Modern Musical Drift

by W. J. Henderson

AUX ITALIENS

I.—ITALIAN OPERA OF TO-DAY

What do ye singing? What is this ye sing?

Swinburne, Atalanta in Calydon.

Several factors have united in causing a new interest in the opera of Italy. In so far as New York is concerned the singing together of two such admirable exponents of the art of bel canto as Mme. Marcella Sembrich and Enrico Caruso has restored to life some of the older works, while a recent visit of Mascagni and the frequent performances of Puccini's "La Bohème" and "Tosca" have directed serious attention to the tendency of the younger art. The struggles of the youthful school to maintain its national characteristics in the face of its own yearnings after the flesh-pots of Wagnerism have afforded an absorbing spectacle for observers of musical progress.

The leader and master of all these young eagles was, of course, the incomparable Verdi, the most characteristic composer of opera Italy ever brought forth. But although he showed them all precisely how to mingle the fruits of the new fields opened by Wagner with those of the old Italian soil, they have not always wisely accepted his instruction. They have sought for independence in manner, and in some instances with disheartening results. But perhaps a cursory review of some of their achievements may not be in vain.

Doubtless the casual observer will be struck first by the instrumentation of these modern Italians. Puccini's scores certainly offer abundant food for study, and his clever adjustment of the leading motive scheme to the instrumental background of a thoroughly Italian vocal melody, as in "Tosca," is an accomplishment not to be passed by with a smile. If we compare the scores of such works as those of Puccini and Mascagni with the works of the Donizetti period, we note with astonishment the immense strides made in the use of the orchestra.

But we must not be deceived. The Donizettian period was one of reaction. The Gluck-Piccini battle had not long since been fought out in Paris, and the principles of dramatic verity in opera had once more been vindicated, but at the cost of a great public weariness. The classic polish and repose of Gluck's music were intellectually satisfying, but his scores lacked the vital heat to keep warm the blood of the artistically indolent. To this day the best works of Gluck invite our admiration, but seldom awaken our feelings. The idle, pleasure-seeking public of Europe soon turned again to its strumming ditties. It threw itself at the feet of Rossini, and within forty years after the establishment of Gluck's superiority in Paris the whole Continent was beating time to "Di tanti palpiti."

Once more the Voice was the deity of the operatic stage, and woe betide the composer who so wrote for his orchestra as to interfere with its supremacy. Rossini, who had artistic aspirations in spite of all his insincerity and intellectual laziness, made many improvements in operatic writing. It was he who first omitted from an opera all use of the old-fashioned dry recitative and used throughout that which has the support of the orchestra. He enriched the manner of writing for horns and clarinets, and he introduced instrumental effects which later composers have adopted with good effect. But, nevertheless, "William Tell" was a failure, and Rossini sulked in his tent for thirty years, while Bellini and Donizetti turned out their nursery operas, in which the orchestra has been likened to a "big guitar."