File:Modern music and musicians - (Encyclopedic) (1918) (14776123991).jpg

Identifier: modernmusicmusic02elso (find matches)
Title: Modern music and musicians : (Encyclopedic)
Year: 1918 (1910s)
Authors: Elson, Louis Charles, 1848-1920
Subjects: Piano Musicians Composers
Publisher: New York : The University Society Inc.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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PORTRAIT OF MOZART.Painted by Lorenz Vogcl, 1887. Photographed by Franz Hanfstaengl. built up most impressively on the most ordinary literary substratum.There are excellent texts which absolutely demand music. It is relatedof a great modern poet who for the first time heard Wagners Tristan andIsolde, and had gone to the theater free from all prejudice, that after hehad gazed for a while with the most serious and expectant face on thescene which, by its duration, is capable of producing, on one to whom itis not interpreted by the music, an impression which is not only fatiguing, 74 WOLFGANG AMADEUS MOZART but is positively that of a parody, he suddenly, in spite of the tragic situa-tion, was unable to suppress a smile. This smile changed into laughter whichat last shook the bench, so that a friend who accompanied had to whisper inhis ear, But, X , we can go away! Yes, we can go away, groaned
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MOZART IN HIS SEVENTH YEAR the poet, who at that moment realized the painful situation. And in themidst of the act the two men made their way through the parquet. Maythis episode furnish food for thought to those in particular who listen toan opera like The Magic Flute first from a literary, then from a musi-cal point of view! Yes; but the text! We must get so far in our under-standing of the stage-work, compounded of words and tones, that at a cer-tain moment the music supplements the words, or vice versa ; otherwiseworks like The Magic Flute will remain to many a book with sevenseals. WOLFGANG AMADEUS MOZART 75 When we compare Mozart and Wagner, the truth of the proverb that extremes meet forces itself upon us. That these two masters representthe extremes is easily understood by any lover of music, but it may per-haps be necessary to indicate where they meet. Certainly Weber must beregarded as Wagners immediate predecessor; but if Gluck is named, andnot improperly, as the man on who

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