La Scala at Milan (Continued) Author(s): Filippo Filippi Source: The Musical Times and Singing Class Circular, Vol. 25, No. 493 (Mar. 1, 1884), pp. 141- 143 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356000 . Accessed: 15/01/2015 17:47

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This content downloaded from 128.235.251.160 on Thu, 15 Jan 2015 17:47:28 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MARCH I, 1884. 141

In "Atalanta " (1736) Handel uses a trumpetin The thirdmay be called Verdian,and lasts to the the overturefor the firsttime. The choruswhich presentday. opens the second act (p. 30) has two hornsin B flat, La Scala, begun in 1776,was builtso rapidlythat almostthe onlyinstance of their employment in this twoyears later, on August3, 1778,it was inaugurated keywhich I have foundin Handel; and at p. 91 of with Salieri's " Riconosciata," which the same score is a Gavotte forthree trumpetsand was sung by Signore Balducci and Lebrun, Signori drumsalone. Mozarthalf a centurylater did some- Rubinelliand Prati,and the celebratedmale soprano thingsimilar in his little minuetsfor fivetrumpets Pacchiarolli. Salieri was a poor,vulgar composer, and fourdrums, to which,however, he added flutes. of whom nothingis rememberedbut the recordof In " Arminio " (1736) are a few points which must his attemptsto rival and criticise Beethoven at not be passed over. The air " Quella fiamma" Vienna. The numberof composers who, from Salieri's (p. 52), besides an oboe solo has "Violino I e oboe 1, day to ours, have writtenoperas expresslyfor La ripieno,"and "Violino 2 e oboe 2 ripieno,"giving Scala is verygreat; and duringthe firstperiod, when conclusiveproof, if such be required,that there were composingan opera was not a verylong affair,con- morethan two oboes in the orchestra. The curious sideringthat the onlyqualities required were sponta- dispositionof the accompanimentsto the air " Mira neous melodies,rapidity of development,and easy il Ciel " (p. 70), should also be noted; but for this harmonies,they succeeded each other incessantly. pointI mustrefer my readers to the score. A most I shall name those composersonly who won more singulareffect is producedin the duet " Quando pidi than a passing and fictitiouspopularity, and who minaccia il Cielo" (p. 77). Here each voice partis deserveto be recordedin the historyof art. doubledin the octave above by a fluteand oboe in Guglielmionly wrote for La Scala an opera bouffe, unison,while the violins accompanyin floridsemi- " I Fratelli Pappamosca." quaver passages. Zingarelli,a prolificand tedious composer,wrote I cannot pass over "1Giustino" (1736) without more for La Scala than any other maestro. He calling attentionto one or two curious points. I began in 1785with " Alsinda," which was followed noticed in speaking of " Riccardo" the "Traversa by "Telemaco," "1Ifigenia,"" La mortedi Cesare," bassa," on p. 16 of" Giustino" anotherkind of "Pirro re di Epiro," " Il mercato di Monfregoso," fluteis used. The opening symphonyof this song " La Secchia rapita," "Artaserse," "Giulietta e (" Pu6 ben nascer") is scored for an oboe solo Romeo." In 1796 he gave " Meleagro," " Ilritratto," "e Flauti I " in unison; " Flauti 2" is written "Clitemnestra,"and " II bevitorefortunato." Of against the second stave, while the lowest part is all these operas,what has remained? " Romeo e indicated"Viola e Basso de Flauti." Unless Handel Giulietta" only,which would be forgottenlike the was more than usuallycareless, the employmentof restif Bellini had not written,on the same subject, the plural (" Flauti I," " Flauti 2 ") would show his " Capulettie Montecchi." that each flutepart was played by at least two in- Asioli, a Milanese composerand excellentwriter struments, while the " Basso de Flauti " would of didactic works,composed but one opera for La appear fromthe partto have been a largeflute going Scala: it was called " Cinna." downto the low F. In the chorus" Per voi suave e Paer, the celebratedcomposer of " Agnese," gave bello," of the same opera,we findagain, exception-three operas: " L'oro fa tutto," " Rossana," and ally,the hornsin B flat. " L'Eroismo in Amore." This last appearedin 1816, " Berenice" (1737),the last opera as yet issued by when Rossini'sstar had alreadyrisen. the German Handel Society,is remarkablefor the Fioravanti,one of the mostbrilliant and imagina- meagrenessof its orchestration, and containsnothing tivewriters of opera bouffein the old Italian style, requiringnotice. I have now thereforecompleted, of which Cimarosais the prototype. The public of thoughvery inadequately, the firstpart of mytask. La Scala warmlyapplauded fournew works by him: When I cometo speak of the Oratorios, I shall have to "L'astuta in amore," "La cappriciosa pentita," pointout effectsof a differentclass. As a wholethe "L'orgoglio avvilito," and "La schiava di due songs in the operas are morevaried in theirscoring padroni." than those in the Oratorios,though the latterare by Mayr, of Bergamo, was remarkablygifted with no means so colourlessas is generallyimagined. It dramaticpower forhis time,and wroteduring the is largelyin thechoruses of the Oratoriosthat special periodof Napoleon's grandeur,dedicating to him a effectswill be found. I believe that what I have cantata. La Scala accepted the followingworks by already writtenwill surprisemost of my readers, this composer: " Lodowiska," " L'equivoco," " Le and I thinkI have a few more surprises still in due giornate,"" ImisteriEleusini," " Le fluterivali," reservefor them in the articleswhich are to follow. " Alfonsoe Cora," " Amornon ha ritegno,"" Eraldo " (To be continued.) ed Eunna," "Adelasio ed Aleramo," Ne l'uno ne l'altro," "Raoul di Cr6qui," "Le due duchesse," " Elena," and "Fedra," this last in 1821, when LA SCALA AT MILAN Rossiniwas at the heightof his glory; but Mayr's BY FILIPPO FILIPPI. ratherantiquated style makes me place himamongst the composersof the firstperiod. (Continuedfrom Page 75-) Generali is to be consideredas Rossini's true THE artistichistory of La Scala is trulythat of precursor. Form and ideas are often identical in dramaticmusic and choregraphyin Italy duringthe both masters,and the famouscrescendo in the over- last century,for it includes a marvellous list of tures is his invention. Generali began composing operas byillustrious composers, of ballets and chore- for La Scala in 1805. "Don Chisciotte,"his first graphers,celebrated singers, and favouritedancers, opera giventhere, was followedby "Chi non resica which extends uninterruptedlythrough a hundred non rosica,"". La vedoua delirante,"and " II romito years. These may be divided into three great della Provenza,"this last in 183o. periods, in the course of which Italian music has Gnecco deserves mentionfor the great success transformeditself, changing style, essence, and aim. he obtainedwith " Le proved'un opera seria," which The firstperiod, from 1778 to 1812, comprisesthe remainedfor years in the generalrtfertoire and was composersof the last centuryup to the dazzling playedin everytheatre in Italy. apparitionof Rossini. The secondperiod is Rossinian Morlacchi,a melodiouscomposer, gained celebrity and leads us to 1839, the firstappearance of Verdi. for one opera only--"Tebaldo ed Isolina"--his

This content downloaded from 128.235.251.160 on Thu, 15 Jan 2015 17:47:28 PM All use subject to JSTOR Terms and Conditions 142 THE MUSICAL TIMES.-MARCH I, 1884.

"Avventure di nuagioruata" and " Gianni di Parigi," the author; indeed, it has been attributed to his given at La Scala, had no success. servant, who it is said gave him the best motives in During the second period, besides Rossini's, we it. No less than ten operas did he write for La find names which entirely eclipse those of contem- Scala, beginning in 1819. Their names are: " Faleg- poraneous writers. These names form a melodic name di Livonia," "Wallace," " La Vestale," pleiad which has impressed itselfon the whole world, " Isabella ed Errico," " La gelosia corretta," " Gli leaving ineffaceable traces, notwithstanding the real Arabi nelle Gallie" (which was very successful), " I progress made later in the musical drama. And this cavalieri di Valenza," " I1 Talismano," " Giovanna is the reason why the Italians, whose nature seemed d'Arco," and " L'Ebrea." reflectedin the easy, spontaneous, inspired melodies Another close imitator of Rossini was Meyerbeer, of Rossini, Bellini, and Donizetti, bore so ill the at the time he gave his two firstoperas at La Scala, violent change of style which has arisen lately. On " Margherita d'Anjou," in 182o, with fair success, the production of every new work written in our day and, in 1822, " L'esule di Granata," which pleased these melodies are evoked and mourned over, yet less. Shackled by too close an imitation of Rossini, there is nothing left to do but to copy them or turn whose form,style, and even embellishments he re- boldly towards the future. Let us see now what these produced, he had not been able in these two works to famous composers wrote for La Scala, and begin with give adequate signs of the truly original character Rossini, who, at the early age of twenty,brought out of his genius, which only revealed itself in the an opera bouffe," ." It was " Crociato," and attained perfectmaturity in " Robert sung by Signora Marcolini, Filippo Galli, and Bonoldi, le Diable." Mercadante, too, fora long time reflected three celebrities of their time, and the composer only the formulas, ways, and means of the great received 6oo lire fromthe impresario. Pesarese; but he always tended to the grand style The success was immense. Rossini became at and pompous expressions which came later. He, once famous, and the viceroy of Italy exempted him perhaps, was less imaginative and melodious than frommilitary service, a most extraordinaryfavour in Pacini, but he surpassed him in learning, in clearness, those Napoleonic days. Two years later he returned and in a certain grandeur and regularityof construc- to Milan and gave " Aureliano in Palmira," in which tion, which unfortunatelyturned to heaviness and the famous Velluti sang. It appears the opera had wearisome length. " Elisa and Claudio" was the but a very quiet reception, but Velluti obtained an firstopera he gave at La Scala, in 1821. The triumph enthusiastic success for his fanciful vocalisations; it obtained created the universal feeling that a new indeed, these ornamentations were so much out of melodious genius had arisen, but instead of progress- proportionwith the original theme, and so completely ing his star receded for many years. Signore Tosi perverted the melodious idea, that Rossini fromthat and Pisaroni, two celebrities of the time, must be day determined to write himself all the ornaments he mentioned as contributing greatly to his success. intended to be sung. Useless precaution! forsinging The following operas, "1A dele ed Emerico," masters, and singers too, have ever since added new " Amleto Montanaro," " Il Conte d'Essex," " La variations to those already elaborated by Rossini. di Enrico V.," all given with little or no The overture alone of "Aureliano" has remained, success,giovent, are now forgotten. " Il Giuramento," given placed by Rossini himself as the Prelude to his " Bar- in 1837, and sung by Signore Schoberlechner and biere di Siviglia." In this same year (1814) Rossini Brambilla, Pedrazzi and Cartagenova, renewed gave, at La Scala, " ." It was coldly Mercadante's fame, and was followed in 1839 by the received, the general opinion being that the master representation of "Il Bravo," perhaps a more had copied himself too freely. A great success, how- clamorous triumph yet. These two operas mark ever, was obtained bv its performers-David (tenor), the culminating point of Mercadante's inspiration, Galli (basso), and the buffoPacini, who was inimitable for in them spontaneous phrases, with novel out- in the part of Geronio. lines, are sustained by solid harmonies and most Three years passed over, and in 1817 Rossini, effective dramatic expression. " La Schiava Sara- full of honours for his " Barbiere," "Otello," and cena," the last opera written by Mercadante for La "Cenerentola," obtained an immense success with Scala, was of an inferior stamp altogether, and was " ." On leaving the theatre, afterthe very coldly received. furore of the firstnight, Rossini, who joked on every Donizetti's name appeared forthe firsttime on the subject, said that he was more overpowered by the bills of La Scala in 1822. This artistic genius, whose fatigue of the numerous bows he had to make to the excessive facility for composing, and whose untimely audience than by the excitement of his great success. end prevented him fromreaching the highest realms Two curious circumstances are attached to the first of art, had to encounter difficulties and vanquish representation of " La Gazza Ladra." The fine duet obstacles such as few artists have met with. His of the prison was written in Ricordi's back shop, in first attempt was a failure, " Chiara e Serafina," in the midst of a dozen copyists, who were making a 1822, which was produced immediately after Mer- furious noise; then a pupil of Rolla, the violinist, cadante's " Adele ed Americo," which had obtained wanted to stab Rossini because he had had the a fair success. Nor was he more fortunate with impudence to put drums in the overture, and was " Ugo Conte di Parigi," given ten years later in the pacified only when Rossini, with comic gravity, same season as " "; too severe a test, promised he never would repeat a similar profanation. although the good public of La Scala had shown The last opera Rossini wrote for La Scala was one itself difficult to please, even by Bellini's divine of his weakest, "Bianca e Faliero," which was given creation. A memorable date is that of December 26, in 1820. It failed completely, a marvellous quartet 1834, when " Lucrezia Borgia " was firstrepresented; in it alone being received with enthusiasm. many are still living who were present, and they all Pacini, after being one of Rossini's first imitators, concur in saying that it was received with impatience, left the beaten path, and, adopting a style of his own, general discontent, and disapproval, to be pulled to soon became a tolerably original inventor of themes pieces next day by the criticisms of the time. and cabalette; but too affected,a bad harmonist, too Donizetti next gave "Gemma di Vergy," a very violent in dramatic effects, and wanting in rhythm; inferiorwork to " Lucrezia Borgia," but which pleased his operas, although successful on their production, more. The last opera Donizetti wrote for La Scala soon fell into disuse, and "Saffo" alone remains. Of was " Maria Padilla," which contains a beautiful this, however, there are doubts as to his being really duet fortwo soprani. This opera had more success

This content downloaded from 128.235.251.160 on Thu, 15 Jan 2015 17:47:28 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MARcH I, 1884. 143 than its predecessors, although " Gemma " is a fine with a view to encourage and stimulate other similar opera, full of fancy, and " Lucrezia " a real master- bodies to the same degree of excellence, may be piece. worth some little consideration. The Society pos- No new composer created such a dazzling surprise sesses, in common with most others, a president, as did Bellini with " II Pirata," in 1827, supported vice-president, committee, treasurer, subscription. by three vocalists, whose names have reached us list, and ballots for its members, consisting of ladies as famous amongst all-Rubini, Tamburini, and and gentlemen, who come, some of them, sixty miles Meric-Lalande. Added to the unexpected beauties to attend the strictest rehearsals. This will tend to of new and fresh melodies, the maestro himself show that the Association possesses what others seem exercised a bewitching influence by his sweet, unable to obtain-namely, the hearty love and deep affectionate manner, his youth, and beautiful ex- interest of all its members. " pression. The music of " II Pirata has now got Anythingbut a crammed room at its concerts is old, but one must go back to those days to be unknown,and this not fromtickets being forced upon able to imagine the effect those warm melodies had unwilling buyers by aristocratic ladies, to whom the on the public, when sung by a tenor such as Rubini. effortof getting rid of them is well nigh a desperate " Two years later " La Straniera also pleased im- one; but fromthose taken up by the subscribers to mensely, but did not produce the enthusiasm created whom they belong. Houses are filledand parties are by "I1 Pirata." Rubini was no longer there, and made from the esprit de corfs felt everywhere with was replaced by Reina; to Tamburini and Meric- regard to "our Society"; the same sort of interest, Lalande was added Madame Ungher, one of the indeed, workingfor music which supports successfully future queens of song. The success of "1La the county balls and agricultural shows throughout Straniera " grew with every representation, and no England; not a complimentarysimile forart, perhaps, good Milanese could do without going each night to but one which shows the sort of life absolutely hear the famous " Meco tu vieni o misera." Another necessary from a social point of view, and which memorable date in the history of " La Scala " was ensures a satisfactoryresult indirectlyfrom a musical that of the firstrepresentation of " Norma," December standpoint also. 31, 1831. How strange it is to learn that " Norma " The cause of this is, of course, mainly individual was received coldly by a public who applauded all effort; but surely in other counties there might be the pieces on the old-fashioned principle,and leftun- found equally competent and energetic managers, noticed all the sublime, imperishable passages of this who would and could infuse that magnetic power into score, in which Bellini, by his melodic force,obtained a body of people which we commonly call " go," and a dramatic effect never before realised, even by without which the best effortsare " stale, flat, and Gluck's declamation, nor surpassed since by Wagner's unprofitable." Amateur music has of late made metopea. Quite on a par with the public's reception great strides, and amateurs will have their own was the judgment of the critics, who with stolid and music and their own performances whether they are impudent coolness pitied Bellini, and declared a want laughed at or no. They want to know, by performing of vitality in his new work, the most living and most it, the music they care for; to listen to it once or lasting score in existence. twice gives them little or no knowledge of it. Their Another composer worthyto be recalled, although rendering of it may not always give their listeners not to be compared to the great masters of his time, all the pleasure they wish, but it gives the " is Ricci. His Chiara di Rosemberg " obtained great executants pleasure, for they have learnt something, success in 1831, and a more noisy triumph still and at each performancefeel the necessity of learning greeted the appearance of " L'avventura di Scara- more, their powers of gauging the merits of a purely muccia." On the contrary,"Chiara di Montalbano" artistic performance being also materially increased. failed miserably. The Society which is our subject possesses both (To be continued.) an orchestra and a chorus. Perhaps the formermay not be all which its members some day hope to see but of we venture to AMATEUR MUSIC AS IT SHOULD BE. it; many them, say, would agree that they have learnt more of music at their re- THE coming of age of the Herefordshire Phil- hearsals than from all they have heard elsewhere put harmonic Society within the past year has been together. We would only recommend them more allowed to slip by without any recognition from the frequent rehearsals to fit them to become in their press, though much smaller and less noteworthy departmentas good as the other half of their Society; musical events are constantly chronicled, and though for, of the choral singing, it would be impossible to to its numerous members, and twice a year (when speak too highly. Judged by a professional standard the concerts are given) to three or four surrounding it is first rate, and there are many fine points in counties, it has been a most important institution most of the works given by the members, especially ever since its commencement twenty-one years ago. those unaccompanied, which we do not think could This silence may be consequent on one of the be excelled by many well-known Metropolitan Society's rules-not to admit the press for the sake choirs. of public criticism; but it seems a mistake and an After having mentioned this characteristic of the act of injustice in these days, when the effortsof Society, readers will not be surprised to hear that amateurs are being constantly run down (chiefly the conductor in Herefordshire is Mr. Henry Leslie, because they are successful), that the music-loving to whom the advancement of music owes so much public should not have the opportunityof knowing a throughout England. He realised long before other little about so excellent an amateur Society from people that if England is to rise from the ignominy every point of view, whose twenty-oneyears' flourish- of being the unmusical nation of Europe, the work ing career fullyentitles it to offerrules and principles of making her different,and of giving to her the as models on which other societies may build with cultivated, discriminating audiences we find abroad, almost insured hopes of success. belongs undoubtedly to the self-cultivation of ama- A knowledge of most of the similar musical asso- teurs of all classes throughout the country, either ciations now in existence all over the United King- through choral and orchestral societies or through dom enables us to say that there is no other Society independent action. One of the first results of his of the same character which can boast a like artistic working interest in this branch of musical education position. To endeavour to show the reason forthis, was the formationof the Herefordshire Philharmonic

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