Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1892-06-26
THE MUSIC WORLD.
The American Success of Mascagni's
Recent Operas.
WHAT THEY SAY OF HIM ABROAD.
Some Important Productions by American
Composers.
GOSSIP OF MUSICIANS AND SINGERS

GOSSIP OF MUSICIANS AND SINGERS
The successful American production Of
Mascagni's second opera, "L'Amico Fritz
gives timely interest to the following por'
tions of Ludwic Hartmann's critique in the
Leipzig Signale, written upon the first pro.
duction OF the opera, and done into English
for this department by Miss Lois Belle
Cory:
The music of 'L' AMIGO Fritz" stands
upon the high level of the "Cavelleria Rus
and insignificant. There is a self-evident
antithesis between the storm and pres
sure of tones and the harmlessness
of the actions which they accompany.
There is in the "Rusticana" unity of
style-whether one admire or condemn the
production as a whole-which is entirely
lacking in the newer work, and on that ac-
count it is quite certain to be the fact that
it will not gain the hold upon musical tenn
peraments of which Mascagni's first work
is the fortunate possessor. And also, mu-
sically speaking, there is diminishing of
impression to be noticed; not diminishing
of the worth of the music, but of the inn
preston it makes
The broad, heart-reaching melodies of the
'Rusticana," which have sent it ringing
round the world, the capacity which it
possesses in itself and of itself OF becoming
popular are lacking in the new work.
Fully as hot-bl0oded are the melodies, their
erotic and dynamical gradations, the strik-
ing tearing off and sudden pausing Of the
plunging and raging orchestral music, and
his nerve-agitating rubato. But the quiet,
far-reaching melodies, which in the song
parts of Santuzza Lola and Turiddo perme-
ated the whole world, are in "L'Amico
Fritz in no like manner concentrated.
Mascagni felt as highly gifted musician
that the village story of Laszel and Fritz
must be composed in pastoral style. He
indeed begins the work with pastoral.
But he lacks the patience for, and the joy
in fnishers of, musical forms. A peasant
dance quickly ends the pastoral, and even
though the composer often reverts to the
flutes and the reed pipes, still the work
soon returns to its penetratingly passionate
character and becomes more and more rhap-
sodical. Dry recitations come in now and
again.
Almost without variation the composition
of the text throughout occupies the middle
ground between free and formal. But where
word in the text authorizes it in the least
degree, the composer brings 1t out in the
strongest and overdone colors The instru-
mentation is throughout very loud, cutting
and eccentric, often brilliant, and in the
scene where Luzd and Fritz, before they
know their hearts, pluck cherries, the
Instrumentation is of indescribable charm,
soft as mixture of two, four and three-eight
time, where the violin softens all, the mur-
muir of a summer night.
Then again is most naturally represented
the cracking of the whip and rumbling of
wheels as the guests come and go. Lyrically
and wonderfully beautiful and full of the
charm of sentiment is the first gratulatory
song of Salzel to Fritz, then an ''all on garese"
violin solo of the Gipsy Bsppo; behind the
scenes bold, loud, slightly over-done
march of the wandering band.
OF great beauty is also the deeply thought
full, gradated, soul-stirring batridd in the
third act. and finally the great love duet,
20 Amore, o Bella Luce del Core" oh
love, oh blessed light of the heart, as the
good. couple discover that they love one an
other and may wed. The length of the
duet must be conceded and its musical lux
the frame of lyrical opera, is
sprung out of joint in the pressure, but
genuine, true Race lives in the music, and
other hand is explosive in character.
H. Msscagni knew the German stage, and
the stress it lays upon beautiful measured
musical forms, he would be better able to
curb his splendid talent Many German
orchestra leader 4 Id use few glowing
lrops from the surplus thought impressions
Of Mascagni.
When "Friend Fritz" is over me feels
oerplexed as to how such "petite chose"
,ould be made so very much Of The
Romans, however, think otherwise. They
iced success and national saints, SO they
choose to fill this role the good young Mas
,agni. He is only, however, most human,
plendid man, as he demonstrates BY his |
oyous laugh at all this extravagant worship,
md his childishly evinced pleasure as he |
its at the rehearsal until midnight with |
lis wife and little child beside him.
Nv
Important Productions by Americans, |
Within the past few weeks two relatively |
important works by American composers |
ave been successfully produced. One was
'roduced at the Springfield, Mass, Festi-
al. 1t is bv Mr.. George W. Chadwick,
rho is writing the Columbian Exposition
)de, and it is thus reviewed by Mr.. Philip
Hale:
!
vening, May s. WIS the first performance
f Mr.. Chadwick's "Phenix Epfgrams," the
ext OF which is q religious poem by an un-
:nown author OF tprobably) the 18th GEN.
Latin Poetry" 1t is a strange, mystical,
morous, contemplative expression of relig-
ous feeling, and it ts full OF suggestion to the
musician. Mr.. Chadwick in his verbal in
oes not call for an extended description,
8 the various numbers are eself-explanatory.
% attempt to describe musical Impressions
q these days, as common as it is idle. The
an ntata is written for chorus throughout, |
With the exceptions of soprano solo in the
nost effective portions of the work are the
rst two numbers and the finale, although
II the numbers are OF genuine interest.
he close of the second number with its Or
anied Voices in Gresorian ca
ence is particularly impressive. The
is rich. and it shows the
influence Of the M modern French rem school as
o the second number. Yet Mr.. Chadwick
. no .slavish imitator OF Gounod or
lassenet. He SAYS his own things in
eserves reoeated hearings. II chal-
,nges the attention of every choral society
f high pretension. For it is a work that
nd science is not allowed to choke poetic
selling. 1t was exceedingly. we'll sung by
ne Springfield chorus, and the orchestra
as led with discretion Mrs. Lawson is ILL
lited by nature to the broadly
solo. The solo parts in the
uartet were taken by Mrs. lawson, Mrs.
ulie L. Wyman and Messrs. Mockridge and
The quartet, can amor dolor sit,"
difficult, and it was badly sung on account
an utterly inexcusable lack of sufficient
,hearssl. Mr. Chadwick's work made q
rofound impression, and the composer was
recalled.
~
Kelley's Late Opera.
The other work is Mr.. Edgar 8. Kelley's