New-York tribune., 1922-03-30

Deum.' SO Gar az we know. was given g,
hfst hearing in America. Alter these
compositions came two products frnm
the minds Of two men whom some
ueVotees of the new. would have us be
'ieVe are the fine flower OF Italy's Gre
1',Ve genius to-day--a Threnodv bv
Tide ebrando Pizzetti and a sort of dra-
inatic cantata entitled "San Francisco
Assist by q. Francesca Maliniero.
Altef listening to them with the pa
,ience and opennin,ledness enioined
ny duty. we felt 18th Dr.. Won BJlow
Shat the man who still stands for the
kieatest advance which music has made
IN italy Is he who in plain English
would be called Joseph Green.
stabat Mater" Work of Beauty
The "Stabat Mater" Is vor, of
strength and beauty from bepinnino -
end, 1t is an eloquent setting al the
oid sequence melodious. dramatic in
ITS deilaeation Of the text. but never
theatrical. reverential, direct. Not q
word IN 1t Is repeated not even the
nnal Amen" 1t calls I'D images OF
inc suferings of the Virgin Mother at
inc loot OF the cross. of the fear of
eternat punishment and the hope OF
Joy IN Paradise bv means of harmonic
ana orchestral devices which NAV nor
be new, but which fire the imagination
quicken the emotions and are musical
The "Te Deum' seems to US less in.
spired, but it also has it's moments oil
eHaItatlGn' Though double chorus is
employed the composer does not en-.
ploy the antiphony associated in tradi.
ton with the composition of the text
though something like it is suggested
IN the successive proclamation bv th,
dIiferent voices of the chorus Of the
PHRASES "Te gloriosus Apostolorum,
Ie Prophetarum, "Te Martyrum.
re per orbem terra rum" etc, fol
iowed by splendid tutti on "Patrsn
immenss, magistatis." and a still more
sonorous outburet on "To Rex cloria
Nnrsti. 1T is music for tho church anc
compeis regret that it falls under tn,
oaou OF the Congregat tion of Rites.
Two Newer Works Contrastcd
The Threnody by Pizzetti is choral
lament over the death Of Hippolvtus
"r't'en as oetween-acts music for the
opera "Fedra," for which d'Annunzic
snppled the words. In p manner il
marks MAJ, a reVersion to the choral madri
sais which were written for the first
lyrlc dramas at the beginning OF the
sixteenth century. But the music is
OF the new type-new but not without
emotional power and beauty and no,
strained, unnatural and unlovcly like
the music Of Malipjero.
In his cantata the composer pre-
scrbeS scenes, as did Rubinstcin i,
ms Biblical operas. Preceded by pro
loguc. these scenes picture ST
Francis hymn in praise OF povcrt,
and the comments Of his companions
the saints sermon to the birds. tn,
supper with his friend st. Clara, hi,
death and his dying song to the sun
Before Francis consecratcd himself tt
the service OF religion he was a young
man Of the world and so nusicalll
gifted, not to say addicted to secular
song in the Romance tongue. that hi
was nicknamed "the little Frenchman. ;
Years ago the Oratorio Society per
formed an oratorio by Edgar Tinel, il
which we were permitted to discern
the saints lyric gifts. As repre-
sented by Signor Dc Luca, he was {
sorry musician. 1t was not De Luca >.
fault; he would have sung delight
fully had Mr.. Malipicro given him :
tune. But melody and euphoniou:
harmony have no place in Malipiero'.
scheme of musical illustration TIL,
saint ordains and chants. SO do hi,
followers. but never with the tuneful
ness of even the dryest of the ole
Gregorian canticles. Under theiI