The San Francisco call., 1896-04-02
MUSIC AND MUSICIANS.

Ever since the production of "Cavalleria
| Rusticana," which occurred nearly six years
| ago, Mascagni has continued to complete new
operas, not one of which has met with the
startling success of the prize work from which
little or nothing was expected. 'L'Amico
Fritz scarcely met with a success of esteem |;
''Ra tcliffe" was lauded to the skies by the
Italian press, and then it dropped almost out
| of sight AS for "Silvano," even Mascagni's
warmest friends owned that itwas nothing but
q pendant to LA Cavalleria Rusticana." If it
were not for the "Cavalleria" we should not be
able to hum bar of Mascagni's music to-day
in America. The young composer has just pro-
duced another work, however, which seems
likely to eclipse his first opera in popularity.
1t is called "Zanetto," and has just been pro-
duced at Pessaro, where Mascagni is director
OF the Musical Lyceum The first performance
of "Zanetto" was awaited with great impa-
tence all over Italy, and all the large towns
sent special correspondents to telegraph de-
tailed accounts of the work. Mascagni's native
city of Florence was represented by a large
delegation of friends and admirers. Every one
is unanimous in stating that the success of
"Cavalleria Rusticana'' is more than repeated
in ''Zanetto." The opera plays for scarcely an
hour and the traditional intermezzo is con-
spicuous by its absence. There is also no over
ture and the work begins with an invisible
chorus sung behind the scenes The music of
this chorus SO delighted the public that it was
found to be useless to raise the curtain and
proceed with the performance till it had been
repeated One enthusiastic critic says that
"zanetto" gives complete idea of the renais-
sance of Italian operatic art.
In spite of the great success of "Zanetto,'
Mascagni is being good deal gibed at by the
european press. 1t was in connection with
the celebration of Rossini's centenary at Pesaro
that "zanetto" was produced, and many news
papers are remarking that under such circum-
stances he would have shown better taste by
completely effacing his own personality before
that OF the illustrious master whom the GEN.
tenary to glorify. These papers recall the
fact that few years ago, when Verdi directed
the orchestra for some fetes at Milan in Ros-
sini's honor, he carefully abstained from ac-
cepting any applause on his own account and
'forgot his own personality to honor that Of
the great Rossini." This was certainly an
exquisite proof of Verdis TACT and one in
which Mascagni has shown himself to be lack
ing. His Rossini centenary at Pesaro be-
gan with concert, the programme OF which
was somewhat strange, as a tribute to the
'Swan of Pesaro." 1t began with two over
lures by Rossini, that of "William Tell" and
"La Cambiale di Matrimonio." Beethoven's
"Eroica" symphony and the largo by Handel fol-
lowed. Then came excerpts from 'Lohengrin"
and "Tannhauser." The coupling of Rossini's
is considered by many critics to have been an
almost grotesque bit OF comedy on Mascagni's
part
1t is evident, however, that Mascagni has set
tied down seriously to work since accepting
the musical dictatorship of Pesaro. For time
after the success of 'Cavalleria Rusticana" the
young composer posed as man about town,
frequented the races and was noted for the
large sums he lost at the gambling tables
Celebrations of composers centenaries are
becoming as popular in Europe as festas are
in California and unhappy indeed is the city
that cannot boast Of having given birth to at
least one writer on music who came on the
scene OF life about century ago. The town OF
Pescia, in Italy, which is an enterprising little
community, wanted to have its centenary
along with the rest, but the dusty city regis
ters were searched in vain for indications that
a musician OF note had had the good taste to
be born in Pescia during the year of grace
1895. AT last some genius recalled the fact
that Giovanni Pacini, Rossinis old friend, had