His score is amazingly
elaborate, and his treatment of the guiding themes which compose it is
kaleidoscopic in its variety, yet the whole thing flows on as naturally
as a ballad. The voice-parts are always suave and melodious, and the
orchestral score, however complicated, never loses touch of consummate
musical beauty. Humperdinck's melody is founded upon the Volkslied, and
he uses at least one nursery tune with charming effect. The framework of
'Haensel und Gretel' is that bequeathed by Wagner, but the spirit which
animates and informs the work is so different from that of the Bayreuth
master, that there can be no suspicion of imitation, much less of
plagiarism. Humperdinck is the first German operatic composer of
distinct individuality since the death of Wagner. He has shown that the
methods of the great composer can be used as a garment to cover an
individuality as distinct as that of any writer in the history of opera.
Humperdinck's share of 'Die sieben Geislein,' a children's ballad opera
which was published some years ago, consists only of a few songs of an
unimportant character, which will not enhance his reputation.
'Koenigskinder,' which was produced in 1897, must be classed as a play
with incidental music rather than as an opera. The composer directed
that the accompanied dialogue, of which there is a good deal, should be
rhythmically chanted, but when the work came to be performed these
directions were practically ignored by the players.
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