The last extended reference to Italian music is to be found in Chapter VIII, which treats of the contemporaries of Beethoven. Those pages call attention to Spontini's historic grand opera, to Rossini's seductive charm, and to the "mellifluous fabrications of Donizetti and Bellini with which undramatic productions must be classed also the earlier works of Verdi in consequence of their voluptuous melodic exuberance."
VERDI (1813-1901) exhibits in the development of his creative power a series of progressive stages that are in some respects analogous to Wagner's evolutionary periods. Just as Wagner's operas and music dramas can be separated into three general groups, so may Verdi's productions be subjected to similar analytical treatment. It will be remembered, however, that the orchestration of Wagner necessitated a second independent classification which partially ignores the æsthetic and philosophical aspect of subject-matter. With Verdi, on the other hand, dramatic style, musical treatment and orchestration matured simultaneously and gradually.
There is no call to refer to works anteceding "Nabucco," which launched Verdi on his unprecedented career. The first group may therefore include such operas as "Nabucco," "I Lombardi," and "Ernani." The sole claim to merit that these works can offer is in their wealth of melody, further enhanced by considerable rhythmic variety. Displaying closer resemblance to Meyerbeer's style than to _il bel canto_ of Rossini, they further embody reminiscences of Bellini, and their favorable reception may have been aided by these very reminiscences. From an artistic standpoint they contain little worthy of commendation. They lack depth of feeling, whereas both form and instrumentation are conventional and commonplace. Orchestral color depends largely upon violent and frequently illogical dynamic contrasts.
Typical of the second group are "Rigoletto," "La Traviata," and "Il Trovatore." A further division might have been made in consequence of the superiority of "Il Trovatore" over "Rigoletto." Such exact distinctions, however, do not seem necessary in this discussion. These works show more earnest search for truthful and impressive expression, greater harmonic variety, and freer treatment of the inner and lower parts. The dramatic effects are of an intensity rarely surpassed. The music is, however, not only passionate but violent, and the tonal effects often suggest unnecessary noise rather than satisfying sonority. As Ferris expresses it: "Verdi storms the ear and captivates the senses, but does not subdue the soul." "Rigoletto" shows increased regard for judicious orchestration and that particularly in the deployment of the wood-wind. The scoring of "La Traviata" is picturesque and consistent. "Il Trovatore" presents passionate outbursts of feeling, a certain striving after effects, whereas the instrumentation reflects in its not infrequent coarseness the brutal tendencies of the subject-matter itself. As a whole, however, the orchestration possesses more independence and richer tonal variety than that of Verdi's preceding works.