FOR what he has done as composer, pianist, and conductor, and because of the strong and wholesome influence that he has exerted upon the musical life of his countrymen, the name of Giovanni Sgambati will be an honored one in the history of Italy for the last half of this century. His influence has been not less potent from the fact that his writings and concert performances have been unconnected with the stage. Italy is no longer what it was, essentially the greatest land of opera; its glory has largely departed, the mighty music-dramas of Richard Wagner and, in a lesser degree, the works of Meyerbeer, Gounod, Bizet, Massenet, TschaÏkowsky, Goldmark and others, having over-shadowed all of the Italian operas excepting one or two by Bellini and Rossini, the later and greater works of Verdi, and the "Mefistofele" of Boito, and it is to-day much more natural than formerly for an Italian who is called to high musical work to turn to that kind of composition in which the fame of the greatest masters has been made. While a strong liking, and even preference, for opera will always characterize the Italians, it is certain that a taste for symphonic and chamber-music is gradually being acquired, as the knowledge of these forms becomes more common. As forwarding this work, the names of Bazzini and Martucci should also be mentioned.

Sgambati has been obliged in a fashion to make his public, but it is at any rate a very different one from that of years gone by, to which the Herz variations and the Thalberg and early Liszt operatic fantasias represented the highest form of pianoforte music, and for which the Mercadante, Bellini, Donizetti and the first Verdi operas were composed. In his success in accomplishing this educational result is to be found a lesson for all artists who, from lack of conviction or of courage, are tempted to let mediocrity have its way, and not to strive for the higher cultivation of music, wherever their lot may place them.

Giovanni Sgambati was born in Rome, May 28th, 1843, his mother being English, the daughter of Joseph Gott, a sculptor who had for many years lived in Rome, and his father an advocate. It was intended that he should pursue his father's profession, but his strong and evident talent for music determined it otherwise. He studied, as a boy, pianoforte playing and harmony with Natalucci, a pupil of Zingarelli, and from an early age we find him singing in church, playing in public, conducting small orchestras and composing to a certain extent. In 1860 he settled in Rome, quickly becoming known for his pianoforte playing, and especially for the solid and classical character of his programmes; for Italian taste and music had not at that time begun to show their later divergence from the old ideals. Rossini was still living and productive; Bellini and Donizetti had so far shown no signs of becoming old-fashioned.

Beethoven, Chopin, Schumann and, best of all, Bach and Handel were Sgambati's favorite authors, by means of whom he sought to purify and educate the taste of his audiences. Shortly afterwards, just when he was on the point of going to Germany to continue his studies, Liszt came to Rome. His plans were changed, for from this time Liszt was his teacher, and he was able to work long and well under that wise, authoritative and suggestive guidance, to which, doubtless, is owing much of the consummate mastery in pianoforte playing for which he is famous, although his style of composition seems to have been little affected by Liszt's influence. Sgambati is well-known to be one of the greatest exponents of the Liszt school, and from all accounts, in his playing there is also present that same feeling for formal and sensuous beauty which is to be found in his compositions; a most interesting account of him as a pianist and teacher is to be found in Bettina Walker's "My musical experiences"; the story is told in such a charming and personal way as to give a capital idea, both of the man and the musician.

Besides his other concerts, we find him also at this time giving orchestral ones, at which some of the great symphonies were heard for the first time in Rome. In 1869 he and Liszt made a visit to Germany together, Sgambati making his first acquaintance with Wagner's music at Munich: it was some years later, in 1877, that through Wagner's recommendation his pianoforte quintets were published by Schott of Mayence. It is interesting to read, in this connection, a part of a letter which Wagner wrote in November, 1876, to Dr. Strecker, the head of the firm of Schott. It has been published, with Sgambati's permission, in Miss Walker's book, and is here taken from it.

"But, to say the truth, my letter of to-day has another end in view, namely, to commend to you most earnestly for publication two quintets (pianoforte and stringed instruments) composed by Signor Sgambati, of Rome. Liszt had already, and in a most especial and emphatic manner, called my attention to this distinguished composer and pianist. I recently had the genuine and extreme pleasure of, for once, coming into contact with the possessor of a truly great and original talent—a talent which, as he is in Rome [?!], and therefore possibly a little out of place, I would gladly be the means of introducing to the wider musical circle of the world at large."

In 1886 he was made one of the five corresponding members of the French Institute to fill the place vacated by the death of Liszt.

As a pianoforte teacher, he has been from the first one of the leading men, being a professor at the Academy of St. Cecilia at Rome, and has had a multitude of pupils, among them not a few Americans. To show the high standard that is maintained at the Academy, the requirements for a diploma are here quoted. The pupil must be prepared with the twenty-four preludes and fugues of the first book of the "Well-tempered Clavichord," with twenty-four studies from Clementi's "Gradus ad Parnassum," and must play some large modern piece by heart, read a manuscript composition at sight, and answer viv voce questions in harmony and composition.

In his pianoforte compositions two features are salient: a remarkable feeling for melodic and harmonic refinement, with a clear and beautiful formal structure, and as a complement to these, an abhorrence of everything trite and common; this last trait, however, does not degenerate into affectation and ugliness.

Sgambati has published but little, probably partly on account of the severe self-criticism that is evident in his work, the result of which is seen in the qualities above mentioned. But this is not by any means to imply that his music is lacking in freshness or force; on the contrary, his best work has, which is not too common, a distinction of its own, and there is great vigor and strength in the pianoforte concerto and the symphony, his two works written in the largest form. As every musician, however, in thinking of DvorÁk, Brahms, TschaÏkowsky, St. SaËns, etc., has always unconsciously in his mind certain characteristics that he associates with their music, without which it would not be theirs, so in Sgambati are we attracted by his great polish and refinement, as well as by a certain personal charm of manner that is always present (perhaps that is the Italian side of him).

Of vocal music, there have been published three sets of songs (Op. 1, 2, 19) and a cantata for one voice with orchestral accompaniment; of chamber music, there are two quintets for piano and strings (Op. 4 and 5) and a quartet for strings in the unusual key of D-flat major. Of these last, the first quintet, in F minor, is generally considered the most striking, but although it and its companion and the string quartet have made their way, it is by his pianoforte works that he is best known. They are: a Notturno (Op. 3); a strong and characteristic Prelude and Fugue (Op. 6); two Etudes (Op. 10); the "Fogli volanti" (Op. 12), several of which are peculiarly charming; the well-known and truly original Gavotte (Op. 14); four pieces; "Preludio," "Vecchio Minuetto," "Nenia," "Toccata" (Op. 18); "Three Nocturnes" (Op. 20); Suite (Op. 21); "PiÈces Lyriques" (Op. 23), and the Concerto in G minor (Op. 15).

These pianoforte pieces do not cover a great number of pages, but in them we often feel something that is none too common, and that it is to be highly prized: we find a personality. It is easy now-a-days to be personal by being vulgar and obtrusive, but it is not so usual to find that quality combined with the reticence and knowledge that mark the finest work, and it is perhaps Sgambati's best trait that we do find that in his music. Most of the pieces are under the disadvantage of being less easy to play than they sound, and the opposite feature is so much liked by players that it is surprising that they have obtained popularity. The Gavotte is not run in the common mould, which has been so much employed for the turning out of numberless pieces of the old dance forms, but is piquant and interesting, and with its appropriate drone-like Musette, is as well-known as any; the "Fogli Volanti" has made many admirers for its author, while the "Vecchio Minuetto" and the "Toccata" from Op. 18, and the first of the Nocturnes (Op. 20) in especial are much played. The first study of Op. 10, in F-sharp minor, has especial interest to pianists in that a clever application is made in it of the system of pedal notation proposed by Hans Schmitt; in this desire to set down exactly what he wishes to express at the pianoforte, Sgambati exhibits a certain likeness to Sterndale Bennett, and indeed the two are somewhat akin in their musical way of thought.

The pianoforte concerto is written in a large style, especially the first movement, and has several portions that are striking and unusual; it is grateful for the player, and sure of success. The fact that three trombones are in the score would lead one to fear a certain over-doing of effect, but the brass is so judiciously used as to justify its presence; and in the symphony also the orchestration is skilful and well contrasted, good effects being often obtained by the use of but few instruments. The symphony has had varying fortunes, being received with great warmth in Italy and in London, but having the opposite fate when performed in New York; it was produced at a concert in the Quirinal, March 28, 1881, the King and Queen of Italy being in the audience, and the King conferred upon the composer the order of the Crown of Italy upon that occasion.

To sum up the characteristics of Sgambati's work: in him is found all the old respect for form and style that was once supreme, but that now is not so universally accepted; he is not fond of making dabs of contrasting colors and calling the result a picture, but everything with him must be well-drawn, and the values must be right. His melodies are clearly cut, their harmonization interesting, and with all his adherence to the classic models, there is so much individuality that his music is his own. It is interesting to find a leading composer of Italy so distinguished for sobriety and reticence, while for extravagance of expression we look to the new men of Germany, France and Russia. And, as Sgambati is still in the prime of life, with ripened powers, even more is to be hoped and expected from him than in the past.

Here follows a list of his published compositions:

Op. 1. Album of songs.
Op. 2. Album of songs.
Op. 3. Notturno for piano.
Op. 4. Quintet for piano and strings in F minor.
Op. 5. Quintet for piano and strings in G minor.
Op. 6. Prelude and Fugue for piano in E flat minor.
Op. 10. Two Etudes for piano.
Op. 12. "Fogli Volanti" (pieces for piano).
Op. 14. Gavotte for piano in A flat minor.
Op. 15. Concerto for piano and orchestra in G minor.
Op. 16. Symphony for orchestra in D major.
Op. 17. String quartet in D flat major.
Op. 18. Four pieces for piano: Preludio; Vecchio Minuetto; Nenia; Toccata.
Op. 19. Songs.
Op. 20. Three Nocturnes for piano.
Op. 21. Suite for piano.
Op. 23. PiÈces Lyriques.

A second symphony is written, but not yet published.