Scan 60
Handbook of Musical Biography: Short Notices of the Various Schools of …, 1886
5 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1RICHARD WAGNER.
3WAGNER was born at Leipzig, in 1813. His admirers hold that he has created a particular 'school" for himself. How long that school will last, the future must decide. In his early days an' admirer of Palestrina; of Mozart and Beethoven, even of Rossini (the "Swan of Pesaro"), Boieldieu, Auber, and Meyerbeer, each of whom became in turn his bête noire, he is now the representative of a style in which the music is subordinate; "libretto," ballet, and all, seem to play a more prominent part than the music. This may be accounted for by the fact that Wagner was still more talented as a poet and dramatist than as a musical composer. His musical compositions are all of them more or less clever reminiscences of Glück and Weber, with a despised Meyerbeer's noisy instrumentation. Often a restless and overloaded violin accompaniment reminds one that the author of Das Judenthum in der Musik ("Judaism in Music") has not disdained to borrow from Mendelssohn's Walpurgisnacht and his Sommernachtstraum, which are again reminiscences of Der Freischütz and Oberon. Wagner's admirers show a partiality for his operas, Lohengrin, Rienzi, Tannhäuser, Die Meister-Sänger, Der Fliegende Holländer, Der Ring der Nibelungen, and Parsifal, his last composition. Though gifted conductors of orchestras like Manns and Richter are striving hard to make his music popular in England, they have only partially succeeded; the public, up to the present time, taking interest only in such fragments of his works as the march in Tannhäuser, the overture to Lohengrin, the one of two readings
4WAGNER was born at Leipzig, in 1813. His admirers hold that he has created a particular "school" for himself. How long that school will last, the future must decide. In his early days an admirer of Palestrina; of Mozart and Beethoven, even of Rossini (the "Swan of Pesaro"), Boieldieu, Auber, and Meyerbeer, each of whom became in turn his bête noire, he is now the representative of a style in which the music is subordinate; "libretto," ballet, and all, seem to play a more prominent part than the music. This may be accounted for by the fact that Wagner was still more talented as a poet and dramatist than as a musical composer. His musical compositions are all of them more or less clever reminiscences of Glück and Weber, with a despised Meyerbeer's noisy instrumentation. Often a restless and overloaded violin accompaniment reminds one that the author of Das Judenthum in der Musik ("Judaism in Music") has not disdained to borrow from Mendelssohn's Walpurgisnacht and his Sommernachtstraum, which are again reminiscences of Der Freischütz and Oberon. Wagner's admirers show a partiality for his operas, Lohengrin, Rienzi, Tannhäuser, Die Meister-Sänger, Der Fliegende Holländer, Der Ring der Nibelungen, and Parsifal, his last composition. Though gifted conductors of orchestras like Manns and Richter are striving hard to make his music popular in England, they have only partially succeeded; the public, up to the present time, taking interest only in such fragments of his works as the march in Tannhäuser, the overture to Lohengrin, the one of two readings
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