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La Scala at Milan (Continued) Author(S): Filippo Filippi Source: the Musical Times and Singing Class Circular, Vol

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La Scala at Milan (Continued) Author(S): Filippo Filippi Source: the Musical Times and Singing Class Circular, Vol 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 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org 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 "Semiramide 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 bass "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," La Pietra del paragone." 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.
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