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。