. Richard Wagner : his life and works . fBerlin) and Malten (of Dresden). These artists dividedamong them the sixteen performances of Parsifal, and thus • In the month of Oct. 1882, following the representation of Parsifal at Bay-reuth, this prelude was heard in Paris, and curious were the estimates of it furnishedby the newspaper critics. This one, affecting wisdom, esteemed it an excellentpage of harmony ; that one, who must have been blind and deaf, affirmed that thepiece commenced with a violin solo; the other one declared that the best thingabout it was an imitation of the unison of VAfri
. Richard Wagner : his life and works . fBerlin) and Malten (of Dresden). These artists dividedamong them the sixteen performances of Parsifal, and thus • In the month of Oct. 1882, following the representation of Parsifal at Bay-reuth, this prelude was heard in Paris, and curious were the estimates of it furnishedby the newspaper critics. This one, affecting wisdom, esteemed it an excellentpage of harmony ; that one, who must have been blind and deaf, affirmed that thepiece commenced with a violin solo; the other one declared that the best thingabout it was an imitation of the unison of VAfricaine. Where could he discoverthis strange analogy? Probably in the first five measures, played, it is true, inunison by the stringed and reed instruments, but having no further connection withthe effect of sonority obtained by Meyerbeer. Without giving further heed tothese learned criticisms, this excellent page of harmony, as one called it, is a mas-terpiece in itself, and is one of the most beautiful things that Wagner ever a a :c B *l 00 W S fc J3 Ml C X # H v> a T3 H 25 a > at < M pa o H c <! u V a c: J <; <! i, V (/) E b: u < (A ft ^j rt fa A n — « n y «! H o 348 RICHARD WAGNER the regular execution for the entire series was was, however, only one Amfortas (Reichman), not-withstanding the importance of the part, and only one Titurel,(Kindermann). As to the pages, knights and flower-maidens,these minor roles were taken by artists who ordinarily held thefirst places in their respective theatres. Some of the artists refused all remuneration, judgingthemselves sufficiently paid by the honor, and as to theothers, they accepted very small compensation, consideringthe devotion and love which they showed for the work. Thegeneral direction was confided to the leader of the orchestraat the Munich theatre, Hermann Levi, one of the mastersmost ardent followers, and who conducted these performanceswith a truly religious conviction. Amon
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