Part 8

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

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

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

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

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

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

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

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

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

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

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

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

LIVING MASTERS OF MUSIC

An Illustrated Series of Monographs dealing with Contemporary Musical Life, and including Representatives of all Branches of the Art.

Edited by ROSA NEWMARCH

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

HENRY J. WOOD By ROSA NEWMARCH. With numerous Illustrations.

SIR EDWARD ELGAR By R. J. BUCKLEY. With numerous Illustrations.

JOSEPH JOACHIM By J. A. FULLER MAITLAND. With Illustrations.

EDWARD A. MACDOWELL By LAWRENCE GILMAN. With Illustrations.

EDWARD GRIEG By H. T. FINCK. With Illustrations.

THEODOR LESCHETIZKY By A. HULLAH. With Illustrations.

_The following Volumes are in preparation--_

RICHARD STRAUSS By A. KALISCH.

IGNAZ PADEREWSKI By E. A. BAUGHAN.

ALFRED BRUNEAU By ARTHUR HERVEY.

GIACOMO PUCCINI By WAKELING DRY.

THE MUSIC OF THE MASTERS

Edited by WAKELING DRY

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

WAGNER By ERNEST NEWMAN

"A very acceptable volume."--_Rapid Review._

"Mr. Newman gives a clear and critical synopsis of the magnificent series of operas, and indicates very simply the leading themes in each. The volume is neither too precise nor too extravagant in its appreciation; it has a quality of sanity which such work often lacks."--_T. P.'s Weekly._

TCHAIKOVSKI By E. MARKHAM LEE, M.A., MUS. DOC.

"A thoroughly sympathetic, scholarly, and sound examination of the Russian master's music."--_Literary World._

"His copious and musicianly analysis of the works makes the book indispensable to the modern amateur."--_Speaker._

BEETHOVEN By ERNEST WALKER, M.A., D. MUS. (OXON.)

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

SIR EDWARD ELGAR By ERNEST NEWMAN

PHASES OF MODERN MUSIC By LAWRENCE GILMAN. 4s. 6d. net

_Daily Mail_: "An American criticism of prominent modern composers, singularly picturesquely written."

_Manchester Guardian_: "Representative of the best American criticism ... the book may be almost unreservedly commended."

THE MUSIC OF TO-MORROW AND OTHER STUDIES

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

THE LIFE OF PETER ILICH TCHAIKOVSKY

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

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

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

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

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

Mr. ERNEST NEWMAN in _Manchester Guardian_: "For the present large and handsome volume we have nothing but praise ... for Mrs. Newmarch's translation no praise can be too high."

THE SINGING OF THE FUTURE

By D. FFRANGCON-DAVIES. With an Introduction by Sir EDWARD ELGAR and a Photogravure Portrait of the Author. Demy 8vo. 7s. 6d. net. Second Edition.

"On almost every page there are sentences which might well be committed to memory."--_Times._

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

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

_Daily Chronicle._

MUSICAL STUDIES: ESSAYS. By ERNEST NEWMAN. Crown 8vo. 5s. net.

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

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

_Daily Chronicle._

MUSIC AND MUSICIANS By E. A. BAUGHAN. Crown 8vo. 5s. net.

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

Concert Direction E. L. Robinson 7 WIGMORE STREET, CAVENDISH SQUARE, LONDON, W.

_Sole Agents for the following Artists_:

HERR FRITZ STEINBACH } _Conductors_ M. EDOUARD COLONNE }

Violinists--

Mr. FRITZ KREISLER M. PAUL KOCHÀNSKY (The new Russian Violinist) MISS MAUD MacCARTHY SIG. ALDO ANTONIETTI MME. MARIE SOLDAT

'Cellists--

HERR ANTON HEKKING Mr. PERCY SUCH Mr. HERMAN SANDBY (The Danish 'Cellist)

Pianists--

Mr. MARK HAMBOURG MISS FANNY DAVIES HERR ERNST VON DOHNÀNYI MADAME SANDRA DROUCKER MISS KATHARINE GOODSON Mr. PERCY GRAINGER Mr. GEORGE MACKERN Mr. EGON PETRI

Vocalists--

MRS. HENRY J. WOOD (Soprano) MISS KATHLEEN MAUREEN (The new Irish Contralto) MISS EVA RICH (Soprano) MISS ALICE VENNING (Soprano) MR. GERVASE ELWES (Tenor) MR. FREDERIC AUSTIN (Baritone) MR. WILLIAM HIGLEY (High Baritone) MR. PEDRO DE ZULUETA (Bass)

Accompanist--

MR. HAMILTON HARTY

THE JOACHIM QUARTET THE NORAH CLENCH QUARTET

_Telephone--793 P.O. Mayfair._ _Telegrams--"Musikchor, London."_

Transcriber's Notes:

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

Simple typographical errors were corrected.

Ambiguous hyphens at the ends of lines were retained.

Page vii: Illustration "PUCCINI IN HIS STUDY AT HIS MILAN HOUSE" (facing page 46) is not in the List of Illustrations.

Page 15: "On! how I" may be misprint for "Oh!".

Page 19: "music schools, agencies," was missing the first comma; added here.

Page 88: "the toils of her enchantment" was printed that way.

Page 96: "E luce van stelle" was printed that way.

Page 100: Missing closing quotation mark added after 'at least equal to his.'.