Its scantiness—Restricted scope for the writer and historian—English ideas of Italian opera—English books on Verdi—German historians' measure—Recent English press notices—Foreign journalistic criticism—Italian writings.

The Verdi bibliography, particularly that in English, is not extensive, a result doubtless arising from the fact that the master has confined himself solely to one branch of the composer's art, namely, opera. Although, therefore, the composer of Il Trovatore has enjoyed a much wider popularity than other masters who might be named, and about whom volumes have been and will be written, the confined nature of Verdi's musical circuit has rendered him relatively much less attractive to the musical critic, historian, and biographer. This is the penalty, perhaps, which has to be paid by musicians who find themselves unable, or unwilling, to spend laborious days and nights in the conception and composition of profound orchestral creations of the symphony and concert-overture type, which, however admirable in the eyes and ears of those who listen to, analyse, and criticise them, have rarely proved profitable to those who composed them, save and beyond the posthumous honour which they may win for their wondrous workers. Notwithstanding the universal popularity which Verdi has enjoyed for fifty years, there is, from the one-sided nature of his work, the possibility of under-estimating his real worth as a master of music. With the tendency among all ranks of art-workers to endeavour to shine in many parts, it is quite exceptional to find one content to do his best, and succeed, with one phase of his art, as Verdi has done.

Italian opera was first brought into England in 1706, when ArsinÖe was produced at Drury Lane Theatre, and in order to give those who attended performances of it a chance of understanding it, it was rendered with English words! Yet the article has never wholly commended itself to the English people, who, especially in its early history here, were unable to enter into the spirit of the bombastic, exaggerated plots, and excessive love scenes. Thus it does not, and will not, command equal interest among reasoning musicians, compared particularly with that attaching to symphony or oratorio. Italian opera might well disappear from the face of the earth, so far as English people are concerned; but a similar remark could not be applied to any new oratorio or symphony. Opera seria is not in vogue here, not even a national English opera, and Italian opera is just kept from collapse by another class than that which rushes with delight to performances of operas of H.M.S. Pinafore and The Grand Duke type. Consequent upon all this, critics have gone on chronicling and criticising Verdi's operatic successes (especially in his later operas) and failures, pausing but little to gauge any relative musical worth of the man as compared with other great masters. It is, of course, not possible for such a prolific indefatigable worker as Verdi was to go on occupying the world musically, if only in one direction, without exercising some sway over the minds and dispositions of listeners. It is the bearing of Verdi's operatic efforts upon art that has been neglected by the English press especially. The fact of Verdi having been so little amongst us affords, naturally, another explanation for the comparatively scant literature respecting both him and his works. Until the appearance of the present monograph, no work existed that brought the life and work of the famous Italian master up to date, or that attempted to place him critically and musically among the great exponents of his art. To that extent, at least, Verdi literature was wanting.

But to deal with the bibliography that does exist. Perhaps the best work in English is Pougin's Anecdotic History of Verdi; his Life and Works, which has been excellently translated from the French by James E. Matthew (1887). Another interesting book in our language concerning Verdi is Blanche Roosevelt's Verdi: Milan and "Otello" (1887), which is a short life of the master, with letters written about Milan and the opera Otello. The brief article by Signor Gianandrea Mazzucato (in Grove's Dictionary of Music and Musicians) on Verdi is a valuable contribution to the subject, and is probably the best account of the maestro contained in any dictionary. The last work it treats of, however, is AÏda, and although it touches Otello somewhat prophetically, it is necessarily silent about that greater work Falstaff.

Ritter, in his History of Music (1876), disposes of Verdi in less than eleven short lines; but a little more justice, in the way of space, is done to the famous Italian by Naumann in his large, comprehensive History of Music, since he devotes to Verdi nearly two whole pages out of over thirteen hundred!

Masters of Italian Music (R.A. Streatfeild), contains an appreciative biography of Verdi, based upon Pougin's work, together with some sound criticism upon Italian opera in general, and Verdi's in particular. A further work in the English language referring to Verdi is Elson's Realm of Music, chap. xviii. of which deals with the "Evolution of Verdi"; while in Ferris's Lives of the Celebrated Composers there is an intelligent comparison between the Otello of Verdi and Rossini. Dr. Parry's Studies of the Great Composers omits Verdi altogether, the reason for which does not appear.

French works bearing upon Verdi are—Bertrand (Gustave), Les nationalitÉs musicales, ÉtudiÉes dans le drame lyrique ..., Verdisme et Wagnerisme; Fouque (Octave), Histoire du ThÉÂtre Ventadour (1829-79),—OpÉra Comique,—ThÉÂtre de la Renaissance,—ThÉÂtre Italien, Verdi; Maurel (Victor), À propos de la mise-en-scÈne du drame lyrique "Otello," being Étude prÉcÉdÉe d'aperÇus sur le thÉÂtre chantÉ en 1887; Noufflard (Georges), "Otello" de Verdi et le drame lyrique.

The above enumerated writings, and the criticisms which have appeared more or less regularly in the AthenÆum, Times, and Illustrated London News, constitute the chief of what has been published in the English and French languages relating to Verdi. We should not omit to state, however, that lately, especially since the production of Falstaff, not a little has been said, if not written, of the illustrious Verdi and his works. Sir A.C. Mackenzie's lectures on Falstaff were particularly interesting. Therein the talented Principal of the Royal Academy of Music paid a high tribute to the personal qualities of the doyen of composers. In tracing the gradual development of Verdi's genius Sir A.C. Mackenzie asserted that the composer did not show any Wagnerian influence in his later works—a judgment with which competent judges will agree. The articles which Dr. Villiers Stanford contributed to the Daily Graphic concerning Falstaff, its wonderful humorous music, and the man who made it, were worthy of the journal and its talented special correspondent; while Mr. Joseph Bennett's tried and trusty pen has also been descried in more than one masterly article concerning Verdi in the Daily Telegraph and Musical Times. In the Musical Recollections of Mr. Wilhelm Kuhe, entrepreneur and raconteur, are numerous critical passages and remarks concerning Verdi and several of his operas.

Foreign journalism has always been busy about Verdi. Thus such publications of his native land as La Perseveranza, the Supplemento Straordinario of the Gazzetta Musicale,[83] La Scena, La Fanfulla, and Il Pensiero di Nizza, with the Spanish journal, Cronica di la Musica, abound in criticisms and notes respecting the master. Much excellent critical matter relating to Verdi and his works will be found, too, in the French journals, Le MÉnestrel, La Nazione, La France Musicale, Journal des Debats, and Figaro; while he has been far from neglected by the German press, in such papers as the Neue Berliner Musik Zeitung, and others.

The most important and valuable writings respecting Verdi, however, are, as might be expected, in the Italian language. Among these are—

Sketches of the Life and Works of Giuseppe Verdi (Bermani), 1846; Studies upon the Operas of Giuseppe Verdi (Basevi), 1859; Biographical Notes on Giuseppe Verdi, followed by brief analyses of "AÏda" and the "Requiem Mass" (Perosio), 1875; Critical Musical Essay on "AÏda" (PeÑa y GoÑi), 1875; Considerations on the actual State of Musical Art in Italy, and the artistic Importance of "AÏda" and the "Requiem Mass" (Sassaroli), 1876; Verdi and his Operas (Monaldi), 1877.