The Bridgeport evening farmer., 1911-10-26
Musical Chat With
 Alfred Moulton
One of the Three Directors For Henry w. Savage's Presenta- ton in English of Puccini's Masterpiece "The Girl of The Golden West" at The Park Saturday Afternoon and Even- ing

Well, there are many strange effects in the orchestration of Puccini in this very modern score of his,'' said Di- rector Alfred Moulton recently, upon his return from Italy-where he wit messed many performances of the Am erican-Italian opera on behalf of MT. Savage Firstly, as a composer and direc- tor myself, I am much attracted by the novel orchestral tone cOlors which the worthy Puccini has made use of.'' | Do musicians consider the music of the work eccentric?
 "No, the Italian composer has not striven so much for peculiar effects as for combinations of tone which, though they may have been used be- fore, he serves up in an entirely nov el manner"
 How has he produced them? Amongst other ttings-for instance, he uses two extra solo first violinists 'divisi' playing above the others in duet form, in some of the important arias or recitative passages. Then again, he writes rapid ascending and des- cending passages for two flutes in a sequence of close chords-chords of the second. You take the vocal score to the piano and much of it sounds strange and of no special effect, but when you hear the same passages in the orchestra you are infatuated" In what other way is the compost tion of "The Girl of the Golden West" fascinating?
 Well there are so many. One thing you will notice is that all the orches- tral instruments are used to the full extremes of their compass" I suppose you would call the orches- tration difficult?
 Well, should say it is. It teens with difficulties for the musicians. The double basses have some very fine work to do-interesting and thorough ly musicianly and only four string basses can be of use. The three string Puccini has no use for as lacking com pass for his purposes
 Is it true that extra instruments have to be specially made for this opera?
 "Yes, there are three or four of them, notably the Fornica-used with great effect in the various climaxes of Minnie's scenes. Also Sordinis (mutes) have to be made specially for all the trombones, which, as you know are usually for trumpets only"
 So that Maestro Puccinfs score gives much trouble for an adequate interpretation?
 Why. certainly said Conductor Moulton, with a sigh Che was think he is now so enefgetically directing). 'Certainly-I will call it Restless Or chestration' 1t is possible Puccini was thoroughly imbued by the Ameri- can spirit of unrest and endeavored to stamp it on the pages of his admirable score"
 In which act of the opera do you think that the composer is at his best !?
 Well, you see it is hard to answer thatv-for the opera is of the new Puc- cini. I must confess that he has been seized with the advanced thought and intense musical modernism in his op- era. The second act and. its wonder fully thrilling finale is undoubtedly a very fine piece of work. To the painting, shall say? To think that any composer could have made so much musically out of a game of po- ker. It is marvellous. The orches- tration-fine! Whilst Minnie and Rance speak in suppressed tones there is that great undercurrent as of two .throb- ping hearts-produced, mark you merely by the great double basses playing hurried sequences of pizzicato chords on their lowest strings-it is dread, fear and excitement and it will stir any audience am sure"
 Does the third act hold the inter- est?
 wonderfully. And it is especially an appeal to American people The scene itself-the gloom of the forest, the solitude of it. How wonderfully Puccini has helped the great scene. What a keen understanding he has of the exigencies of the stage. So few composers of opera have that"
 And the finish of the opera?
 .Greati It interests to the last. Min nie saying her final goodbye to her beloved Sierras-tfe downcast miners so reluctant to let her depart.''t
 And how does the opera sing in English?
 or two little matters of accent which I have attended to and already our singers of the principal parts, not only find no difficulty, but thoroughly en- joy the English and American of it sall."
 And what about melody?
 "The opera said Director Moulton, emphatically and enthusiastically, 'the opera teens with it. You must look for it for there is so much that is beautiful and soul-inspiring and-al though difficult to sing against at first -are soon learned, enjoyed and ap- preciated by the artists
 What of Johnson's melody which he sings in the third act to the miners while the rope is about his neck? At the piano, 1t seems strange.
 "Yes, for it is all in unison. That is-the whole orchestra play the mel ody in chords and move with the voice and not against it. When you hear it you will think it noble effect Of course, the piano is nothing,'' said the Director impatiently
 Are there many motifs or themes?
 Well, yes-but they are in man ner different to those of most operas. Continually Puccini uses them in many novel and entertaining ways. Just as, for instance, the dance for Min nie in Act One becomes a serious theme later on for short but beau tifu1 aria for Johnson"
 You hold. suppose, that a modern composer can produce any effect in the orchestra-any emotion?
 'Yes, just as Puccini can produce any combination of. color. Look at Page 204 of the vocal score,' said Di- rector Moulton suddenly. 'This is fear. It is uncanny. It has a haunting eff feet upon you. In the music of Rance the Sheriff, Puccini has been most consistent all through and introduces tone color which absolutely gives you the very character of this stern man and all his feelings. Note here page 246) the strange musical effect of these fifths and octaves given in blatant tones by the brass as Rance, the Sher- if, feels he is winning the game, his