New-York tribune., 1901-01-28

and other feows-seems already to be an ttiSSrano tSs
These words appeared few weeks ago a.
The TFibune's review of the worlds preerss, -
the nineteenth century. Not without v,arri
Iof Verdl was very old man-but nevertba1ss,
Unexpectedly we are called upon to pass in r.
view the one operatie career eemparabla 7-,..
that Of the German poet-composer wbosa I,s-
began two years before VerdTs and ordas
nearly two decades earlier. Last night AZ tba
metropolitan Opera House Mr., Damrosch intro
auced the death march from Wagner's "G0ttar-
daTnHeruns" as a tribute of respect To ~.
memory of the great man who lies on his bia-
In italy. Mr.. DamFoseh saw no improprietv ~
calling in the most solemn music of the Gerna,
master TO do honor to the memory OF his Itaro.
contemporary ana rival We are sure that the
growth Of VerdiS genius could not he ba++o
studied than in the light which falls upon ~
from the revolution effected by Richard Wag-
ner. Verdrs music all bears an unuistakabIA
stamp of individuality. but there is almost a,
marked a difference in manner between the
verdi or "Nahueeo" and the Verdi Of "FaIstafr,
as between the Wagner OF 'Rienzf' and the
wagner of Tristan und Isolde" II is NOT
meant by this TO place the two masters on tha
same plane; in essence they are as widely seu
arated as the two poles: but the progress :,
and II it was accomplished with less loss %
speataneity IN the case OF Wagner than in that
Of Verdi the difference is easily set down to
nationality AMI the profound genius of the
German Wagner illustrates the splendid forca
or conviction working out it's END in spita
Of the most formidable obstacles: Verdi ax
empiifes the gradual development of high
ideals in the midst Of popular success
Wagner is the creator Of his time; Verdi the
fruit of his. To appreciate him as an exception
to the class of musicians out OF which he grew
it is only necessary to compare him with Ros-
s.ni Arrived at the pinnacle of his fame the
composer of The Barber and William TelI'
quit all intellectual effort. Thereafter there was
nothing that could move him to throw OF his
Incidence. His ambition was satisfied So was
his love for money. Love for art he could not
Rave possessed. \ certain ideality is traeeabIe
through all the work of Verdi. but 1t was after
h. had achieved fame and riches that il began
to shine most brightly.
In Italy music and opera are convertible
terms; it is only OF recent years that thought
has been given to instrumental music and ora
torio, In many city Beethoven is known only
as a name. and his chamber music, il per-
formed. would be quite as much novelty as his
symphonies. Men like Boito. Sgambat and
Franchetti represent a distinct element and
though the leaVen which they have carried into
Italy has begun to work il will be long before
1t has leavened the whole lump Of italian cult
ure. The greater part Of Verdis career was
over long before these new influences began 70
make themselves felt. and it is therefore all the
more remarkable that he should have embraced
them in his old age. AS il was, he was clearer
in his conviction OF what is essential to the
progress and future life of italian music than
any Of the young men who created the inter
nittent fever whose hectic flush glows In the
scores of AIascagni. LeOncavallo, Puccini, Gior-
dano and their fellows OF this later day, Verdi
stood. at the last. in his country for seriousness
learning, refinement and trUthfulness Of e1-
preston in music and it is safe to say that as
long as the present tendency continues his
critics outside Of Italy will ind more to interest
them in Aida, "Otello" and "Falstaff'' than in
the trefoiI OF operas which may still be said TO
mark the elimination OF hts powers as an old
fs hioned Rigoletto,' II Trovatore'
and 'Traviata."
In a manner Verdi represents a full century
OF Opcratic writing. He began when, in Italy
at least, the Hbretto was mere stalking horse
on which arias might be hung. All that it did