Verdi: Man and Musician

-Von Bülow's opinion-Divided opinions on its style and merit-Its character-Modern Italian Church style-Northern versus Southern Church music-Verdi's early compositions-E minor Quartet for Stri

tical music, and although strict Church musicians might contend that, from many points of view, any consideration of Verdi as a sacred composer wo

that has provoked, perhaps, more criticism than any other piece of Church music, Verdi has signal

as to elapse between the performances, the prospect of the music ever becoming hackneyed was certainly remote. But the greatest difficulty, the serious patchwork venture of such a mixed composition, does not appear to have entered the heads of the promoters. Thirteen numbers for a Mass were given out to the leading Italian composers, who entered into t

zzucato of Milan, that he begged Verdi to take upon himself the responsibility of composing a complete Requiem Mass. This suggestion seems to have clung to him, for, as all the world knows, he eventually gave us that magnum opus with which most amateurs in this cou

erdi conducted in person. There was an orchestra of one hundred executants, and a chorus of some hundred and twenty singers, while the soli parts were entrusted to Mesdames Stolz and Waldmann, with Signori Capponi and Maini; and since these musicians were leading performers, gathered from all parts of Italy, the effect of such a combined artist-effort was striking and enthusiastic indeed. The fine mass was splendidly p

to be performed three times at La Scala Theatre, undertaking, good-naturedly, to conduct the first performance. Then on Monday, the 25th May, the theatre was crammed with an audience which-no longer

upported by the powerful choral and instrumental resources for which this great music hall is famous. The exact complement of the band was 150, while the chorus numbered some 500 to 600 singers. Upon making his appearance Verdi, as may be imagined, received a tremendous ovation, for he had not been in London since 1847, when he attended the production of his opera I Masnadieri at the Royal Italian Opera. The master proved a good conductor, his style and method as a chef d'orchestre be

ertain of the work. These opinions are not necessarily correct, since they are based, as unscientific opinions about music

sed in the followi

Kyrie" for quar

o and chorus, with trio for s

erto

gue, with do

and chorus, sopra

io for soprano,

no solo, chorus,

fairly perfect example of t

hether the mass was a sacred or a secular work! Here was a serious blot for a great man's composition which aimed at being sacred, both in intent and tone. Fearlessly the purists persisted in their charge that the work was pure

astical music. This done, it was possible to admit that the style of the great Requiem was elevated, even pathetic, in its religious expression, replete with youthful fire. Soli, ensembles, and choruses were, by their masterly polyphony, a

t permanently strengthening and soul-raising. Emotionally, it carries to a great height, only to lead to a reaction, and to some lower estimate of music that captivates but does not elevate. In the Requiem, there is abundant theoretical workmanship-more such evidence than is usually met with in modern Italian Church music; yet, although this was the studied purpose of the musician, it has not enabled Verdi to rid himself of characteristics which stamp southern musical art as plainly as they do the architecture and the person. Sensuous and exciting music is acceptable en

e latter ill-suited indeed to profound doctrines propounded at Church altars. A melody may be as ample a medium for religious expression as an eight-voice fugue; hence, it is not imperative that Italian musicians should practise writing oratorios on a wholesale scale before essaying Church music. It is not the medium, however, that we are contending against. Some of the greatest, grandest prayers have been expressed in simplest song. It is the colouring element, the atmosphere, pervading southern Church music which, being operatic, renders such music inadmissible by the side of German and English religious art. This objectionable feature stamps Verdi's Requiem from beginning to end. The score is impregnated with the world, and not with the cloister. The Italian worshipper mus

nni P

cert hall. Like Rossini's Stabat Mater, it will doubtless be rendered from time to time by choral bodies in quest of effective performing works; but no sound Church musician will ever seriously regard it as an example of what Church music

rt symphonies, six concertos, and variations for pianoforte, which he used to play himself; many serenatas, cantatas, arias, duets, trios, a small Stabat Mater, and some Church compositions. During the three years that he remained at Milan, he composed two symphonie

having but little interest, while the second and third are more spontaneous and attractive. It is not likely to become a classic, however, nor will interest attach to it so much for its merit and worth as for its being the single piece of chamber music with which the English public are familiar from the pen of the famous Trovatore m

ed. It remains to be added that-with Auber (France), Meyerbeer (Germany), Sterndale Bennett (England)-Verdi (Italy) wrote the cantata "L'Inno delle Nazioni" for the International Exhibition of 1862; but the work was not performed at the Exhibition because of

w Crystal Palace on the opening day, when people o

by one of the people, to which the who

eminent members of the company. On the first night the reception of the performance was enthusiastic. The whole piece was encored, and repeated with increased spirit and effect. Signo

s not conduce to exertion and serious application; and the Italian, necessarily, wants some rousing to enter the lists with the weather-bound Teuton, in the construction of laborious examples of art demanding the exercise of the highest orchestral study and exposition. Further, Italians have an instinctive tendency towards vocal music. They can create it as naturally as they sing it, and it is no concern to them to write a melody, or sketch a lightly-contrived orchestral piece in the snug corner of a café, or behind the sheltering blind of a sun-pierced osteria. Fugue, canon, double counterpoint, charm not the Italians. They don't catch the meaning of the

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