Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-05-12
THE MUSIC WORLD.
A Critical Review of hessrs. Woods
and Wales Lion Of Peru.
ITS GOOD AND ITS BAD POINTS.
A Description of the Great OratOriO to be
Heard This Week.
GOSSIP CLEANED In MUSICAL CIRCLES

duction of the new opera, 1.-THE Lion o.
Peru" by DR.. E. A. Wood and Mr.. Leonard
Wales, a second performance has been heard
and a hasty examination of the score had
both of which seem to justify the entry Of
critical Judgment in favor of-the pub.
lie; that the plaintiffs have not made out q
strong enough case of opera to support the
claim for public patronage.
And yet, from one point of view, these
claimants have equities in their favor.
Neither of them pretends to have had pre-
viOus experience as librettist or opera COM
poser; and it would be unfair TO expect from
them the skill that can only be acquired by
have had TO creep before they learned to walk
But the infeNible principle of artistic law is,
or should be, that writer or composer must
not Green in public; he must do that only IN Sc
clusion, and stay there until he learns to walk.
True, those who write and compose for the
stage are under disadvantage in this respect
inasmuch as dramas and operas cannot be prac-
uced at home, but must be experlmented win
in public. Yet even they must first try their
hand at the lesser art forms and prove their
skill and ability in these before claiming public
attention for the more pretenuous dram2tlc or
operate experiments.
The lihretto of the Lion of Peru" is clearly
the work Of a writer possessing considerable
literary knack. Some of the lines and verses
book lacks the alI-needful touch of the dram
atist. 1t diffuse in lyrlc and descriptive por-
tions, when much should be left TO the imag-
ination and the music not encountered with TOO
many words 1t is obscurely brief in narrative
and dIalogus where the movement OF the plot
should be more clearly and fully displayed to
the audience Behind all this. the book lac
the backbone of dramatic continuity, strength
and consistency.
The music, while containing not q few
pleasing passages and several entire numbers
of some merit. is very far from constituting an
opera iSSCndeTI0nCpS song and the duet
between CaSciae and VaIpoIe in act 4
contain some good ideas, though the latter is
almost unsingRble for the tenor. The scene in
Epping Forest contains three of the best num-
bers of the work; the first duet and ensemble,
the lullaby and the Bird Matln"-pleasing
melodies, Especially the lullaby in the
simplest form. Perhaps the best bit of writing
graceful accompaniment figure first in the
Yiolins and later taken by the soprano
The other individual numbers are either
commonplace and reminiscent, or else if one
does chance TO start with a promising phrase it
is quickly lost in maze of episod-
aical matter. There is practically no
musical development of the themes chosen.
The recitative and most of the con-
versational ensembles are hopelessly ineffective
and unskillful. There is very little indeed of
dramatic Characterization: the HGhost Scene'
is almost comical in its inappropriate leyity
though offering the best opportunity for dra-
matte treatment
Back Of the objections to this score as opera
music lie very serious obstacles to its being
considered as music at all. Bad progress
sions, faulty modulations. clear violations
of the first principles of harmony are matters
that must be conquered before a Young man
ever thinks of writing an opera. The orches-
Jration was mostly ''hackwork," part having
been hastily oone by the conductor of the
troupe, and other parts by other persons on
very short notice.
As for the performance, little can be said but
wholesale condemnation. Mile. de Lussan was
the only one of the three or four leading char.
Acters who had thoroughly mastered her role
Mr.. John Reed. Miss Claire and Mr.. Miron
earned a good word in their less grateful roles
The rest of the performance was not what the
authors and the public had right to expect
The following description of Mendelssohn's
'Elijah," compiled from the Worcester Fes-
tjrsl Handbook of 1857, Will doubtless be of
interesa % those who intend hearing the excel
lent performance or TIM oratcria promised by
the Mozart Club this week:
Musical critics disagree in regard to the COM
parative merits Of Mendelssohn's two oratorios
While many claim for s'St. Paul'i excellencies
not found in Eliah - the latter is unmistska blv
the most popular, as evinced by its frequent per-
America. 1t is shorter and more dramatic than
Handel's messiah" 4" less theological than
and monotOnous than the wondrous PAS
sion Music'' of Bach. Thus, while the
subject matter of the sEli1ahi' is full the
stirring incidents. its artistic form is sufficiently
brief to rvet the atten ton of uncultvated
audience from the first recitation down to the last
chorus.
The words, selected from the Old Testament.
contain clements of dramatic power and descrip-
The scene is laid in Salnaria during the wicked
reign OF Ahab, the seventh King OF Israel. The
oratorio opens with the startling prophecy of
Elijah, that there would be mo rain OF dew for
three years, but according TO my word" This is
followed 6y an overture owe Sot9 Of great beauty
preparing the mind almost impercepti-
Lord - The earnest cry for help in the duet and
chorus, Lord bow Thine ear, '' is followed by
liverance is promised If they will truly turn and
seek the Lord. In the chorus, Yet doth the
iieving their prayer would be answered IN aSd ge
taunt the Lord for mocking them in their great
give his angels charge over thee. '' is replete
with beautiful effects and comforting assurances
of Divine protection. The waters of Cherith hav-
Zarephath, where a certain widow would sustain
him, until the day the Lord would send rain upon
the earth. The meeting with the woman, and the
succeeding history relating 10 the barrel Of
meal and cruise Of OIL which did not waste
or fai-the raising her dead son to life by
Elijah and her joy and belierin God as shown by
His prophet are graphically depicted in recita-
tive and song, merging into the chorus, stBiessed
are the men who fear the Lord >, Al the end Of
three years Elijah siCnifnies his intention To re-
turn TO Ahab, and that the Lord would then send
Being taunted by the people for troubling Is
rael Elijah says it is Ahab and his fathers house
commands. The dramatic power and feryid elo-
quence Of the scenes subsequent to the test by fire
cry to Baal TO heed their sacrifice = the
saunt Of Elijah to ''call him louder, $
Of Elijah for God to show the people that Be IS
sod, are striking exemplthcations of the great
choral, least Thy Burden on the Lord 5 is oS
Itself tone poem Of exquisite beauty, hardly sur
passed by any other composer. The earnest and
ne fervent petitions Of the Cnowl believing peoo
pie, receives a gracious response and heartv
nsnks IN the great and joyful chorus 'Thanks
This closes the first part of the oratorio. The
econd part is in some respects finer than the first
t contains at least as many immortal numbers
3 avoided BY variety Of new ' and
whole which, lift does not exceed the first part
m beAuty Of arrangements has evidently made
shes the listener by its sustained power and COM
pieteness, IL opens with words of comfort to
israel ana assurances Of protection from their
Hear ye Israel, - is one OF the most THRILLING
of the key Of B Is sharps) breaks upon us with an
m petuous rush of words, 81 1 am he thar COM
ortets s ee en- not a6raG; am Thy G0d In the
Elects which are calculated to express the con-
1asnee & Of burning i@petgOsity seem to
rave not yet done with the exulting sentiment
tated by the soprano, for we are now close upon
That has been, not unjustly. considered the great
st Of Mendelssohn's choruses. After brfef 81.
ence. the mighty ''Be not afraid, - with the
Whole power Of the chorus, orchestra and ORGAN
,ursts with q crash upon the audience alreadv
Ilied with the emotions Of triumph in fits more
impIe song-forM. Ahab being still rebelIious
nd Jealous OF Elijah, influences the people TO
nv out against him and to seek his life Elijah
,euF enfreated by his friends, flies to the wilder
less where In the agony Of his soul he cries sfIt
5 enough - The great aria, in which the Sorrows
4 the prophet are depicted. is one of the most
rand and pathetic compositions in the whole
anre OF sacred song. The angel trio Lift thine
ves has no parallel for exquisite beauty ofcon-
frucfion and beauty Of tone coloring. No other
-ocaI irio with which we are acquainted eouals
ms one in perfectness Of form and of harmonr
THIS and the soothing music of Ike watches
YER Ieraelsf will ever remain enshrined in fbe
eSrts OF every lover Of the chaste and beautiful
'hev prepare the mind almost imperceptibly for
he exouisite air, 80 rest in the Lord, IS than
Thich nothing ever written is more expressive
nd full OF meaning. The closing scenes are
rarhicallv delineated, eliminating in the quar-
ct, 30 come, everyone that thirsteth, = and the
horus tsAud then shall your light break forth, ,,
ne whole forming an epic poem worthy the fame
4 the great master.
Crotcbets and Qnnvcra.
TIE Gernert-Guenther orchestra Will assist
2 the commencement exercises At Beaver
female College on Monday and Tuesday even