way the chord is first heard on the treble string of the violins with
boreal mildness； it spreads through the orchestra； it awakes the
instruments one by one； and flows among them。 Just as light glides
from one thing to the next； giving them color； the music moves on；
calling out each rill of harmony till all flow together in the
/tutti/。
〃The violins； silent until now； give the signal with their tender
/tremolo/； softly /agitato/ like the first rays of morning。 That
light； cheerful movement； which caresses the soul； is cleverly
supported by chords in the bass； and by a vague /fanfare/ on the
trumpets； restricted to their lowest notes； so as to give a vivid idea
of the last cool shadows that linger in the valleys while the first
warm rays touch the heights。 Then all the wind is gradually added to
strengthen the general harmony。 The voices come in with sighs of
delight and surprise。 At last the brass breaks out； the trumpets
sound。 Light； the source of all harmony； inundates all nature； every
musical resource is produced with a turbulence； a splendor； to compare
with that of the Eastern sun。 Even the triangle； with its reiterated
C； reminds us by its shrill accent and playful rhythm of the song of
early birds。
〃Thus the same key； freshly treated by the master's hand； expresses
the joy of all nature； while it soothes the grief it uttered before。
〃There is the hall…mark of the great genius： Unity。 It is the same but
different。 In one and the same phrase we find a thousand various
feelings of woe； the misery of a nation。 In one and the same chord we
have all the various incidents of awakening nature； every expression
of the nation's joy。 These two tremendous passages are soldered into
one by the prayer to an ever…living God； author of all things； of that
woe and that gladness alike。 Now is not that introduction by itself a
grand poem？〃
〃It is； indeed；〃 said the Frenchman。
〃Next comes a quintette such as Rossini can give us。 If he was ever
justified in giving vent to that flowery； voluptuous grace for which
Italian music is blamed； is it not in this charming movement in which
each person expresses joy？ The enslaved people are delivered； and yet
a passion in peril is fain to moan。 Pharaoh's son loves a Hebrew
woman； and she must leave him。 What gives its ravishing charm to this
quintette is the return to the homelier feelings of life after the
grandiose picture of two stupendous and national emotions：general
misery； general joy； expressed with the magic force stamped on them by
divine vengeance and with the miraculous atmosphere of the Bible
narrative。 Now； was not I right？〃 added Massimilla； as the noble
/sretto/ came to a close。
〃Voci di giubilo；
D' in'orno eccheggino；
Di pace l' Iride
Per noi spunto。〃
（Cries of joy sound about us。 The rainbow of peace dawns upon us。）
〃How ingeniously the composer has constructed this passage！〃 she went
on； after waiting for a reply。 〃He begins with a solo on the horn； of
divine sweetness； supported by /arpeggios/ on the harps； for the first
voices to be heard in this grand concerted piece are those of Moses
and Aaron returning thanks to the true God。 Their strain； soft and
solemn； reverts to the sublime ideas of the invocation； and mingles；
nevertheless； with the joy of the heathen people。 This transition
combines the heavenly and the earthly in a way which genius alone
could invent； giving the /andante/ of this quintette a glow of color
that I can only compare to the light thrown by Titian on his Divine
Persons。 Did you observe the exquisite interweaving of the voices？ the
clever entrances by which the composer has grouped them round the main
idea given out by the orchestra？ the learned progressions that prepare
us for the festal /allegro/？ Did you not get a glimpse； as it were； of
dancing groups； the dizzy round of a whole nation escaped from danger？
And when the clarionet gives the signal for the /stretto/；'/Voci di
giubilo/；'so brilliant and gay； was not your soul filled with the
sacred pyrrhic joy of which David speaks in the Psalms； ascribing it
to the hills？〃
〃Yes； it would make a delightful dance tune；〃 said the doctor。
〃French！ French！ always French！〃 exclaimed the Duchess； checked in her
exultant mood by this sharp thrust。 〃Yes； you would be capable of
taking that wonderful burst of noble and dainty rejoicing and turning
it into a rigadoon。 Sublime poetry finds no mercy in your eyes。 The
highest genius；saints； kings； disasters；all that is most sacred
must pass under the rods of caricature。 And the vulgarizing of great
music by turning it into a dance tune is to caricature it。 With you；
wit kills soul； as argument kills reason。〃
They all sat in silence through the /recitative/ of Osiride and
Membrea； who plot to annul the order given by Pharaoh for the
departure of the Hebrews。
〃Have I vexed you？〃 asked the physician to the Duchess。 〃I should be
in despair。 Your words are like a magic wand。 They unlock the pigeon…
holes of my brain； and let out new ideas； vivified by this sublime
music。〃
〃No；〃 replied she； 〃you have praised our great composer after your own
fashion。 Rossini will be a success with you； for the sake of his witty
and sensual gifts。 Let us hope that he may find some noble souls； in
love with the idealwhich must exist in your fruitful land；to
appreciate the sublimity； the loftiness； of such music。 Ah； now we
have the famous duet； between Elcia and Osiride！〃 she exclaimed； and
she went on； taking advantage of the triple salvo of applause which
hailed la Tinti； as she made her first appearance on the stage。
〃If la Tinti has fully understood the part of Elcia； you will hear the
frenzied song of a woman torn by her love for her people； and her
passion for one of their oppressors； while Osiride； full of mad
adoration for his beautiful vassal； tries to detain her。 The opera is
built up as much on that grand idea as on that of Pharaoh's resistance
to the power of God and of liberty； you must enter into it thoroughly
or you will not understand this stupendous work。
〃Notwithstanding the disfavor you show to the dramas invented by our
/libretto/ writers； you must allow me to point out the skill with
which this one is constructed。 The antithesis required in every fine
work； and eminently favorable to music； is well worked out。 What can
be finer than a whole nation demanding liberty； held in bondage by bad
faith； upheld by God； and piling marvel on marvel to gain freedom？
What more dramatic than the Prince's love for a Hebrew woman； almost
justifying treason to the oppressor's power？
〃And this is what is expressed in this bold and stupendous musical
poem； Rossini has stamped each nation with its fantastic
individuality； for we have attributed to them a certain historic
grandeur to which every imagination subscribes。 The songs of the
Hebrews； and their trust in God； are perpetually contrasted with
Pharaoh's shrieks of rage and vain efforts； represented with a strong
hand。
〃At this moment Osiride； thinking only of love； hopes to detain his
mistress by the memories of their joys as lovers； he wants to conquer
the attractions of her feeling for her people。 Here； then； you will
find delicious languor； the glowing sweetness； the voluptuous
suggestions of Oriental love； in the air '/Ah！ se puoi cosi
lasciarmi/；' sung by Osiride； and in Elcia's reply； '/Ma perche cosi
straziarmi？/' No； two hearts in such melodious unison could never
part；〃 she went on； looking at the Prince。
〃But the lovers are suddenly interrupted by the exultant voice of the
Hebrew people in the distance； which recalls Elcia。 What a delightful
and inspiriting /allegro/ is the theme of this march； as the
Israelites set out for the desert！ No one but Rossini can make wind
instruments and trumpets say so much。 And is not the art which can
express in two phrases all that is meant by the 'native land'
certainly nearer to heaven than the others？ This clarion…call always
moves me so deeply that I cannot find words to tell you how cruel it
is to an enslaved people to see those who are free march away！〃
The Duchess' eyes filled with tears as she listened to the grand
movement； which in fact crowns the opera。
〃/Dov' e mai quel core amante/；〃 she murmured in Italian； as la Tinti
began the delightful /aria/ of the /stretto/ in which she implores
pity for her grief。 〃But what is the matter？ The pit are
dissatisfied〃
〃Genovese is braying like a stage；〃 replied the Prince。
In point of fact； this first duet with la Tinti was spoilt by
Genovese's utter breakdown。 His excellent method； recalling that of
Crescentini and Veluti； seemed to desert him completely。 A /sostenuto/
in the wrong place； an embellishment carried to excess； spoilt the
effect； or again a loud climax with no due /crescendo/； an outburst of
sound like water tumbling through a suddenly opened sluice； showed
complete and wilful neglect of the laws of good taste。
The pit was in the greatest excitement。 The Venetian public believed
there was a deliberate plot between Genovese and his friends。 La Tinti
was recalled and applauded with frenzy while Genovese had a hint or
two warning him of the hostile feeling of the audience。 During this
scene； highly amusing to a Frenchman； while la Tinti was recalled
eleven times to receive alone the frantic acclamations of the house；
Genovese； who was all but hissed； not daring to offer her his hand；
the doctor made a remark to the Duchess as to the /stretto/ of the
duet。
〃In this place；〃 said he； 〃Rossini ought to have expressed the deepest
grief； and I find on the contrary an airy movement； a tone of ill…
timed cheerfulness。〃
〃You are right；〃 said she。 〃This mistake is the result of a tyrannous
custom which composers are expected to obey。 He was thinking more of
his prima donna than of Elcia when he wrote that /stretto/。 But this
evening； even if la Tinti had been more brilliant than ever； I could
throw myself so completely into the situation； that the passage；
lively as it is； is to me full of sadness。〃
The physician looked attentively from the Prince to the Duchess； but
could not guess the reason that held them apart； and that made this
du