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Updated: May 12, 2025
Wagnerian singers, for instance, who employ trumpet-like notes in certain passages are often seen shaping their lips like the mouthpiece of a trumpet, with a somewhat square opening, the lips protruding. However, this can be practiced only after perfect relaxation of the jaw and control of the tongue have been accomplished.
Granted also that intelligent patriotism forbade a French theatre to give a Wagnerian opera, the only thing left to the curious who know nothing of musical arcana and either cannot or will not betake themselves to Bayreuth, is to remain at home. And that was precisely the course of conduct he had pursued.
The Wagnerian leit-motif idea is adopted in this and other works of his, and the chief objection to his writing is its too great fidelity to the Wagnerian manner, notably in the use of suspensions and passing-notes, otherwise he is a very powerful harmonist and an instrumenter of rare sophistication.
Music in all its branches, of course, it provides: so much I will concede to the late Herr Wagner. There are times, I confess, when my musical yearnings might shock the late Herr Wagner times when I feel unequal to following three distinct themes at one and the same instant. "Listen," whispers the Wagnerian enthusiast to me, "the cornet has now the Brunnhilda motive."
In either case "the Folk," on whose behalf Wagner turned out in 1849, are effectually excluded; and the Festival Playhouse must therefore be classed as infinitely less Wagnerian in its character than Hampton Court Palace.
Miss Rathburn had managed to remain immaculate, while their faces were smudged and streaked with soot and car dust, their hats awry and hair dishevelled. Cool, serene, with a filmy veil thrown back from her hat brim, she rocked idly, utterly unconscious of the eyes of the populace. "The scenery is grand Wagnerian!
Certain modern authors have developed a phase of emphasis by iteration which is similar to the employment of the leit-motiv in the music-dramas of Richard Wagner. In the Wagnerian operas a certain musical theme is devoted to each of the characters, and is woven into the score whenever the character appears.
If that should actually happen, neither of them will need any further authority than their own genius and Wagner's scores for their guidance. Certainly the less their spontaneous impulses are sophisticated by the very stagey traditions which Bayreuth is handing down from the age of Crummles, the better. No nation need have much difficulty in producing a race of Wagnerian singers.
"Well, my dear Vaudrey, what is the news?" said Warcolier, bearing his head high and smiling with a silly, but an aggressively benign expression, with the superior tone of satisfied fools. "Nothing!" said Sulpice. "I think Verdi's music is superb!" "Oh! a little Wagnerian," Warcolier replied, repeating what he had heard. "But what of politics?" "Ah! politics concerns you now!"
Wolf's work consists chiefly, as we have already seen, of Lieder, and these Lieder are characterised by the application to lyrical music of principles established by Wagner in the domain of drama. That does not mean he imitated Wagner. One finds here and there in Wolf's music Wagnerian forms, just as elsewhere there are evident reminiscences of Berlioz.
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