devoted to that composer svill also be found here.The " Taschen-Kalender " is published under the auspices of the directors of the Allgemeine Richard Wagner Verein, and is adorned by the phototype portrait of the Prince Regent of Bavaria, the chief patron of the Festspiele.removal of its headquarters from Brussels to the French capital.He is one of the best informed of Belgian writers on subjects connected with musical art, more especially in that most modern phase of it which is represented by Richard Wagner.The present volume has every appearance of having been written con czmore.In it the author traces, with considerable erudition, the origin of the Holy Grail mystery, and its literary treatment and successive transformations of the legend in the 4; Sainct Greaal " of Robiers de Borron, the " Percival " of Chretien de Troies, and the ;'Parzival" of Bolfram von Eschinbach.In the light of these, its mediaval predeces-Wsors, the author then proceeds to examine at some length the characteristics of Wagner's drama as such-z.e., apart from its musicaltreatment.Hisreview of the latter is reserved to a final chapter, which contains a very able analysis of the score of the work, and of its intricate mechanism of leading or representative themes, through the maze of which he conducts his readers with the ease of one who has mastered its complicated ramifications.The following translation of a passage, taken at random from the volume may suffice to sum up the author's standpoint in regard to Wagner's last music-drama: " Profoundly touching, by dint of the emotions it stirs within us * dramatic in the highest sense through the mighty conflict of passions it represents; intensely human in the grand philosophical idea it embodies: ' Parsifal ' is distinctly a creation of Beautybeautiful in its poetic conception, beautiful in its form, and in the moral elevation of its artistic atmosphere."Intending wisitors to the Bayreuth Festspiele cannot do better than study M. Kufferath's book.If it is somewhat exuberant now and then in its enthusiasm, it will prove none the less a most trustworthy guide to the intelligent appreciation of an undoubtedly noble and unique art-work.O God of Bethel.Anthem.The Morasislg, Commnnion, and Evs11izg Ser7oicc.Set to music in the key of F, by Edwin D. Lloyds.[Chappell and Co.] THE composer of this Anthem and Service has favoured those simpler forms of construction which do not appeal in vain to unambitious singers.In the pursuit of this idea he occasionally lapses into conventionality, but it is creditable to him to find that he never actually drifts into the commonplace, though at times his modulations are not free from the suspicion of having, like Swiss soldiers, done duty for other leaders.The Morning Service consists of the Te Deum and Jubilate; of the Communion Service only the Kyrie, the Gloria Tibi, and Laus Tibi are set, the Credo and the Gloria, the more important portions of the Service, not being included in the publication.The Magnificat and Nunc dimittis of the Evening Service are among the most successful portions of the setting.The Anthem is composed to Doddridge's well-known hymn.B woellther Taschezz-Kalendcr fixr I89I.[Berlin: Bote & Bock.]THIS handy and very neatly got-up almanack contains in addition to the requisite calendar and diary, a series of interesting and instructive articles relating chiefly to 4;Tannhauser," in view of the forthcoming first performance of that work this year at the Bayreuth Festspielhaus.The " Tannhauser " legend, its dramatic treatment by Wagner ithe music, and, finally, the history of the opera since its first production in I845 at Dresden are here dealt with at some length; a table of the principai representative themes being appended to facilitate the appreciation of the score.That these latter have here been labelled with such extravagant designations as " Die Sundensucht," " Der bannende Blick," &c.