[figure: musical example setting the above words]
The oncoming waves of the drama's pathos have risen to a supreme height, their crests have broken, and the wind-blown spume drenches the soul of the listeners; but the composer has not departed from the first principle of the master of whom, for a time, it was hoped he might be the legitimate successor. Melody remains the life-blood of his music as it is that of Verdi's from his first work to his last;—as it will be so long as music endures.
Terrible is the outbreak of Alfio's rage:—
Infami lero, ad esse non perdono,
Vendetta avro pria che tra monti il di.
[figure: musical example setting the above words]
Upon this storm succeeds the calm of the intermezzo—in its day the best abused and most hackneyed piece of music that the world knew; yet a triumph of simple, straightforward tune. It echoes the Easter hymn, and in the midst of the tumult of earthly passion proclaims celestial peace. Its instrumentation was doubtless borrowed from Hellmesberger's arrangement of the air "Ombra mai fu" from "Serse," known the world over as Handel's "Largo"—violins in unison, harp arpeggios, and organ harmonies. In nothing artistically distinguished it makes an unexampled appeal to the multitude. Some years ago a burlesque on "Cavalleria rusticana" was staged at a theatre in Vienna.
[figure: a musical score excerpt]
It was part of the witty conceit of the author to have the intermezzo played on a handorgan. Up to this point the audience had been hilarious in its enjoyment of the burlesque, but with the first wheezy tones from the grinder the people settled down to silent attention; and when the end came applause for the music rolled out wave after wave. A burlesque performance could not rob that music of its charm. Ite missa est. Mass is over. The merry music of the first chorus returns. The worshippers are about to start homeward with pious reflections, when Turiddu detains Lola and invites his neighbors to a glass of Mamma Lucia's wine. We could spare the drinking song as easily as Alfio, entering, turns aside the cup which Turiddu proffers him. Turiddu understands. "I await your pleasure." Some of the women apprehend mischief and lead Lola away. The challenge is given and accepted, Sicilian fashion. Turiddu confesses his wrong-doing to Alfio, but, instead of proclaiming his purpose to kill his enemy, he asks protection for Santuzza in case of his death. Then, while the violins tremble and throb, he calls for his mother like an errant child:—
[figure: a musical score excerpt]
He has been too free with the winecup, he says, and must leave her. But first her blessing, as when he went away to be a soldier. Should he not return, Santa must be her care: "Voi dovrete fare; da madre a Santa!" It is the cry of a child. "A kiss! Another kiss, mamma! Farewell!" Lucia calls after him. He is gone, Santuzza comes in with her phrase of music descriptive of her unhappy love. It grows to a thunderous crash. Then a hush! A fateful chord! A whispered roll of the drums! A woman is heard to shriek: "They have killed Neighbor Turiddu!" A crowd of women rush in excitedly; Santuzza and Lucia fall in a swoon. "Hanno ammazzato compare Turiddu!" The tragedy is ended.