It will take but a few words to conclude the record of musical activity displayed by the recent representatives of the Latin races. They have done practically nothing for the cause of orchestration other than to branch off into infrequented by-ways that have necessitated corresponding orchestral treatment. These final remarks must therefore deal not with the subject of instrumentation proper, but rather with the æsthetic and philosophical aspect of modern Italian music, the influence it has exerted, and the direction it is taking.

Ponchielli (1834) owes a foreign reputation to his opera "Gioconda," but endeared himself to his countrymen not alone as a dramatic writer but also as the author of the "Garibaldi Hymn," written in 1882, four years before his death. He enjoyed the reputation of being the greatest modern composer of Italian opera after Verdi. Since the Brazilian, Gomez (1839), practically adopted Italy as his home, he is mentioned in this connection. He was a painstaking composer, but his music frequently reminds one of Verdi's, whose ardent admirer he was. Boïto (1842) possesses not only the talents of an excellent composer, but of a highly gifted poet as well. He was the first prominent Italian to accept without reserve the fundamental principles governing the Germanic music drama, and thus became the head of the Wagnerian party in his own country. His "Mefistofele" did not succeed without a struggle, but it is now accepted as a standard opera of universal fame. The orchestral efforts of Sgambati (1843) are analogous to Boïto's adaptation of exotic principles bearing on operatic forms. To Sgambati belongs the honor of being the first Italian composer of the nineteenth century devoted to purely instrumental music and large orchestral forms. Already in his youth he attracted attention in consequence of an interesting pianoforte quartet. His structural form, moulded on classic lines, is logical and well proportioned, nor is it devoid of distinctive characteristics. His music embodies clear melodic delineation and free harmonization. The orchestration is, however, its best feature. It displays sound judgment, sentient appreciation for variety, contrast, and tone-color; these results are, moreover, attained by means of a comparatively small orchestra. Concert overtures, chamber music and the like are comprised in the works of Buonamici (1846) who was a pupil of both von Bülow and Rheinberger. His chief claim to recognition, however, like that of Puccini, depends upon his dramatic effects, which have attracted considerable attention. At the present moment Puccini is generally regarded by his countrymen as the foremost living Italian composer. His orchestration is rich and full, but his music, in spite of its pleasing melody and impassioned utterance, betrays the influence of Ponchielli who in turn drew inspiration from Verdi.

What shall be said about Mascagni and Leoncavallo? What have they done even indirectly for the cause of orchestration? Chronologically, Leoncavallo (1858) precedes Mascagni (1863), but without "Cavalleria rusticana" to establish a precedent, "I Pagliacci" might never have created the furor that it has. A discussion as to the relative merits and defects of their notorious productions would be here out of place. As to their relative orchestration, that of Mascagni shows, on the whole, a lack of genuine musicianly training. Although it must be conceded that he elicits highly dramatic and intensely passionate accents from the orchestra, the substance of his orchestration has, on the whole, a false ring to it and is of a hoarse quality of tone. It lacks balance, lacks taste, lacks judgment, and is at times coarse even to brutality. That of Leoncavallo is decidedly more refined and original. Here again the key-note is a striving after unnatural effects; but the orchestra is at least full of life, impassioned, descriptive.

The earlier achievements of Ponchielli, Boïto and Sgambati are assuredly of more enduring worth. These three representative men may be regarded as the only noteworthy Italian composers born after Verdi and before 1850.[90] Such is the present meagre record of a country that can boast of an illustrious throng of preceding prodigies![91]

([Summary] on [page 178].)

[CHAPTER XIII.]
HUNGARY AND BOHEMIA; SCANDINAVIA AND RUSSIA; ENGLAND AND AMERICA.

I.

Hungary. The music of Hungary with specific relation to orchestration calls for but brief comment beyond what has already been said in connection with Liszt on [page 92] and with Goldmark on [page 85]. It will be remembered, however, that Liszt's Hungarian origin revealed itself not so much in an indigenous style of composition as in the propagation of those musical characteristics peculiar to his race. This adaptation and development of native dance tunes received plastic form in his "Hungarian Rhapsodies." Goldmark, on the other hand, cannot properly be regarded as an Hungarian composer at all. His music is German rather than Magyar, eclectic rather than local. He revels in the insidious atmosphere of the Far East. These two men are, however, the only composers of unusual eminence Hungary has produced. A small group of men may have remained more faithful to Magyar traditions than Liszt and Goldmark, but the results of their efforts are not significant. What these secondary composers did accomplish can be embraced in a few words. Before doing so, however, it might be well to settle upon the exact definition of "Hungarian" music. A quotation from Parry's "Art of Music" would appear to answer this question to the best advantage: "The original Hungarian music is extraordinarily characteristic in rhythm and vigorous in melody, but devoid of ornament. The recognized musicians of Hungary are gypsies, who are of Oriental descent, and are well known for their taste for finery and ornamentation all the world over; and in their hands Hungarian music has become the most ornamental thing of its kind that Europeans are acquainted with. The ornaments are perfectly meaningless, except as implying singular dexterity of manipulation and an extraordinary aptitude for purely superficial invention in the decorative direction. Hungarian music belongs to the illustration of making a special rise to the highest point in the middle or early in the latter part of a tune. With the Hungarians both the dance tunes and local tunes are so full of energetic intervals and rhythms that even when there are no crises the impression produced is often emotional."