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diff --git a/old/54077-h/54077-h.htm b/old/54077-h/54077-h.htm deleted file mode 100644 index c18876d..0000000 --- a/old/54077-h/54077-h.htm +++ /dev/null @@ -1,5517 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Development of Certain Tendencies in Modern Opera, by Kathryn Eleanor Browne. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - -<style type="text/css"> - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; - font-family: "Courier", monospace; -} - -h1,h2,h3 { - text-align: center; - clear: both; - font-weight: normal; -} - -hr { - margin-top: 2em; - margin-bottom: 2em; - clear: both; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -ul { - list-style-type: none; -} - -li.indx { - margin-top: .5em; - padding-left: 2em; - text-indent: -2em; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -table { - margin: 1em auto 1em auto; - border-collapse: collapse; -} - -td, th { - padding-left: 0.5em; - vertical-align: top; - font-weight: normal; -} - -.bbox { - margin: auto; - max-width: 35em; - border: double; - padding: 1em; -} - -.bracket { - font-size: 250%; -} - -.caption { - margin-bottom: 1em; - font-size: 90%; - text-indent: 0em; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.ditto { - margin-left: 0.5em; - margin-right: 1em; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.larger { - font-size: 150%; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.right { - text-align: right; -} - -.smaller { - font-size: 80%; -} - -.tdc { - text-align: center; -} - -.tdr { - text-align: right; -} - -.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.transnote { - background-color: #E6E6FA; - color: black; - font-size: smaller; - padding: 0.5em; - margin-bottom: 5em; - font-family: serif; -} - -.valign { - vertical-align: middle; -} - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Development of Certain Tendencies in -Modern Opera, by Kathryn Eleanor Browne - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Development of Certain Tendencies in Modern Opera - Thesis for the degree of Bachelor of Music - -Author: Kathryn Eleanor Browne - -Release Date: January 31, 2017 [EBook #54077] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK CERTAIN TENDENCIES IN MODERN OPERA *** - - - - -Produced by The Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - -</pre> - - -<p class="transnote">Transcriber’s Note: This e-text is reproduced from the original typescript -submitted by the author for her bachelor’s degree. Whilst undoubtedly she -would have liked it to be error-free, it wasn’t, and for authenticity the -typos etc. have been left in situ—save for the incorporation of her -handwritten corrections, and some attention to missing/extraneous -punctuation/spacing.</p> - -<div class="bbox"> - -<p class="titlepage larger">THE DEVELOPMENT OF CERTAIN TENDENCIES -IN MODERN OPERA</p> - -<p class="titlepage"><span class="smaller">BY</span><br /> -KATHRYN ELEANOR BROWNE</p> - -<p class="titlepage">THESIS<br /> -<span class="smaller">FOR THE</span><br /> -DEGREE OF BACHELOR OF MUSIC<br /> -<span class="smaller">IN</span><br /> -MUSIC</p> - -<p class="titlepage">SCHOOL OF MUSIC<br /> -UNIVERSITY OF ILLINOIS<br /> -1917</p> - -</div> - -<hr /> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> - -<div class="figcenter" style="width: 500px;"> - -<img src="images/cover.jpg" width="500" height="700" alt="Certificate" /> - -<p class="caption center">UNIVERSITY OF ILLINOIS</p> - -<p class="caption right">June 1, 1907</p> - -<p class="caption">THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY -KATHRYN ELEANOR BROWNE ENTITLED THE DEVELOPMENT OF CERTAIN TENDENCIES IN -MODERN OPERA.</p> - -<p class="caption">IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE -DEGREE OF BACHELOR OF MUSIC</p> - -<p class="caption">George F. Schwartz Instructor in Charge</p> - -<p class="caption">APPROVED: J Lawrence Erb</p> - -<p class="caption center">HEAD OF DEPARTMENT OF Music</p> - -</div> - -<hr /> - -<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> - -<p class="center larger">THE DEVELOPMENT OF CERTAIN TENDENCIES IN MODERN OPERA.</p> - -<h2>Table of Contents.</h2> - -<table summary="Contents"> - <tr> - <td colspan="2">Introduction</td> - <td><a href="#INTRODUCTION">Page 3.</a></td> - </tr> - <tr> - <td>I</td> - <td>The Beginnings of Opera to Gluck</td> - <td><a href="#I_THE_BEGINNINGS_OF_OPERA_TO_GLUCK">Page 5.</a></td> - </tr> - <tr> - <td>II</td> - <td>Gluck</td> - <td><a href="#II_GLUCK">Page 14.</a></td> - </tr> - <tr> - <td>III</td> - <td>Rossini and His School up to Wagner</td> - <td><a href="#III_ROSSINI_AND_HIS_SCHOOL_UP_TO_WAGNER">Page 20.</a></td> - </tr> - <tr> - <td>IV</td> - <td>Wagner</td> - <td><a href="#IV_WAGNER">Page 27.</a></td> - </tr> - <tr> - <td>V</td> - <td>Post Wagnerian School—Including Modern Russian, French, Italian, German and American Composers.</td> - <td><a href="#V_POST_WAGNERIAN_SCHOOL">Page 34.</a></td> - </tr> - <tr> - <td>VI</td> - <td>Appendix of Tables</td> - <td><a href="#APPENDIX_OF_TABLES">Page 44.</a></td> - </tr> - <tr> - <td></td> - <td>Table I, General</td> - <td><a href="#TABLE_I">Page 46.</a></td> - </tr> - <tr> - <td></td> - <td>Table II, Number and Kind of Characters</td> - <td><a href="#TABLE_II">Page 48.</a></td> - </tr> - <tr> - <td></td> - <td>Table III, Orchestration</td> - <td><a href="#TABLE_III">Page 50.</a></td> - </tr> - <tr> - <td></td> - <td>Table IV, Solos</td> - <td><a href="#TABLE_IV">Page 52.</a></td> - </tr> - <tr> - <td></td> - <td>Table V, Recitative</td> - <td><a href="#TABLE_V">Page 54.</a></td> - </tr> - <tr> - <td></td> - <td>Table VI, Ensemble</td> - <td><a href="#TABLE_VI">Page 56.</a></td> - </tr> - <tr> - <td></td> - <td>Table VII, Chorus</td> - <td><a href="#TABLE_VII">Page 58.</a></td> - </tr> - <tr> - <td>VII</td> - <td>Bibliography</td> - <td><a href="#BIBLIOGRAPHY">Page 60.</a></td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> - -<h1>THE DEVELOPMENT OF CERTAIN TENDENCIES IN MODERN OPERA.</h1> - -<h2 id="INTRODUCTION">INTRODUCTION.</h2> - -<p>In this thesis there has been an attempt made to trace the -origin, growth and development, and modification of various tendencies -in the Opera. The form only of the opera has been considered -and no attempt has been made towards the harmonic analysis of the -various operas. The main tendencies that have been discussed are, -the differences in regard to; (1) the number of acts employed; -(2) the number and kind of characters; (3) a comparison; (a) of -the proportion of orchestral work, overtures, ballets and ritornelli; -(b) of solo work and the various voices employed; (c) of -recitative, spoken, accompanied and unaccompanied; (d) of ensemble -work, duets, trios, quartets, quintets and sextets; and -(e) separate from this last, a consideration of the proportion -of chorus work, mixed, and that sung by the men and the women alone.</p> - -<p>A study has been made of thirty-four operas and in order -to accurately consider these proportions, tables have been prepared, -showing the percentage of the factors portrayed. These -percentages have been obtained by actual count of the measures -devoted to the solos, choruses, ensembles, etc. There are seven -tables.</p> - -<p>Table I is a general table showing the number of characters, -acts, percentage of orchestra, solo, recitative, ensemble -and chorus.</p> - -<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p> - -<p>Table II shows the distribution and number of characters.</p> - -<p>Table III shows the percentage of orchestral work, and also -that of the divisions of the orchestral work into overture, -ballet and ritornelli.</p> - -<p>Table IV shows the percentage of solo work and its distribution -to the various voices.</p> - -<p>Table V shows the percentage of recitative and its distribution -to the various voices.</p> - -<p>Table VI shows the percentage of ensemble work and the -various kinds.</p> - -<p>Table VII shows the percentage of the chorus work and its -distribution as to mixed choruses and those sung by the men and -women alone.</p> - -<p>"Rappresentatione de Anima" by Cavalieri is generally -classed as an oratorio but many authorities consider it an opera, -as he was one of Peri's contemporaries, and worked with the little -band of Florentine nobles, and this was the first work which resulted -from their meetings. However, whether it is an opera or -an oratorio, the forms in those days were very vague, hence, the -component factors are interesting as compared to the later operas, -and inasmuch as no score could be obtained earlier than 1675, it -will suffice as a type of that time. In studying the operas from -Wagner on, the solos have been very difficult to distinguish from -the recitative, and consequently any stretch of solo singing over -twenty or twenty-five measures in length, with any sort of tune, -has been considered as a solo.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> - -<h2 id="I_THE_BEGINNINGS_OF_OPERA_TO_GLUCK">I. THE BEGINNINGS OF OPERA TO GLUCK.</h2> - -<p>Before beginning the survey of modern operas and before -tracing the development of the different tendencies, it will be -interesting to consider briefly the historic source of the opera, -and the part that music played in the various dramas, madrigals, -ballets, church services, etc.</p> - -<p>It is an acknowledged fact that Peri and his little band -of Florentine reformers went back to the old Greek dramas for -their models and forms. However, it is not to be supposed that -opera was developed spontaneously among these reformers. Like -every other world wide movement, it was the culmination of tendencies -and customs from various sources. We have no reason to accept -the Greek dramas as the only models which served, although they -were considered seriously by the first opera writers.</p> - -<p>The Egyptians sang jubilations to their Gods. These consisted -of florid cadences on prolonged vowel sounds. In the old -Greek dramas, music played an important part. The Greek tragedy -and comedy developed from the hymns, choral dances and chants -sung by a chorus of singers disguised as satyrs, at the festivals -of Bacchus. The chorus often addressed the audience on topical -subjects. The various actors intoned or chanted their words, and -were often accompanied by a lyre and other instruments of the day. -The chorus chanted their parts. This would not be termed music -by us today, but was more of a recitative. Later the chorus chanted -while the principals sang, forming a sort of background accompaniment.<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> -The slow developement of the music in the mass must not be -forgotten, but there is nothing which definitely resembles opera -until the thirteenth century. "Noel" was supposed to be a song -which the angels sang, and is found in many festivals. Perhaps this -may be termed one of the sources of Wagner's ideas, the association -of a particular song with one group of people. In the "Three -Maries" the chorus sang words in Latin, Gabriel and the three virgins -sang, but the words of the Savior had no music. The "Fete of -the Ass" was quite an elaborate festival and here the various -characters sang quite definitely, and the congregation was urged -at stated intervals to join in the singing. Part of the words and -music were symbolical, especially those imitating the braying of -the ass. "The Passion", in 1264, enacted by the Fraternity of the -Gonfalone, lasted for several days, and contained scenes which -were sung, choruses and a trio.</p> - -<p>At this period, we must consider the vaudeville plays -which were plays interspersed with song. "Li gieus de Robin et -de Marion", given at the court of Charles d'Artois in Naples in -1285, was an operatic symptom and was divided into songs, spoken -dialogue, dialogue songs in which two voices alternated, and popular -ballad tunes, although the music was not appropriate since it -consisted of such complex counterpoint. The Madrigal plays, although -comic in character, influenced in the introduction of -village gossip related by chorus. The "Ballet de la Reine" was a -brilliant ballet with elaborate scenery, costumes, music, etc. -It contained solos, duets, choruses and instrumental interludes. -The melody, however, was only loosely associated with the play. -In 1554 "Il Sagrifigio", a pastoral drama, arose, in which the<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -priest sang solos, accompanied by lyre and the chorus. The first -solo singing was in the Madrigal of Corteccia in 1539. In "Aminta", -1573, the choruses separated acts, and introduced the action -danced to the chorus behind the scenes. There was no attempt at -the complete setting of the text in these plays, and no union of -the lyrics by any sort of recitative. In "Decameron" one or another -of the personages sang to the company, and they all sang and danced. -The lyric solo resembled somewhat the dramatic recitative of Peri -and Caccini. The vocal melody was simple in melodic structure. -Cecchi's "Esaltazione delle Croce", 1589, a sacred representation, -had an orchestra of viols, lutes, horns and the orchestra played -an interlude with special music. There was an accompanied solo -allotted to the Deity and a dance of David. The orchestras were -composed of lutes, trombones, which accomapnied the dancing, etc., -but were usually silent after the entrance of the various characters, -excepting the lyres. In the English masque the words and -song were written for an actor but sung behind the scenes by a -chorus.</p> - -<p>The Madrigal dramas became comedies which exhibited a -variety of style and expressive power. When a single character -spoke, the chorus sang in madrigals, while the actors were on the -stage. The music was from behind the curtain. These Madrigal dramas -began to degenerate, however, as the spectacle disappeared, and -the comic element became preeminent.</p> - -<p>Then came the band of Florentine nobles who were not originators, -but merely revived certain musical practices and traditions -of the 14th century and modeled these on the early Greek -tragedies. "Eurydice" was accompanied by a large orchestra for<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -those days consisting of a chitarone, viola di gamba, theorba, -three flutes and smaller trombones. There was a brief entr'acte, -and a trio of two sopranos and a tenor. The chorus was in five -parts. Previous to this the solo without harmony or harmonic -support was unknown. The instrumental music was of course in its -infancy and expressive melody was out of the question. This first -operatic orchestra was concealed—perhaps this suggested the idea -to Wagner—perhaps not. There were no set tunes, nor any sort of -formal melody divided into periods, balancing each other symmetrically, -but a sort of recitative which observed the inflection of -the spoken words was created.</p> - -<p>Peri developed this principle to a great extent. He expressed -soft gentle speech by half spoken, half sung tones on a -sustained instrumental bass. Feelings of deeper emotional kind, -he expressed by melody with greater intervals and a lively tempo, -accompanied by instrumental harmonies changing frequently, sometimes -using dissonance. His prologue was in verse and he gave -short metrical passages for the chorus which were rich in harmony. -An instrumental episode in the first act and dancing in -the end are effective.</p> - -<p>Vecchi's "L'Amfiparnasso" and "Commedia Armonica" are -really only a series of madrigals for five voices. There was no -overture, no orchestral accompaniment, nor ritornello of any -kind. When the stage was occupied by a single character, four -voices were made to sing behind the scenes, foretelling the modern -orchestra. In "Orfeo" the accompaniment was a figured bass. -"Dafne" and "Arianna" were written in this newly invented "Stilo -rappresentatino" with a larger orchestra. "Dafne" consisted of an<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -imitation of speech, a sort of melodious recitative accompanied -only with a sustained bass. The instruments were really so contrasted -and combined as to invest each character and scene with -marked individuality. The introductory toccata (founded on a single -chord) was followed by a ritornello, the recitative was accompanied -by a figured bass, sometimes by two or more instruments -indicated at the beginning.</p> - -<p>These reformers really resuscitated a style of musical -declamation, and their music better expressed passion and the -like. There was a monodic exchanging of contrapuntal richness for -the simplest of melodies, confined to a single part, and accompanied -by bass of the rudest type and construction. The melodies -were destitute of figure and the composers really aimed at exact -oratorical rendering of the words. The possibilities of orchestral -coloring were limited and the dry style of recitative really -dramatically untruthful. There was little variety of contrast. -This weakened the true power of the drama by the introduction -of measured melody and formally constructed movements. The libbrettos -were carefully considered at first, but finally declined, -and more and more attention was paid to the aria and the various -concerted music introduced without regard to the dramatic tendencies. -The rules became strict, and it is not difficult to see how -the operas became a concert in costume. We find a quotation of -the rules:—</p> - -<p>1. A woman always took a man's part.</p> - -<p>2. Characters were stereotyped.</p> - -<p>3. Position of the aria was determined to give entrance impressiveness.</p> - -<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p> - -<p>4. The solos, duets, choruses and ballets were arranged artificially -to suit the convenience of the performers and without -regard for the dramatic context.</p> - -<p>Monteverde has been termed "the Italian Wagner". He never -ventured to introduce flowing melody save in the ritornello. His -music was dramatic and he increased the dramatic scope of the recitative. -His "Orfeo", 1607, contains the first dramatic duet. -He was an innovator and gave a new developement to the harmonic -system. His influence may be summed up as follows;</p> - -<p>I. He made operatic recitative more melodious and expressive.</p> - -<p>II. He boldly used unprepared discord to express dramatic -emotions.</p> - -<p>III. He greatly enlarged the orchestra, used special, appropriate -groups of instruments to accompany characters, and employed -separate combinations to announce the return and entry of persons. -In his "Arianna" the widening influence of his orchestra developed -to thirty-six instruments, including violins, trombones, trumpets -and three small organs. He invented the pizzicato and tremolo on -the violin. In his "Orfeo" there are parts for the harpsichords, -lyres, violas, double basses, double harps with two rows of strings, -two violins, guitars, organs, flutes, clarions and trombones. The -apportionment of the instruments was as follows:—</p> - -<p>The bass viols accompanied Orpheus.</p> - -<p>The violas, Eurydice.</p> - -<p>Four Trombones, Pluto.</p> - -<p>The organs, Apollo.</p> - -<p>The guitars, Charon.</p> - -<p>The flute registers of the organs, the chorus of sprites.</p> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p> - -<p>Scarlatti's genius for melody modified the still though -dramatically correct recitative, and substituted airs in its place. -He introduced measured recitative for the first time, and invented -the "de capo aria", his singers thus distracting attention from -the important dramatic meaning. His knowledge of counterpoint -aided him in the construction of the bass, and elaboration of accompaniments. -He tired of the monotony of uninterrupted recitative, -and organized three forms:—</p> - -<p>1. Recitative secco for ordinary business.</p> - -<p>2. Recitative stromentato which was accompanied and used -for violent emotion, and used the "thorough bass" by the harpsichord -to aid this passionate form of declamation. The sense of -the verbal text was enforced by continual interposition of orchestral -symphonies.</p> - -<p>3. The aria, to which he added the "de capo"—that is, -the repetition of the second part following the first.</p> - -<p>Cavalli employed the ritornello constantly to relieve the -monotony of continuous recitative, and introduced repetition in -his ariettas, which was disapproved by the Florentine Caccini, -who was the father of a new order of music, a style of melody -which is not melody; a recitative melody, noble in character and -surpassing the songs of the people, not altering the words nor -depriving them of life, but augmenting them and giving them -meaning and force.</p> - -<p>Purcell had true dramatic instinct and a declamatory recitative -second only to that of Wagner, and his airs show unfettered -melody. The laws of his time, which he chose to disregard -and modify, are interesting.</p> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> - -<p>I. The number of characters was six, three women and -three men.</p> - -<p>a. Prima Donna (soprano).</p> - -<p>b. A contralto.</p> - -<p>c. An artificial or male soprano.</p> - -<p>d. An artificial alto.</p> - -<p>e. A tenor.</p> - -<p>f. A bass.</p> - -<p>II. (a) "Aria Cantabile" was quiet and slow with opportunities -of ornamentation, accompanied by a figured bass under -pathos.</p> - -<p>(b) "Aria di portamento" in slow movement and marked -rythm was sometimes accompanied only by one or two violins.</p> - -<p>(c) "Aria di mezzo carattere" had the second part -faster than the first, and the accompaniment was rich and varied.</p> - -<p>(d) "Aria Parlante" was elaborately declamatory.</p> - -<p>(e) "Aria di bravura" was allegro with brilliant -divisions.</p> - -<p>III. There were three acts and every scene terminated -with an air. Every member sang one air but no one sang two airs -in succession and no two airs of the same type followed each other. -The most important ones came at the conclusion of the first and -second act and here the hero and heroine claimed a grand scene, -with accompanied recitative followed by "aria d'agilita" and then -united in a grand duet. The third act ended with a chorus of lively -movement frequently accompanied by a dance. There were no trios, -quartets or other concentrated movements allowed, though three -characters could join in harmonized exclamation at close of the -recitative.</p> - -<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p> - -<p>Handel broke away from these rules in "Radamisto" with -an elaborate quartet and "Teseo" in five acts with two airs in -succession to each character. His operas have been termed a ballad -concert in costume, although he did a great deal toward faithful -reproduction of the embodied sentiments of the text. Purcell rebelled -against the idea of succession of songs and dances and in a -tuneful chorus with dramatic spoken action, he introduced a decided -dramatic feeling. The English opera was advertised to be performed -after the Italian manner, with recitative in place of dialogue -and measured melody for airs. Purcell's "Dido and Aeneus" -contains not one spoken word, and his drawn out aria foreshadowed -the dramatic aria of Gluck and Wagner. Balfe and Benedict raised -the standard of the old ballad operas by using better music although -Balfe only appealed to the ear. Tallis, Byrde and Purcell -are tolerated for their voice parts only.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p> - -<h2 id="II_GLUCK">II. GLUCK.</h2> - -<p>"In the early 18th century the condition of opera was -very 'low'". The accepted number of characters was six, three of -each sex. There were three acts of a given number of verses based -on Greek drama. The chorus stood motionless except for the leader, -in a double row with the sexes separated and masked. The same libretti -were used time and time again. The poets became as stilted -as the composers. There were five types of melody whose sequence -and distribution were regulated by rules, and not by dramatic requirements. -Though varied in other ways, the songs consisted of -two parts, the first repeated "de capo" after the second, notwithstanding -the histronic result. The vocalist tyrannized over -the performance, displaying no musical feeling, nothing but vocal -agility. In England and Germany the singers sang their own language -during the performance, for every thing except the formal arias, -which were sung in Italian. Each act had to close with an elaborate -finale, and each singer had to have an aria.</p> - -<p>Sammartini in Milan gave prominence to string quartets. -There was much stress laid on technical proficiency and arias. -The dances became better than the vocal music, for the arias -especially were monotonous and forced, and overloaded with ornament -and contained practically no counterpoint. The overture, -customarily in three parts, was separated from the opera itself. -The arias were in bravura style with long and prolix ritornelli. -The dramatic airs were absolutely spoiled by florishes.</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span></p> - -<p>Gluck freed the opera from many of these forms. He maintained -that the function of the music was to support the poetry -without interrupting action or disfiguring by superfluous ornament. -The dramatic action was given more importance and the concerted -pieces with stereotyped de capo were discarded. He was -criticized for sacrificing music to drama, which would often -have been better without it. This has also been said of Debussy's -"Pelleas and Melisande." Gluck colored his music and avoided -interrupting the actor in the warmth of the dialogue to wait for -ritornello, flourishes and repetitions. He maintained that the -overture should prepare specifically for the character of action -and indication of the subject. Instruments should be employed -in proportion to the degree of interest and passion. Above all -he worked for simplicity; that opera must express life in aria -and in recitative, and in similarity between the passion and the -object called forth. His melody was supported by harmony and -was varied in rythm. He strove for pictorial representation in -his airs and accompanied his recitatives by figured bass and -chords of the harpsichord, and employed several airs preceded -by long instrumental solos. He changed and consolidated the -structure of the opera on the verbal basis, and repressed the vanity -and egotism of the singers. He galvanized the lazy languid -orchestra into life and made the recitative play a more important -part, making his opera dignified, overture elucidatory, accompaniment -significant, and emphasized the coherent principle -of unity.</p> - -<p>In "Telemaco" Gluck imitated aspects of nature in several -of the arias with greater unity of handling, truer dramatic<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -expression, and continuous interest in the recitative. There are -nine numbers following in dramatic sequence. He abandoned the -symphony in three pieces making his overture lead into the opening -aria. His two themes begin finely in contra-distinction but -they degenerate into bravura style. Gluck studied literature -and filled in the void for recitative so that the audience could-not -play chess in between numbers.</p> - -<p>"Orpheus" is lyrical and noticeable for the dramatic interest -of the recitative, and the importance of the work given -to the chorus. His duo-thematic treatment of the orchestra here -is not successful. In his short orchestral prelude he breaks away -from the spirit of the overture. The chorus takes up the -broad sad theme. Orpheus cries, "Eurydice", twice, the third -time he sings a note higher and stands against chords of diminished -intervals, instead of blending with the chord of the minor -third of the dominant, making a striking dramatic effect. The -theme of the aria is echoed behind the scenes. In the accompanied -recitative the orchestra has a share in producing the effect. In -one aria when the sense of the words changes, the whole character -of the music changes. Three fourth time, in the key of G, is used -to depict the happiness of man. Where Cupid relates to Orpheus, -an andante in three eighth time in the key of D is used.</p> - -<p>Gluck has too many contrasts of slow and fast to be effective. -His overtures and finales are weak, and he could not -quite effect a compromise between the musical and the dramatic.</p> - -<p>He improved the old antagonism between the aria and the -recitative by giving the orchestra the function of adding some<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -sort of color to the mere vocal padding. He insisted on acting, -instead of mere singing by posturing sopranos and a chorus of -wax figures. He insisted also on his music being sung as written. -His bold stroke was uneven, but such a dramatic genius has never -been surpassed.</p> - -<p>In "Alceste" his overture assumed a new significance. It -had no formal end but was broken into by the chorus. In "Armide" -each character had music personally distinctive. "Iphigenie en -Tauride" combined dramatic sincerity, superb use of recitative, -natural and telling though simple choruses, throbbing height of -passion, unification of parts of soloists, chorus and orchestra. -He is termed a "creator of dramatic music". Orchestration was his -specialty although he introduced it subservient to action. However, -Gluck never employed trill passages or cadenzas, for he -wanted to accentuate nature and strengthen declamation. His choruses -are treated as "an additional acting character", and his -recitative is true to the dramatic import. Rameau's and Lulli's -operas were crabbed and rigid in comparison. Gluck alone gives -each personage a style that is proper. The musicians who would -not, or could not sing, except from the wings, were ignored by -Gluck, and he refused the undramatic demands of the manager. In -"Iphigenia en Tauris" the chorus works into a background which -appropriately and dramatically supports the singer. The two tendencies -in Gluck are, to neglect all sensuous aesthetic pleasure -for attainment of dramatic intensity through declamation, and -to realize his purpose through emotional pleasure, harmony of -color, greater unity of scenes, the carrying out of one dramatic -idea from the beginning to the end, making each individual<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -part stronger.</p> - -<p>Piccini was the innovator of the dramatic treatment of -the duet and extended development of the finale. He was the first -to turn choral masses to account on the stage. He used "Recitative -instrumento" in pale of the ordinary "Recitative secco." Mozart -enlarged on his ideas, for his command of the orchestra was -unrivalled as a dramatic factor. Cimarosa placed a statue on the -stage, with a pedestal in the orchestra, while Mozart placed the -staue in the orchestra, using the work of the stage as the pedestal. -Cimarosa uses the accompaniment for the support while -Mozart intensifies the voice. Cimarosa was the first to introduce -quartets and other concerted pieces in the midst of dramatic -action, and not as an ornament at the end of the act, but he -was outdistanced by Mozart. Before this, opera was merely a recitative, -with a chorus at the end of each act, and then occasional -airs were introduced, but not before the middle of the 18th -century do we find trios, etc.</p> - -<p>Beethoven and Weber followed Gluck. Beethoven gave to the -orchestra the explanatory character of the chorus. He employs -twenty phrases for a single character in "Fidelio". Weber used -spoken dialogue and recitative sparingly but when neccessary -composed with originality and dramatic vividness. He tried to -construct drama by means of melody and failed. The first example -of a grand orchestral prelude is written in six-fourth time to -"Der Beberrscher der Geister." The overture to "Der Freischutz", -by the use of leading themes, relates the entire story.</p> - -<p>In the Italian and French school, "a la Sopontini" the orchestra -lifted and balanced the words and the spirit of the orchestra<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -reveals the innermost emotions of the dramatic personae. -The Mythical manner is chosen, and a use of alliterative verse -with a peculiar use of the orchestra as preparing, supporting, -commenting upon, enforcing and recalling the various situations -of the text.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span></p> - -<h2 id="III_ROSSINI_AND_HIS_SCHOOL_UP_TO_WAGNER">III. ROSSINI AND HIS SCHOOL UP TO WAGNER.</h2> - -<p>In 1814 the operatic conditions were deplorable. Vocalists -were masters over the composers. They accepted the mere -skeleton of a tune, and so adorned it with their own trills and -flourishes that the poor composer could scarcely recognize it. -The solos were placed to suit their convenience, whether or not -they were suited dramatically. The tenor singers were very prominent -and the bass singers had not as yet emerged from the background.</p> - -<p>Rossini expelled the male soprani from the stage, directed -and controlled his own operas. His music was sensuous -and, as shown in "William Tell", of a simple dramatic style. -The operas were of two acts and scarcely conducive to the maintenance -of dramatic action, separated by a ballet. His "Elizabetha" -contained an overture, a duet and the finale had involved -motives in the orchestra. There were two tenors, for the bass was -still in the background. This was the first opera in which the -recitative was accompanied by a stringed quartet and double bass. -He supported the declamation by brilliant themes for the orchestra. -"The Barber of Seville" is a series of melodies, continuous, -and the characters only ceased to sing for strains executed by -the instrumentalists. The transfer of the current of the melody -from the voices to the orchestra was an entirely new idea. He -also introduced new instruments into the orchestra.</p> - -<p>Mozart was indebted to the Italians for the sweetness of -his melodies and gave to Italy, through Rossini, new instrumental<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -combinations, new dramatic methods and new operatic forms. -The horn, eighty years ago, was not very important in Italy and -the orchestration played in the operatic band probably had a part -in developing the taste for wind instruments and especially for -horns. Rossini was a student of Haydn's symphonies and quartets.</p> - -<p>In the opera-buffo "L'Equivaco Stravagante" the concerted -pieces are good, and the final rondo a type of final airs. -"L'Inganno Felice" was the first to make an impression. "Ciro -in Babilonia" was given to accomodate a woman, who sustained one -tone while the orchetra played the melody. With "Tancredi" came -the commencement of reforms and the character of the easily comprehended -melodies was fascinating. Rossini substituted singing -for declamation, for monologues supported by chords, and concerted -pieces connected with and supported by a brilliant orchestral -accompaniment. In "Tancredi" the bass was given prominence, in -fact he was as prominent as the tenor. In "Semiramide" the principal -is a bass. The action is sustained, the number of formal airs -decreased, the number of characters increased and a free use -made of the chorus, which previous to this time had been merely -a subordinate part with no dramatic functions. In "Otello" the -recitative is used more sparingly and accompanied by a full band, -from which the piano was banished. This had been expelled before -in Germany, and by Gluck in France. The two leading parts are assigned -to bass voices, and the interminable recitative accompanied -by double piano or piano and double bass, is done away with. -The most beautiful airs for the prima donna are in "La Cenercatola".</p> - -<p>Rossini was now bringing his operas to a brilliant termination,<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -and beginning to emphasize the alto and mezzo voice. -It was only toward the end of his Italian career in "Matilda di -Shubrun" that he assigned the leading part to a soprano. We find -now that there are no leading parts written for contralto and -whether this is due the fact that the soprano has bean forced into -activity to suit new tastes, or because contraltos are rare, -we can not say. Of course Meyerbeer's "L'Africaine" and Donnizetti's -"La Favorita" are exceptions. The orchestration of "La -Gazza Ladrone" is more brilliant and sonorous than that of its -predecessors and introduces new instruments, new combinations, -a new distribution of voice parts, and of orchestral melodies -with declamatory phrases for the singers instead of the endless -recitative accompanied only by chords for the cellos or piano.</p> - -<p>He introduced cornets and ophicleides in the overture to -"William Tell", as the nearest approach to the actual instruments -used by the cowherders of Switzerland. In "Semiramide" he -brought an entire band onto the stage and wrote beautifully harmonized -music which suggests the chase. He began the overture -to "La Gazza Ladrona" with a duet for the drums, and did away with -the extemporaneous attempts at orchestration by solo instrumentalists -in the accompaniment, who were every bit as disagreeable -and authoritative os the vocal soloists.</p> - -<p>Berlioz charged that Rossini's music was heartless, unemotional -and written entirely for the singer, utterly disregarding -the vocal effect. His particular attention to orchestral and choral -effects may be traced to the Parisian influence of his fine -experience in hearing their choruses and orchestras. His music -changed from the soft voluptuous melodies of "Semiramide" to simple<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> -emotional dramatic ones in "William Tell".</p> - -<p>Rossini, as mentioned before, was the first Italian to accompany -recitative with a full band, assign leading parts to the -bass, make each dramatic scene one continuous piece of music, and -bring to perfection the highly varied, amply developed, concerted -finales.</p> - -<p>Donizetti wrote from sixty to seventy operas, but his -"Don Pasquale" is in a light style as compared to the "Barber of -Seville" and does not approach "Semeramide" for melody, nor "William -Tell" for dramatic value. Stendhal foretold that the florid -music of Rossini would be followed by a master of simple melodies -and we find Bellini to be the one. Donizetti's work is not well -balanced and he sways from one extreme to the other. His tenor -air in "Anne Bolena" is attractive for it possesses more dramatic -significance than most of his. He counted on the pure musical effect, -which is naturally more effective in spoken drama than in -opera, which is sung through out. For instance, the horn of "Hermani" -is terrifying when heard in the play, but merely ordinary -when heard in the opera. He seldom wrote a tune, or scored a half -dozen measures of simple accompaniment, without burying the voice -under ponderous chords for the wood winds. "Lucrezia Borgia" contains -less recitative than was customary with Rossini. Notice -must be taken of the brilliancy of the introduction, the series -of dramatic scenes and the large number of tuneful themes distributed -judiciously for the four leading personages. "Lucia" is -broadly conceived, well constructed and highly dramatic, especially -where the chorus informs Lucia of the end of Edgar. In "La -Favorita" there is passionate impulsiveness in the final duet, the<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -choruses are impressive, and the music appropriate to the various -personages and situations of the piece.</p> - -<p>Bellini had true melody and his creative power was more -effective than Donizetti's, as was his use of the orchestra. He abandoned -trills and for ornamentation delivered simple phrases. "La -Somnambula" is an endless flow of melodies full of true emotion and -thoroughly dramatic, for he gave attention to the orchestration -and concerted melodies. Rossini emphasized the necessity of introducing -choruses, which he maintained were indispensable for dramatic -effect, and we find his ideas developed by these men. However, -these, and Paisiello's form of long scenes of recitative are old -now.</p> - -<p>Mozart's introduction to "Figaro" first introduces the -air by the orchestra, then transcribed for the solo voice and finally -sung by the chorus. The melody of his "Zitti Zitti" trio was take I -from Hayden's "Seasons". He has adapted also an air from a Russian -dance to aid in the dramatic effect. He reached the highest perfection -of expression of melody with the strings, woodwinds and -voice. His librettos are weak, however, although he rewrote the -less important ones himself. His recitative is barren, for in his operas -one had only to sing beautifully, while in Wagner one must declaim -beautifully. Mozart knew music as the art of expression and -gave this in its fullest sense to airs, duets and ensemble pieces, -yet he left opera forms as he found them. He spoke of and depicted -scenes, animals, etc. in his music. "Magic Flute" is a primma donna -opera. Mozart considered first music, then the book and lastly the -performance. In "Figaro" the psychological handling of the characters -is unconvincing. He has applied one invariable musical formula<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -to every character. He repeats one or two chords ad infinitum in -the orchestra. The voice trips along on top of these in semi speed. -He sanctioned formulas for cadences used in every situation. Even -in "Don Giovanni" the formulas for the cadences are used in this -manner. He uses the same method for light scenes as well as tragic -situations, depicting indignant heroines and chorus in the same -manner. He was more musical but he did not realize the dramatic situations.</p> - -<p>Bellini was a pure melodist, but his instrumentation was -faulty, and he objected to ornamentation.</p> - -<p>The French opera helps to develop the tendency of individual -expression while the German crushes it in striving for a -whole general effect. Rameau's "Hyppolyte et Aricie" is the most -highly developed study of character. Lulli's work is an amplification -of Ramean's work. He combined simplicity, natural melody and -dramatic intentions. He developed his attention to the orchestra, -and employed the chorus as an integral factor in the situation. -He invented the overture using a slow movement, followed by a quick -fugal style with the third division, a short dance. He developed -the style of the French ballet. Both he and Ramean considered accompanied -recitative a matter of more importance than a continuous -flow of melodies. He reduced music to a minimum in this and did -not dominate it in time, rythm nor musical feeling. He characterized -it by accentuating the metrical and prosodial elements of the -words themselves, and followed closely the accent of the words, -changing rapidly from four-four rythm to three-four, and back again.</p> - -<p>There is no feeling in his arias for he was restricted to -conventional forms, and his melodies are characterless. In his<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -"Comique de la Rayne", arranged by Baltazan de Beaujoyeaux, with -dance, tunes, chorus, musical dialogues and ritornelli he exhibits -a bold and highly cultivated taste for instrumental music -which led him to mold the overture into a more perfect form.</p> - -<p>The serious opera, however, was becoming a mass of absurdities, -emphasizing the spectacle as superior to the music, with -bad libretti, degenerating under aristocratic patronage. The overture -was to anticipate the opera and a better recitative was wanted. -Gluck wished to minimize the disparity between opera and recitative -and protested against the frequent use of the de capo and repetition -of words, maintaining that the words should only be repeated where -required by circumstances of passion.</p> - -<p>Meyerbeer was feeble in harmonic invention with no psychological -grip but with a talent for manipulating broad contrasts -and climaxes of sound. He is a creator of modern stage technique, -merging scenes and music into unity, a school of dramatic effects -closely studied by Berlioz and Wagner.</p> - -<p>Bizet's "Carmen" is the most brilliant and best to convey -the romance of the nomadic desire in the gypsy. The ballets and operas -of Delibes are like the fashioning of a piece of Sevres china. -Cesar Franck's veil of harmonies envelops a multitude of themes -so that the tragic ending almost gives one a sense of peace. Auber -was the last to represent the Opera Comique and is noted for his -simple melodies, and the rythm and brilliancy of his orchestral -effects. Bizet's operas are notable for their abundance of local -color, but Meyerbeer was the most influential except Wagner. He -opened up a new epoch in French opera.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> - -<h2 id="IV_WAGNER">IV. WAGNER.</h2> - -<p>Wagner objected to the sentimental Italian music. He considered -Gluck only a musician of airs, and himself insisted on absolute -equality of words and music. His "Trilogy" is the longest -musical work in the world, containing 984,033 notes. He discarded -formal arias, finales, separate movements, to a great extent choruses, -whereever histrionic delineation did not demand them. He considered -a full close or final cadence quaint and for usual formal -melodies substituted declamatory recitative or speech song.</p> - -<p>Gluck and Wagner brought back undying principles of dramatic -worth. In the days of Bellini, Rossini and Donizetti, melody -was supreme. The dramatic truth was lost sight of and the melody -was not appropriate. In "William Tell" and "Der Freischutz" there -was a step onwards towards the Wagner reform and a return to the -first principles of dramatic art as applied to opera by the Bardi -coterie. There was recitative, declamation and melody. Individualism -was the prevailing tendency, and the success depends on the forcibleness -of character development by means of the leitmotiv. Operatic -art was here swaying between Wagnerism and the ancient Greek drama. -This union of drama and music does away with the old absurd Italian -form, in which the libretto was a mere skeleton, the situations unnatural -and the music inappropriate and undramatic.</p> - -<p>The Wagner texts were better and abolished concerted music -which was unnatural, and he demanded distinctness in ennunciation, -musical embodiment of emotional speech, melodic independence -of the orchestra and rapid and natural action. The Italian libretto -was merely an excuse for musical adornment, but the Wagnerian opera<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -was a source of inspiration. Wagner translated every character, -emotion, dramatic action, symbolic idea by a series of characteristic -phrases. He joined motive to motive, developed with artistic -skill a musical current rolling along in the orchestral accompaniment -and ample in every word.</p> - -<p>In his earlier works Wagner adhered to the lyrical conception -of the opera. Speech was raised by stress of emotion into song -with the orchestra used only as an accompaniment and, under this new -system, effected an organization of instrumental and vocal forces. -In "Das Rheingold" the orchestra is exalted to symphonic dignity -with the traditional alternations of the formal song and recitative -merged into free declamation. The symphonic treatment of the orchestra -led to increased developmentt of leading motives. As symphonic -music presupposes the use of musical themes, Wagner drew -his themes not from the words sung by the characters but from the -characters themselves, their thoughts, feelings and aspirations. -In the love duet in "Die Walküre" the most delicious harmony is expressed.</p> - -<p>Wagner was both a poet and a musician and combined poetry, -music and pantomine painting. He is called the "reformer of opera", -a "regenerator of modern drama". Wagner's great work aside -from the leitmotiv was his work with recitative. Up to this time -the recitative and the arias were dry, weak, barren and hampered -every composer and poet. Up to his time the recitative aria and the -ballet had undergone no organic change, though the aria had suffered -many changes of fashion. He did not mean to sacrifice the -beauty of sound in the Italian operas, but this had so far usurped -the first place, while the dramatic motive which had inspired the<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -invention of the opera. His works are not conspicuous for pure melody, -for he considered the dramatic effect of chords and discords. -He paid deference to the language employed and the vocal peculiarities -of the people, for the German words were unintelligible when -sung to the florid Italian tunes. He wrote the vocal parts of his -lyric dramas to bring out the force of his poetry.</p> - -<p>He gave new expression to new ideas. Peri, in "Eurydice", -concealed an orchestra behind the scenes. In Monteverde's "Orfeo", -thirty-six different instruments were relegated to each personage. -Wagner assigned an instrument or set of instruments to each person. -His typical phrases are most interesting. He pictures the giants, -in "Das Rheingold", with loud heavy octaves, the Nibelung, tricksters -and schemers, with music of a descending figure, twothirds -the interval of a seventh, the melodies of the Rhine with characteristic -figures depicting slow undulation of water in its depths, -flux and reflux of element, ripples on the surface and the motion -of the swimmers.</p> - -<p>His "Rheingold" music is truly scenic. It begins with a -single deep tone and then introduces instruments of a lighter color. -The graduated augmentation of the wavy accompaniment and the doubly -delineative spirit reflects the sinless quiet of the Golden Age. -There are themes for mental states and the evil Alberich is represented -by abrupt jerky music. The orchestra discourses mournfully -of the renunciation of love. Loga is depicted by fitful chromatic -phrases which crackle and flash thru the orchestra. The sword -phrase consists of major harmonies over sustained pedal point, and -the thunderstorm of rushing figures in bass, and staccato lightning -in short rapid figures in lighter instruments, crashing of the<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -wind in chromatic phrases, a hammering rythm for the Nibelung. -Siegfried's boyhood is pictured as a wild forest lad with a hunting -call, and when he gathers pieces of the spear the music accompaniment -is in broken rythm.</p> - -<p>In "Parsifal" the music depicts little of external things. -In "Tannhaüser" there are fancies which Wagner wished to float thru -the minds of the audience and the Pilgrim's Chant swells and disappears. -In "Tristan and Isolde" the prelude represents the spiritual -progress of the tragedy. The suffering of the wounded Tristan -is shown by a theme of descending half steps and a closing cadence -of short phrases which stand for the love glance is a downward -leap of the seventh. The symbol of death is expressed with a sudden -and unprepared change from A flat to A. The music consists of a -few phrases which unfold themselves over and over again in a variety -of combinations with continually changing instrumental color. -"Die Meistersinger" prelude delineates the characteristic traits -of the personages, and the symphonic introduction indicates the -elements of the plot, the progress in its developement and the outcome. -The two classes of melodies are broadly distinguished in external -physiognomy and emotional essence, at first consecutively, -then in conflict and finally in harmonious and contented union. -The solid old burghers of Nuremburg, a little vain, are pictured -by strong simple tunes with sequences of the intervals of the simple -diatonic scale, strongly and simply harmonized, a trifle pompous -in opposition to the passion of the lovers displayed. These -themes differ in every respect, melodic, rythmic, and harmonic, and -also in their treatment. The lover's theme is chromatic, the rythme -are less regular and more eager by syncopation. This is harmonized -with greater warmth and set for the instruments with greater passion.</p> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<p>Wagner's orchestra acquired gradually the functions of the -Greek chorus, in that it takes part in the action to publish that -which is beyond the capacity of the personages alone to utter. He -unfolds thoughts, emotions, motives and passions by means of mode, -harmony, rythm, time and the orchestration. By applying the principles -of augmentation to a phrase in the three phases of melodic, -harmonic and instrumental structure, he illustrates the tragic -growth of Siegfried. He wrote his own librettos so that his works -would be consistent. "Tristan and Isolde", "Die Meistersinger", "Der -Ring des Nibelunger" and "Parsifal" realized his conception of -what a poet composer should be. Music had usurped the place in -lyric drama and music is a medium only and not an end of dramatic -expression. His leitmotiv, infinite melody and symbolical themes -gave his orchestra color. He used musical declamation for recitative -secco, employed choruses with intelligent regard, and originated -arias from the situations. Wagner lived for pure singing -and did not make abnormal demands upon the voice like those of -Strauss' "Electra". He has long solo passages and orderly development -of orchestral themes, as different from Debussy whose -sounds are not connected. Wagner elevated the orchestra from a -mere accompanying force to an essential factor. He maintained that -formal song should be abolished, that the dialogue should be musical -and that the orchestra should have an orderly development -of melodic material save when the climaxes justify an apparently -disconnected dramatic melodramatic method. Damrosch criticizes -Wagner because he says everything in his orchestra, and his singer -is too little considered.</p> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<p>However, his operas are a tableaux of gorgeous glowing -pictures, and he has had no successful imitation. His scheme of -thematic identification and development in its union of calculation -and reflection and musical inspiration, is beyond the capacities -of those who have come after him. Musical critics and historians -have been occupied with the question as to whether or not the progress -in operatic composition is possible on the lines laid down, although -his influence is a modification of the old method rather -than the invention of new ideas. We look to the theatres of Paris -for his influence in corrections and technical finish. The clear -musical phrases of the "Flying Dutchman" are presented in symphonic -way and there is an introduction, aria, scene, duet and chorus. The -commencement of each of the three acts with a chorus was a mannerism, -but Wagner scarcely ever employed it. In "Tannhauser" there is -only one duet. He advanced individualism of the dramatic mood by -banishing the aria. He made the orchetra the chief sustainer of the -musical framework with the voice for the dramatic organ. The lyric -recitative is reechoed at times by melodic phrases and developed -motives. The extreme limit of Wagner's methods is "Salome", which -is really a symphonic poem for a gigantic orchestra to the accompaniment -of dramatic action with a voice obligato.</p> - -<p>Gounod did not use prolonged themes unless for a dramatic -or purely ethical reason. "Faust" is the best suited for the human -voice. The orchestra never submerges the voice and is only a factor -and not a sum total. At this time the Italian school was at the -height where flimsy librettos only served to string together duets, -quartets or choruses. In "Faust" there is the first artistic union -of score and words.</p> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - -<p>Verdi had a keen dramatic vision and assigned greater -importance to the orchestra than his Italian predecessors. There -is an absence, for the most part, of set airs, and there is a continuity -of musical structure. The orchestration is wonderful, but -the voice still remains the centre of the musical system. The style -is more that of Donizetti's than Bellini's, although critics declare -the music of "Ernani" noisy and commonplace, with too much -brass in the orchestra. His chorus was written in unison, and passed -too abruptly from one piece to another, and his effects were not -sufficiently prepared, but under his direction the brassiness was -kept down, and a proper balance maintained. There is genuine emotion -in his strains, significance in his melodies, characterization -of personages and forcible construction of scenes, though he did -not surpass "William Tell". He neglected concerted music and does -not include one separate regularly constructed piece. His solo melodies -are beautiful. His "Aida" is saturated with local color, Egyptian -music, with a masterly combination of strings, woodwind and -voice. "Il Trovatore" is not an opera but a set of detached pieces -held in loose contact on a string. There was little action and we -find page after page to be sung at the footlights with only mechanical -gestures. Verdi avoided the "leitmotiv", and relegated mere -tune to the background. In "Falstaff" there is a complete independence -of restrictive formalism that modern music drama requires to -illustrate the play, which enhances the significance of the situations.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p> - -<h2 id="V_POST_WAGNERIAN_SCHOOL">V. POST WAGNERIAN SCHOOL—INCLUDING MODERN RUSSIAN, -FRENCH, ITALIAN, GERMAN, AND AMERICAN COMPOSERS.</h2> - -<p>Michael Ivanovitch Glinka is called the "Father of Russian -Opera". He combined the technique, forms and counterpoint of -Italy and Germany with the Russian folksong and rythm. He was -choice of his subjects, and thought that the management of the -plots ought to be more simple, and the music in the style of natural -song. There is energy and also vitality in "La Vie pour le Tsar" -and "Russlau et Ludmille". In Russian folk songs we find the music -suitable to the words.</p> - -<p>The Russian folk like acting and their customs in their -wedding ceremonies, etc., are an ideal basis for an opera school. -Glinka used the fierce struggle of the contending nations for a -background, and let the story be related and enacted by four central -figures. His realism surpassed the trivial impossibilities of the -Italian school. He did not combine involved themes in a pot-pourri -style so that none could be distinguished, but rather created -atmosphere. His instrumentalism is sonorous and uses five-four, -six-four and seven-four time.</p> - -<p>The "Pique Dame" of Tschaikovsky has a style like that of -other composers beyond set forms of the older operas though not of -the music drama. The arias, duets, choruses and ballets are dramatically -appropriate, and the orchestra is more of a function than -an accompaniment. In "Boris Godonnow" there is no principle tenor -part, no principle contralto part and no principle soprano part. -If it is a singer's opera at all it is a basso's, but it really is<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -more for chorus. The writing for solo declamatory passages occassioned -the use of the lyric passages in the orchestra, which was -made the purveyor of color. The atmosphere is not symphonic, though -the development is important and we find a remarkable use of the -leitmotiv but the composer never even heard of Wagner.</p> - -<p>Nicolai Andreyevitch Rimski-Korsakov was a serious student -of Russian folk lore. His music is free and expressive—so much so -that when he studied technique seriously, it was almost impaired. -His operas are versatile, but his "Snow Maiden" is a trifle old-fashioned, -although he fails to express pathos, delicate tenderness -etc. The stage phantasmoriga, of "Christmas Eve or Vakoul the Smith", -especially at the transformation scenes is accompanied with music -wild and bizarre, yet consummate in its descriptive finesse. He was -dissatisfied with the foreign elements of the Italian form of opera -which Glinka and Tschaikovsky could assimilate to excellent purpose. -He cannot seem to decide whether opera is lyrical or symphonic. His orchestra -suggests the soft freshness of a May night atmosphere in the -steppes of Russia, the aroma of flowers, the enchanting long drawn -notes of a nightingale interspersed with the love element, and the -vocal characterization of the Mayor and the Bailiff in this "A -May Night" is extremely clever. Like Strauss, he uses certain themes -for certain instruments and has the Russian desire to mingle meaning -and sound.</p> - -<p>Wagner laid down the theories but his imitators have failed -because they did not have his genius. Rimski-Korsakov is noted for -his brilliant orchestration and the ugly and cruel music leading -up to his situations, but he combines dignity and simplicity with -realism and not with the romantic. The protogonists of his drama<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -are, the Russian people, and that is the reason for the extended -use of the chorus. There is no central situation, as the people -and one character, or sometimes two, make up the drama. It is easy -to omit or transpose a scene thus showing the loosenes of the dramatic -construction, which is a merit in a musical play, for the -composer can express the central ideas of the drama without being -bound hand and foot by dramatic situations. In the modern music -drama the orchestra expresses all that cannot be expressed by the -dramatic action and the singers. Rimski-Korsakov's is mainly a subjective -expression of composition, while Moussorgsky's orchestra -is never subjective, but always objective. Borodini's "Prince Igor" -is a colorful barbaric ballet while in Dargomysky's "The Water -Sprite", "The Stone Guest" there are interesting intermediary recitative -sections, although the recitative of "La Pskovitaine" is -dry.</p> - -<p>Xaver Schwarwenka'a opera "Mataswinthe" resembles those -of Wagner of the "Lohengrin" period. They are thoroughly modern. -The muted horns in the orchestra give dramatic expressiveness in -harmony and the composer uses the free arioso style. There is not -the set form of the Italian school, but the modern declamatory -arioso, monologues and duets, discarding recitative, and introducing -massive ensembles with key complexity, but never smothering -them with the orchestra.</p> - -<p>Balakirew and Borodini employ good airs, especially in the -ballet, and color their orchestra wonderfully. Cesar Cui used melodic -recitative with the interdiction of the repetitions of words, -and there is an absence of duets and trios and every piece of ensemble, -and every one affecting a definite and complete character.<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -"Angelo" and "The Filibuster" are too extreme, for the three acts -of recitaive become monotonous. This school's form is vague except -for the audacious harmonization.</p> - -<p>Puccini adds to Wagner's reform, with the peculiar style -of modern French and Italian composers which alternates light and -varied orchestration and melody, with harsh, almost crude instrumentation. -He demonstrates that the orchestra may be made to interpret -shades and transitions of rapid and subtle emotion, and he produced -an actual musical diction with some of the finest passages -for the orchestra alone. His sense of melody is supreme in his -combination of Italian and German methods. His impressive manner -of intensifying and underscoring dramatic moments in the action -is unparalleled as is also his capacity for forceful and succinct -orchestral commentary. He uses his music to paint scenes and makes -continuous use of distinctive and rythmic melody and there is an -absence of any definite characterization by means of a leitmotiv, -for his work is lighter than that of Wagner's. He maintains that -opera must have local color, so therefore we find an interweaving -of American airs in his "Girl of the Golden West" and American -and Japanese airs in "Madame Butterfly". His score is genuinely -Puccinean and an influence of Debussy is betrayed in an harmonic -way.</p> - -<p>The prelude to "Madame Butterfly" Is not an overture, -though it does state some motives. His songs constantly contain -one melody in the instrumental against the unrelated vocal part, -and he reflects the modern moods and ideas in a score intricate in -counterpoint, rich in embellishment, full of the melodic fluency -of the Italian temperament and strength of the German school. The<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -Japanese effects give beautiful lyric movements but they are not -as great as Verdi's. There is intense dramatic vigor in "Manon -Lescaut" which has spoken dialogue with running orchestral accompaniment -and motives. "La Boheme" has neither overture nor intermezzo, -and lacks sustained melody. Puccini is termed the only one -with as much genius as Wagner, for he agrees that too much realism -is cramping to good music, and he proves that music drama can be -loosely constructed and need not conform to spoken drama standards.</p> - -<p>Debussy, in "Pelleas and Melisande" places a statue on -a stage, not a musical one, but one of dramatic action and declamation. -The vocal parts are reduced to a minimum of musical expressiveness -and the music, a sort of rythmless chant, is subordinate -to action. He is about the only composer who makes music dependent -entirely on the drama. Wagner's orchestra is a bug driving force, -while Strauss' delicate shifting of the background of the polyphony -does not drown the voices. Debussy does not compose with the -aim of orchestral composition as do Wagner and Strauss. With Puccini, -Debussy and Charpentier, the human voice counts as a real medium. -In "Pelleas and Melisande" there is a tress on the naturalness of -the recitative. Debussy makes music the servant of the drama and -makes a symphonic use of motives which are not developed formally, -but manipulated in an undercurrent of musical thought. He declares -melody anti-dramatic, and in recitative with the orchestra there -is freedom for individual interpretation. His "L'Enfant Prodigue" -is composed along the regular lines and is his best work. He follows -Cesar Franck's method of scattering a number of disconnected -themes and leaving them to sort themselves.</p> - -<p>In Dukas' "Ariane and Bluebeard", set melodies are avoided<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -and everything is in plastic style of music drama, with shimmering -tone color and a wealth of orchestral touches. Louis Aubert's -"The Blue Forest", is an effective combination of modernity and -simplicity with much use of leading motives and some fairly definite -numbers. "Les Heretiques" displays enervating voluptuousness -and languor in the duet. There are grave and large accents for the -invocation to Venus by Daphne. The orchestral lamentation at the -close is graceful and the choruses are charming, but the dialogue -is wearisome. He is a disciple of Massenet in his correct portrayal -of the suavity, sweetnes and fascination of women. In "Le Petite -Boheme" the orchestration is rich and effective and the dramatic -action is developed.</p> - -<p>Franchetti's "Germania" is a lyric two act drama with a -prologue and an epilogue, aping Wagner, Verdi, Puccini and Tschaikovski. -Delibes, a new dramatist, uses unusual discretion in the -color expression of the orchestra but with very little acting. His -modulation scheme is rich and more melodic, but it is almost as -declamatory as that of Strauss. Saint Saens and Massenet are less -radical with a light melodic orchestra. Massenet's music in "Le -Jongleur" and "Griselidis" is not strong enough to atone for tiresome -episodes in the plot. The chorus plays an important but invisible -part, throughout.</p> - -<p>The Charpentier orchestra and neither Strauss-like nor -Wagnerian. His "Louise" is constructed according to Wagner but creates -an atmosphere rather emphasizing themes. It has musical originality, -dramatic novelty and picturesque reproductions of life, -style, and a blend of romanticism and reality. He is influenced by -Massenet in musical speech and orchestral style. He emphasizes the<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -lyrical element by the use of melodic recitative rather than by -aria. He develops motives for descriptive importance with polyphonic -style. The individual sonority of the orchestra reduses the -stress on the orchestra's departure from the Wagnerian ideas. He -reduced the dependence of these ideas to a minimum, and asserted the -value of reliance on the native sources of music and drama.</p> - -<p>Bruneau was a pupil of Massenet with undistinguished melodic -patterns. He followed Wagner in the close continuity of drama -and accurate characterization in music, fitting a characterization -for varying dramatic atmospheres. His "Kerim" displays militarism -and is a contrast to the pastoral elements in "L'Attaque -du Moulin". His thematic manipulation is not flexible enough but his -harmonic idiom is ingenuous and true to the qualities of race and -time. D'Albert's "Tiefland" has a prologue and two acts, and combines -the Wagner and Puccini swift and pliant orchestra, which colors -and intensifies, but dispenses with the elaboration of Wagner's -symphonic chorus. Chenier's "Liberia", strange to say, has -one strain repeated and repeated. Chabrier is noted for his delicate -expression and his fidelity and vigor of delineation. In "Briseis" -the fresh aroma of the sea is suggested by the soft singing of -the sailors without any overture or prelude. Bruneau in "Zola" -writes flexible music and has a capacity for unmetred prose used for -vocal purposes, a caustic rugged sincerity with an element of passion -and little tenderness. Charpentier's "Louise" has the quick -lithe movement of the Parisian character; gay, amused and amusing.</p> - -<p>Richard Strauss uses a more complex orchestra than Wagner -and we find leading motives as in Wagner. He is one of the -most severely criticized composers of modern times. He has been -accused of outrageous infraction of every musical law. The mood<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -in "Electra" is implicit in the play, but it is reinforced by -Strauss' orchestration. Where Beethoven or Wagner entrances are -splendid, the instrumental equivalent of Strauss grates. He is typical -to the moods, etc., of the play. He uses discords to represent -a mad woman, but is musically beautiful in the recognition of brother -and sister and love. The chief characters are depicted by leading -motives, dissonance and orchestral bewilderments, and his power -of characterization is extraordinary. There are forty-five themes -in "Electra". He uses different instruments to represent the different -animals, etc. For instance, the grunting of the pigs is represented -by six bassoons and a flute.</p> - -<p>There are one hundred and four musicians in "Salome", -with sixty strings and an organ celeste. Three men carry on an excited -conversation, one in seven eighth time, one in five eighth -time and one in four four time, while the orchestra continues its -original tempo.</p> - -<p>Puccini, Humperdinck and Mascagni are considered by many -to be the best living composers. "Königskinder" is chiefly declamatory -and never sacrfices the human voice for the orchestra, and -expounds and illustrates, but never fails to support the shapely -arioso by rarely defined melody.</p> - -<p>"Conchita" by Riccardo Zandonai embraces a few fragmentary -themes and the voice parts are declamatory without a melodic -line or the shapeliness of an arioso. Mascagni's "Cavalleria Rusticana" -shows the introduction of a new device with the performance -of the orchestral interlude and division of the work into -two parts, with the curtain remaining up and showing the empty -stage. Both he and Leoncavello have written short operas with effective -librettos, and they stand for dramatic verities.<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -Our American composers seem to follow different schools and styles -without establishing one of their own. "Mona" by Horatio Parker -assigns not a motive for a label to each character but a tonality, -though only one blessed with absolute pitch can appreciate this. -Walter Damrosch's "Cyrano" is in a post-Wagnerian style, a sort of -melodious arioso frequently broadening into definitely shaped airs, -with numerous ensembles, trios, quartets and choruses and the orchestra -plays an important part, being continuously melodious, but -not monopolizing melodic interest with leading motives attached to -characters. "The Pipe of Desire", by F. S. Converse, has passages in -a later Wagnerian style, and there are four prominent motives while -the orchestra is exceedingly good, especially in depicting the -"Naioa" theme. Victor Herbert's music is replete with local color -and drama, and the representative themes are not developed, although -his music is rather light and better suited for the operetta -and the salon.</p> - -<p>Thus we see how the musical forms of the opera have changed -from the older more vocal feats to the newer well developed music -drama. Gluck and Wagner brought back the undying principles of dramatic -truth. In the days of Bellini, Rossini and Donizetti, melody -was supreme and the dramatic truth was lost sight of. In "William -Tell" and "Der Freischütz" there was a step onward, and with Wagner -we find a return to, or reform, of the first principles of true -dramatic art as applied to the opera by the Bardi coterie. Individualism -is the prevailing tendency and succes depends on the forcibleness -of the characters and the development of the leitmotiv.</p> - -<p>In our consideration of the operas, from "Rappresentatione -di Anima" to "Madeleine" we find the number of characters<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -growing larger, the orchestra more complex and perhaps usurping more -time, the solo work increasing considerably, recitative increasing, -ensemble almost vanishing and chorus work reduced to a minmum. The -opera of the future will be a medium between Wagner and Strauss, -orchestral music drama, and the Debussy incidental music, and the -melodiousness of the Italian school. The most vital music dramas of -the day do not abandon nor drown out the voice, nor do they cast -aside all musical connections, but combine orchestra, voice and dramatic -action in an artistic way.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></p> - -<h2 id="APPENDIX_OF_TABLES">APPENDIX OF TABLES.</h2> - -<p><a href="#TABLE_I">Table I.</a> This table is general, comparing, by means of -a percentage system, the amount of space devoted to the orchestra -solo, recitative, ensemble and chorus work in the thirty-four operas -considered. The date, name, composer, number of acts and number of -characters is shown.</p> - -<p><a href="#TABLE_II">Table II.</a> This develops column "D" of table I and shows the -first the entire number of characters, and then the number of -sopranos, mezzo-sopranos, altos, tenors, baritones and bass in -these same thirty-four operas.</p> - -<p><a href="#TABLE_III">Table III.</a> This table develops "F" of Table I showing -the entire percentage of orchestration in each of the thirty-four -operas, and further the division of this percentage into -that devoted to overtures, ballets and interludes.</p> - -<p><a href="#TABLE_IV">Table IV.</a> This table develops column "G" of Table I concerning -solo works. The percentage of the entire solo work is given -and this is then divided into the percentage devoted to that -of soprano, mezzo-soprano, alto, tenor, baritone and bass.</p> - -<p><a href="#TABLE_V">Table V.</a> In this table column "H" of Table I is developed. -A record is shown of the operas which contain accompanied -and unaccompanied recitative of the thirty-four operas is shown, -and this, in turn, is divided into that of soprano, mezzo-soprano, -contralto, tenor, baritone and bass.</p> - -<p><a href="#TABLE_VI">Table VI.</a> Column "I" of Table I is considered here. The -entire percentage of ensemble work is shown, and this is divided -into that of duets, trios, quartets, quintets and sextets.</p> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> - -<p><a href="#TABLE_VII">Table VII.</a> This table develops column "J" of Table I -and shows the percentage of the opera devoted to chorus work -and further, the division into mixed chorus and men's and women's -choruses.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a><br /> -<a name="Page_47" id="Page_47">[47]</a></span></p> - -<h3 id="TABLE_I">TABLE I. GENERAL.</h3> - -<table summary=""> - <tr> - <th>A<br />Date.</th> - <th>B<br />Name.</th> - <th>C<br />Composer.</th> - <th>D<br />No. of<br />Characters.</th> - <th>E<br />No. of<br />Acts</th> - <th>F<br />% of<br />Orchestra</th> - <th>G<br />% of<br />Solo</th> - <th>H<br />% of<br />Recitative</th> - <th>I<br />% of<br />Ensemble</th> - <th>J<br />% of<br />Chorus</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresebtatione de Anima</td> - <td>Cavalieri</td> - <td class="tdr">5</td> - <td class="tdr">3</td> - <td class="tdr">11.6 </td> - <td class="tdr">14.21 </td> - <td class="tdr">30.2 </td> - <td class="tdr">11.6 </td> - <td class="tdr">14.39 </td> -</tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdr">13</td> - <td class="tdr">5</td> - <td class="tdr">30.1 </td> - <td class="tdr">21.3 </td> - <td class="tdr">9.73</td> - <td class="tdr">17.27 </td> - <td class="tdr">21.6 </td> -</tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdr">2</td> - <td class="tdr">2</td> - <td class="tdr">14.35</td> - <td class="tdr">25.73 </td> - <td class="tdr">30.30</td> - <td class="tdr">19.50 </td> - <td class="tdr">10.2 </td> -</tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdr">3</td> - <td class="tdr">3</td> - <td class="tdr">26.85</td> - <td class="tdr">15.27 </td> - <td class="tdr">11.87</td> - <td class="tdr">33.13 </td> - <td class="tdr">12.88 </td> -</tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdr">8</td> - <td class="tdr">3</td> - <td class="tdr">32.92</td> - <td class="tdr">23.5 </td> - <td class="tdr">23.82</td> - <td class="tdr">3.163</td> - <td class="tdr">18.71 </td> -</tr> - <tr> - <td>1784</td> - <td>Le Domine Noir</td> - <td>Auber</td> - <td class="tdr">9</td> - <td class="tdr">3</td> - <td class="tdr">23.6 </td> - <td class="tdr">18.68 </td> - <td class="tdr">18.62</td> - <td class="tdr">15.91 </td> - <td class="tdr">23.19 </td> -</tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdr">8</td> - <td class="tdr">2</td> - <td class="tdr">15.91</td> - <td class="tdr">30.13 </td> - <td class="tdr">31.43</td> - <td class="tdr">29.31 </td> - <td class="tdr">1.582</td> -</tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdr">7</td> - <td class="tdr">3</td> - <td class="tdr">4.17</td> - <td class="tdr">6.53 </td> - <td class="tdr">.92</td> - <td class="tdr">83.4 </td> - <td class="tdr">6.2 </td> -</tr> - <tr> - <td>1800</td> - <td>Les Deux Journees</td> - <td>Cherubini</td> - <td class="tdr">6</td> - <td class="tdr">3</td> - <td class="tdr">22.56</td> - <td class="tdr">13.5 </td> - <td class="tdr">22.8 </td> - <td class="tdr">7.2 </td> - <td class="tdr">36.94 </td> -</tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdr">7</td> - <td class="tdr">2</td> - <td class="tdr">26 </td> - <td class="tdr">35.17 </td> - <td class="tdr">10.11</td> - <td class="tdr">14.66 </td> - <td class="tdr">14.06 </td> -</tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdr">8</td> - <td class="tdr">2</td> - <td class="tdr">22.15</td> - <td class="tdr">17.28 </td> - <td class="tdr">10.00</td> - <td class="tdr">38.57 </td> - <td class="tdr">12.00 </td> -</tr> - <tr> - <td>1821</td> - <td>Der Freischütz</td> - <td>Weber</td> - <td class="tdr">6</td> - <td class="tdr">3</td> - <td class="tdr">51.03</td> - <td class="tdr">18.9 </td> - <td class="tdr">9.06</td> - <td class="tdr">4.7 </td> - <td class="tdr">16.31 </td> -</tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdr">7</td> - <td class="tdr">2</td> - <td class="tdr">19.61</td> - <td class="tdr">15.19 </td> - <td class="tdr">30.33</td> - <td class="tdr">7.523</td> - <td class="tdr">30.6 </td> -</tr> - <tr> - <td>1832</td> - <td>Le Postilion Lonjuneaux</td> - <td>Adam</td> - <td class="tdr">7</td> - <td class="tdr">3</td> - <td class="tdr">19.6 </td> - <td class="tdr">12.76 </td> - <td class="tdr">33.8 </td> - <td class="tdr">23.32 </td> - <td class="tdr">26.17 </td> -</tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdr">7</td> - <td class="tdr">3</td> - <td class="tdr">8.92</td> - <td class="tdr">39.83 </td> - <td class="tdr">5.62</td> - <td class="tdr">10.23 </td> - <td class="tdr">35.4 </td> -</tr> - <tr> - <td>1843</td> - <td>The Bohemian Girl</td> - <td>Balfe</td> - <td class="tdr">9</td> - <td class="tdr">3</td> - <td class="tdr">32.6 </td> - <td class="tdr">23.7 </td> - <td class="tdr">10.42</td> - <td class="tdr">8.38 </td> - <td class="tdr">25.7 </td> -</tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdr">10</td> - <td class="tdr">4</td> - <td class="tdr">18.85</td> - <td class="tdr">8.73 </td> - <td class="tdr">24.03</td> - <td class="tdr">28.77 </td> - <td class="tdr">25.95 </td> -</tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdr">8</td> - <td class="tdr">5</td> - <td class="tdr">19.7 </td> - <td class="tdr">21.42 </td> - <td class="tdr">33.75</td> - <td class="tdr">9.76 </td> - <td class="tdr">14.74 </td> -</tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdr">12</td> - <td class="tdr">5</td> - <td class="tdr">29.6 </td> - <td class="tdr">32.71 </td> - <td class="tdr">17</td> - <td class="tdr">6.97 </td> - <td class="tdr">13.72 </td> -</tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdr">6</td> - <td class="tdr">4</td> - <td class="tdr">29.82</td> - <td class="tdr">17.405</td> - <td class="tdr">15.6 </td> - <td class="tdr">7.075</td> - <td class="tdr">30.1 </td> -</tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdr">10</td> - <td class="tdr">4</td> - <td class="tdr">31.6 </td> - <td class="tdr">26.71 </td> - <td class="tdr">15.32</td> - <td class="tdr">15.05 </td> - <td class="tdr">9.32 </td> -</tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdr">6</td> - <td class="tdr">3</td> - <td class="tdr">31.2 </td> - <td class="tdr">28.67 </td> - <td class="tdr">19.82</td> - <td class="tdc">—</td> - <td class="tdr">10.31 </td> -</tr> - <tr> - <td>1887</td> - <td>Samson and Delilah</td> - <td>Saint-Saens</td> - <td class="tdr">8</td> - <td class="tdr">3</td> - <td class="tdr">35.6 </td> - <td class="tdr">25.43 </td> - <td class="tdr">19.71</td> - <td class="tdr">4.3 </td> - <td class="tdr">15.07 </td> -</tr> - <tr> - <td>1890</td> - <td>Cavalleria Rusticana</td> - <td>Mascagni</td> - <td class="tdr">5</td> - <td class="tdr">1</td> - <td class="tdr">31.6 </td> - <td class="tdr">12.3 </td> - <td class="tdr">11.9 </td> - <td class="tdr">12.56 </td> - <td class="tdr">31.64 </td> -</tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdr">5</td> - <td class="tdr">2</td> - <td class="tdr">15.77</td> - <td class="tdr">40.2 </td> - <td class="tdr">11.97</td> - <td class="tdr">9.18 </td> - <td class="tdr">19.88 </td> -</tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdr">10</td> - <td class="tdr">4</td> - <td class="tdr">36.31</td> - <td class="tdr">25.83 </td> - <td class="tdr">19.78</td> - <td class="tdr">8.33 </td> - <td class="tdr">9.75 </td> -</tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdr">7</td> - <td class="tdr">3</td> - <td class="tdr">36.2 </td> - <td class="tdr">25.47 </td> - <td class="tdr">18.1 </td> - <td class="tdr">14.91 </td> - <td class="tdr">15.38 </td> -</tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdr">6</td> - <td class="tdr">3</td> - <td class="tdr">33.6 </td> - <td class="tdr">16.86 </td> - <td class="tdr">38.40</td> - <td class="tdr">5.54 </td> - <td class="tdr">5.6 </td> -</tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdr">8</td> - <td class="tdr">4</td> - <td class="tdr">25.6 </td> - <td class="tdr">23.97 </td> - <td class="tdr">20.32</td> - <td class="tdr">15.6 </td> - <td class="tdr">15.51 </td> -</tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdr">10</td> - <td class="tdr">2</td> - <td class="tdr">33.4 </td> - <td class="tdr">12.87 </td> - <td class="tdr">24.85</td> - <td class="tdr">4.75 </td> - <td class="tdr">10.03 </td> -</tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovski</td> - <td class="tdr">10</td> - <td class="tdr">3</td> - <td class="tdr">32.4 </td> - <td class="tdr">33.96 </td> - <td class="tdr">15.42</td> - <td class="tdr">2.93 </td> - <td class="tdr">15.29 </td> -</tr> - <tr> - <td>1905</td> - <td>Salome</td> - <td>Strauss</td> - <td class="tdr">6</td> - <td class="tdr">1</td> - <td class="tdr">19.89</td> - <td class="tdr">46.2 </td> - <td class="tdr">31.62</td> - <td class="tdr">.93 </td> - <td class="tdr">11.36 </td> -</tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdr">10</td> - <td class="tdr">3</td> - <td class="tdr">24.6 </td> - <td class="tdr">32.24 </td> - <td class="tdr">39.62</td> - <td class="tdr">.07 </td> - <td class="tdr">3.51 </td> -</tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdr">5</td> - <td class="tdr">1</td> - <td class="tdr">22.41</td> - <td class="tdr">50.19 </td> - <td class="tdr">23.04</td> - <td class="tdr">4.36 </td> - <td class="tdc">—</td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a><br /> -<a name="Page_49" id="Page_49">[49]</a></span></p> - -<h3 id="TABLE_II">TABLE II. NUMBER AND KIND OF CHARACTERS.</h3> - -<table summary=""> - <tr> - <th>A<br />Date.</th> - <th>B<br />Name.</th> - <th>C<br />Composer.</th> - <th>D<br />No. of<br />Characters.</th> - <th>E<br />No. of<br />Soprano</th> - <th>F<br />No. of<br />Mezzo<br />Soprano</th> - <th>G<br />No. of<br />Alto</th> - <th>H<br />No. of<br />Tenor</th> - <th>I<br />No. of<br />Baritone</th> - <th>J<br />No. of<br />Bass</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresentatione de Anima</td> - <td>Cavalieri</td> - <td class="tdr">5</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - </tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdr">13</td> - <td class="tdr">7</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">5</td> - </tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - </tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdr">3</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - </tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdr">8</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">5</td> - </tr> - <tr> - <td>1784</td> - <td>Le Domine Noir</td> - <td>Auber</td> - <td class="tdr">9</td> - <td class="tdr">2</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdr">8</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdr">7</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - </tr> - <tr> - <td>1800</td> - <td>Les Deux Journees</td> - <td>Cherubini</td> - <td class="tdr">6</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - </tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdr">7</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdr">8</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">4</td> - </tr> - <tr> - <td>1821</td> - <td>Der Freischütz</td> - <td>Weber</td> - <td class="tdr">6</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">4</td> - </tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdr">7</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - </tr> - <tr> - <td>1832</td> - <td>Le Postilion Lonjuneaux</td> - <td>Adam</td> - <td class="tdr">7</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">4</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdr">7</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - </tr> - <tr> - <td>1843</td> - <td>The Bohemian Girl</td> - <td>Balfe</td> - <td class="tdr">9</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - </tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdr">10</td> - <td class="tdr">2</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdr">8</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdr">12</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - <td class="tdr">3</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdr">6</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - </tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdr">10</td> - <td class="tdr">3</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdr">6</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1887</td> - <td>Samson and Delilah</td> - <td>Saint-Saens</td> - <td class="tdr">8</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">3</td> - <td class="tdr">1</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1890</td> - <td>Cavalleria Rusticana</td> - <td>Mascagni</td> - <td class="tdr">5</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - </tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdr">5</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - </tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdr">10</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">3</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdr">7</td> - <td class="tdr">3</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - </tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdr">6</td> - <td class="tdr">3</td> - <td class="tdr">—</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - </tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdr">8</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">3</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - </tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdr">10</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">3</td> - <td class="tdr">2</td> - </tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovski</td> - <td class="tdr">10</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">3</td> - </tr> - <tr> - <td>1905</td> - <td>Salome</td> - <td>Strauss</td> - <td class="tdr">6</td> - <td class="tdr">1</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - <td class="tdr">2</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - </tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdr">10</td> - <td class="tdr">3</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">4</td> - <td class="tdr">2</td> - <td class="tdr">—</td> - </tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdr">5</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">—</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a><br /> -<a name="Page_51" id="Page_51">[51]</a></span></p> - -<h3 id="TABLE_III">TABLE III. ORCHESTRATION.</h3> - -<table summary=""> - <tr> - <th>A<br />Date.</th> - <th>B<br />Name.</th> - <th>C<br />Composer.</th> - <th>D<br />% of<br />Entire<br />Orchestration.</th> - <th>E<br />% of<br />Overture.</th> - <th>F<br />% of<br />Ballet.</th> - <th>G<br />% of<br />Interludes.</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresentatione de Anima</td> - <td>Cavalieri</td> - <td class="tdr">14.39</td> - <td class="tdr">2.07 </td> - <td class="tdc">—</td> - <td class="tdr">12.32</td> - </tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdr">30.1 </td> - <td class="tdr">5.21 </td> - <td class="tdr">3.34</td> - <td class="tdr">21.55</td> - </tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdr">14.35</td> - <td class="tdr">2.45 </td> - <td class="tdc">—</td> - <td class="tdr">11.90</td> - </tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdr">26.85</td> - <td class="tdr">14.87 </td> - <td class="tdr">9.01</td> - <td class="tdr">2.97</td> - </tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdr">32.92</td> - <td class="tdr">3.61 </td> - <td class="tdr">18.45</td> - <td class="tdr">10.86</td> - </tr> - <tr> - <td>1784</td> - <td>Le Domine Noir</td> - <td>Auber</td> - <td class="tdr">23.6 </td> - <td class="tdr">10.97 </td> - <td class="tdc">—</td> - <td class="tdr">13.6 </td> - </tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdr">15.91</td> - <td class="tdr">7.39 </td> - <td class="tdc">—</td> - <td class="tdr">8.52</td> - </tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdr">4.17</td> - <td class="tdr">2.64 </td> - <td class="tdc">—</td> - <td class="tdr">1.97</td> - </tr> - <tr> - <td>1800</td> - <td>Les Deux Journees</td> - <td>Cherubini</td> - <td class="tdr">22.56</td> - <td class="tdr">16.95 </td> - <td class="tdr">1.41</td> - <td class="tdr">4.5 </td> - </tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdr">26.00</td> - <td class="tdr">7.4 </td> - <td class="tdc">—</td> - <td class="tdr">18.6 </td> - </tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdr">22.15</td> - <td class="tdr">8.98 </td> - <td class="tdc">—</td> - <td class="tdr">13.17</td> - </tr> - <tr> - <td>1821</td> - <td>Der Freischütz</td> - <td>Weber</td> - <td class="tdr">51.03</td> - <td class="tdr">21.09 </td> - <td class="tdr">3.27</td> - <td class="tdr">26.67</td> - </tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdr">19.61</td> - <td class="tdr">3.35 </td> - <td class="tdc">—</td> - <td class="tdr">16.26</td> - </tr> - <tr> - <td>1832</td> - <td>Le Postilion Lonjuneaux</td> - <td>Adam</td> - <td class="tdr">19.6 </td> - <td class="tdr">4.85 </td> - <td class="tdc">—</td> - <td class="tdr">14.85</td> - </tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdr">8.92</td> - <td class="tdr">2.33 </td> - <td class="tdr">1.45</td> - <td class="tdr">5.14</td> - </tr> - <tr> - <td>1843</td> - <td>The Bohemian Girl</td> - <td>Balfe</td> - <td class="tdr">32.6 </td> - <td class="tdr">16.25 </td> - <td class="tdr">10.32</td> - <td class="tdr">5.09</td> - </tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdr">18.85</td> - <td class="tdr">1.293</td> - <td class="tdc">—</td> - <td class="tdr">17.57</td> - </tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdr">19.7 </td> - <td class="tdr">6.52 </td> - <td class="tdc">—</td> - <td class="tdr">13.2 </td> - </tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdr">29.6 </td> - <td class="tdr">2.45 </td> - <td class="tdr">3.97</td> - <td class="tdr">22.14</td> - </tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdr">29.82</td> - <td class="tdr">6.42 </td> - <td class="tdr">10.53</td> - <td class="tdr">12.87</td> - </tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdr">31.6 </td> - <td class="tdr">4.5 </td> - <td class="tdr">9.2 </td> - <td class="tdr">17.9 </td> - </tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdr">31.2 </td> - <td class="tdr">5.1 </td> - <td class="tdc">—</td> - <td class="tdr">26.1 </td> - </tr> - <tr> - <td>1887</td> - <td>Samson and Delilah</td> - <td>Saint-Saens</td> - <td class="tdr">35.6 </td> - <td class="tdc">—</td> - <td class="tdr">17.42</td> - <td class="tdr">18.18</td> - </tr> - <tr> - <td>1890</td> - <td>Cavalleria Rusticana</td> - <td>Mascagni</td> - <td class="tdr">31.6 </td> - <td class="tdr">21.72 </td> - <td class="tdr">.93</td> - <td class="tdr">8.95</td> - </tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdr">25.77</td> - <td class="tdr">15.15 </td> - <td class="tdc">—</td> - <td class="tdr">10.62</td> - </tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdr">36.31</td> - <td class="tdr">3.4 </td> - <td class="tdr">5.6 </td> - <td class="tdr">27.31</td> - </tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdr">36.2 </td> - <td class="tdr">16.5 </td> - <td class="tdc">—</td> - <td class="tdr">19.7 </td> - </tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdr">33.6 </td> - <td class="tdr">5.29 </td> - <td class="tdc">—</td> - <td class="tdr">28.31</td> - </tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdr">25.6 </td> - <td class="tdr">4.75 </td> - <td class="tdc">—</td> - <td class="tdr">20.85</td> - </tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdr">33.4 </td> - <td class="tdr">5.42 </td> - <td class="tdc">—</td> - <td class="tdr">28.00</td> - </tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovski</td> - <td class="tdr">32.4 </td> - <td class="tdr">3.52 </td> - <td class="tdr">9.65</td> - <td class="tdr">19.33</td> - </tr> - <tr> - <td>1905</td> - <td>Salome</td> - <td>Strauss</td> - <td class="tdr">19.89</td> - <td class="tdc">—</td> - <td class="tdr">7.42</td> - <td class="tdr">12.47</td> - </tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdr">24.6 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">24.6 </td> - </tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdr">22.41</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">22.41</td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_52" id="Page_52">[52]</a><br /> -<a name="Page_53" id="Page_53">[53]</a></span></p> - -<h3 id="TABLE_IV">TABLE IV. SOLOS.</h3> - -<table summary=""> - <tr> - <th>A<br />Date.</th> - <th>B<br />Name.</th> - <th>C<br />Composer.</th> - <th>D<br />% of<br />entire solos.</th> - <th>E<br />% of<br />Soprano.</th> - <th>F<br />% of<br />Mezzo Sop.</th> - <th>G<br />% of<br />Alto.</th> - <th>H<br />% of<br />Tenor.</th> - <th>I<br />% of<br />Baritone.</th> - <th>J<br />% of<br />Bass.</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresentatione de Anima</td> - <td>Cavalieri</td> - <td class="tdr">14.21 </td> - <td class="tdr">10.2 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">2.6 </td> - <td class="tdc">—</td> - <td class="tdr">1.31 </td> - </tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdr">21.3 </td> - <td class="tdr">7.4 </td> - <td class="tdc">—</td> - <td class="tdr">4.061</td> - <td class="tdr">4.62 </td> - <td class="tdc">—</td> - <td class="tdr">5.219</td> - </tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdr">25.73 </td> - <td class="tdr">19.1 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">6.63 </td> - </tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdr">15.27 </td> - <td class="tdr">6.52</td> - <td class="tdc">—</td> - <td class="tdr">8.75 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdr">23.5 </td> - <td class="tdr">14.8 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">4.5 </td> - <td class="tdc">—</td> - <td class="tdr">33.6 </td> - </tr> - <tr> - <td>1784</td> - <td>La Domine Noir</td> - <td>Auber</td> - <td class="tdr">18.68 </td> - <td class="tdr">14.92</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">.92 </td> - <td class="tdc">—</td> - <td class="tdr">2.84 </td> - </tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdr">30.13 </td> - <td class="tdr">15.02</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">3.27 </td> - <td class="tdr">4.29 </td> - <td class="tdr">7.55 </td> - </tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdr">6.53 </td> - <td class="tdr">3.98</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">.95 </td> - <td class="tdc">—</td> - <td class="tdr">1.58 </td> - </tr> - <tr> - <td>1800</td> - <td>Les Deux Journees</td> - <td>Cherubini</td> - <td class="tdr">13.5 </td> - <td class="tdr">4.3 </td> - <td class="tdr">2.1 </td> - <td class="tdc">—</td> - <td class="tdr">5.72 </td> - <td class="tdc">—</td> - <td class="tdr">1.38 </td> - </tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdr">35.17 </td> - <td class="tdr">17.06</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">14.32 </td> - <td class="tdc">—</td> - <td class="tdr">3.79 </td> - </tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdr">17.28 </td> - <td class="tdr">3.42</td> - <td class="tdc">—</td> - <td class="tdr">6.68 </td> - <td class="tdr">3.813</td> - <td class="tdr">1.52 </td> - <td class="tdr">1.847</td> - </tr> - <tr> - <td>1821</td> - <td>Der Freischütz</td> - <td>Weber</td> - <td class="tdr">18.9 </td> - <td class="tdr">8.76</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">3.41 </td> - <td class="tdr">2.41 </td> - <td class="tdr">4.32 </td> - </tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdr">15.19 </td> - <td class="tdr">5.35</td> - <td class="tdr">1.07 </td> - <td class="tdc">—</td> - <td class="tdr">4.53 </td> - <td class="tdr">2.25 </td> - <td class="tdr">1.99 </td> - </tr> - <tr> - <td>1832</td> - <td>Le Postillon Lonjuneaux</td> - <td>Adam</td> - <td class="tdr">12.76 </td> - <td class="tdr">2.67</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">5.33 </td> - <td class="tdc">—</td> - <td class="tdr">4.76 </td> - </tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdr">39.83 </td> - <td class="tdr">13.6 </td> - <td class="tdr">4.5 </td> - <td class="tdc">—</td> - <td class="tdr">14.12 </td> - <td class="tdr">3.25 </td> - <td class="tdr">4.36 </td> - </tr> - <tr> - <td>1843</td> - <td>The Bohemian Girl</td> - <td>Balfe</td> - <td class="tdr">23.7 </td> - <td class="tdr">4.95</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">7.86 </td> - <td class="tdr">6.24 </td> - <td class="tdr">5.25 </td> - </tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdr">8.73 </td> - <td class="tdr">4.53</td> - <td class="tdr">.414</td> - <td class="tdc">—</td> - <td class="tdr">2.81 </td> - <td class="tdc">—</td> - <td class="tdr">.742</td> - </tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdr">21.42 </td> - <td class="tdr">5.28</td> - <td class="tdr">5.32 </td> - <td class="tdc">—</td> - <td class="tdr">6.71 </td> - <td class="tdr">4.11 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdr">32.71 </td> - <td class="tdr">14.9 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">7.36 </td> - <td class="tdr">3.51 </td> - <td class="tdr">6.94 </td> - </tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdr">17.405</td> - <td class="tdr">5.69</td> - <td class="tdr">5.03 </td> - <td class="tdc">—</td> - <td class="tdr">3.56 </td> - <td class="tdc">—</td> - <td class="tdr">3.125</td> - </tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdr">26.71 </td> - <td class="tdr">9.87</td> - <td class="tdc">—</td> - <td class="tdr">.09 </td> - <td class="tdr">7.43 </td> - <td class="tdr">1.29 </td> - <td class="tdr">8.03 </td> - </tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdr">28.67 </td> - <td class="tdr">5.24</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">6.59 </td> - <td class="tdr">9.62 </td> - <td class="tdr">7.22 </td> - </tr> - <tr> - <td>1887</td> - <td>Samson and Delilah</td> - <td>Saint-Saens</td> - <td class="tdr">25.43 </td> - <td class="tdr">6.00</td> - <td class="tdr">6.27 </td> - <td class="tdc">—</td> - <td class="tdr">6.00 </td> - <td class="tdr">6.42 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1890</td> - <td>Cavalleria Rusticana</td> - <td>Mascagni</td> - <td class="tdr">12.3 </td> - <td class="tdr">6.24</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">5.19 </td> - <td class="tdr">.87 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdr">40.2 </td> - <td class="tdr">13.25</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">13.9 </td> - <td class="tdr">13.07 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdr">25.83 </td> - <td class="tdr">15.2 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">5.31 </td> - <td class="tdr">1.4 </td> - <td class="tdr">3.92 </td> - </tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdr">25.47 </td> - <td class="tdr">5.63</td> - <td class="tdr">12.59 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">7.25 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdr">16.86 </td> - <td class="tdr">10.16</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">1.09 </td> - <td class="tdr">2.4 </td> - <td class="tdr">3.21 </td> - </tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdr">23.97 </td> - <td class="tdr">5.6 </td> - <td class="tdr">.27 </td> - <td class="tdr">3.8 </td> - <td class="tdr">9.41 </td> - <td class="tdr">4.89 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdr">12.87 </td> - <td class="tdr">7.98</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">3.96 </td> - <td class="tdr">.874</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovsky</td> - <td class="tdr">33.96 </td> - <td class="tdr">10.42</td> - <td class="tdr">2.37 </td> - <td class="tdr">.531</td> - <td class="tdr">3.29 </td> - <td class="tdr">8.34 </td> - <td class="tdr">8.909</td> - </tr> - <tr> - <td>1905</td> - <td>Salome</td> - <td>Strauss</td> - <td class="tdr">46.2 </td> - <td class="tdr">23.4 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">15.27 </td> - <td class="tdr">3.5 </td> - <td class="tdr">4.03 </td> - </tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdr">33.24 </td> - <td class="tdr">5.32</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">9.64 </td> - <td class="tdr">9.72 </td> - <td class="tdr">7.56 </td> - </tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdr">50.19 </td> - <td class="tdr">15.06</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">10.5 </td> - <td class="tdr">8.39 </td> - <td class="tdr">16.23 </td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a><br /> -<a name="Page_55" id="Page_55">[55]</a></span></p> - -<h3 id="TABLE_V">TABLE V. RECITATIVE.</h3> - -<table summary=""> - <tr> - <th rowspan="2">A<br />Date.</th> - <th rowspan="2">B<br />Name.</th> - <th rowspan="2">C<br />Composer.</th> - <th colspan="2">D<br />Spoken text.</th> - <th rowspan="2">E<br />%<br />Recit.</th> - <th rowspan="2">F<br />%<br />Soprano.</th> - <th rowspan="2">G<br />%<br />Mezzo Sop.</th> - <th rowspan="2">H<br />%<br />Alto.</th> - <th rowspan="2">I<br />%<br />Tenor.</th> - <th rowspan="2">J<br />%<br />Baritone.</th> - <th rowspan="2">K<br />%<br />Bass.</th> - </tr> - <tr> - <th>Accom.</th> - <th>Unaccom.</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresentatione de Anima</td> - <td>Cavalieri</td> - <td class="tdc">—</td> - <td class="tdc">x</td> - <td class="tdr">30.2 </td> - <td class="tdr">6.43 </td> - <td class="tdc">—</td> - <td class="tdr">13.21 </td> - <td class="tdr">9.27 </td> - <td class="tdc">—</td> - <td class="tdr">1.29 </td> - </tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">9.73</td> - <td class="tdr">5.39 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">4.34 </td> - </tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">30.30</td> - <td class="tdr">20.58 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">9.72 </td> - </tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">11.87</td> - <td class="tdr">7.56 </td> - <td class="tdc">—</td> - <td class="tdr">4.315</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">23.82</td> - <td class="tdr">3.32 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">2.95 </td> - <td class="tdc">—</td> - <td class="tdr">17.55 </td> - </tr> - <tr> - <td>1784</td> - <td>Le Domine Noir</td> - <td>Auber</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">18.62</td> - <td class="tdr">4.22 </td> - <td class="tdr">3.9 </td> - <td class="tdr">.3 </td> - <td class="tdr">1.77 </td> - <td class="tdc">—</td> - <td class="tdr">8.43 </td> - </tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">31.43</td> - <td class="tdr">9.16 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">5.53 </td> - <td class="tdr">7.47 </td> - <td class="tdr">9.27 </td> - </tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdc">—</td> - <td class="tdc">x</td> - <td class="tdr">.92</td> - <td class="tdr">.11 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">.95 </td> - <td class="tdc">—</td> - <td class="tdr">1.58 </td> - </tr> - <tr> - <td>1800</td> - <td>Les Deux Jounees</td> - <td>Cherubini</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">22.8 </td> - <td class="tdr">6.9 </td> - <td class="tdc">—</td> - <td class="tdr">3.165</td> - <td class="tdr">7.32 </td> - <td class="tdc">—</td> - <td class="tdr">5.415</td> - </tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdc">—</td> - <td class="tdc">x</td> - <td class="tdr">10.11</td> - <td class="tdr">4.31 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">2.6 </td> - <td class="tdc">—</td> - <td class="tdr">3.3 </td> - </tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdc">—</td> - <td class="tdc">x</td> - <td class="tdr">10.00</td> - <td class="tdr">2.66 </td> - <td class="tdc">—</td> - <td class="tdr">.798</td> - <td class="tdr">2.33 </td> - <td class="tdc">—</td> - <td class="tdr">4.2 </td> - </tr> - <tr> - <td>1821</td> - <td>Der Freischütz</td> - <td>Weber</td> - <td class="tdc">x</td> - <td class="tdc">x</td> - <td class="tdr">9.06</td> - <td class="tdr">2.27 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">2.72 </td> - <td class="tdr">1.03 </td> - <td class="tdr">3.04 </td> - </tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">30.33</td> - <td class="tdr">5.85 </td> - <td class="tdr">3.17</td> - <td class="tdc">—</td> - <td class="tdr">4.78 </td> - <td class="tdr">22.2 </td> - <td class="tdr">4.33 </td> - </tr> - <tr> - <td>1832</td> - <td>Le Postilion de Longjuneaux</td> - <td>Adam</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">33.80</td> - <td class="tdr">25.71 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">5.66 </td> - <td class="tdc">—</td> - <td class="tdr">2.43 </td> - </tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">5.62</td> - <td class="tdr">.987</td> - <td class="tdr">.06</td> - <td class="tdc">—</td> - <td class="tdr">1.76 </td> - <td class="tdr">3.09 </td> - <td class="tdr">.703</td> - </tr> - <tr> - <td>1843</td> - <td>Bohemian Girl</td> - <td>Balfe</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">10.42</td> - <td class="tdr">3.26 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">3.5 </td> - <td class="tdr">2.91 </td> - <td class="tdr">.75 </td> - </tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">24.03</td> - <td class="tdr">7.45 </td> - <td class="tdr">5.02</td> - <td class="tdc">—</td> - <td class="tdr">3.31 </td> - <td class="tdc">—</td> - <td class="tdr">8.25 </td> - </tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdc">—</td> - <td class="tdc">x</td> - <td class="tdc">—</td> - <td class="tdr">3.96 </td> - <td class="tdr">17.30</td> - <td class="tdr">.725</td> - <td class="tdr">6.36 </td> - <td class="tdc">—</td> - <td class="tdr">5.41 </td> - </tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">17.00</td> - <td class="tdr">3.68 </td> - <td class="tdr">.97</td> - <td class="tdc">—</td> - <td class="tdr">4.63 </td> - <td class="tdr">5.29 </td> - <td class="tdr">2.34 </td> - </tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">15.60</td> - <td class="tdr">3.94 </td> - <td class="tdr">4.6 </td> - <td class="tdc">—</td> - <td class="tdr">5.82 </td> - <td class="tdc">—</td> - <td class="tdr">1.24 </td> - </tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">15.32</td> - <td class="tdr">4.52 </td> - <td class="tdc">—</td> - <td class="tdr">1.06 </td> - <td class="tdr">5.31 </td> - <td class="tdr">2.06 </td> - <td class="tdr">8.03 </td> - </tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">19.82</td> - <td class="tdr">3.7 </td> - <td class="tdr">.3 </td> - <td class="tdc">—</td> - <td class="tdr">3.92 </td> - <td class="tdr">7.59 </td> - <td class="tdr">4.31 </td> - </tr> - <tr> - <td>1887</td> - <td>Samson and Delilah</td> - <td>Saint Saens</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">19.71</td> - <td class="tdc">—</td> - <td class="tdr">4.36</td> - <td class="tdc">—</td> - <td class="tdr">4.3 </td> - <td class="tdr">5.1 </td> - <td class="tdr">17.95 </td> - </tr> - <tr> - <td>1890</td> - <td>Cavalleria Rusticana</td> - <td>Mascagni</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">11.9 </td> - <td class="tdr">2.3 </td> - <td class="tdr">1.47</td> - <td class="tdr">4.538</td> - <td class="tdr">1.29 </td> - <td class="tdr">2.357</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">19.78</td> - <td class="tdr">4.31 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">2.29 </td> - <td class="tdr">5.53 </td> - <td class="tdr">7.65 </td> - </tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">11.97</td> - <td class="tdr">4.63 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">3.445</td> - <td class="tdc">—</td> - <td class="tdr">4.89 </td> - </tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">18.1 </td> - <td class="tdr">6.4 </td> - <td class="tdr">7.35</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">4.35 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">38.40</td> - <td class="tdr">10.42 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">7.31 </td> - <td class="tdr">9.44 </td> - <td class="tdr">11.23 </td> - </tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">20.32</td> - <td class="tdr">4.28 </td> - <td class="tdr">3.36</td> - <td class="tdr">.43 </td> - <td class="tdr">6.19 </td> - <td class="tdr">6.14 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">24.85</td> - <td class="tdr">18.4 </td> - <td class="tdr">4.5 </td> - <td class="tdc">—</td> - <td class="tdr">1.2 </td> - <td class="tdr">3.2 </td> - <td class="tdr">1.6 </td> - </tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovsky</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">15.42</td> - <td class="tdr">2.33 </td> - <td class="tdr">2.47</td> - <td class="tdr">1.09 </td> - <td class="tdr">2.96 </td> - <td class="tdr">1.17 </td> - <td class="tdr">5.4 </td> - </tr> - <tr> - <td></td> - <td></td> - <td></td> - <td></td> - <td></td> - <td class="tdr">21.62</td> - <td class="tdr">6.39 </td> - <td class="tdr">1.6 </td> - <td class="tdr">1.4 </td> - <td class="tdr">11.27 </td> - <td class="tdc">—</td> - <td class="tdr">.96 </td> - </tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">39.62</td> - <td class="tdr">19.21 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">10.43 </td> - <td class="tdr">1.5 </td> - <td class="tdr">8.48 </td> - </tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">23.04</td> - <td class="tdr">12.27 </td> - <td class="tdr">6.02</td> - <td class="tdc">—</td> - <td class="tdr">1.06 </td> - <td class="tdr">1.4 </td> - <td class="tdr">2.29 </td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a><br /> -<a name="Page_57" id="Page_57">[57]</a></span></p> - -<h3 id="TABLE_VI">TABLE VI. ENSEMBLE</h3> - -<table summary=""> - <tr> - <th>A<br />Date.</th> - <th>B<br />Name.</th> - <th>C<br />Composer.</th> - <th>D<br />% of<br />Ensemble.</th> - <th>E<br />%<br />Duet.</th> - <th>F<br />%<br />Trio.</th> - <th>G<br />%<br />Quartet.</th> - <th>H<br />%<br />Quintet.</th> - <th>I<br />%<br />Sextet.</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresentatione de Anima</td> - <td>Cavalieri</td> - <td class="tdr">11.6 </td> - <td class="tdr">11.6 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdr">17.27 </td> - <td class="tdr">14.07 </td> - <td class="tdr">3.2 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdr">19.50 </td> - <td class="tdr">19.50 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdr">33.13 </td> - <td class="tdr">33.13 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdr">3.163</td> - <td class="tdr">.833</td> - <td class="tdc">—</td> - <td class="tdr">2.53 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1784</td> - <td>Le Domine Noir</td> - <td>Auber</td> - <td class="tdr">15.91 </td> - <td class="tdr">9.59 </td> - <td class="tdr">6.32 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdr">19.31 </td> - <td class="tdr">8.89 </td> - <td class="tdr">5.69 </td> - <td class="tdr">4.47 </td> - <td class="tdr">3.91 </td> - <td class="tdr">6.35</td> - </tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdr">83.4 </td> - <td class="tdr">34.2 </td> - <td class="tdr">34.2 </td> - <td class="tdr">22.8 </td> - <td class="tdr">15.75 </td> - <td class="tdr">10.65</td> - </tr> - <tr> - <td>1800</td> - <td>Les Deux Journees</td> - <td>Cherubini</td> - <td class="tdr">7.2 </td> - <td class="tdr">2.46 </td> - <td class="tdr">2.97 </td> - <td class="tdr">.743</td> - <td class="tdc">—</td> - <td class="tdr">1.1 </td> - </tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdr">14.06 </td> - <td class="tdr">8.3 </td> - <td class="tdr">1.66 </td> - <td class="tdr">4.7 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdr">38.57 </td> - <td class="tdr">15.25 </td> - <td class="tdr">4.92 </td> - <td class="tdr">2.7 </td> - <td class="tdr">15.7 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1821</td> - <td>Der Freishutz</td> - <td>Weber</td> - <td class="tdr">4.7 </td> - <td class="tdr">1.6 </td> - <td class="tdr">3.1 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdr">7.523</td> - <td class="tdr">6.46 </td> - <td class="tdc">—</td> - <td class="tdr">.963</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1832</td> - <td>Le Postilion Lonjuneaux</td> - <td>Adam</td> - <td class="tdr">23.32 </td> - <td class="tdr">12.73 </td> - <td class="tdr">6.52 </td> - <td class="tdr">1.76 </td> - <td class="tdr">4.07 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdr">10.23 </td> - <td class="tdr">6.4 </td> - <td class="tdr">2.07 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1843</td> - <td>The Bohemian Girl</td> - <td>Balfe</td> - <td class="tdr">8.38 </td> - <td class="tdr">3.25 </td> - <td class="tdr">2.42 </td> - <td class="tdr">2.71 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdr">28.778</td> - <td class="tdr">10.68 </td> - <td class="tdr">8.50 </td> - <td class="tdr">7.89 </td> - <td class="tdr">1.708</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdr">9.76 </td> - <td class="tdr">5.19 </td> - <td class="tdr">4.24 </td> - <td class="tdr">.033</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdr">6.97 </td> - <td class="tdr">4.31 </td> - <td class="tdc">—</td> - <td class="tdr">2.66 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdr">7.075</td> - <td class="tdr">4.39 </td> - <td class="tdr">2.685</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdr">15.05 </td> - <td class="tdr">8.92 </td> - <td class="tdr">1.07 </td> - <td class="tdr">3.74 </td> - <td class="tdr">1.32 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1887</td> - <td>Samson and Delilah</td> - <td>Saint Saens</td> - <td class="tdr">4.3 </td> - <td class="tdr">3.9 </td> - <td class="tdr">.4 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1890</td> - <td>Cavalieria Rusticana</td> - <td>Mascagni</td> - <td class="tdr">12.56 </td> - <td class="tdr">12.56 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdr">9.18 </td> - <td class="tdr">8.87 </td> - <td class="tdr">.306</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdr">8.33 </td> - <td class="tdr">4.3 </td> - <td class="tdr">1.97 </td> - <td class="tdr">2.06 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdr">5.54 </td> - <td class="tdr">2.09 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdr">3.54 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdr">2.09 </td> - <td class="tdr">2.09 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdr">15.6 </td> - <td class="tdr">13.92 </td> - <td class="tdr">1.68 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdr">4.75 </td> - <td class="tdr">3.41 </td> - <td class="tdr">.134</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovsky</td> - <td class="tdr">2.93 </td> - <td class="tdr">1.42 </td> - <td class="tdr">.6 </td> - <td class="tdr">1.91 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1905</td> - <td>Salome</td> - <td>Strauss</td> - <td class="tdr">.93 </td> - <td class="tdr">.93 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdr">.07 </td> - <td class="tdr">.07 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdr">4.36 </td> - <td class="tdr">4.36 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_58" id="Page_58">[58]</a><br /> -<a name="Page_59" id="Page_59">[59]</a></span></p> - -<h3 id="TABLE_VII">TABLE VII. CHORUS</h3> - -<table summary=""> - <tr> - <th>A<br />Date.</th> - <th>B<br />Name.</th> - <th>C<br />Composer.</th> - <th>D<br />% of<br />Chorus.</th> - <th>E<br />% of<br />mixed<br />chorus.</th> - <th>F<br />% of<br />men's<br />chorus.</th> - <th>G<br />% of<br />women's<br />chorus.</th> - </tr> - <tr> - <td>1600</td> - <td>Rappresentatione de Anima</td> - <td>Cavalieri</td> - <td class="tdr">14.39 </td> - <td class="tdr">14.39 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1675</td> - <td>King Arthur</td> - <td>Purcell</td> - <td class="tdr">21.6 </td> - <td class="tdr">18.3 </td> - <td class="tdr">2.56 </td> - <td class="tdr">1.14</td> - </tr> - <tr> - <td>1731</td> - <td>La Serva Padrona</td> - <td>Pergolese</td> - <td class="tdr">10.2 </td> - <td class="tdr">10.2 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1762</td> - <td>Orfeus</td> - <td>Gluck</td> - <td class="tdr">12.88 </td> - <td class="tdr">12.88 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1767</td> - <td>Alceste</td> - <td>Gluck</td> - <td class="tdr">18.71 </td> - <td class="tdr">16.05 </td> - <td class="tdr">2.66 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1784</td> - <td>Le Domine Noir</td> - <td>Auber</td> - <td class="tdr">23.19 </td> - <td class="tdr">12.7 </td> - <td class="tdr">6.09 </td> - <td class="tdr">4.3 </td> - </tr> - <tr> - <td>1787</td> - <td>Don Giovanni</td> - <td>Mozart</td> - <td class="tdr">1.582</td> - <td class="tdr">.923</td> - <td class="tdr">.652</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1762</td> - <td>L'Amant Jaloux</td> - <td>Gretry</td> - <td class="tdr">6.2 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1800</td> - <td>Les Deux Journees</td> - <td>Cherubini</td> - <td class="tdr">36.94 </td> - <td class="tdr">9.14 </td> - <td class="tdr">24.8 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1805</td> - <td>Fidelio</td> - <td>Beethoven</td> - <td class="tdr">14.6 </td> - <td class="tdr">8.3 </td> - <td class="tdr">2.71 </td> - <td class="tdr">4.59</td> - </tr> - <tr> - <td>1816</td> - <td>The Barber of Seville</td> - <td>Rossini</td> - <td class="tdr">12.2 </td> - <td class="tdr">12.2 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1821</td> - <td>Der Freischütz</td> - <td>Weber</td> - <td class="tdr">16.31 </td> - <td class="tdr">12.2 </td> - <td class="tdr">3.15 </td> - <td class="tdr">3.85</td> - </tr> - <tr> - <td>1831</td> - <td>La Somnambula</td> - <td>Bellini</td> - <td class="tdr">30.6 </td> - <td class="tdr">30.6 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1832</td> - <td>Le Postilion Lonjuneaux</td> - <td>Adam</td> - <td class="tdr">26.17 </td> - <td class="tdr">13.37 </td> - <td class="tdc">—</td> - <td class="tdr">14.85</td> - </tr> - <tr> - <td>1835</td> - <td>Lucia di Lammermoor</td> - <td>Donizetti</td> - <td class="tdr">35.4 </td> - <td class="tdr">20.99 </td> - <td class="tdr">15.21 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1843</td> - <td>The Bohemian Girl</td> - <td>Balfe</td> - <td class="tdr">24.9 </td> - <td class="tdr">21.32 </td> - <td class="tdc">—</td> - <td class="tdr">3.58</td> - </tr> - <tr> - <td>1847</td> - <td>Martha</td> - <td>Flotow</td> - <td class="tdr">25.957</td> - <td class="tdr">19.9 </td> - <td class="tdr">.647</td> - <td class="tdr">5.41</td> - </tr> - <tr> - <td>1866</td> - <td>Mignon</td> - <td>Thomas</td> - <td class="tdr">33.75 </td> - <td class="tdr">11.08 </td> - <td class="tdr">3.66 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1867</td> - <td>Romeo and Juliet</td> - <td>Gounod</td> - <td class="tdr">13.72 </td> - <td class="tdr">9.03 </td> - <td class="tdr">2.5 </td> - <td class="tdr">2.19</td> - </tr> - <tr> - <td>1874</td> - <td>Aida</td> - <td>Verdi</td> - <td class="tdr">30.1 </td> - <td class="tdr">19.74 </td> - <td class="tdr">3.5 </td> - <td class="tdr">9.86</td> - </tr> - <tr> - <td>1875</td> - <td>Carmen</td> - <td>Bizet</td> - <td class="tdr">9.32 </td> - <td class="tdr">5.29 </td> - <td class="tdr">1.64 </td> - <td class="tdr">2.39</td> - </tr> - <tr> - <td>1882</td> - <td>Parsifal</td> - <td>Wagner</td> - <td class="tdr">10.31 </td> - <td class="tdr">5.1 </td> - <td class="tdr">3.29 </td> - <td class="tdr">1.92</td> - </tr> - <tr> - <td>1887</td> - <td>Smason and Delilah</td> - <td>Saint Saens</td> - <td class="tdr">15.07 </td> - <td class="tdr">10.43 </td> - <td class="tdr">3.21 </td> - <td class="tdr">1.43</td> - </tr> - <tr> - <td>1890</td> - <td>Cavalleria Rusticana</td> - <td>Mascagni</td> - <td class="tdr">31.64 </td> - <td class="tdr">22.78 </td> - <td class="tdr">3.46 </td> - <td class="tdr">5.4 </td> - </tr> - <tr> - <td>1892</td> - <td>Il Pagliacci</td> - <td>Leoncavello</td> - <td class="tdr">19.88 </td> - <td class="tdr">19.88 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1893</td> - <td>Le Cid</td> - <td>Massenet</td> - <td class="tdr">9.75 </td> - <td class="tdr">7.29 </td> - <td class="tdr">2.46 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1894</td> - <td>Hansel and Gretel</td> - <td>Humperdinck</td> - <td class="tdr">5.38 </td> - <td class="tdr">1.27 </td> - <td class="tdr">4.21 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1896</td> - <td>Cricket on the Hearth</td> - <td>Goldmark</td> - <td class="tdr">5.6 </td> - <td class="tdr">5.6 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1900</td> - <td>Louise</td> - <td>Charpentier</td> - <td class="tdr">15.51 </td> - <td class="tdr">6.29 </td> - <td class="tdr">4.3 </td> - <td class="tdr">4.96</td> - </tr> - <tr> - <td>1904</td> - <td>Madame Butterfly</td> - <td>Puccini</td> - <td class="tdr">10.03 </td> - <td class="tdr">8.48 </td> - <td class="tdr">.262</td> - <td class="tdr">1.34</td> - </tr> - <tr> - <td>1905</td> - <td>Eugene Onegin</td> - <td>Tschaikovsky</td> - <td class="tdr">15.29 </td> - <td class="tdr">10.47 </td> - <td class="tdc">—</td> - <td class="tdr">4.82</td> - </tr> - <tr> - <td>1905</td> - <td>Salome</td> - <td>Strauss</td> - <td class="tdr">11.36 </td> - <td class="tdr">11.36 </td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1913</td> - <td>L'Amour dei Tre Re</td> - <td>Montemezzi</td> - <td class="tdr">3.57 </td> - <td class="tdr">2.04 </td> - <td class="tdr">1.53 </td> - <td class="tdc">—</td> - </tr> - <tr> - <td>1914</td> - <td>Madeleine</td> - <td>Herbert</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - <td class="tdc">—</td> - </tr> -</table> - -<hr /> - -<p><span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p> - -<h2 id="BIBLIOGRAPHY">BIBLIOGRAPHY.</h2> - -<h3>Books.</h3> - -<table summary="List of books consulted by the author"> - <tr> - <td class="tdr">1.</td> - <td>Apthorpe, W. F.</td> - <td>Opera, Past and Present.</td> - </tr> - <tr> - <td class="tdr">2.</td> - <td>Dannrheuther, E.</td> - <td>Wagner and Reform.</td> - </tr> - <tr> - <td class="tdr">3.</td> - <td>Edwards, H. S.</td> - <td>Rossini and His School.</td> - </tr> - <tr> - <td class="tdr">4.</td> - <td>Gounod, Chas.</td> - <td>Mozart's Don Giovanni.</td> - </tr> - <tr> - <td class="tdr">5.</td> - <td>Henderson, W. J.</td> - <td>Some Forerunners of Opera.</td> - </tr> - <tr> - <td class="tdr">6.</td> - <td>Henderson, W. J.</td> - <td>A Comment on Opera.</td> - </tr> - <tr> - <td class="tdr">7.</td> - <td>Krehbiel,</td> - <td>A Book of the Opera.</td> - </tr> - <tr> - <td class="tdr">8.</td> - <td>Krehbiel,</td> - <td>Studies of Wagnerian Drama.</td> - </tr> - <tr> - <td class="tdr">9.</td> - <td>Mendelssohn</td> - <td>Stories of the Opera.</td> - </tr> - <tr> - <td class="tdr">10.</td> - <td>Newman, E.</td> - <td>Gluck and the Opera.</td> - </tr> - <tr> - <td class="tdr">11.</td> - <td>Newman, E.</td> - <td>Opera.</td> - </tr> - <tr> - <td class="tdr">12.</td> - <td>Sonneck, O. G.</td> - <td>Early Opera in America.</td> - </tr> - <tr> - <td class="tdr">13.</td> - <td>Upton, Geo. P.</td> - <td>The Standard Operas.</td> - </tr> - <tr> - <td class="tdr">14.</td> - <td></td> - <td>Victor Book of the Operas.</td> - </tr> - <tr> - <td class="tdr">15.</td> - <td>Introduction—American History and Encyclopedia.</td> - <td>H. E. Krehbiel.</td> - </tr> - <tr> - <td class="tdr">16.</td> - <td>Groves Musical Dictionary.</td> - <td>Pages 446, 454.</td> - </tr> - <tr> - <td class="tdr">17.</td> - <td>Moore Encyclopedia of Music.</td> - </tr> - <tr> - <td class="tdr">18.</td> - <td>Naaman Zwillingsbruder.</td> - <td>Volume II.</td> - </tr> - <tr> - <td class="tdr">19.</td> - <td>Dictionary of Music.</td> - <td>Rieman.</td> - </tr> - <tr> - <td class="tdr">20.</td> - <td>University Music Encyclopedia.</td> - <td></td> - </tr> - <tr> - <td class="tdr">21.</td> - <td>W. B. Matthews.</td> - <td>History of Music.</td> - </tr> -</table> - -<h3>Program Notes.</h3> - -<table summary="List of program notes consulted by the author"> - <tr> - <td>Chicago Grand Opera Company.</td> - </tr> - <tr> - <td>Boston Grand Opera Company.</td> - </tr> -</table> - -<h3>Special Articles in the Programs.</h3> - -<table summary="List of special articles in the programs consulted by the author"> - <tr> - <td class="tdr">1.</td> - <td>Brennon, Algernon St. John.</td> - <td>Translating Opera.</td> - </tr> - <tr> - <td class="tdr">2.</td> - <td>Haexter, Hermann H.,</td> - <td>English Grand Opera in America.</td> - </tr> - <tr> - <td class="tdr">3.</td> - <td>Hackett, Karleton,</td> - <td>(a) Madame Butterfly.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(b) Il Trovatore.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(c) Faust.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(d) Cleopatre.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(e) Thais.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(f) Thanhauser.</td> - </tr> - <tr> - <td class="tdr"></td> - </tr> - <tr> - <td class="tdr">4.</td> - <td>Oberdorfer, Anne Faukner,</td> - <td>(a) Influence of Wagner.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(b) Reforms of Gluck.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(c) Monna Vanna.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(d) Louise.</td> - </tr> -</table> - -<h3>Aid has been recieved from the following first hand sources.</h3> - -<table summary="List of first hand sources consulted by the author"> - <tr> - <td class="tdr">I.</td> - <td>Interview with Mr. C. C. Birchard of Boston.</td> - </tr> - <tr> - <td class="tdr">II.</td> - <td>Notes from class in Music II, Summer of 1916.</td> - </tr> - <tr> - <td class="tdr">III.</td> - <td>Lecture on Modern Music. Thos. Whitney Surrette.</td> - </tr> - <tr> - <td class="tdr">IV.</td> - <td>Attendance at the various operas for the past six seasons at Chicago.</td> - </tr> -</table> - -<h3>Magazine Articles.</h3> - -<table summary="List of magazine articles consulted by the author"> - <tr> - <td>1913</td> - <td>Atlantic Monthly</td> - <td>The Opera</td> - <td>Thos. W. Surrette.</td> - </tr> - <tr> - <td><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>Vol. 13.</td> - <td>Bookman</td> - <td>Opera Season 1900-1901</td> - <td>E. Singleton.</td> - </tr> - <tr> - <td>Vol. 29.</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Lawrence Gilman on "Chapters of the Opera" by Krehbiel.</td> - </tr> - <tr> - <td>Vol. 81.</td> - <td>Century</td> - <td>Acting in Lyric Drama</td> - <td>Mary Garden.</td> - </tr> - <tr> - <td>Vol. 89.</td> - <td>Contemporary Review</td> - <td>"Nicolai Andreyevitch Rimski-Korsakov"</td> - <td>A. E. Keeton.</td> - </tr> - <tr> - <td>Vol. 13.</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Gluck and Puccini</td> - <td>A. E. Keeton.</td> - </tr> - <tr> - <td>Vol. 97.</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td colspan="2">Two Centuries of French Opera.</td> - </tr> - <tr> - <td>Vol. 106.</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Gluck & the Reform of Opera.</td> - <td>K. Roof.</td> - </tr> - <tr> - <td>1908</td> - <td>Craftsman</td> - <td colspan="2">Nationalism in Opera.</td> - </tr> - <tr> - <td>1909</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Elektra in Dresden.</td> - </tr> - <tr> - <td>Vol. 39.</td> - <td>Current Literature</td> - <td colspan="2">Two New French Operas.</td> - </tr> - <tr> - <td>Vol. 48.</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td colspan="2">(a) American reception of Elektra.</td> - </tr> - <tr> - <td></td> - <td></td> - <td colspan="2">(b) Sorrowful Fate of Librettists.</td> - </tr> - <tr> - <td>1909</td> - <td>Etude</td> - <td>Frank Moore Jeffery</td> - <td>Bellini.</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span></td> - <td>Future of Italian Opera in America</td> - <td>Ant. Scott.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>Modern French and German Opera.</td> - <td>Arthur Elson.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>Modern Italian Opera and Tendencies.</td> - <td>L. C. Elson.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>Gluck's Operatic Ideas</td> - <td>Henry T. Finck.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>Beginnings of Opera</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>Conflict of Speech and Song</td> - <td>Fred Corder.</td> - </tr> - <tr> - <td>Vol. 37.</td> - <td>Forum</td> - <td>Music</td> - <td>Joseph Sohn.</td> - </tr> - <tr> - <td>Vol. 41.</td> - <td class="center"><span class="ditto">"</span></td> - <td>Lesson from Wagner</td> - <td>F. R. Burton.</td> - </tr> - <tr> - <td>Vol. 3.</td> - <td>Fortnightly</td> - <td>Centenary of Wagner</td> - <td>Franklin Peterson.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Moussorgsky's Operas.</td> - </tr> - <tr> - <td>1909</td> - <td class="center"><span class="ditto">"</span></td> - <td>Beaumarchais and Musicians</td> - <td>E. Newman.</td> - </tr> - <tr> - <td>1913</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Puccini.</td> - </tr> - <tr> - <td>Vol. 54.</td> - <td>Harper's Weekly</td> - <td>Two New Operas</td> - <td>L. Gilman.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Bruneau on Opera.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Strauss' Electra.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Tschaikovsky's Queen of Spade</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span></td> - <td></td> - <td>F. S. Converse.</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span></td> - <td>Pipe of Desire</td> - <td>Gilman.</td> - </tr> - <tr> - <td>Vol. 64.</td> - <td>Independent</td> - <td>Bel Canto</td> - <td>Tetrazzini.</td> - </tr> - <tr> - <td>Vol. 69.</td> - <td class="center"><span class="ditto">"</span></td> - <td>Future of the Opera</td> - <td>Puccini.</td> - </tr> - <tr> - <td>Vol. 19.</td> - <td>Living Age</td> - <td colspan="2">Music and Modern Opera.</td> - </tr> - <tr> - <td>1906</td> - <td class="center"><span class="ditto">"</span></td> - <td>Apostasy of a Wagnerian</td> - <td>E. A. Baugham.</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Electra and the Future of Music Drama.</td> - </tr> - <tr> - <td>1910</td> - <td>Literary Digest</td> - <td colspan="2">(a) Our Gilded Opera.</td> - </tr> - <tr> - <td></td> - <td></td> - <td colspan="2">(b) Slow Growth of Shakespearean Opera.</td> - </tr> - <tr> - <td>1905</td> - <td>Musician</td> - <td>New School of Music</td> - <td>E. B. Hill.</td> - </tr> - <tr> - <td>1908</td> - <td class="center"><span class="ditto">"</span></td> - <td>Peleas and Melisande</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span></td> - <td>Group of French and Italian Composers</td> - <td>F. H. Marling.</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span></td> - <td>Synopsis of Modern French Music</td> - <td>E. B. Hill.</td> - </tr> - <tr> - <td>1911</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">(a) Music of Greek Drama</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(b) Rimski-Korsakov</td> - <td>C. A. Browne.</td> - </tr> - <tr> - <td>Vol. 18.</td> - <td class="center"><span class="ditto">"</span></td> - <td>Opera as a factor in Music</td> - <td>Arthur Wilson.</td> - </tr> - <tr> - <td>Vol. 9.</td> - <td>Music</td> - <td colspan="2">(a) Wagner</td> - </tr> - <tr> - <td></td> - <td></td> - <td colspan="2">(b) Gounod</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>(a) Boris Godonow</td> - <td>A. Pougin.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">(b) Balakirew and Borodine</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span></td> - <td>(c) First Greek Drama</td> - <td>Arthur Weld.</td> - </tr> - <tr> - <td><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">(d) "Mataswinthe"</td> - </tr> - <tr> - <td>Vol. 12</td> - <td>Music</td> - <td>Young Russian School</td> - <td>A. Pougin.</td> - </tr> - <tr> - <td>Vol. 13</td> - <td class="center"><span class="ditto">"</span></td> - <td>Puccini</td> - <td>Alfred Vert.</td> - </tr> - <tr> - <td>Vol. 14</td> - <td class="center"><span class="ditto">"</span></td> - <td>Rimski-Korsakov</td> - <td>A. Pougin.</td> - </tr> - <tr> - <td>Vol. 39</td> - <td>Nation</td> - <td colspan="2">German and Italian Opera.</td> - </tr> - <tr> - <td>Vol. 40</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">German Opera in New York.</td> - </tr> - <tr> - <td>Vol. 90</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Massenet's Music.</td> - </tr> - <tr> - <td>Vol. 96</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">Weber.</td> - </tr> - <tr> - <td>Vol. 102</td> - <td class="center"><span class="ditto">"</span></td> - <td></td> - <td>H. T. Finck.</td> - </tr> - <tr> - <td>Vol. 102</td> - <td class="center"><span class="ditto">"</span></td> - <td colspan="2">(a) Comments on the Metroplitan Season.</td> - </tr> - <tr> - <td></td> - <td></td> - <td colspan="2">(b) Shakespearean Operas.</td> - </tr> - <tr> - <td></td> - <td></td> - <td colspan="2">(c) Music.</td> - </tr> - <tr> - <td>1908</td> - <td>19th Century</td> - <td>Music Drama of the Future</td> - <td>E. J. Levey.</td> - </tr> - <tr> - <td>1887</td> - <td>North American</td> - <td>Boucicault and Wagner</td> - <td>E. J. Levey.</td> - </tr> - <tr> - <td>Vol. 9</td> - <td>New Music Review</td> - <td>Les Hugenote</td> - <td>Saint Saens.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Puccini</td> - <td>Vernon Black.</td> - </tr> - <tr> - <td>Vol. 8</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - <td colspan="2">At the Opera.</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - <td colspan="2">Königskinder.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - <td colspan="2">Natoma.</td> - </tr> - <tr> - <td>1910</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Cyrano</td> - <td>Walter Damrosch.</td> - </tr> - <tr> - <td></td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Conchita</td> - <td>Riccardo Zandonai.</td> - </tr> - <tr> - <td>1895</td> - <td>Saturday Review</td> - <td>Opera and Acting</td> - <td>J. F. R.</td> - </tr> - <tr> - <td>Vol. 80</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Weber and Wagner</td> - <td>J. F. R.</td> - </tr> - <tr> - <td>Vol. 80</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Italian and German Opera</td> - <td>J. F. R.</td> - </tr> - <tr> - <td>Vol. 80</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td> At the Opera</td> - <td>J. F. R.</td> - </tr> - <tr> - <td>Vol. 84</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Concerts at the Opera</td> - <td>J. F. R.</td> - </tr> - <tr> - <td>Vol. 95</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - <td>Italian Opera</td> - <td>J. F. R.</td> - </tr> - <tr> - <td>Vol. 43</td> - <td>Review of Reviews</td> - <td colspan="2" rowspan="3" class="valign"><span class="bracket">}</span> Opera.</td> - </tr> - <tr> - <td>Vol. 40</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - </tr> - <tr> - <td>Vol. 49</td> - <td class="center"><span class="ditto">"</span> <span class="ditto">"</span></td> - </tr> - <tr> - <td>1898</td> - <td>Scribner's</td> - <td colspan="2">(a) Gluck and Wagner.</td> - </tr> - <tr> - <td></td> - <td></td> - <td>(b) Tendencies of Modern Opera</td> - <td>De Koven.</td> - </tr> - <tr> - <td></td> - <td></td> - <td colspan="2">(c) Mozart's Magic Flute.</td> - </tr> - <tr> - <td>Vol. 18</td> - <td>World Today</td> - <td colspan="2">Chevalier Gluck and the Leading Motive.</td> - </tr> -</table> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Development of Certain Tendencies -in Modern Opera, by Kathryn Eleanor Browne - -*** END OF THIS PROJECT GUTENBERG EBOOK CERTAIN TENDENCIES IN MODERN OPERA *** - -***** This file should be named 54077-h.htm or 54077-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/0/7/54077/ - -Produced by The Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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