The morning call., 1894-07-12
MUSIC AND MUSICIANS.

TIE "Serva PadrOna" is an opera that from
time 10 time is "reyived" in some one or other
OF the big European theaters and never fails if
at all adequately performed 10 create pro-
found impression. 1t has just been played
again at The ManZoni Theater in Milan and has
awakened renewed interest in the brief but
prolific life of the composer Pergolesi Giovan
Battista PergOles may justly be considered
the father of modern music in Italy. perhaps in
Europe. He was born at JEST in 1910 and
died at POZzuoli in 1886. Educated in the
conservatory Of "Chrisrs Poor" at Naples he
attracted the attention OF the curious by the
unheardof passages that he improvised in
executing chromatic prOgressions, based on
harmonic SUGGESTIONS, at that time unknown.
His originality procured him the best masters,
although harmony at that epoch had scarcely
been raised to the dignity OF separate study
AT the age OF 81 Pergoles composed 1.-THE
Conversion of ST. William" which was per
formed in a convent. This was followed by
another opera and church music. Gradually
his works, which rapidly succeeded one an
other, began 10 be r, cogniZed. but he died at
the age OF &c, and then the world suddenly
awOke 10 his true merit and gave him Il
posthumouS fame. His "Serva Padrona" be-
came The model of all Italian opera bouffe.
PergOesrs true masterpiece, however. was his
"Siabat Mater" which he wrote for the con-
fraternity of San Luigi d. Palazzo for $40.
The Hymn to Apollo' is becoming almost as
backneyed IN Europe as 1.-TWO Little Girls in
Blue,'' and the critics are beginning to protest
against It's abuse. j. Weber OF LIE Temps says:
"There was in former times Greek town sit
uated on the Egean Sea which was celebrated
tor the simplicity of its Inhabitants. They
possessed pretty little statuette OF Minerva
and they placed it at the summit Of very high
column In order that al the world might see it.
That is about what people are doing at this
moment with the famous Hymn 10 Apollo.'
The work actually figured on the programme
OF a recent concert as being performed with
chorus and orchestral 1t only remains now TO
rewrite it in quicker time for military band,
as people do light opera airs. Even its ad-
mlrers concede that in the notation of the
Hymn to Apollo there are obscuritles. For
the rest, 1t should be sung in Greek in the
fashion in which the ancient Greeks sang. or
rather acclaimed, an art of which we are
ignorant. The hymn ought to be accompanied
by the Tyre in unison with the voice. while to-
day they make use of the harp or even the
orchestra"
An anecdote has just been published in Paris
| which appears 10 be new, as far as publicity is
concerned. though II regards MoDsigny. COM
poser who was very popular In France about
the middle of the last century. Monsgny's
''DeSerter" was revived at the Opera C0mIque
about year ago and his Rose ct CollaS" in
1862, but both showed the nferiority OF the
singers OF to-day to those OF century ago, aud
| the works were unsuccessful, not for lack of
beauty IN the music, but because there were DO
| artists sufficiently schooed TO interpret them
well. The anecdote relates that after the
! French ReVou ion, M0nsigny, who had in his
| old age abandoned the career of music. went
| occasionally to he Coincide Italienne o meet
old friends, though he usually remained in the
| greenroOm. One evening the door OF stage
box remained halr open and some strains OF
music reached the old composers ears. "What
! pretty thing they are payngp' he cried. II
was an aria from "Rose ct Collas," and he had
! forgotten his own music.
lie Figaro has recently been publishing a
! series of Souvenirs dActrices," in which the
most popular stars of the Paris stage give some
interesting personal experiences. The singer
| Yvette Guilber!. is the latest on the list, and