第1章

AMusicalFantasybyKateDouglasWigginDedication：TomyfriendWalterDamroschMasteroftheartformsoirreverentlytreatedinthesepages。

KateDouglasWigginPREFACE

MorethanadozenyearsagomusicalscholarsandcriticsbegantoilluminatethemusicaldarknessofNewYorkwithlecture—recitalsexplanatoryofthemoreabstruseGermanoperas。Previoustothiseranoonehadeverthought，forinstance，ofunfoldingthestory，orthe"_Leit_

_motive_"（iftherehappenedtobeany！），in"TheBohemianGirl，"

"Maritana，"or"Martha。"Theseandmanyotherdelightfulbutthoroughlythird—classworksunfoldedthemselvesastheywentalong，totheentiresatisfactionofapublicsounbelievablycare—free，happy，thoughtless，childlike，uninstructed，thatithardlyseemsasiftheycouldhavebeenourancestors。

Wagnerchangedallthisatasingleblow。Onecouldnolongerleaveone’sbrainswithone’shatinthecoat—roomwhenthe"NibelungenRing"appeared！

Learnedcritics，pitifullycomprehendingthefathomlessignoranceofthepeople，begantogivelecturesonthe"Ring"tolargeaudiences，mostlyofladies，throughwhomincourseoftimeacertainamountofinformationpercolatedandreachedthehusbands——thesomewhatcircuitous，butonlypossiblemethodbywhichaestheticknowledgecanbeconveyedtotheAmericanmale。Womenarehopelessidealists！Itisnotenoughforthemthattheirbrothersorhusbandsshouldpayfortheseatsattheoperaandaccompanythemthere，cladinirreproachableeveningdress。Notatall！

Theywishthemtositerect，keepawake，andlookintelligent，anditisbutjusttosaythatmanyofthemsucceedindoingso。Theart—formknownasthelecture—recital，then，hassucceededinforciblyeducatingsolargeasectionofthepublicthatimmenseaudiencesgatherattheMetropolitanOperaHouse，one—halfofthematleast，inastateofsuchchastenedsusceptibilityanderuditionthattheTetralogyofWagnerhasnoterrorsforthem。

Thenextmovewasinbehalfofthemorecryptic，symbolic，hectic，toxicworksoftheultra—modernFrenchschool，whichhavebeensobrilliantlyilluminatedbytheirprotagoniststhatthousandsofwomeninthelargercitiesrecognizeamaster’svoicewheneveroneofhisthemesisplayedupontheVictrola。

Ishalloffermypracticallypricelessmanuscriptof"Bluebeard"forproductioninFrenchattheMetropolitan，andinEnglishattheCenturyOperaHouse；meantimeMr。Hammersteinissoimpressedwithitsoriginality，audacity，andtragicpowerthatheislayingthecorner—stoneforamagnificentnewbuildingandwillopenandcloseitwith"Bluebeard"inGerman，ifnounforeseenlegalcomplicationsshouldprevent。

ItisinpreparationforallthisactivitythatIissuethisbriefbutepoch—makinglittlework。

KATEDOUGLASWIGGIN。NEWYORK，February，1914。

CASTOFCHARACTERS

Bluebeard（_baritone_）。Manofenormouswealthbutdubiousmorals。Pioneerofthetrial—marriageidea。

Fatima（_singing_actress_）。Innocent，romantic，frivolousblondetype，richinpersonalcharm，weakinlogicandapoorjudgeofmen。

SisterAnne（_soprano_）。Impulsive，magnetic，ambitious，highlymarriageablebrunette。

TheMother（_contralto_）。Impecunious，mercenarywidow，determinedtosettleherdaughtersinlifewithoutanyregardtoeugenicprinciples。

Mustapha（_robust_tenor_）。Elderbrother；theonewhohasthefatactingpartsinceherescuesFatimaandslaysBluebeard。

OtherBrothers（_falsettos_）。OfnoaccountsavetoshowthesizeofthefamilytowhichFatimabelongsandhermother’ssoundconvictionsonthesubjectofracesuicide。Theotherbrothershavenothingtodoexcepttoslaysheep（byaccident）whenattemptingtodestroyBluebeard’stigerandelephant。

TheTiger（_throaty_baritone_）。Comiccharacter。

TheElephant&TheDragon（_basses_）。Introducedsimplyascorroborativedetail。

ChorusofBluebeard’sVassals（_baritones_and_basses_）。

ChorusofHeadlessWives（_sopranos_and_contraltos_）。

ChorusofSheep（_tenors_）。

Bluebeard（Lecture—Recital）

WEareproceedingonthesuppositionthatthismusic—dramaof"Bluebeard"

isaposthumousworkofRichardWagner。Itissaid（ourauthoritybeingalatenumberofthemusicalandCourtJournal，_Die_Fliegende_Bla’tter_）

thatahousemaid，whiletidyingoneoftheroomsinavillaformerlyoccupiedbytheWagnerfamilyinsummer，perceivedanenormoushaloshiningpersistentlyoveracertainbedsteadstandingagainstthewall，thesaidhaloabsolutelyrefusingtoremoveitselfwhenattackedwithafeather—

duster。Thehousemaidthoughtatfirstthatitwassimplyaneffectofthesunlight，butobservedsubsequentlythatthehalowasjustaslarge，fineyellow，opaque，andcircularondarkdaysasonbrightones；consequently，onacertainmorningwhenitwassohugeandglaringastobepositivelyoffensivetotheeye，inasmuchasitdidnothangoveraHolyFamily，butoveranordinaryandsomewhatuncomfortablearticleoffurniture，sheadoptedthecourageousfeminineexpedientoflookingunderneaththebed，whereshefoundthispricelesslegacyofthemasterreposinginahat—boxinwhichithadlainfornearlyhalfacentury，unsuspected，undisturbed。

Ifthisincidentistrueitisexquisitelyprettyandtouching；ifnot，itishighlyabsurdandridiculous，butthesamemaybesaidofmanyhypotheticalhistoricalincidents。Atallevents，thefinancialarrangementswhichfolloweduponthediscoveryoftheMS。andthepricedemandedforitbytheWagnerianhousemaidconvincesmeabsolutelyofitsauthenticity。

TomeitisnotstrangethatWagnershouldchoosetoimmortalizethestoryofBluebeard，fortheinterestingandinspiringmythhasbeenusedinallagesandinallcountries。Itdiffersslightlyinthevariousversions。Insome，theshadeofthevillain’sbeardisrobin’s—eggandinothersindigo；

insomethefatalkeyisblood—stainedinsteadofbroken；whileinthematterofwivesthemythvariesaccordingtothecustomsofthelocalitywhereitappears：Inmonogamouscountriesthenumberofladiesslainisgenerallysix，butinbigamousandpolygamouscountriestheinterestingvictimsmount（theywerealwayshunghigh，youremember）tothenumberofonehundredandseventeen。

Iought，perhaps，toconfesstoyouthattherearecriticswhostilldenytheauthenticityofthiswork，althoughtheyconcedethatitisfullofWagner’sspiritandinfluenceandmayhavebeenproducedbysomeardentfollowerorpupil；onesteepedtotheeyebrowsinmythologicloreandcapableofhurlingtitanictonaleccentricitiesagainsttheuncomprehendingear—drumofthedullandignorantherd。Therearethose，too，whothinkthatsomediscipleofRichardII。，——Strauss，notWagner，——hadahandintheorchestration，simplybecausehis"SinfoniaDomestica"occupiesitselfwiththesamesweethistoryoftheinglenookwhichisthebasisoftheBluebeardlibretto。Strauss’ssymphonyisworkedoutalongmoretranquillines，tobesure，butitisonlythehistoryofasingledayofmarriedlifeandadayarbitrarilychosenbythecomposer。Itisconceivablethattheremayhavebeenotherdays！

TheincredulousonesurgethatWagnerwouldneverhavebeendrawntotheBluebeardmythasafoundationforalibretto；butformyselfIregarditsselectionasaprobablereaction，violent，nodoubt，fromthecompositionofParsifal。InParsifalthecentralthemesandtheunavoidableconclusionarederivedfromoutgrownbeliefsthathavelongsinceceasedtoinfluencetheheartofmankind。Parsifalismedieval，mystic，rapt，devout。Itsidealsarethoseofcelibacyandasceticism，theproductsofanagewhosetheoriesandpracticesasregardssex—relationshipscanhavenoechoinmoderncivilization。WhatmorenaturalthanthatWagnershouldflinghimself，formentalandemotionalrelief，intoastorythrobbingwithhumanloveandmarriage？Neitherwouldsomecalmdomesticdramaserve，somestoryofthenurseryorhearth—stone，dealingwiththerelationsofonefondhusbandandfather，onedotingmotherandchild。AsacontrasttotheasceticismandcelibacyofParsifalwehaveinBluebeardrampantandtropicalpolygamy；fervent，untiringconnubialism。TheardentandsusceptibleSolomonmighthavebeenamoredignifiedhero，onewouldthink；

but，althoughhecouldfurnishwivesenoughtoproperlyfillthestage，hisdomesticlifewasnotnearlyasvaried，asthrilling，andasupsetasBluebeard’s，whosestorymakesawell—nighinvincibleappealtomanager，artists，andsubscribersalike；and，forthatmatter，isaslikelytobepopularwithbox—holdersaswiththegallery—gods。

ThismasterworkenunciatestheworldlawthatWoman（symbolizedbyFatima，SeventhWife，singingactress）isdeterminedtomarryonceatanycost；andthatMan（symbolizedbyBluebeard，baritone）isdetermined，ifhemarriesatall，tomarryasthoroughlyandasoftenaspossible。Itholdsuptoscornthemarriageofambitionandconvenienceontheonehand，butontheother，pursueswithwrathandvengeancethelaw—breaker，theindiscriminatelove—winner，thewife—collectorandwife—slayer；and，althoughwomenstillhaveastrangeandpersistentfancyformarriage，theymightsometimesavoiditiftheyrealizedthataviolentdeathweretheprice。

Wemustfirststudythemusicalconstructionoftheoverturewithwhichthemusic—dramaopens，asitiswellknownthatWagnerinhisPreludespreparesthespectator’smindfortheimpressionsthataretofollow。Severaloftheleadingmotivesappearinthis_Vorspiel_andmustbeappreciatedtobeunderstood。Firstwehavethe"_Blaubart_motiv_"（BluebeardMotive）。Thisisathemewhosegiantmarchgivesusinrhythmicthunderstheterriblepowerofthehero。

["_Blaubart_motiv_"]

The"_Blaubart_motiv_"shouldbeconstantlykeptinmind，asitisacluetomuchofthelateraction，beingintroducedwheneverBluebeardbudgesaninchfromhisdoorstep。WedonothearinitthemajesticgrandeuroftheWotanorWalsungenmotifs，andwhy？Simplybecauseitwasnotintendedtoillustrategodlikepower，but_brute_force_。

Nowifthiswereall，wehadnomoretosay；butlisten！

[Immer—wieder—heirathenMotiv]

Whatdoesthisportend——thisentranceofanothertheme，writtenforthetrebleclef，playedwiththerighthand，butmysteriouslyinterwovenwiththebass？WhatbutthatBluebeardisnottobethesolepersonageinthismusic—drama；andwejudgethestrangertobeafemaleonaccountoftheoverwhelmingcircumstantialevidencejustgiven。

Bluebeard，whenfirstintroduced——yourememberthemovement，oneofsombergrandeurleadingupwardtovaguedesirewasaloneandlonely。Certainlythefirst，probablythesecond。Ifhismoodwerethatofsettleddespair，typicalofawidowerdeterminednevertomarryagainnomatterwhattheprovocation，thelastnoteofthephrasewouldhavebeenprojected_downward_；but，asyoumusthaveperceived，themelodyterminatesinatoneofsomethinglikehope。Thereisnoassuranceinit——donotmisunderstandme；thereisnoparticularladyprojectedinthemusicaltext——thatwouldhavebeenindelicate，forwedonotknowatthemomentpreciselythedatewhenBluebeardhunguphislastwife；butthere_is_agropingdiscontent。AttheopeningofthedramawehavenotbeeninformedwhetherBluebeardhaseverbeenmarriedatalloronlyafewtimes，butwefeelthathecravescompanionship，andweknowwhenwehearthis"_Immer_—_wieder_—_heirathen_Motiv_"（AlwaysAbouttoMarryAgainMotive）

thathesecuresit。Thesexcreatedexpresslytofurnishcompanionshipwillgoondoingso，evenifithastobehungupintheprocess。

Lookagainatthesecondtheme，the"_Immer_—_wieder_—_heirathen_Motiv_"

（AlwaysAbouttoMarryAgainMotive）。Doyounoteamysteriousreflectionofthefirstthemeinit？Certainly；itwouldbeevidenteventoachatteringopera—partyofthehighestsocialcircles。Butwhyisthis，asksthesordidAmericanbusinessman，whogoestothemusic—dramaabsolutelyunfittedinmindandbodytosolveitsgreatpsychologicalquestions。NotbecauseWagnercouldnothaveevolvedadozen_Leit—Motive_foreverymeasure，butforamoreexquisitelyrefinedandsubtlereason。Thewifeisoftenfoundtobemoreorlessareflectionofherhusband，especiallyinGermany，thereforeanentirelynewandoriginalmotivewouldhavebeenoutofplace。Itisthisextraordinaryinsightintothehumanmindwhichbringsustothefeetofthemasterinreverentialawe；anditdetractsnothingfromhisfamethathisthemesdescriptiveofaveragefemininitywouldhavebeenquitedifferenthadhewrittenthemforthewomenofthisepoch。Theworldmovesrapidly。Thismotiveslipswithaseriesofimperceptiblemusicalglidesintothe"_Siebente—Frau_Motiv_"（SeventhWifeMotive）：

Bluebeardenterswellinadvance；Fatima，contrapuntallyobedient，cominginalittlebehind。

[Siebente—FrauMotiv]

ThisFatima，orSeventhWifeMotiveseemstobewritteninacuriouslylowkeyifweconceiveittobetheindextothecharacterofasopranoheroine；butletuslookfurther。Whatarethetwoprincipalpersonagesinthemusic—dramatobetoeachother？

If_enemies_，thephrasewouldhavebeenwrittenthus：[separationof5

octaves]

If_acquaintances_，thus：[separationof3octaves]

If_friends_，thus：[separationof1octave]

If_lovers_，thus：[separationoflessthanoneoctave]

theardentandtropicaltreblenoteleavingitsownpropersphereandnestlingcozilydowninthebassstaff。Buttheheroandheroineofthemusic—dramawerehusbandandwife；thereforethephrasesareintertwinedsufficientlyforpropriety，butnottoocloselyforpleasure。Wemightalsosay，consideringFatima’sprobablefate，thatwecannotwonderthatshesingsinalowkey；andtheexceedinglyinvolvedcontrapuntalcomplicationsinwhichthemotiveterminateshintperhapsatWagner’sopiniononthemomentousquestion，"Ismarriageafailure？"

Nextwehavethe"_Bruder_Hoch_zu_Ross_Motiv_"（BrothersonaHighHorseMotive），announcedbysparklingTetrazzinichromatics，alwaysatsixesandsevens，dartinganddashing，centaur—like，insemi—demi—quavers，likehorses’manesandtailsmountingskyward，whinnyingly。Fatima’sbrothershavecometomakeaweddingvisittotheirbelovedsister，whomtheybelievehappilyunitedtoanoblemanofhighdegree。Theyhavealsocomebecauseinamusic—dramaactionisdemandedandchorusesaredesirable；

beingnoisy，impressive，popular，comparativelycheap，andtheparticipantslesstemperamentalincharacterthansoloists，thereforemoreeasilymanaged。

[BruderHochzuRossMotiv]（withdevil—may—carespeed。）

Ifyoumisssomeofthewonderfulsinuosity，someofthemusicalcurvaturesofthesimilar"HorsesinaHurryMotive"in"DieWalku’re，"IcanonlysuggestthattheBrothers’mountswerenotasthefleetsteedsofthegods。

Fatima’speoplewerelivingingenteelpoverty，andthefamilyhorsesweredoubtlesssome—whatemaciated；thereforethemusicalrealistcouldnotinhonestydepictthemotherthaninanangularratherthancurvedmovement。

TheoverturenexttakesupthearrivaloftheBrothers，who，asthemusicplainlyassuresus，dismount，feedtheirsteeds，performasimpletoiletteatthestable—yardpump，andthencomesuddenlyuponBluebeard，whosefrenzyfordisposingoffreshwivesisassuddenandasall—absorbingashisdesiretoannexthem。AtthemomentoftheBrothers’opportunearrivalBluebeardisonthepointofseveringFatima’srelationswiththeworld。

TheBrothersadvance。Acloudofdustenvelopsthem；theyrushforward，dealingtellingblows，andthefranticbleatingoffleeingsheepisheardinawilddouble—tonguingoftheunitedbrassinstruments，veryeffective，especiallyintheopenair，thoughalittletryingtonervousladiesinthefrontrowsofanopera—house。Thisisthecelebrated"_Kilkennische_Katzen_Motiv_"（MotiveofMortalCombat）。Itisasyncopatedmovement，andwhengivenatthepiano，istobeplayedfuriously，firstwithonehandandthenwiththeother，tilltheperformerisquiteweary。

[KilkennischeKatzenMotiv]（adinfinitum，untiloneisdeceased）

Wefindallthroughthesemeasuresmostpeculiarphrases，introducedbyhalf—formedmusicalrhythms，whichareapresentimentofthementalunrestandnervousprostrationofFatima，whodoesnotknowwhetherBluebeardwillkilltheBrothersortheBrotherswillkillBluebeard。Shehasneverbeenanopera—goeranddoesnotrealizethatthereareinexorablelawsinthesemattersandthatthevillainalwaysdies；thatheagreesinhiscontracttodie，nomatterhowhealthyhemaybe，nomatterhowmuchhedislikesitnorhowslighttheprovocation。However，thissceneismadenotablebythefamous"SuspenseMotive，"onehundredandseven—teenbarsofdoubtgivenbythebigbrassesandcontra—bassoons。

Thereismuchinthissortofprogrammemusicthatisnoteasilyintelligibletoayoungmanwho，havingpurchasedanadmissionticket，iswanderingfrombacktobackofoneopera—boxafteranother；butwhenfullycomprehended，thesespecialphrasesarerepletewithemotionandinsight。

Severalmotivesaresodexterouslywovenintoonegushofmelodythattheycannotbedisentangledbyanyordinarymethod，andhavetobewrenchedapartbytheenthusiast，whoemploys，whenmildermeansfail，asortofintellectualdynamitetoextricatethemeaningfromthescore。Withtheaidofthislecture，whichisbetterthananear—trumpetandamagnifying—glass，wecan，however，tracea"_Schwert_Motiv_"（SwordMotive），showingtheweaponsusedinthecombat；the"_Glu’ckseligkeit_

_Motiv_"（FelicityMotive），wellnamed，forwemustrememberthatFatimaiswitnessingtheduelfromthecastlewindow，herheartbeatinghighattheprospectofwidowhood；and，towardtheend，thefamous"_Ausgespielt_Motiv_"（MotiveofSpentStrengthandSpilledBlood）。

[Glu’ckseligkeitMotiv]

[AusgespieltMotiv]

The"_Ausgespielt_Motiv_"iswritteninfourflats，butasamatteroffactonlyonepersonisflat，viz。：Blue—beard，whohasjustbeenslainbyMustapha。Theotherthreeflatsmustrefertothesheepaccidentallyhitbytheyoungerbrothers，whoaimforBluebeard，butmisshim，beingindifferentmarksmen。

Whydoestheunionofthese_motive_，"_Bruder_Hoch_zu_Ross"（BrothersonaHighHorse），"_Kilkennische_Katzen_"（MortalCombat），"_Schwert_"（Sword），"_Glu’ckseligkeit_"（FelicityofFatima），and"_Ausgespielt_"（SpentStrengthandSpilledBlood），whenblendedinonemajesticallydiscordantwhole，produceuponusafeelingofprofoundgriefmingledwithhystericalmirth？

[EnsembleMotivBlaubart—Schwert—_Glu’ckseligkeit_—Leichen]

Andwhydothemeasuresgrowmoreandmoresadastheymeltintothetouching"_Blut_auf_dem_Mond_Motiv_"（Blood—on—the—MoonMotive）？

[BlutaufdemMondMotiv]（slowlyandwithinfinitepathos）

Simplybecauseinamortalcombatsomebodyisinvariablywoundedandsometimeskilled。Wagnersangofhumanlifeasitis，notasitmight，could，would，orshouldbe。Fromthe"_Blut_auf_dem_Mond_Motiv_"

（Blood—on—the—MoonMotive）weglideatonceintoadirge，the"_Leichen_，"

orCorpse，Motive，oneofthosesuperbfuneralmarcheswithwhichwearefamiliarintheothermusic—dramasofWagner；forthemaster，thoughnotanIrishman，isneversohappyasonthesefuneraloccasions。

[LeichenMotiv]

Ifanybrainlessandbigotedbox—holdershouldaskwhythe"_Blaubart_

_Motiv_"isrepeatedinthisfuneralmarch，Iaskhiminreturnhowheexpectsotherwisetoknowwhoiskilled？Willhetakethetroubletoreflectthatthesearethemotivesofthe_Vorspiel_，andthatthecurtainhasnotyetrisenonthemusic—drama？

Butwhy，heasks，dowehearanundercurrentofmirthpulsatingjoyouslythroughtheprevailingsadnessofthis"Leichen_Motiv_，"orfuneralmarch？

Simplybecausewecannotbeexpectedtofeelthesameunmixedgriefatthedeathofawife—murdererasatthedeathofawife—preserver！Ah，whereshallwefindagainsosubtleareadingofthethrobbingheartofhumanity！

The"_Schwert_Motiv_"minglesagainwiththehauntingstrainsofthehalf—sad，half—glad"_Leichen_Motiv_，"untilthe_Vorspiel_endsabruptlywithasinglenoteofineffablemeaning，thus：

[TodundHo’lleMotiv]（offthekeyboardtotheleft）

Thisisveryinterestingtothestudent，andmeansmuch，ifitmeansany—thing。Theswordoftheelderbrother，Mustapha，hasgonethroughBluebeard，ifnottheswordsoftheotherBrothers。This，yousay，mightnothavebeennecessarilyfatal，sincethosehardyruffiansofabygoneagewereproofagainstmanyastab；butinthiscasetheswordoftheheroicMustaphawasaccompaniedbythekilling"SchwertMotiv，"consequentlythevillainisdead。

Butwhathasbecomeofhim？Wehavetheoneclueonly，whichwillbeknownbyallstudentsinfutureasthe"_Tod_und_Ho’lle__Motiv_，"justgivenabove：Bluebeardhasgonewherewewillnotfollowhimunlessweareobliged。Isthisassertingtoomuch？Alas，itisonlytooevident。IfithadbeenWagner’sintentiontorefertothegloriousimmortalityofagodlikehero，weshouldhavehadtheexquisitestrainsofaheavenlyharp，thus：

[risingarpeggios]

orthewhirofangels’wings，thus：

[trillsofftheright—handendofthekeyboard]

Andafinalsignificantnote，thus：

[agood1？inchesabovethetreblestaff]（Stretchthekeyboardalittleifnecessaryandplayahalf，ifthereisnotroomforawholenote。）

whosepiercingsweetnessanddizzyaltitudewouldhavesymbolizedHeaven，oratleast_Walhalla_。

Alas，itisalltooplain。Wehavethis：

[1inchbelowthebassstaff]

enoughinitselftoshowhiswhereabouts；andasifthatwerenotenough，this：

[_Verdammungs_Motiv_]（Allegrofrantico。）[2dissonances，？and1inchesbelowthebassstaff]

toshowthatheisuncomfortable！

Itwillbeinterestingforthestudenttonotethedifferencebetweenthe"_Verdammungs_Motiv_"of"Bluebeard"andthe"DamnationMotive"ofWagner’searlieropera，"Tannha’user。"

[DamnationMotive]

Botharestrong，tragic，andpowerful，butthesinsofBluebeardaregrossandthoseofTannha’usersubtle；consequentlytheperilofeachisforeshadowedinitsownway，itbeingveryclearthatBluebeard’sfateisfinal，whileTannha’user，asweknow，issavedbythespiritualinfluenceofElizabeth，averydifferentladyindeedfromthefrivolousandmercenaryFatima。

Theplotofthismusic—dramaitselfismadebeautifullyclearbythis_Vorspiel_andlecture—recital，sothatevenamotherandchildatamatine’ecanfollowthetone—pictureswithoutdifficulty；butthelibretto，whichisaremarkablespecimenofWagner’salliterativeverse，onlyhelpsthemoretorivetattentionandcompeladmiration。Ihavegivenyouanideaofthebriefoverture，andtheoperaitselfopenswithasomberrecitative，descriptiveorsymbolicoftheDarkAgesofJuvenileLiterature。

RECITATIVE

"TheDarkAgesofJuvenileLiteraturedonotaffordachronicleofgreateratrocity！

"Thanthatfurnishedbyaveryglum，grim，gruesome，gory，butconnubially—mindedgentleman，whoseuglybluebeardwasaperfectmonstrosity！

"Healsohadanunfortunatepredilectionforleadingunattachedladiestothealtar，constantlymarryingwives，sixwives，successivelyoneafteranother，onaregularrailroadofmatrimonialvelocity！

"But，findingthem_in_toto_，allveryso—so，determinedtoturneachoneofthemintoagoodwomanbycuttingoffherhead！

"Asapunishmentforthemostunmitigatedlydeterminedandperseveringfemalecuriosity！"

（Withnaivete’）"Buttoourtale！"

The"tale"introducesthelovely，lucklessFatima，sittingathercottagewindow，dreamingthedreamsofgirl—hood。ShehasreceivedBluebeard’smessageoflove，andisawaitinghiscomingastheheroofherheart’sromance。This"_Traum_"themeisalmostpreciselylikethe"GuilelessFoolMotive"of"Parsifal，"andtheapplicationtoFatimaisunmistakable。

ARIA

"Withinsightofhiscastle，ashorthour’sride，"Animpecuniousoldladylived，twomarriageableandimpecuniousdaughtersbeside，"WhomBluebeardhadseenandatlove’shighestpitch"Senttosayhewouldmarry，hedidn’tcarewhich！

"Senttosayhewouldmarry，hedidn’tcarewhich！"

WenowhaveBluebeard’striumphaljourneytowardFatima’scottage，fromwhenceheistobringherashisbride。IfthisbrutalbigamisthadanypreferenceitwasforAnne，Fatima’syoungersister，butheknewthatitwasonlyamatterofafewweeksanyway，sothereisnottheslightesthintinthemusicofanythingbutthetemperedjoywithwhichtheaccustomedbridegroomapproachesthefamiliaraltar。

Wehavethe"BlaubartMotiv"againhere，andwemustnotbedisturbedtofinditheraldedthus：

（noisilyandfussily：Repeateddeepnotes）

Wefindthesamethinglateron。Thisismerelyanintroductoryphrase，the"_Losgehenlassen_Motiv_"（SeeMeGettingReadytoGoMotive）。HerewenoteWagner’ssublimeregardfortruthandrealism。DoesBluebeardgo——doesanybodygo——withoutgettingreadytogo？Certainlynot；yettheyhavegoneforyearswhen—evertheyliked，intheshiftlessoperasoftheItalianschool，withouttheleastpreparation。Theywouldevencomebackbeforetheywent，ifitwereanymorepleasing，pictorial，ormelodious。IttookaheroicgeniuslikethatofWagnertoreturntothesimple，eternaltruthofthings。WehaveastrikingexamplehereofWagner’spowerofmodifyingandinvertingamotive，carryingitfromkeytokey，givingitforwardsandbackwards，upsidedownandother—end—to，accordingtothefeelinghewishesittoexpress，whetheritbelove，rage，desire，impatience，ardor，orwhatnot。The"_Losgehenlassen_Motiv_"issimplicityitselfwhenitfirstappearsinCmajor（seemotive）。ButBluebeard’sexitsaremany——partlybecausehisentrancesaresonumerous——andforeveryexitthismotiveconveysanewmeaning。Blue—beardisalwaysgettingreadytogo，butwithwhatdifferentpurposesinmind！Hegoesforpastimeandforpassion；hegoesforwooingandforwantoning；formarriageandformurder。HegoesinDsharpwithpomp，pride，andpower，andwecandistinguishthetreadofhisservants’feet，theclatterofarms，andthehurryingtogetherofhisescortandretinue。HegoesagaininBflatminor，stealthilyandunattended，theorchestragivingthemotivewithmutedviolinsandsubduedbrass。Weseemtohearnaughtbutthesoftpad—padofhisfeltbedroomslippersonthemarblesteps，andwemurmurtooneanother："Whatdoesheproposetodonow？

Wehavenextthe"Dragon，""Elephant，"and"Tiger"_motive_：the"DragonMotive"beingintentionallyreminiscentoftheonein"Siegfried。"

Thereisnotintheentirerangeofmodernmusicanythingmoreimpressivethanthissplendidjourneyofabarbaricprincetowardhischosenvictim。

Nostagepicturecouldbemoredazzlingthantheonebroughtbeforethemind’seyeinthemajestic，munificentmeasuresthatheraldthepageant：

ARIA

"AndtruetohismessagetheloverdidcomeWithcymbalsandhornsandabigIndiandrum！

Themeasuresthatfollowthesedescribethetigerswingingonbehindthetriumphalcab。Thisisadeliciouswhimsicality，andthemusicisasgayandsportiveasanythingin"DieMeistersinger。"

ARIA

"Andanelephant，huge，tohiscab……wasconfined。"……

HowthecharacterofBluebeardstandsoutinthesepassages——Bluebeard，morbid，erotic，megalophonousmegalomaniac，withhisgrandioseairandoutlandishaccoutrements！

ItseemsoddthatrumorsofhismatrimonialpasthadnotreachedFatima，forthelibrettotellsus（authorizedopera—houseedition，nottheonesoldonthesidewalk）thathiscastlewasonlyanhour’sridedistant。Inanyevent，onewouldthinkthesightofthelover’sapproach，withlionsandelephantsinattendanceandatigerhangingonbehindthechariot，mighthaveshownFatimathat，althoughBluebeardmightbeadmirableasanadvanceagentforamenagerie，hewouldhardlybeapleasantfiresidecompanion。

However，itwastheoldstory！Movedbylove，ambition，poverty，ennui，orwhatnot，Fatimalostherhead，asallBluebeard’spreviouswiveshaddone，bothbeforeandaftermarriage，andleftthehumblehomeofherchildhoodfortheunknowncastle。Simplechordsgiveusthisinformationthus：

（Semplice，pianofortheHumbleHome；Agitato，fortissimofortheUnknownCastle。）

Thencomesthe"_Liebesgruss_Motiv_"（Love’sGreetingMotive）。Nosingleinstrumentcangivethisexquisitetheme。Thewholesymphonyofhumannatureseemstoriseandspreaditswingsinagloriousharmonyofpairsandtwosofakindmeltinginpassionateoctavesandtriplets。Thegroping，ardent，distracted，thwarted，buteverprotestingbass，setagainstacoquettish，evasive，yettimidlyyieldingtreble；theoccasionalintroductionofamysteriousminorinthemidstofawell—authenticatedmajor，givesusanintimationthatwooingisnotanexactscience。

Nextcomethe"_Hochzeitsreise_und_Flitter_Wochen_Motive_"（TheBridalTourandHoneymoonmotives）。Hereareharp_glissandos_；herearevoicessoaring，voicesroaring，voicesdarting，voicesfloating，weavinganaudibleembroideryofsound。Theymakeupthemostexquisitelytendersceneoftheopera，andarcespeciallyinterestingtousinAmerica，sincetheyarebuiltupononeofournationalsongs。ThiscanonlyberegardedasaflatteringrecognitionofoursupportofGermanoperainthiscountry。

ARIA

"Midstthetreasuresofhispalaces，dee—lightedtoroam，"SisterAnnewithfairFatimaexploredtheirnewhome！

"Home！Home！Sweet，sweetHome！

"There’snoplacelikehomewhenamaid’stoopoortoroam！"

Itislateroninthisactthatwehavethecelebrated"HopeMotive，"amarvelousseriesoftone—picturessonovelandsensationalthatmanybox—

holdersareexpectedtodropinatten—thirtyfortheexcitementofthisonebriefscene。Themotivewandersfromkeytokey，hopingthatintheenditwillhitofftherightone。FatimaishopingtofindheridealinBluebeard。SisterAnneishopingtogetahandsomerhusbandthanFatima’s；

Blue—beardishopingthatSisterAnnewillbehiseighthspouse，andhopingthattherewillberoomtohangherinthehiddenchamber，inwhichhisdeceasedwivesarealreadypressedforroom。Allthisisreflectedinthevoicesofthesingers，togetherwithmanyotheremotions。Theyhopethattheywillbeabletocomeinjustenoughafterorenoughbefore，theusualtimeofentrance，torivettheconductor’sattention；thattheywillbepreservedfromfallingintooneanother’sparts；thattheywillnotbedrownedbytheorchestra；thattheywillbeabletomountthedizzyingheightsofaprecipitouschromaticscaleandmanageanunrehearseddescentinfifthsonthehalf—notes——somethingthatalwayscausesintensejoyinanuneducatedaudience，especiallywhenitisunsuccessful。

Thisscenerunsthegamutofhumanemotion。Theuniverseismirroredinit。

First，oneofthethemeswhichwehavenoted，andthenanother，issounded，bringingtothebearer’smindallthecrucialmomentsofBluebeard’sstrange，perverted，wife—pursuinglife，aswellasalltheaspirationsanddisappointmentsofFatima’sambitiousbutcheckeredcareer。Allthewhilethatthiscomplicatedwebofmotivesisbeingwovenoutofunresolveddissonances，thethirtyfirstviolinskeeponplayingthesamethreenotesinever—precipitatedrhythms。Thisisradical，audacious，andeffective。

ThenotesareGflat，Asharp，andBnatural，andtheworldreelsaswehearthem。Everythingisoursinthisscene——orchestration，vocalization，dramatization，characterization，gesticulation，auditoryinflammation，cacophonation，demoralization，adumbration。

Thereisanabruptchangeofkeyafterthe"HoneymoonMotive"fromsweetestmajortoapiercingminor。Thisisexquisitelysincereandsymbolic，thoughitisapointtoodelicatetobeperceivedsavebymusicianswhohavemarriedbuthavenotbeenabletohanguptheirwives。Thelibrettogoesontosay：

"Thehoneymoonpassedwhenaletteroneday"UponurgentaffairscalledLordBluebeardaway——

"Toinspection，sweetlove，allmycastleIleave，"Butrememberwiththiskeybeonthe_qui_vive_！

"Itisnotanaturalkey——thinkofthat！

"Mysword’sinthekeyofonesharp，andthat’sflat！

"（Thenhehalfdrewhisblade，anditwassharpandflat。）"

Fromthispointthemusic—dramahastenstragicallytoaclose。WehaveBluebeard’ssudden（andfeigned）journey，introducedbyapompousmarchofgreatoriginality：

MARCH（Pomposo。Decrescendo……semprepppppp）

ThenwehavethefatalcuriosityofFatimaandhersisterAnne。Wemustextenuatehere，noraughtsetdowninmalice，rememberingthatWagnerknewonlythewomenofhisownday，beforethesexwasupliftedandpurifiedbythevote，andhenaturallydepictedthemwiththeman—engenderedvicesthatwerethenapartoftheirunhappyheritage。This"_Neugierde_Motiv_"

（CuriosityMotive）ismadeupofagitated，sharplyaccentuatedsixteenthnotesplayedwithincrediblevivacityandculminatinginaterrifyingorchestralcrashwhereentranceismadeintothehiddenchamber，withitsfamoustableausoeloquentofthepolygamousinstinctofman；aninstinctonlykeptinsubjectionbythemoststringentlawsandthemostmilitantdomesticdiscipline。

ANTI—FEMINISTARIA

"ButFatimasaid，’Tothekeyholelet’screep，"Therecanbenoharmjustinonelittlepeep！

"Wearewomen——besides，therearenonetobeholdus！

"Ifhewishedustoleaveit，heshouldn’thavetoldus！’"

ItistheseinexcusablelineswhichhavecausedtheFeministpartytoboycott（andperhapsrightly）anyopera—houseinwhichthisdramaisgiven，urgingthattheycontainaninsultwhichcanbewipedoutonlywithbloodorballots。Isympathizewiththisfeeling，yet，asIsaidbefore，thereareextenuatingcircumstances。Wagnerwasbornahundredyearsago。Inhistimethehandofwoman，thoughwhite，wasflabbyandinertfromyearsofdarning，patching，stirringthepot，buttoningandunbuttoning，feedingandspankingman’sperennialprogeny。Hehadnoconceptionhowthatfrailhandwouldbesteadiedandstrengthenedbydroppingtheballotintothebox；howcuriosity，vanity，parasiticcoquetry，lackoflogic，overweeninginterestinmillineryandinabilitytobalanceacheck—book——howtheseweaknesseswouldvanishundertheinspiringinfluencesofmunicipalpolitics；

thereforeIfeeldisposedtoforgivehim，andtoattributetohim，notabsoluteanddeliberateinsult，somuchasakindofpatronizingpersiflage。Inthiscase，however，feministswillsaythatthegreatWagnerundoubtedlyandregrettablyoverreachedhimself。

Hereisjustahintofthetheme；apaltry，parasitic，mid—Victorianmotive。

CURIOSITYARIA

Curiosityconquer’d，theKeywasapplied，Andwiththundermostawfulthedooropenedwide。

Nowcomesthemuchdiscussed"ChorusofHeadlessWives，"whichisadistinctprophecyofDebussy。Youhavenotedinlatemusicalcriticismsallusionstothe"ghostsofthemes"usedin"PelleasandMelisande，"——

"Sound—wraithswanderinginair。"Herewehavethesamethingandemployedwithexquisiteappropriateness。Theladieshanginginthesecretchamberaremerebodies，theirheadsbeingdecidedlyoffstage。Whenthedoorisopenedthewivesbegintosing_a_la’_Debussy，theghostlyeffectbeingsecuredbythefactthatitisnot，ofcourse，the_present_bodies_，butthe_absent_heads_thataresupposedtobesinging。ThemelodicwraithsfloatfromthekeyofGflat——Iuse"key"intheold—fashionedsense，fortheword，likethethingitself，isfastdisappearing——throughoneandfoursharpsbacktotwoandthreeflats，employingallsignaturesbutthatofC

major。Sixsetsofseveredvocalorgansmeanderinginspacewouldhardlyusethenaturalkey！

Thenwehavetheopeningofthemysteriousdoor；theunexpectedreturnofBluebeard；thehystericsoftheill—fatedsisters，withplentyofshriekingandswooningmotives；andthenthecelebrated"_Hammelfleisch_"or"Mutton"

motive，whereSisterAnne，fromherpostinthehightower，observesforalongtimenothingbutsheep。

"But，alas！SisterAnne，onlysawafewsheep，then，nothing！"

NowthereisthethrillingandopportunearrivaloftheBrothersontheirhighhorses；themortalcombat；thedeathofthevillainbythe"_Schwert_Motiv_"；thejoyousfuneralmarch；andthenthesuperbduetbetweenMustapha，theeldestbrother，andFatima，theill—fatedheroine。Wegetastonishingcolorcontrastsinthelastscene，aseachcharacterisallottedadifferentsetofinstrumentsasaccompaniment。Bluebeardhassixsackbuts，atrumpet，a_viol_d’amore_，andaChinesetemplegong；Fatima，threelutes，anarch—lute，andapianola；Mustaphaabass—drumandaharpsichord；andSisterAnneapairofvirginals。（Anexquisitetouch，this！）ToBluebeard’sservantsareallottedbarrel—organs，accordions，jews’—harps，mandolins，bagpipes，andtriangles。Allthisgivesatonalsplendorthatsimplybeggarsdescription。

WhenthecombatisoverandBluebeard’simmensebodyisproneandlifelessinthedust，Wagnersuddenlyleavestragedyandgivesusamelodiousduetbetweenthebrotherandsisteronthetheme："Whatcanequalabrother’slove？"Thisduetand_finale_unitetoformamasterpiece；adeservedrebuketoanycynicwhomayconsiderthatWagnercouldnotadopttheenervatingmethodsoftheItalianschoolifhedesired。Hiscadenzasherearemiraclesofcompressedtechnique，and，althoughthemelodyisconventional，themusicitselfisneverforamomentsimpleorintelligible。

————————SuggestedarrangementoforchestraforpresentationofBluebeard——————

Firstviolins（union）Prompter’sPrivateFirstviolins（non—union）

Parlour

Conductor

OrganHornsFlutesHarpsPianolaSecondViolins

LutesMandolinsArchLutesKettledrumsBatteryZithersMouthOrgansMegaphonesChineseTempleGongGuitarsDoubleBassoonsBanjos

TubaTrombonesWoodwindsDrumsBagpipesSackbutsTrianglesVirginalsViold’AmoreB—flatCornetExittoFireEscapeAccordions

Fatima，singingactress（whoseparthereiswrittenalmostentirelyinappoggiaturas），andMustapha，baritone，holdthestage；theonewhodrawsthelargestsalaryoccupyingthecenterandtheotherstandingwhereverhecanfindroom。Mustapha，takingcaretodescendaslowinhisscaleasFatimaascendshighinhers，andvyingwithherinexceedingthespeed—limit，sings"Ohra—ha—ha—hap—ture！"severaltimes，variedby"Whatcane—he—he—he—qualabrother’slove？"Then，usingthesamewords，theysingasmuchaspossibleinunisontotheendofthescene，whichcloseswithafantasyofcapriciousarabesquesandaseriesoftrillsonnotesseldomheardfromanybutthehigh—est—pricedhumanlips。

Ah！Whatjoy！……Whatrap———ture！Whatcane———qualabrother’slove？

Ohjoy！……Ohjoy！……Oh，joy！……

（Cadenzaaccordingtotheskilloftheperformer。）

WhetherWagnerfollowedtheItalianschoolinthiscaseinsarcasm，orbecausehebelieveditwasfitting，consideringthesubject，canneverbeknown（thoughwerememberthathewasatonetimeagreatadmirerofBellini）；buttheresultisamelodiousandrestfulendingtoatragedywhich，wereitcarriedtotheendinunbrokengloom，mystery，andcarnage，wouldbetooterribleandtoovastforhumanenduranceandhumancomprehension。Yetletusbejust！Thelibrettoisfullofbarbaricbrutalities；itisrepletewithbloodandcarnage；but，althoughBluebeardwasemphaticallynotaniceperson，andhisvicescannotbecondoned，andalthoughFatimawaswronginmarryingforanestablishmentandmostculpableinyieldingtohercuriosity，still，virtuetriumphsintheend。

Thestory，asawhole，isfairlymurmurouswithmorality，sendingyoungmenandwomentotheirhomesimpressedwiththerisksandsnaresinvolvedinbigamyandpolygamy，andgivingthemanaddedsenseofthesecurityandgravityofthemarriagetiewhensparinglyused。