chord is dropped, the phrase being intelligible though not logically complete, Tristan, p. 150, bar 3 to 4 et seq.}, interrupted cadences,[1] expansion or condensation of time (Tristan, PF. arrt., pp. 210–12, and 226–28), sequences of chromatically altered chords and other peculiarities (Siegfried, PF. arrt. p. 65 et seq.). In pure instrumental music such eccentric and apparently extravagant things would not have sufficient raison d'être; but in their right place they require no apology, nor do they present special difficulties from the point of view of musical grammar. Indeed Wagner as he advanced grew more and more careful with regard to diction, and it is not too much to say that among the hundreds of unusual and complex combinations in Tristan, Siegfried, Götterdämmerung and Parsifal, it would be difficult to point to a single crude one.
Wagner is a supreme master of instrumentation, of orchestral colour. His orchestra differs from Beethoven's in the quality of tone emitted; over and above effects of richness obtained by the more elaborate treatment of the inner part of the string quartet, the frequent subdivision of violins, violas, violoncellos, the use of chromatics in horn and trumpet parts, etc., there is a peculiar charm in the very sound of Wagner's wood-winds and brass. It is fuller than Beethoven's, yet singularly pure. And the reason for this is not far to seek. Wagner rarely employs instruments unknown to Beethoven, but he completes each group or family of wind instruments with a view to getting full chords from each group. Thus the two clarinets of Beethoven's orchestra are supplemented by a third clarinet and a bass-clarinet if need be; the two oboes by a third oboe or a corno-inglese (alto oboe); the two bassoons by a third bassoon and a contra-fagotto; the two trumpets by a third trumpet and a bass trumpet, etc. The results got by the use of these additional instruments are of greater significance than at first appears, since each set of instruments can thus produce complete chords, and can be employed in full harmony without mixture of timbre unless the composer so chooses.
To account for the exceptional array of extra instruments in the scores of the Nibelungen it is enough to say that they are used as special means for special ends. Thus at the opening of the Rheingold the question is what sound will best prepare for and accord with dim twiHght and waves of moving water? The soft notes of horns might be a musician's answer; but to produce the full smooth wavelike motion upon the notes of a single chord, the usual two or four horns are not sufficient. Wagner takes eight, and a unique and beautiful effect is secured. Again, in the next scene, the waves change to clouds; from misty mountain heights the gods behold Walhall in the glow of the morning sun. Here subdued solemn sound is required. How to get it? Use brass instruments piano. But the trumpets, trombones, and tuba of Wagner's usual orchestra cannot produce enough of it; he therefore supplements them by other instruments of their family; a bass trumpet, two tenor and two bass tubas, a contrabass trombone, and contrabass tuba; then the full band of thirteen brass instruments is ready for one of the simplest and noblest effects of sonority in existence. At the close of Rheingold, Donner with his thunder hammer clears the air of mist and storm-clouds; a rainbow spans the valley of the Rhine, and over the glistening bridge the gods pass to Walhall. What additional sounds shall accompany the glimmer and glitter of this scene? The silvery notes of harps might do it: but the sounds of a single harp would appear trivial, or would hardly be audible against the full chant of the orchestra. Wagner takes six harps, writes a separate part for each, and the desired effect is attained.
In the Ring, in Tristan, the Meistersinger, and Parsifal, the notation of all that pertains to execution, tempi, gradations of sonority, etc., has been carried out in the most complete manner possible. The composer's care and patience are truly extraordinary. Nothing is left to chance. If the conductor and the executants strictly follow the indications given in the scores, a correct performance cannot fail to ensue. The tempo and the character of each movement, and every modification of tempo or character, are indicated in unmistakeable German (for instance, in Rheingold, p. 1, 'Ruhig heitere Bewegung,' which in the conventional Italian terms would have been 'Allegretto piacevole,' or something equally misleading); doubtful changes of time; cases where the notation would seem to suggest a change of tempo, whereas only a change of metre occurs, while the musical pulsation, the actual beat, remains the same are indicated by equivalents in notes and elucidatory words. Thus in Tristan, p. 69, where 2-2 changes to 6-8, the latter is marked 
= 
; that is to say, the dotted crotchets shall now be taken at the rate of the preceding minims.[2] The number of strings necessary to balance the wind instruments employed is given—in the Nibelungen it is 16 first violins, 16 seconds, 12 violas, 12 cellos, and 8 contra-basses. When the violins or other strings are divided, the number of desks that shall take each part is shown. To secure specially delicate effects the number of single instruments required out of the total is indicated, etc., etc.
It remains to add a few words as to the quality of the average performances of Wagner's works. Of late years his name has appeared more frequently on the play-bills in Germany than that of any other composer. Performances of his early and even of his later works have been surprisingly numerous, and, it must be said, surprisingly faulty. Putting aside shortcomings with regard to stage management, properties, machinery, incomplete chorus and orchestra, insufficient rehearsals, etc. all of which can be
- ↑ [See the remarks on the quotation from Tristan, 'Mir lacht das Abenteuer,' under Interrupted Cadence, vol. ii. p. 11.]
- ↑ Many a disastrous quid pro quo might be avoided if this simple method of noting the relation of one tempo to another were adopted. [See the article Tempo, vol. iii. p. 75.]
