The sun. [volume] (New York [N.Y.]) 1833-1916, 1891-09-13
MxscAsyps NEW OPERA.
some Reasons for the Great suceess Of
.sCavaiieria Husticana."

Inc peT1 OTUuuC0 vi tho hv" VpVi" S'''SN
"Cavalleria Rusticaun" In Philadelphia on
Wednesday evening was too imperfect to mako
clear to the average spectator the extra
ordin arr success OF the work in Italy. although
It's i'm pressiveness as u dramatico-lSric effort
, was proven at once. Taking however, the
vivid Toro, OF tho dramatist's episode and tho
intensity and melodlous charm Of the score. IN
connection with tho condition OF things In
Mascagnis native land-a condition oil
things tn oroughly understood by but few
Americans and not by all Italians =
tho excitement that has prevailed
for months over q performance lasting but
seventy minutes IL readily explained. The
scarcity OF operas conspicuous for aught but
tho composers technical requirements has for
years been most distressing 10 Italians. for
whose lenent fifteen or twenty lyric achieve
monts ars Brought forth annually. all to dis
appear a. soon as disclosed. 1t was natural,
therefore. that an opera, though unrretending
rs to form and cranpcd as to limits. should,
If revealing an atom OF Inspiration and
IA ,Dity, be hailed with enthusiasm. What
the Italians collo1uially and happily term the
eff. ito piafeate of "Cavalleria Rusticana'
tin, ued the scale Of popular favor Immediately:
tho tremendous influence OF Mascngnis pub
Usher, Sonzogno did the rest Tho power OF
the music publisher can scarcely be imagined
by foreigners; it is ho that keeps up Italian
opera. Italian opera houses and Italian musl-
cal parers. not to mention an occasional poltti-
cal journal. The American torn Ito boom"
feebly expresses what wealthy and active
business man. such rs Mascagnfs publisher,
Gun accomplish II circumstances are nuspi-
ctous The money and business methods OF
SorzoEno represent nifty per cont. OF tho factors
that brought about the triumphant success OF
"Cavalieria Rusticana."
Viewed from the unpatrlotic aud uucommer-
cial standpoint that American and English
critics are enabled to write from, 1t must be
said at once that there Is nothing in "Caval-
leria Il usticana" TO rave over. 1t Is welcome
effort as denoting tho existence Of o young
composer who Possesses feeling. strength.
and measure. II but modicam.
OF crea live power: It is. too. strik-
ing work. In which much OF the music
throbs n unison with the Incidents Of
the dram utlsts plot. Warmer praise than this
declaration involves can hardly be conceded
It, There. is not In the score ono single theme
that stan DIS out as invested with Mozartian
loneliness. Verdian strength. or Wagnerian
signiican CO. There aro no points at which
Muscsgni shows his ability to develop to its
fullest exoent tho molodic germ that the list
ener not unfrequsntly detects. And the Or
chestratlon. concerning which SO much specu-
lation has been INDUCED in. Is simply
OF good average Sort agreeably remote
from tho guitar Accomplishments Of the
early Italian school. but more distant from the
rich polychromy OF modern writing than
might DO expected In rising composer who
should be influenced BY the teachings and
taste OF tho ago. OF Wagner there Is no trace
in "Cavalleria Rusticana." and It Is only hero
and there. and mainly because OF the dramatic
situations. that one anoes some relationship
between Mascaenrs Instrumentation and
Bizet's. Bizet's mastery Of the orchestra,
though. is as far superior to Mascagnfs as Is
saint-Saens's to Suppe's. The newcomer is
most clearly modern in a careful avoidance OF
undramatic measures. such as one meets at
every turn in Verdfs first achievements. and
also in his occasional and somewhat far-fetch-
ed vocal progressions and in frequent changes
OF tempo. Tho band that was heard Wednes-
day WINS not large enough for the brass to
remain we'll in the background. and parts OF
the score that were assigned to the strings
were robbed OF much OF their loveliness on the
same account 1t was &c enough, neverthe-
less. to bring to light most OF tho designs
that Mascagni has woven into the in.
strumental measures OF the score. and these.
1t must be confessed. are not many or novel.
although sufficiently abundant and appro-
pirate to suitably emphasize what might else
be described as purely sensuous melodies
The foregoing observations. 1t should be said.
| are based upon the idea that the Philadelphia
| representation was given with the original
| score under tha leaders eyes. Mr.. Hinrichs
| conducted from what appeared to be the usual
| engraved conductors partiturd: the intermez-
| 20 only was In manuscript. and hence pretty
| general belief that. allowing tor tho numerical
| weakness OF the baud. tho Instrumentation
made known was actually Mascagnrs
| Wednesdays experience. too. revealed the fact
| hot fhA 10 mi vi Df
time honored devices for stirring the pulses OF
an audience. regardless OF the well-worn con-
dition Of the means employed. The repetition.
for example. Of themes given out by the strings
| and wood BY dragging In the full force OF the
brass always tells. but in casting the horoscope
OF n young musician the applause Of the
soy
from from, book OF tales by verga. One TAtddu. 9
srn 81 oa ss vie On saa
perady and taxes him With It He. casts her
him A aS Ia pnsse
No at!er exchanging iew words with Tr'iddu:
the men seSes to have il out al. oncs; Beiors
meeting AGo there is stouching interview. last
mother. and Ave minutes later the VILLAGERS.
n q hs 1he ss that IKE
GSs sSSa e
| lated upon having made no attempt to use 1t
as material for a two or three act libretto.
The score may DO said to include thirteen
numbers: but some Of these sre scarcely i'm.
pieces. and are but connecting Links BIO.
prsuas Is sssf
cil,enne with harp accompaniment of II rather
Il. curtain: which Mr. Stteitmann rem.
this city, some weeks ago. Then tho prelude
y resumed and It's principal motive; an Italian
soon grows familiar. Is accented toward the
close by tho usual aud rather threadbale de-
vices; The FVYstis chorus TINT follows g.
way remarkable: but tho entrance Of
AWo. with a catchy car drivers" song.
La. been compared y Bizet's "Torealor"
ures come still coser to tho wsl-reme m bered
rondo IN Le Position dc Lonjumeau,'
a, mater OF fact the allegIetto. which Is
10 Iesemb lanee, to either q Tho earlier pieces.
ninS aud rs lively pace helps TO elrry
70 doubtful. The scene and prayer fol.