massimilla doni-第12节

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the　flowers　of　melody　now　blossom　as　on　some　rich　soil。

〃So　novel　an　art　demands　study　in　the　public；　study　of　a　kind　that　may
develop　the　feelings　to　which　music　appeals。　That　sentiment　hardly
exists　as　yet　among　youa　nation　given　up　to　philosophical　theories；
to　analysis　and　discussion；　and　always　torn　by　civil　disturbances。
Modern　music　demands　perfect　peace；　it　is　the　language　of　loving　and
sentimental　souls；　inclined　to　lofty　emotional　aspiration。

〃That　language；　a　thousand　times　fuller　than　the　language　of　words；　is
to　speech　and　ideas　what　the　thought　is　to　its　utterance；　it　arouses
sensations　and　ideas　in　their　primitive　form；　in　that　part　of　us　where
sensations　and　ideas　have　their　birth；　but　leaves　them　as　they　are　in
each　of　us。　That　power　over　our　inmost　being　is　one　of　the　grandest
facts　in　music。　All　other　arts　present　to　the　mind　a　definite
creation；　those　of　music　are　indefiniteinfinite。　We　are　compelled　to
accept　the　ideas　of　the　poet；　the　painter's　picture；　the　sculptor's
statue；　but　music　each　one　can　interpret　at　the　will　of　his　sorrow　or
his　gladness；　his　hope　or　his　despair。　While　other　arts　restrict　our
mind　by　fixing　it　on　a　predestined　object；　music　frees　it　to　roam　over
all　nature　which　it　alone　has　the　power　of　expressing。　You　shall　hear
how　I　interpret　Rossini's　/Mose/。〃

She　leaned　across　to　the　Frenchman　to　speak　to　him；　without　being
overheard。

〃Moses　is　the　liberator　of　an　enslaved　race！〃　said　she。　〃Remember
that；　and　you　will　see　with　what　religious　hope　the　whole　house　will
listen　to　the　prayer　of　the　rescued　Hebrews；　with　what　a　thunder　of
applause　it　will　respond！〃

As　the　leader　raised　his　bow；　Emilio　flung　himself　into　a　back　seat。
The　Duchess　pointed　out　the　place　he　had　left；　for　the　physician　to
take　it。　But　the　Frenchman　was　far　more　curious　to　know　what　had　gone
wrong　between　the　lovers　than　to　enter　the　halls　of　music　built　up　by
the　man　whom　all　Italy　was　applaudingfor　it　was　the　day　of　Rossini's
triumph　in　his　own　country。　He　was　watching　the　Duchess；　and　she　was
talking　with　a　feverish　excitement。　She　reminded　him　of　the　Niobe　he
had　admired　at　Florence：　the　same　dignity　in　woe；　the　same　physical
control；　and　yet　her　soul　shone　though；　in　the　warm　flush　of　her
cheeks；　and　her　eyes；　where　anxiety　was　disguised　under　a　flash　of
pride；　seemed　to　scorch　the　tears　away　by　their　fire。　Her　suppressed
grief　seemed　calmer　when　she　looked　at　Emilio；　who　never　took　his　eyes
off　her；　it　was　easy　to　see　that　she　was　trying　to　mollify　some　fierce
despair。　The　state　of　her　feelings　gave　a　certain　loftiness　to　her
mind。

Like　most　women　when　under　the　stress　of　some　unusual　agitation；　she
overstepped　her　ordinary　limitations　and　assumed　something　of　the
Pythoness；　though　still　remaining　calm　and　beautiful；　for　it　was　the
form　of　her　thoughts　that　was　wrung　with　desperation；　not　the　features
of　her　face。　And　perhaps　she　wanted　to　shine　with　all　her　wit　to　lend
some　charm　to　life　and　detain　her　lover　from　death。

When　the　orchestra　had　given　out　the　three　chords　in　C　major；　placed
at　the　opening　by　the　composer　to　announce　that　the　overture　will　be
sungfor　the　real　overture　is　the　great　movement　beginning　with　this
stern　attack；　and　ending　only　when　light　appears　at　the　command　of
Mosesthe　Duchess　could　not　control　a　little　spasmodic　start；　that
showed　how　entirely　the　music　was　in　accordance　with　her　concealed
distress。

〃Those　three　chords　freeze　the　blood；〃　said　she。　〃They　announce
trouble。　Listen　attentively　to　this　introduction；　the　terrible　lament
of　a　nation　stricken　by　the　hand　of　God。　What　wailing！　The　King；　the
Queen；　their　first…born　son；　all　the　dignitaries　of　the　kingdom　are
sighing；　they　are　wounded　in　their　pride；　in　their　conquests；　checked
in　their　avarice。　Dear　Rossini！　you　have　done　well　to　throw　this　bone
to　gnaw　to　the　/Tedeschi/；　who　declared　we　had　no　harmony；　no　science！

〃Now　you　will　hear　the　ominous　melody　the　maestro　has　engrafted　on　to
this　profound　harmonic　composition；　worthy　to　compare　with　the　most
elaborate　structures　of　the　Germans；　but　never　fatiguing　or　tiresome。

〃You　French；　who　carried　through　such　a　bloodthirsty　revolution；　who
crushed　your　aristocracy　under　the　paw　of　the　lion　mob；　on　the　day
when　this　oratorio　is　performed　in　your　capital；　you　will　understand
this　glorious　dirge　of　the　victims　on　whom　God　is　avenging　his　chosen
people。　None　but　an　Italian　could　have　written　this　pregnant　and
inexhaustible　themetruly　Dantesque。　Do　you　think　that　it　is　nothing
to　have　such　a　dream　of　vengeance；　even　for　a　moment？　Handel；
Sebastian　Bach；　all　you　old　German　masters；　nay；　even　you；　great
Beethoven；　on　your　knees！　Here　is　the　queen　of　arts；　Italy
triumphant！〃

The　Duchess　had　spoken　while　the　curtain　was　being　raised。　And　now　the
physician　heard　the　sublime　symphony　with　which　the　composer
introduces　the　great　Biblical　drama。　It　is　to　express　the　sufferings
of　a　whole　nation。　Suffering　is　uniform　in　its　expression；　especially
physical　suffering。　Thus；　having　instinctively　felt；　like　all　men　of
genius；　that　here　there　must　be　no　variety　of　idea；　the　musician；
having　hit　on　his　leading　phrase；　has　worked　it　out　in　various　keys；
grouping　the　masses　and　the　dramatis　personae　to　take　up　the　theme
through　modulations　and　cadences　of　admirable　structure。　In　such
simplicity　is　power。

〃The　effect　of　this　strain；　depicting　the　sensations　of　night　and　cold
in　a　people　accustomed　to　live　in　the　bright　rays　of　the　sun；　and　sung
by　the　people　and　their　princes；　is　most　impressive。　There　is
something　relentless　in　that　slow　phrase　of　music；　it　is　cold　and
sinister；　like　an　iron　bar　wielded　by　some　celestial　executioner；　and
dropping　in　regular　rhythm　on　the　limbs　of　all　his　victims。　As　we　hear
it　passing　from　C　minor　into　G　minor；　returning　to　C　and　again　to　the
dominant　G；　starting　afresh　and　/fortissimo/　on　the　tonic　B　flat；
drifting　into　F　major　and　back　to　C　minor；　and　in　each　key　in　turn
more　ominously　terrible；　chill；　and　dark；　we　are　compelled　at　last　to
enter　into　the　impression　intended　by　the　composer。〃

The　Frenchman　was；　in　fact；　deeply　moved　when　all　this　united　sorrow
exploded　in　the　cry：

　　〃O　Nume　d'Israel；
　　Se　brami　in　liberta
　　Il　popol　tuo　fedel；
　　Di　lui　di　noi　pieta！〃

（O　God　of　Israel；　if　thou　wouldst　see　thy　faithful　people　free；　have
mercy　on　them；　and　on　us。）

〃Never　was　a　grander　synthesis　composed　of　natural　effects　or　a　more
perfect　idealization　of　nature。　In　a　great　national　disaster；　each　one
for　a　long　time　bewails　himself　alone；　then；　from　out　of　the　mass；
rises　up；　here　and　there；　a　more　emphatic　and　vehement　cry　of　anguish；
finally；　when　the　misery　has　fallen　on　all；　it　bursts　forth　like　a
tempest。

〃As　soon　as　they　all　recognize　a　common　grievance；　the　dull　murmurs　of
the　people　become　cries　of　impatience。　Rossini　has　proceeded　on　this
hypothesis。　After　the　outcry　in　C　major；　Pharoah　sings　his　grand
recitative：　/Mano　ultrice　di　un　Dio/　（Avenging　hand　of　God）；　after
which　the　original　subject　is　repeated　with　more　vehement　expression。
All　Egypt　appeals　to　Moses　for　help。〃

The　Duchess　had　taken　advantage　of　the　pause　for　the　entrance　of　Moses
and　Aaron　to　give　this　interpretation　of　that　fine　introduction。

〃Let　them　weep！〃　she　added　passionately。　〃They　have　done　much　ill。
Expiate　your　sins；　Egyptians；　expiate　the　crimes　of　your　maddened
Court！　With　what　amazing　skill　has　this　great　painter　made　use　of　all
the　gloomy　tones　of　music；　of　all　that　is　saddest　on　the　musical
palette！　What　creepy　darkness！　what　a　mist！　Is　not　your　very　spirit　in
mourning？　Are　you　not　convinced　of　the　reality　of　the　blackness　that
lies　over　the　land？　Do　you　not　feel　that　Nature　is　wrapped　in　the
deepest　shades？　There　are　no　palm…trees；　no　Egyptian　palaces；　no
landscape。　And　what　a　healing　to　your　soul　will　the　deeply　religious
strain　be　of　the　heaven…sent　Healer　who　will　stay　this　cruel　plague！
How　skilfully　is　everything　wrought　up　to　end　in　that　glorious
invocation　of　Moses　to　God。

〃By　a　learned　elaboration；　which　Capraja　could　explain　to　you；　this
appeal　to　heaven　is　accompanied　by　brass　instruments　only；　it　is　that
which　gives　it　such　a　solemn；　religious　cast。　And　not　merely　is　the
artifice　fine　in　its　place；　note　how　fertile　in　resource　is　genius。
Rossini　has　derived　fresh　beauty　from　the　difficulty　he　himself
created。　He　has　the　strings　in　reserve　to　express　daylight　when　it
succeeds　to　the　darkness；　and　thus　produces　one　of　the　greatest
effects　ever　achieved　in　music。

〃Till　this　inimitable　genius　showed　the　way　never　was　such　a　result
obtained　with　mere　/recitative/。　We　have　not；　so　far；　had　an　air　or　a
duet。　The　poet　has　relied　on　the　strength　of　the　idea；　on　the
vividness　of　his　imagery；　and　the　realism　of　the　declamatory　passages。
This　scene　of　despair；　this　darkness　that　may　be　felt；　these　cries　of
anguish；the　whole　musical　picture　is　as　fine　as　your　great　Poussin's
/Deluge/。〃

Moses　waved　his　staff；　and　it　was　light。

〃Here；　monsieur；　does　not　the　music　vie　with　the　sun；　whose　splendor
it　has　borrowed；　with　nature；　whose　phenomena　it　expresses　in　every
detail？〃　the　Duchess　went　on；　in　an　under