New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-09-19


compositions slowly received they make their
way to popular appreciation only by repeated per-
fOrnances. II Is true that the people like best the
songs well the symphonies which they know
best; but this rule has its exceptions. 1t is
possible 70 grow Indifferent TO even high excellence
because OF constant association with it. Especially
Is this true when the 'form-that is, the manner
Of expression-has grown antiquated then, not ex-
pecting find the kind of quality TO which our
tastes inclined, do not look for il. and though
Il may be present it frequently passes unnoticed.
The meritOriOus old is, therefore, just as much
subject to appreciation as the meritorOus new.
Let me cite an Instance:
Not long ago duty called me to the two opera
houses of New York on the same evening At the
first I listened of the hot blooded music
OF an Italian composer OF the so-called school Of
''verismo." Thence I Went to the second. Ferdis
'rravata" was performing. entered the room
Just the orchestra began the prelude the last
act. AS without observing. can
hear without listening wise provision which nat
has made for the critic-and kind had
heard that music often during a generation of
time devoted musical Journalism that I had long
since quit listening TO IT, But now my faded facul-
ties arrested by a quality IN the prelude.
] had always admired the composer Of ''Rigoetto,'
II TrOvatOre" and "rrayiata." and loved and re-
vered the author OF Aida, "OtellO and 'Falstaff.
I had tOddled along bTeathlessy in the trail made
by his league boots during the last thirty-ive
years OF his career; but listened found myself
wondering that had not noticed before his modern
fly had begun before I had commenced TO realize
even what maternity meant-more than half cen
fury ago. for ia Traviata' was composed in 1853.
The quivering atmosphere of ViOlerta's sickroOm
seemed almost visible as the pathetic bit of hymn
Ike music rose upward from the divided viols OF
the orchestra like cloud of incense which gathered
itself together and oated along with the pathetic
song of the solo violin Music moody food for US
who deal in love" The work Of paliiating the char
acter of the oourtesan had begun. and on il went
with each recurrence Of the sad sweet phrase as it
punctuated the conversation between Nioletta and
her maid until memory OF her moral grossness was
swallowed up in pity for her suffering. Conven-
tional song forms returned when poet and composer
gave voice TO the dying wOman's lament for the
happiness that was past and her agony of fear
when she felt the touch Of Deaths icy hand but
where is melody more truthfully eloquent than in
'Addio del passato," and Gran Dio mOrir so gio-
vane'? Is il within The power Of instruments, no
matter how great their number or harmony, with
all the pognancy which il has acquired through the
ingenious of dissOnance, Of broken phrase
floating instrumental flood, TO be more dra-
matically expressive than in these songs? Yet they
ia a way uncompromisingly formal, architect
Ural strophic and conventionally Verdan in their
repetition rllythmical motives and their melOdic
formularies. This introduction the third re-
calls the Introduction TO the first which also begins
with the hymnlke phrase. and sets the key note Of
pathos which is sounded at every dramatic climax.
though pages OF hurdy-gurdy tune and unmeaning
music intervene. Recall "Ah. fors lui che lani-
ma" with its passionate second section. "A Quelr
amor and that most moving song OF resignation,
.'Dite all giovne-" These things outweigh thou
sand times the giitteFng nsl Of the opera and give
'Travlata" merited place. only beside the later
creations of the composer but among those latter
day works which call lyric dramas 10 distin-
guish them from those which still call operas
with commissioning emphasis on the word
That evening realized the apposisteness Of DR..
Won Bulow's remark 10 Mascagni when the world
seemed inclined 10 hail that young the con-
tnuator Of VerdFs operate eyangel; Il have found
your successor in your predecessor. Verdi" but il
did not seem necessary TO think OF Otelo' and
''Falstaff in connection with the utterance; La
Traviata" alone justaes it, Also it made plain
what Verdi meant. when after the first perform
ance Of his opera, and its monumental hasoo, he
reproached his singers with want OF understanding
OF his music The story OF that hascO and the
origin Of the opera deserve place here LA
TraViata," all the world knows is based upon
the book and drama La Dame aux Cameias" by
the younger Dumas. known to Americans and
Engishmen Camille" The original book APP
peared in l8iS, tie play in 1852 Verdi Witnessed a
performance Of the play when il was new. He was
writing II Troyatore" at the time, but the drama
took 50 strong a hold upon him that he made up
his mind at once TO turn it into opera As was
his custom, he drafted plan Of the work and this
he sent 10 Piave, who Tor long time had been his
hbrettist in ordinary Francesca Maria Piave was
little more than hack-writer Of verse but he
knew how to put Verbs ideas into practicable
shape, and he deserves 10 be remembered with
kindly interest the great composers collabOra-
tor In the creation Of Il due Foscari," 'Ernani"
"Macbetto, I'll CorsarO." ''Stifelio," Simon Boo
canegra, "ArnOldO' "a version OF ''Stlneo'') and
La Fora del Destino" His artistic relations with
Verdi lasted from 1854 1862 friendship OF
the men endured Till the dstTessful end OF PiaVes
life, which came in 1876 He born three years
earlier than Verdi Gn 1870, in Burano OF which
town his father had been the last podesta under
the Venetian republic. He mad some years
before he died, and nc=forWard lived of VerdPs
bounty, the warm-hearted composer not only giving
him pension but also caring for his daughter /
after his death. In 1853 Verds creative genius was
at food tide. -Four months the time which he 4
usually devoted TO the composition Of an opera /
but be La Traviata" within four weeks
and much OF the music was composed concurrently |
with thar OF I'll Trovatore" This is proved bv the
autograph. owned by the house OF his publisher ]
the Records and there is evidence Of the assoca-
ton 10 fraternity OF phrase in some OF the unin-
terestng pages OF the score. tsee MORO. la mia
memOria" for instance, and the dance measures
with their trils). III TroVatore" was produced ar 4
Rome on January IS. 1853. and Ia Traviata'' on
March Of the same year at the Fenice Theatre in
Venice. n IroVatOre' was stupendously SUCCESS
ful: LA TraViata' made a woful failure verdi
seems 70 have been fully cognizaut OF the causes
which worked together 20 produce the fasco
though he was disinelined the time 70 discuss
them Immediately after the first representation
he wrote 20 Muzo; =" La Traviata' last night 2
failure. Was the fault mine or the singers'2 Time
VIII tell" To Vinoenzo Luccardi SCULPTOR. nro-
SCISSOR a. the Academy OF San Luca in Rome
one o. his intimate friends he yvrote
after the second performances: The success
was a hascO-4a comrlste hascot A 49,
Know whose fault Il was; II is best not 20 talx
about q. shsll ten you nothing about the moslc.
ano permit me 70 say nothing about the perforrn
ers. Plainly, he did not hold tho singers e,,tless
Nafesl, the baryeone, VINO was intrusted with the
Jar OF the eaer eernont had been disaffected be-
cause ne thought Il beneath his dignity Nevertbe
Jess he went 20 the comDosar and ose,.a ~. -