IX"MADAMA BUTTERFLY"

PUCCINI AT TORRE DEL LAGO IN HIS MOTOR BOAT "BUTTERFLY"

The sky has gradually been getting lighter, and the passage of time is marked by the striking of the hour of four by the church clock. Then Tosca gives thefinal instructions to the condemned man. "As soon as they fire, fall down." Cavaradossi, in his joy at his coming release, is even able to be humorous, and suggests that he will be acting like Tosca.

Tosca watches the supposed execution from the parapet. "How well he acts!" she cries, after she has covered her ears with her hands to shut out the sound of the shooting, and then sees her lover prostrate on the ground. Leaning over, she calls to him: "Get up, Mario, now. Quickly away, Mario, Mario." Then with a heart-piercing cry she learns that Scarpia has been false to the end, and that the execution has in very truth taken place. By this time the news of Scarpia's death has come out, and Spoletta naturally fixes on Tosca as the murderess. The soldiers' voices are heard joining in the hue and cry, and Sciarrone comes in to seize Tosca. Tosca after thrusting back Spoletta nearly to the ground, hurls herself from the parapet. Her last thoughts are of the tyrant who has so cruelly wronged her, and her last words are: "O Scarpia, we shall face God together!"

In pure orchestration, Puccini inToscashows an advance onLa Bohème, in the general symphonic fulness and in the more extended use of representative themes. The orchestra employed is the usual large orchestra of the moderns, and Puccini adds a third flute, a contrabassoon, a celesta, and for the special effects in the opening of the third act a set of bells. There are several places where more work than hitherto is obtained from the dividing of the strings, but not in any way like the Strauss method, for example,of subdividing them into several distinct groups. As will have been seen during the progress of the story, the themes stand out as invariably characteristic, and at the first entrance of Tosca the theme is delightful, given out by the flute against the plucked strings. There is excellent work by the wood wind in the impressive finale of the first act, which is mainly developed out of the bell theme.

In the pastoral music at the opening of the third act Puccini uses with characteristic force a passage of fifths—one which he is always very fond of employing, and which, curiously enough, always has the effect of bringing about the special flavour or atmosphere it is intended to convey in any one particular place.

In theDaily Telegraphthe critic prefaces his column notice, which appeared the day after the first production, with a protest against the conjunction of a pure and beautiful art—music—with the workings of a humanity that has gone to the devil. But apart from these considerations, the writer has little but praise for the singularly lucid libretto.

"The first and all important remark to make concerning the music," he proceeds, "has to do with its Italian character. There is very little that can be regarded as common to it and to the typical German opera. The pedestal is not on the stage and the statue in the orchestra. Tosca does not offer us declamation as a key to symphonic music nor symphonic music as a key to declamation. The work does not follow the old operatic lines into matter of detail. All is subordinate to the changing situations and emotions ofthe stage. So far Tosca is modern; for the rest it presents the characteristics which have always distinguished Italian opera—long reaches of tender or passionate melody, intense climaxes, and a disposition to proceed everywhere on broad and direct lines to the desired goal."

The charm of the light music of the first act, the beautiful soul of Cavaradossi to the picture he has painted, the piling up of the effects in the finale, the vigour of the music in the second act, particularly where Scarpia presses his suit, and the duet of the lovers at S. Angelo, are the points which call forth praise, while, on the other hand, this critic finds most of the music allotted to Angelotti and Scarpia dull. The notice ends with a tribute to the art of Ternina, who "acted with the grace and directness of a true tragedian."

Mr. Arthur Hervey, in theMorning Post, sets out, very clearly and characteristically, a plain and straightforward account of the music and story. The curious succession of chords at the opening of the prelude, the suggestion of the amorous nature of Scarpia's character by the opening notes of the second act, the pleasing effect of the gavotte heard during Scarpia's monologue, when he awaits the arrival of his spies, the beautiful song for Tosca, "Vissi d'arte d'amor," the beauty of the music in the last act, the ingenuity, finish and resource of the orchestration as a whole, are points which are fully expressed by this discerning critic. With regard to the interpretation, he does not find Signor Scotti's Scarpia entirely satisfactory, while hejoins in the fullest praise for Ternina's masterly performance in the name part. It ends, that the opera was received with every sign of success, and that the composer, Mancinelli, the conductor, and the exponents were called many times before the curtain.

TheTimescritic makes an interesting comparison at the outset of his notice, referring to the masterly finale of the first act: "The scene is one in which Meyerbeer would have delighted, but it is treated by Puccini with far greater sincerity than Meyerbeer could ever command, and with a knowledge of effect at least equal to his." With regard to the use of representative themes, the writer finds that the one associated with the passion of Scarpia—a phrase with an arpeggio in it, appears to be derived from the woman's charm in the "Ring." Referring to the gavotte and cantata at the opening of the second act, the writer says they are "in excellent style and belong to the period of the action or a little before it, as it may be doubted whether the Roman composers of 1800 were capable of producing so interesting a piece of solid workmanship as the cantata, or so graceful and original a composition as the gavotte."

For his latest opera,Madama Butterfly, Puccini turned to the flowery land of Japan for the environment of a story—the book being by Illica and Giocosa—which, following his invariable custom, he chose himself. The suggestion appears to have come originally from Mr. Frank Nielson, who was then the stage manager at Covent Garden, that Puccini should go and see the play by Belasco, running at the time at the Duke of York's Theatre in London. He did so, and was immediately taken with its possibilities. It may be mentioned as a tribute to the actors who interpreted this play, that without knowing any English Puccini was able to follow the story with perfect ease. He was greatly struck by Miss Evelyn Millard's performance of the name part, and her photograph as Butterfly is among his collection of celebrities at Torre del Lago.

The story is a slight one, and is no more Japanese than the plot ofLa Bohèmeis French. It is a presentation of the universal theme of a man's passion, which is an episode, and a woman's love, which is her life. A little Japanese girl is wooed and won by an American naval officer. She, in her trust and devotionregards herself, after going through some sort of marriage ceremony, as his lawful wife. He regards the whole affair as an incident, the mere satisfying of an animal instinct, and returns, married to an American wife, to find the girl a mother. The ending is the usual sad one—the girl takes her life when her dishonoured state comes upon her in its full significance.

Madama Butterflywas written for the most part during Puccini's recovery from his accident; but he had planned out a good deal of it by the end of 1902 or the beginning of the next year. He himself about this time said of the work: "As an opera, it would be in one act divided by an intermezzo. The theme has a sentiment, a passion which veritably haunts me. I have it constantly ringing in my head."

The intermezzo mentioned was Puccini's idea of treating the very effective and most eloquent silence on which, it will be remembered, the curtain fell, while the little Japanese girl with her servant and baby were keeping their long, long vigil through the night, awaiting the return of the supposed husband who, after all, was only a lover, and a poor one at that.

PUCCINI'S MANUSCRIPT. FIRST SKETCH FOR THE END OF THE FIRST ACT OF "MADAMA BUTTERFLY"

Puccini was at Rome for a time soon after his complete recovery from his accident, and took special pains to get up the local colour for his new work. For this he invoked the aid of the Japanese ambassadress, and obtained some actual Japanese melodies from a friend of hers in Paris. Of music there is no lack in Japan, but by the Japanese themselves it is never written down. Like the troubadours of old, the musicians, who are asort of guild, hand the traditional songs and dances on from father to son.

Madama Butterflywas produced at the Scala, Milan, on February 17, 1904. Canpanini was the conductor, and it was cast as follows:

Although Puccini was at the very zenith of his popularity a strange thing happened with the first production of this new opera, and the composer went through a similar experience to that which Wagner had to suffer whenTannhäuserwas first given in Paris. The audience simply howled with derision. For the reason of this it is difficult to account. The storm of disapproval began after the first few bars of the opening act. Puccini, very quietly, took matters into his own hands, and at the end of the performance thanked the conductor for his trouble and marched off with the score. The second or any subsequent performance was therefore an impossibility.

He tells an amusing story of a little incident occasioned by the fiasco, which, he says, brought him at least some little consolation, and atoned for much disillusion. A bookkeeper at Genoa, an ardent admirer of Puccini, indignant at what he considered the outrageous treatment—for it was nothing else—meted out to his favourite composer, went to the City Hall toregister the birth of a daughter. When the clerk asked the name of the child, he replied, "Butterfly." "What!" said the official, "do you want to brand your child for life with the memory of a failure?" But the father persisted, and so as Butterfly the child was entered. A little time after this Puccini heard of the incident, and rather touched with the simple devotion, asked the father to bring the child to see him. On the appointed day Puccini looked out of the window and saw a long stream of people approaching his front door. Not only did the father bring little "Butterfly," but, as in the first act of the opera from which her name was derived, her mother, sisters, cousins, aunts, uncles, as well—in fact the whole surviving members of the genealogical tree. Puccini laughingly said at the end of a trying afternoon that it was the most gigantic reception he had ever held.

The despised opera was given in what is known as the present revised version at Brescia, on 28 May of the same year, the Butterfly being Krusceniski, and Bellati the Sharpless, Zenatello being again the Pinkerton. Strange to say, it proved entirely to the taste of those who saw it. The revision, as a matter of fact, amounted to very little. It was played in two acts instead of one, with the intermezzo dividing two scenes in the second act, making it, in reality, in three acts, and the tenor air was added in the last scene.

No more striking proof of Puccini's popularity could be found than the fact that the new opera quickly came to London. It was seen at Covent Garden onJuly 10, 1905, Campanini being the conductor, and was cast as follows:

Its splendid performance was helped in no small degree by the superb interpretation of the name part by Mdme. Destinn, and the news of its favourable reception was one of the greatest pleasures ever afforded to its composer. It was given again early in the autumn season of the same year, by the company, conducted by Mugnone (who, by the way, was not the person of the same name whose death was chronicled very soon after the conclusion of the season), and for which the composer came over, having been away at Buenos Ayres when the work was given in the summer. Zenatello, who was the original Pinkerton at the Milan production, was seen in this part on this occasion, making his first appearance in London during that season. Giachetti was the Butterfly and Sammarco the Sharpless.

The original source of the story, I believe, was a story by John Luther Long, and emanated from America. It was turned into a play by David Belasco, and, as in the case ofThe Darling of the Gods, the author's name appeared jointly with the dramatist, or adaptor, on the play bills. The simple touching little story depends rather upon its pathosand atmosphere, which is decidedly poetical, than on any great dramatic situation. A lieutenant, F. B. Pinkerton, of the United States Navy, goes through a ceremony of marriage with a little Japanese girl, with no intention of regarding the contract as in the least degree binding. Little Butterfly (or Cio Cio San, as her Japanese name is) thinks differently, and after her child is born watches and waits anxiously for the return of her husband. Sharpless is a friend of Pinkerton's, and is the consul at Nagasaki, and he tries to break the news gently to the sorrowful girl who has been so cruelly misled, and in the "letter" song in the last act is provided with one of the most subtle and dramatic numbers in the whole work. Butterfly believes in Pinkerton's fidelity and honour up to the end, when her ideal is shattered by the arrival of Pinkerton's wife, an American woman, who wants to befriend the child, and who has apparently condoned Pinkerton's lapse from the strict path of virtue. Butterfly, however, prefers to die by her own hand, and this she does, after caressing the child and giving way to a torrent of grief, and pathetically placing an American flag in the baby's hand. Pinkerton comes in time to see her pass away, and in calling her name in an outburst of sorrow and remorse, the story ends.

InLa Bohèmeit has been seen how singularly happy Puccini was in stringing together, by the flow of his music, a dramatic scheme that is concerned with detached scenes and incidents; and inMadama Butterflyhe is equally successful and characteristic. The music is essentially vocal, but the chief melodiesare often to be found in the orchestral fabric, a feature which comes out more prominently in this work than in any of this composer's sinceManon, and which goes to prove that it stands as his chief orchestral achievement.

The present work begins in somewhat curious fashion with a tonal fugue, as if to show that the composer with all his modernity has still a regard for the old forms. A similar figure is used for the opening of the second act. The first indication of the Japanese character in the music—and this flavour is very sparingly introduced—comes when Goro (a sort of marriage broker) parades his wares, in the shape of girls, before the lieutenant. There is here a very distinctive melody in octaves underneath the vocal part, which is most effective. Several of the little melodies make an entrance after their first quotation much after the fashion of the oldritornello, which is an interesting point, among several, to note in Puccini's working out, on quite modern lines, of his scheme. The themes are often altered, in place of development, by a change in the time; and at the opening of the first act several examples are to be found, while here and there an Eastern character is given to the music by the frequent use of the flat seventh. Another noteworthy feature is the constant modulation by means of chords of the seventh.

Sharpless, the friend (a baritone), makes an entry with a fine burst of melody—the theme, easily recognised on hearing the work, which is associated with this character, being one particular rhythmic distinction—and when Pinkerton (the tenor) explainsthat he has bought the house, and probably the little lady with it, on an elastic contract, there is a clever counterpoint in the music to the introductory fugue. Pinkerton's first chief solo—the music, of course, runs on continuously from start to finish—is a broad and vocal aria, quite allied to the old form. The general trend of the music gets brisker at the entry of Butterfly and her girl friends. Butterfly's first song, a beautiful "largo," in which she tells of her approaching happy state, is skilfully blended with the sopranos of the chorus, and ends with a high D flat for the soloist. The procession and arrival of Butterfly's relations give an opportunity for some humour in the music, which is quaint and characteristic, and brings in a clever theme for the bassoons. Just before the signing of the contract, Butterfly has a pathetic air, in which she states that, fully believing in Pinkerton, she has embraced the Christian religion and discards her native gods. Soon after, a noisy and cantankerous old uncle of the bride comes in to protest against the union. Here is another of the few examples of Japanese music, and his entry is shown by a quaint march of the conventional pattern chiefly in unison. After the guests leave, Butterfly and Pinkerton have a very tender scene, and begin a duet of great charm. Butterfly's share continues rather more vigorously when she is preparing for the marriage chamber, while Pinkerton has a contemplative air as he admires her pretty movements. The act ends with a strenuous outburst of love and longing, both voices going up to a high C sharp by way of a finish.

The second act is in Butterfly's little house, and is divided into two sections without a change of scene, the curtain being lowered merely to mark the passage of time. Butterfly and her faithful maid Suzuki begin to feel the pinch of poverty, and the desertion of Pinkerton is soon realised, although Butterfly will not believe it. Butterfly has a characteristic air, vocal but possibly commonplace, and quite typical of "Young Italy," in which she explains that Pinkerton will come back, how she will see the smoke of his vessel, and watch him climbing the hill from the harbour. Sharpless then comes in to try and break the news, and brings in a former native lover, a Prince, Yamadori, who is evidently quite willing to accept Butterfly as his spouse and make her happy. But she simply bids Sharpless to write and tell his friend Pinkerton that Butterfly and Pinkerton's son await the coming of their lord and master. The first scene ends with Butterfly, the maid, and the child sitting up all the night to watch for the arrival of Pinkerton's vessel. She dresses herself in her wedding garments, and decorates the little house with flowers. The maid and the child soon fall asleep, but as the moonlight floods the scene Butterfly remains rigid and motionless. A delicate instrumental passage in the music gives the idea of the vigil, in the nature of an intermezzo, and a fresh and pleasing effect is obtained by the use of a humming with closed lips, by the chorus outside, of the melody, supported by the somewhat unusual instrument, a viol d'amore. It is a curious instance, and probably the first, of the use of this "bouche fermée" effect asan integral part of the orchestration. For a special effect, Puccini also adds to his score in another place the Hungarian instrument, a czimbalom, added to the dulcimer.

The second scene has a rich, picturesque, and gay opening, the voices of the sailors and the bustle of the vessel's arrival being well shown in the bright music. The end of the tragedy is near, and is very pathetic. Pinkerton is full of remorse, and his wife Kate tries to console Butterfly, but the little Japanese girl, with her heart broken when she learns that Pinkerton has passed out of her life, decides to kill herself. She bandages the child's eyes, commits the deed behind a screen, and then staggers forward to die with her arms about the child. With Butterfly's farewell to the child the work ends, as Pinkerton and Sharpless come in to see her die. The music ends with a curious outburst of Japanese character almost in the nature of an epilogue, and oddly enough it ends on a chord of the sixth in place of the accustomed tonic.

All through the music is fresh and interesting, and, provided that by the setting and general interpretation the necessary picturesque atmosphere is established, the opera proves singularly attractive. From the nature of the story, the text reads extremely well in English; in fact, contrary to usual custom, much of the dialogue is strange in Italian, in which mellifluous tongue there is no equivalent apparently for "whisky punch" or "America for ever!"

With this last opera of Puccini we come to the end of the chapter, and with it, he may fittingly be left tothe verdict of those who shall come after. At the time of writing no one can say with what the gifted melodist will follow it—whether one of the few themes which have been mentioned as being in his mind will materialise, or whether the "Notre Dame" of Victor Hugo, or a certain play of Maxim Gorky's will eventually come to an achievement. Certain it is, that the present success ofMadama Butterfly, with all its progress on the purely orchestral side, cannot fail to call attention to the earlier works, particularlyLe Villi,EdgarandManon, as being compositions of singular sincerity.

One of Mr. E. A. Baughan's most interesting pieces of criticism, I think, was that written in theOutlookof July 15, 1905, after the first production ofMadama Butterflyin England. After making comparison between Puccini and other modern Italians on the subject of musical expression of a theme, in general, he deals, in characteristic fashion, with the dramatic structure of the opera in question.

"The story itself, as arranged by the Italian librettists, has also grave defects as the subject of an opera. The character of Madame Butterfly herself, with hernaïvelove for the American naval officer, her belief that she is a real American bride and that he will return to lift her once more into the paradise from which she was so cruelly cast out by his departure, and, when the truth of her "marriage" is at last revealed, her tragic recourse to the honourable dagger is a fit subject for music. The emotions to be expressed are mainly lyrical. The other characters are outside musical treatment. F. B. Pinkerton, theAmerican naval officer, is never possessed of any lyrical emotion, except when he expresses his remorse for the consequences of his misdeeds; Sharpless, the American consul, who acts as a go-between, feels nothing but a vague disquietude, which is easily drowned in a whisky-and-soda, and later a rather tender pity for Butterfly; Goro, the marriage-broker, is antipathetic to music; Mrs. Pinkerton is the merest of shadows; and of all the cast the only characters that have thoughts or feelings which can be interpreted by music are Butterfly's faithful maid, Suzuki, and her uncle Bonzo, who objects on religious grounds to Butterfly's marriage. Puccini has written a love-duet for the American naval officer and Madame Butterfly, but as he can make no pretence to any more passionate feeling than a passing sensualism there is a want of emotional grip in the scene. Then the Japanese environment of the story does not help the composer. Madame Butterfly is only Japanese by fits and starts. When she is emotional she is a native of modern Italy, the Italy of Mascagni, Leoncavallo and Puccini himself. It could not be otherwise, for there is no musical local colour to be imitated which would serve in passionate scenes.

PUCCINI'S MANUSCRIPT SCORES, FROM THE FIRST ACT OF "MADAMA BUTTERFLY"

"The composer has overcome many of these difficulties with much cleverness. When the stage itself is not musically inspiring, he falls back on his orchestra with the happiest effect. The prosaicness of the European lover and his friend the Consul and the sordid ideas of the Japanese crowd are covered up by a clever musicalensemble, and the whole dramais drawn together by Puccini's sense of atmosphere.... Madame Butterfly herself is a musical creation. The composer could not, of course, make her Japanese, but very poetically he has made her musicallynaïveand sincere. She is a fascinating figure from the moment when she appears singing of her happiness in having been honoured by the American's choice. Her share in the love duet is also well conceived. It is not exactly passionate music; rather ecstatic and sensitive. And the gradual smirching of this butterfly's brightness until in the end she becomes a wan little figure of tragedy is subtly expressed in the music. It is not deep music—indeed it should not be—but it has all the more effect because it is thoroughly in character. Even when Madame Butterfly sets her child on the ground and addresses to him her last worship before dying with honour she is not made to rant by the composer. A German would not have forgotten Isolde's Liebestod; a Mascagni would have remembered his own Santuzza; a Verdi would have metamorphosed the Geisha into an Aïda; but Puccini has kept to his conception of the character and she is never once allowed to express herself on the heroic scale."

Madama Butterflyis published (like all the operatic works of Puccini) by Ricordi, who, with the vocal score (the English translation being by R. H. Elkin), departed from the usual style of binding and issued it in a very decorative "Japanesy" cover of white linen, with all sorts of tasteful little designs—butterflies and flowers—jotted about on the cover and on the margins.

My final paragraph may well be an expression of thanks to those who have been kind enough to assist me with the preparation of my little book. First of all I would thank Signor Puccini, who has cheerfully submitted to two things which he cordially detests—sitting for his photograph on two special occasions and answering letters. Again would I thank him for the time he was good enough to spare me when I had the pleasure of meeting him in London during his last two visits. Then to Messrs. Ricordi, who not only have been at considerable pains to verify casts, first performances and biographical details, but have generously enriched my library of opera scores by those Puccini works which I did not possess. Yet again, to Mr. C. Pavone, their representative in London, for considerable assistance most cheerfully rendered; and to my friends Mrs. John Chartres—for helping out my very limited knowledge of Italian, and Mr. Percy Pitt—for allowing me to see his orchestral scores of the Puccini operas.

LIVING MASTERSOF MUSICAn Illustrated Series of Monographs dealing withContemporary Musical Life, and includingRepresentatives of all Branches of the Art.Edited by ROSA NEWMARCHCrown 8vo.Price 2s. 6d. net each vol.HENRY J. WOODBy ROSA NEWMARCH. With numerous Illustrations.SIR EDWARD ELGARBy R. J. BUCKLEY. With numerous Illustrations.JOSEPH JOACHIMBy J. A. FULLER MAITLAND. With Illustrations.EDWARD A. MACDOWELLBy LAWRENCE GILMAN. With Illustrations.EDWARD GRIEGBy H. T. FINCK. With Illustrations.THEODOR LESCHETIZKYBy A. HULLAH. With Illustrations.The following Volumes are in preparation—RICHARD STRAUSSBy A. KALISCH.IGNAZ PADEREWSKIBy E. A. BAUGHAN.ALFRED BRUNEAUBy ARTHUR HERVEY.GIACOMO PUCCINIBy WAKELING DRY.

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THE MUSIC OFTHE MASTERSEdited by WAKELING DRYFcap. 8vo.Price 2s. 6d. net each vol.WAGNERBy ERNEST NEWMAN"A very acceptable volume."—Rapid Review."Mr. Newman gives a clear and critical synopsis of the magnificent series of operas, and indicates very simply the leading themes in each. The volume is neither too precise nor too extravagant in its appreciation; it has a quality of sanity which such work often lacks."—T. P.'s Weekly.TCHAIKOVSKIBy E. MARKHAM LEE, M.A.,Mus. Doc."A thoroughly sympathetic, scholarly, and sound examination of the Russian master's music."—Literary World."His copious and musicianly analysis of the works makes the book indispensable to the modern amateur."—Speaker.BEETHOVENBy ERNEST WALKER, M.A.,D. Mus.(Oxon.)"Dr. Walker has achieved a difficult task with complete success. The review of Beethoven's music as a whole is finely critical, and the appreciation is expressed with force and fluency; while a short and judiciously described bibliography and a list of the master's music complete this newest volume in a scheme which bids fair to develop into a collection of thoroughly original and excellent monographs, which will be for the average amateur (and not a few professionals) uniformly more useful than many an encyclopædia or dictionary."—Evening Standard.SIR EDWARD ELGARBy ERNEST NEWMANPHASES OF MODERN MUSICBy LAWRENCE GILMAN. 4s. 6d. netDaily Mail: "An American criticism of prominent modern composers, singularly picturesquely written."Manchester Guardian: "Representative of the best American criticism ... the book may be almost unreservedly commended."THE MUSIC OF TO-MORROWAND OTHER STUDIESBy LAWRENCE GILMAN, Author of "Phases of Modern Music," "Edward Macdowell," &c. Crown 8vo, 5s. net.

THE MUSIC OFTHE MASTERSEdited by WAKELING DRYFcap. 8vo.Price 2s. 6d. net each vol.

THE MUSIC OFTHE MASTERS

Edited by WAKELING DRY

Fcap. 8vo.Price 2s. 6d. net each vol.

WAGNERBy ERNEST NEWMAN

"A very acceptable volume."—Rapid Review."Mr. Newman gives a clear and critical synopsis of the magnificent series of operas, and indicates very simply the leading themes in each. The volume is neither too precise nor too extravagant in its appreciation; it has a quality of sanity which such work often lacks."—T. P.'s Weekly.

"A very acceptable volume."—Rapid Review.

"Mr. Newman gives a clear and critical synopsis of the magnificent series of operas, and indicates very simply the leading themes in each. The volume is neither too precise nor too extravagant in its appreciation; it has a quality of sanity which such work often lacks."—T. P.'s Weekly.

TCHAIKOVSKIBy E. MARKHAM LEE, M.A.,Mus. Doc.

"A thoroughly sympathetic, scholarly, and sound examination of the Russian master's music."—Literary World."His copious and musicianly analysis of the works makes the book indispensable to the modern amateur."—Speaker.

"A thoroughly sympathetic, scholarly, and sound examination of the Russian master's music."—Literary World.

"His copious and musicianly analysis of the works makes the book indispensable to the modern amateur."—Speaker.

BEETHOVENBy ERNEST WALKER, M.A.,D. Mus.(Oxon.)

"Dr. Walker has achieved a difficult task with complete success. The review of Beethoven's music as a whole is finely critical, and the appreciation is expressed with force and fluency; while a short and judiciously described bibliography and a list of the master's music complete this newest volume in a scheme which bids fair to develop into a collection of thoroughly original and excellent monographs, which will be for the average amateur (and not a few professionals) uniformly more useful than many an encyclopædia or dictionary."—Evening Standard.

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Daily Mail: "An American criticism of prominent modern composers, singularly picturesquely written."Manchester Guardian: "Representative of the best American criticism ... the book may be almost unreservedly commended."

Daily Mail: "An American criticism of prominent modern composers, singularly picturesquely written."

Manchester Guardian: "Representative of the best American criticism ... the book may be almost unreservedly commended."

THE MUSIC OF TO-MORROWAND OTHER STUDIES

By LAWRENCE GILMAN, Author of "Phases of Modern Music," "Edward Macdowell," &c. Crown 8vo, 5s. net.

THE LIFE OF PETERILICH TCHAIKOVSKY(1840–1893). BY HIS BROTHER, MODESTE TCHAIKOVSKY. EDITED AND ABRIDGED FROM THE RUSSIAN AND GERMAN EDITIONS BY ROSA NEWMARCH, WITH NUMEROUS ILLUSTRATIONS AND FACSIMILES AND AN INTRODUCTION BY THE EDITOR.Demy 8vo. 21s. net. Second Edition.Times: "A most illuminating commentary on Tchaikovsky's music."World: "One of the most fascinating self-revelations by an artist which has been given to the world. The translation is excellent, and worth reading for its own sake."Westminster Gazette: "It is no exaggeration to describe the work as one of singular fascination."Mr.Ernest NewmaninManchester Guardian: "For the present large and handsome volume we have nothing but praise ... for Mrs. Newmarch's translation no praise can be too high."THESINGINGOF THEFUTUREByD. Ffrangcon-Davies. With an Introduction by SirEdward Elgarand a Photogravure Portrait of the Author. Demy 8vo. 7s. 6d. net. Second Edition."On almost every page there are sentences which might well be committed to memory."—Times."The book is a valuable and stimulating contribution to musical æsthetics; it is animated throughout by a lofty conception of the responsibilities of the artist, and it enforces with spirit and with eloquence the sound and wholesome doctrine that the vitalising element of song is thought."—Spectator."This interesting and valuable work ... every word of which should be read and carefully studied by professors and pupils alike.... The work renders conspicuous service to art, and deserves the highest praise."Daily Chronicle.MUSICAL STUDIES:ESSAYS. ByErnest Newman. Crown 8vo. 5s. net."In this book of penetrating and brilliant essays we have the most valuable contribution of the year so far to musical æsthetics."—Manchester Guardian."Mr. Newman writes with a rare sympathy and an extraordinary insight."Daily Chronicle.MUSIC AND MUSICIANSByE. A. Baughan. Crown 8vo. 5s. net.Tribune: "Certainly a book to be recommended. Its readers cannot fail to be stimulated, interested and instructed by it."

THE LIFE OF PETERILICH TCHAIKOVSKY

(1840–1893). BY HIS BROTHER, MODESTE TCHAIKOVSKY. EDITED AND ABRIDGED FROM THE RUSSIAN AND GERMAN EDITIONS BY ROSA NEWMARCH, WITH NUMEROUS ILLUSTRATIONS AND FACSIMILES AND AN INTRODUCTION BY THE EDITOR.

Demy 8vo. 21s. net. Second Edition.

Times: "A most illuminating commentary on Tchaikovsky's music."World: "One of the most fascinating self-revelations by an artist which has been given to the world. The translation is excellent, and worth reading for its own sake."Westminster Gazette: "It is no exaggeration to describe the work as one of singular fascination."Mr.Ernest NewmaninManchester Guardian: "For the present large and handsome volume we have nothing but praise ... for Mrs. Newmarch's translation no praise can be too high."

Times: "A most illuminating commentary on Tchaikovsky's music."

World: "One of the most fascinating self-revelations by an artist which has been given to the world. The translation is excellent, and worth reading for its own sake."

Westminster Gazette: "It is no exaggeration to describe the work as one of singular fascination."

Mr.Ernest NewmaninManchester Guardian: "For the present large and handsome volume we have nothing but praise ... for Mrs. Newmarch's translation no praise can be too high."

THESINGINGOF THEFUTURE

ByD. Ffrangcon-Davies. With an Introduction by SirEdward Elgarand a Photogravure Portrait of the Author. Demy 8vo. 7s. 6d. net. Second Edition.

"On almost every page there are sentences which might well be committed to memory."—Times."The book is a valuable and stimulating contribution to musical æsthetics; it is animated throughout by a lofty conception of the responsibilities of the artist, and it enforces with spirit and with eloquence the sound and wholesome doctrine that the vitalising element of song is thought."—Spectator."This interesting and valuable work ... every word of which should be read and carefully studied by professors and pupils alike.... The work renders conspicuous service to art, and deserves the highest praise."Daily Chronicle.

"On almost every page there are sentences which might well be committed to memory."—Times.

"The book is a valuable and stimulating contribution to musical æsthetics; it is animated throughout by a lofty conception of the responsibilities of the artist, and it enforces with spirit and with eloquence the sound and wholesome doctrine that the vitalising element of song is thought."—Spectator.

"This interesting and valuable work ... every word of which should be read and carefully studied by professors and pupils alike.... The work renders conspicuous service to art, and deserves the highest praise."

Daily Chronicle.

MUSICAL STUDIES:ESSAYS. ByErnest Newman. Crown 8vo. 5s. net.

"In this book of penetrating and brilliant essays we have the most valuable contribution of the year so far to musical æsthetics."—Manchester Guardian."Mr. Newman writes with a rare sympathy and an extraordinary insight."Daily Chronicle.

"In this book of penetrating and brilliant essays we have the most valuable contribution of the year so far to musical æsthetics."—Manchester Guardian.

"Mr. Newman writes with a rare sympathy and an extraordinary insight."

Daily Chronicle.

MUSIC AND MUSICIANSByE. A. Baughan. Crown 8vo. 5s. net.

Tribune: "Certainly a book to be recommended. Its readers cannot fail to be stimulated, interested and instructed by it."

Concert Direction E. L. Robinson7 WIGMORE STREET,CAVENDISH SQUARE, LONDON, W.Sole Agents for the following Artists:HerrFRITZ STEINBACH }ConductorsM. EDOUARD COLONNE }Violinists—Mr. FRITZ KREISLERM. PAUL KOCHÀNSKY(The new Russian Violinist)Miss MAUD MacCARTHYSig.ALDO ANTONIETTIMme.MARIE SOLDAT'Cellists—HerrANTON HEKKINGMr. PERCY SUCHMr. HERMAN SANDBY(The Danish 'Cellist)Pianists—Mr. MARK HAMBOURGMissFANNY DAVIESHerr ERNST von DOHNÀNYIMadameSANDRA DROUCKERMissKATHARINE GOODSONMr. PERCY GRAINGERMr. GEORGE MACKERNMr. EGON PETRIVocalists—Mrs.HENRY J. WOOD(Soprano)MissKATHLEEN MAUREEN(The new Irish Contralto)MissEVA RICH(Soprano)MissALICE VENNING(Soprano)Mr.GERVASE ELWES(Tenor)Mr.FREDERIC AUSTIN(Baritone)Mr.WILLIAM HIGLEY(High Baritone)Mr. PEDRO de ZULUETA(Bass)Accompanist—Mr.HAMILTON HARTYTheJOACHIM QUARTETTheNORAH CLENCH QUARTETTelephone—793 P.O. Mayfair.Telegrams—"Musikchor, London."

Concert Direction E. L. Robinson

7 WIGMORE STREET,CAVENDISH SQUARE, LONDON, W.

Sole Agents for the following Artists:

HerrFRITZ STEINBACH }ConductorsM. EDOUARD COLONNE }

Violinists—Mr. FRITZ KREISLERM. PAUL KOCHÀNSKY(The new Russian Violinist)Miss MAUD MacCARTHYSig.ALDO ANTONIETTIMme.MARIE SOLDAT'Cellists—HerrANTON HEKKINGMr. PERCY SUCHMr. HERMAN SANDBY(The Danish 'Cellist)Pianists—Mr. MARK HAMBOURGMissFANNY DAVIESHerr ERNST von DOHNÀNYIMadameSANDRA DROUCKERMissKATHARINE GOODSONMr. PERCY GRAINGERMr. GEORGE MACKERNMr. EGON PETRIVocalists—Mrs.HENRY J. WOOD(Soprano)MissKATHLEEN MAUREEN(The new Irish Contralto)MissEVA RICH(Soprano)MissALICE VENNING(Soprano)Mr.GERVASE ELWES(Tenor)Mr.FREDERIC AUSTIN(Baritone)Mr.WILLIAM HIGLEY(High Baritone)Mr. PEDRO de ZULUETA(Bass)Accompanist—Mr.HAMILTON HARTYTheJOACHIM QUARTETTheNORAH CLENCH QUARTET

Violinists—

Mr. FRITZ KREISLERM. PAUL KOCHÀNSKY(The new Russian Violinist)Miss MAUD MacCARTHYSig.ALDO ANTONIETTIMme.MARIE SOLDAT

'Cellists—

HerrANTON HEKKINGMr. PERCY SUCHMr. HERMAN SANDBY(The Danish 'Cellist)

Pianists—

Mr. MARK HAMBOURGMissFANNY DAVIESHerr ERNST von DOHNÀNYIMadameSANDRA DROUCKERMissKATHARINE GOODSONMr. PERCY GRAINGERMr. GEORGE MACKERNMr. EGON PETRI

Vocalists—

Mrs.HENRY J. WOOD(Soprano)MissKATHLEEN MAUREEN(The new Irish Contralto)MissEVA RICH(Soprano)MissALICE VENNING(Soprano)Mr.GERVASE ELWES(Tenor)Mr.FREDERIC AUSTIN(Baritone)Mr.WILLIAM HIGLEY(High Baritone)Mr. PEDRO de ZULUETA(Bass)

Accompanist—

Mr.HAMILTON HARTY

TheJOACHIM QUARTETTheNORAH CLENCH QUARTET

Telephone—793 P.O. Mayfair.Telegrams—"Musikchor, London."

Transcriber's Notes:Punctuation and spelling were made consistent when a predominant preference was found in this book; otherwise they were not changed.Simple typographical errors were corrected.Ambiguous hyphens at the ends of lines were retained.Pagevii: Illustration "PUCCINI IN HIS STUDY AT HIS MILAN HOUSE" (facing page46) is not in the List of Illustrations.Page15: "On! how I" may be misprint for "Oh!".Page19: "music schools, agencies," was missing the first comma; added here.Page88: "the toils of her enchantment" was printed that way.Page96: "E luce van stelle" was printed that way.Page100: Missing closing quotation mark added after 'at least equal to his.'.

Punctuation and spelling were made consistent when a predominant preference was found in this book; otherwise they were not changed.

Simple typographical errors were corrected.

Ambiguous hyphens at the ends of lines were retained.

Pagevii: Illustration "PUCCINI IN HIS STUDY AT HIS MILAN HOUSE" (facing page46) is not in the List of Illustrations.

Page15: "On! how I" may be misprint for "Oh!".

Page19: "music schools, agencies," was missing the first comma; added here.

Page88: "the toils of her enchantment" was printed that way.

Page96: "E luce van stelle" was printed that way.

Page100: Missing closing quotation mark added after 'at least equal to his.'.

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