The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-03

walk Of the old man and the gallopIng
movement of the basses portending each
new rising of the storm of trouble.
He uses representative themes. but does
not make himself their slave His score
Is not "A web woven of thematlC fragments.
The few leading motives are enunciated
clearly in places where they have tn.
most poignant meaning. and after that
are permitted to rest in peace. The
orchestraton of the opera IL beautiful
throughout. II combines an endless
variety of color with fastidlous percep-
ton of fitness in its application. and the
prevailing characteristic OF tine wnoie is
luminous transparency. Operating CON
tinually as "A potent agent in the explica-
ton of the drama, the orchestra never
obtrudes itself between the action and
the observer. In no other department
of his work has this young composer
shown "a flrmer grip OF his materials than
in this.
But he knows also how to create the
vocal part of his score. He writes adj
miNbly for the voices. His defamation
Is entirely modern, but quite free from
the strained progressions 20 common in
recent music. Montemezzi never distorts
a natural melodic movement for the sake
of avoiding an impending cadence of con-
ventional type He uses such cadences
without fear and by respecting these COM
tanety of his musical speech.
Not an 1mitatOr.
His arioso is his own. 1t has been
classified as belonging TO the school of
Nerdi's "Otello." but we should say that
Montemezzl has studied only the funda-
mentals of Verdi's rectati.e and reared
upon them "a structure of his own. His
extended melodc flights are OF course
without any trace of the old time re-
. strictve forms of Italian opera. The long
deliverances of the characters are
examples of song speech made with n
technic astonishing in so young n master,
The union of the music with the text.
not only in expression of the moods but
also in the almost intangible reproduction
OF the literary style, is extraordinary.
The combination of all tn. clements
which go to constitute an opera IL effected
I'm this score with consummate mastery.
The voice parts flow naturally and with
character the orchestra supports and
intensiies the vocal utterances, the chorus
sings emotion and has pronounced
dramatic personality. and the whole
creation throbs from beginning to end
with m artistic vitality.
There is great temptation to enter
into a consideration of all the details Of
this opera. for they are worthy OF ex-
tended analysis But once begun such
a review would have to he stretched
beyond the limits of a newspaper page.
Montem.zzis technic Is so sure and his
score is SO alive with interest derived
from the application OF X that the must
cal student can linger over the pages
with eager affection.
Music Full Of Power.
But for the operagoing public II Is
more important that this record should
lay special emphasis on the power shown
by this new music dramatic expression
Montemezzi writes with distinction. with
dignity. with style, but at the same time
he makes some procamations OF riotous
passion which sweep the nearer before
them
Again in certain episodes he employs
restraint and simplicity itself. Here he
permits the intensity of the situation It.
self to work its own spell. This Is notice
, ably the case in the first act when Man
fred, the deceived husband. has returned
almost on the heels OF the departing
. lover The father. Archibdldo. has dis
| covered the presence OF the lover. but
he has no proof, and Flora knows It. She
calmly declares that she was early w
and looking down the valley for he'
lord, She appeals for support OF hei
, assertion to the old man and his soT
does the same. The father cannot con
tradict he is blind, he has only heard
fleeing footsteps. Montemezzi has made
, this situation breathless
| The whole first act is admirably com
posed. but 1t Is in the second that IN
musician lets loose tne splendors OF mn
: inspiration Inc huspanu apou, 10 re
1 turn 10 ms tr"ops' surs MS unreHP'I NY
! spouse tor pn'n -, no5 , ;,
scarf to nm as long AS ne can see ner
h 10 written perfectly. II publishes in un
erring accents the nobility OF the hus
, hand and the profundity OF his erie
that he cannot gain the woman's heart
, 1t paints no less directly that mood o
hers which is pity not even akin Z
= love.
. The husband gone she goes 10 the ram
: parts and waves the scarf WINE 'ne o.
: chestra In orlll'ant iansuase pants IN
battle or her heart ana het WIZ. IN IN
end the sonpre tones OF the oeep pras
q tell us that the SCARF mas pecome AZ
milestone she can no onser nIt ", Inc
comes the lover ana Tor the 'Wo 'nere
: duet when names win o'"rwheiih'ns pat
n sion, duet opuleht III "e'oule beauty
r PREGNANT IN aeciamatory .ioauenoe an
e written throushou' Win ASTONISHING Gu"