The Realistic School.—Many composers of the “Verismo” school adopt a realism that deals only with the more brutal side of life, and their plots, though strong, are not always pleasing. Giordano’s “Andrea Chenier” and “Fedora” show musical worth, but Spinelli’s “A Basso Porto,” Coronaro’s “Festa a Marina,” and Tasca’s “A Santa Lucia” picture some of the coarsest phases of existence. Yet this defect may be condoned when we consider that the movement has infused new life and power into Italian music. Among those composers who have stood somewhat aloof from the new school, Franchetti is the most noteworthy. His operas include “Cristoforo Colombo,” “Germania,” and the later “Figlia di Jorio,” and he has written symphonies that place him among the best of the later Italian composers.

Perosi.—The revival in sacred music has been brought about wholly by one man, Don Lorenzo Perosi (Tortona, Italy, 1872). He studied faithfully, in spite of sickness—first at Milan, then under the learned Fr. Haberl at Ratisbon. He became a conductor at Imola, and afterwards at Venice, where he led his forces with decided vigor. Soon after this, he began to compose the oratorios that have made him so famous. His sacred trilogy, “The Passion of Christ,” included the “Last Supper,” the “Sermon on the Mount,” and the “Death of the Redeemer.” It made a sensation that reverberated through all Italy, and caused his appointment in the following year as honorary master of the Papal Choir. He has been untiring as a composer, producing no less than fifteen masses and nearly a dozen oratorios. Among the latter are “The Transfiguration,” “The Annunciation,” “The Raising of Lazarus,” “The Birth of the Redeemer,” and the two-part “Moses.” He writes with enthusiasm, and sees the actual picture before him while he works. His music does not possess the calm dignity shown by Palestrina, but its semi-popular style is well adapted to his hearers, and may lead the way to something better.

Sgambati.—The leading position among Italy’s new symphonic composers belongs to Giovanni Sgambati (Rome, Italy, 1843). Like many musicians, he was at first destined for a lawyer’s career, but began his musical studies in time to become known as a boy-prodigy. He settled in Rome, and soon grew famous as a pianist. He played Beethoven, Schumann and Chopin, and did much to introduce their works into Italy. He planned a trip to Germany, but when Liszt came to Rome he remained there to study under that great master. At this time his earlier compositions, mostly chamber works, brought him into notice in a new field. These quartets and quintets were followed by a festival overture, a piano concerto, and three symphonies in succession. His compositions are somewhat lacking in spontaneity, but they display great learning, and undeniable skill. His works show the influence of Liszt and Berlioz, mingled with the stricter style of the old Italian contrapuntal writers.

Other Orchestral Composers.—With Sgambati, Martucci also deserves mention in the instrumental field. He became identified with the artistic life of Naples, where he fought a similar fight for the cause of good music. Among several others, Del Valle de Paz is noted for his valuable educational work in Florence, no less than for his compositions. Busoni, so well known as a pianist, has also tried his hand at orchestral writing in the most extreme modern vein. Eugenio di Pirani is another composer who has identified himself with the German instrumental school. The literary champion of the new order of things has been Luigi Torchi, whose work in the magazines deserves the highest praise.

Bossi.—The most prominent figure among the younger devotees of the German style is Marco Enrico Bossi (Salo, Italy, 1861). He studied organ at first, and for ten years held the post of organist in the Como Cathedral. Four years of teaching at Naples were followed by similar work in Venice, where he gained deserved prominence. His compositions show great originality, and include many different forms. An early overture was given at the Crystal Palace, in London, which he visited during a piano tour. The one-act opera “Paquita” was followed by “L’Angelo della Notte” and “Il Veggento,” also a large work for the Milan Exposition of 1905. He has composed many masses, and the oratorio “Christus.” A more recent triumph is “Paradise Lost,” with Milton’s words—a work suggested by Mme. Rubinstein. His organ concerto won a decided success at the Chicago Fair, and his symphonic poem, “Il Cieco,” has been well received. He aims to blend the old polyphonic style with the rich instrumentation of modern Germany.

Buongiorno.—Among the adherents of German standards, Buongiorno (Bonito, Italy, 1864) is one who has devoted himself to opera. Studying at the Naples Conservatory, he became leader of an operetta troupe, for which he wrote many popular works. His first great opera was “Das Mädchenherz” (Il Cuor delle Fanciulle), which treats with admirable delicacy the love-story of Alba and Marino. She grows to be court singer, and defeats an older rival, but ambition makes her careless of love. Marino becomes a priest, and only when Alba is old and forsaken does his consolation show her what she has missed. The music displays much emotional beauty, and the “play within the play,” at the ducal court, allows the composer to imitate Bach, Handel, and other old masters with exquisite humor. “Michelangelo and Rolla” is a one-act play, again uniting a subject of real poetic worth with beautiful music. These two operas are far removed from the crudities of the “Verismo” school.

Wolf-Ferrari.—A composer who may fitly follow German ideals is Ermanno Wolf-Ferrari, son of a German father and an Italian mother. His “Cenerentola” (Cinderella) has a rather tedious first act, but the second act shows all the appealing beauty and sympathetic feeling that mark the new romanticism. “Le Donne Curiose” is an excellent example of sparkling comedy, and has won much success in Germany. It treats of the misadventures of some women, who try to investigate a mysterious club formed by their husbands. A work in a different vein is the composer’s “Vita Nuova,” a fresh and inspired setting of sonnets and other selections from Dante’s great work.

Music in Italy.—It is difficult for one nation to adopt the musical expression of another, but this is practically what Italy has done. Verdi first gave up the trivial melodies so dear to the Italian populace, and adopted a worthier style. Like Boïto, he denied being influenced by Wagner, but his works show that he felt the force of the German master’s orchestral power. The realistic school of opera has brought into Italian music a vividness and power that are not surpassed by any other nation, while a still later generation has striven to cast off the crudities of this school and produce works of real orchestral value. Italy has already done much, and the progress of the last few decades seems to predict a bright future for her music.

Music in Spain.—During the last half-century, Spain, too, has developed some native composers. One of the best is Isaac Albeniz, whose “Pepita Ximenes” is a delightful comedy of love and intrigue. His Zarzuelas also have met with success. Felipe Pedrell, well known in European journalism, has written an ambitious trilogy on subjects illustrating the national motto, “Patria, Fides, Amor.” Larrocha, Vives, De Lara, and Antonio Noguerra are also worthy of mention. The Zarzuela is the peculiar Spanish form of light opera, resembling the Italian opera buffa, but possessing more brilliance and delicacy.