l cavatina in the second scene
("O, che volo d'angello"); her duet with Silvio in the third scene ("E
allor perche"); the passionate declamation of Canio at the close of
the first act ("Recitur! mentre preso dal delirio"); the serenade of
Beppe in the second act ("O Colombino, il tenero"); and the graceful
dance-music which plays so singular a part in this fierce struggle of
the passions, which forms the motive of the closing scenes.

MASCAGNI.

Pietro Mascagni, who leaped into fame at a single bound, was born at
Leghorn, Dec. 7, 1863. His father was a baker, and had planned for his
son a career in the legal profession; but, as often happens, fate
ordered otherwise. His tastes were distinctly musical, and his
determination to study music was encouraged by Signor Bianchi, a
singing teacher, who recognized his talent. For a time he took
lessons, unknown to his father, of Soffredini, but when it was
discovered he was ordered to abandon music and devote himself to the
law. At this juncture his uncle Stefano came to his rescue, took him
to his house, provided him with a piano, and also with the means to
pursue his studies. Recognizing the uselessness of further objections,
the father at last withdrew them, and left his son free to follow his
own pleasure. He progressed so rapidly under Soffredini that he was
soon engaged in composition, his first works being a symphony in C
minor and a "Kyrie," which were performed in 1879. In 1881 he composed
a cantata, "In Filanda," and a setting of Schiller's hymn, "An die
Freude," both of which had successful public performances. The former
attracted the attention of a rich nobleman who furnished young
Mascagni with the means to attend the Milan Conservatory. After
studying there a short time, he suddenly left Milan with an operatic
troupe, and visited various Italian cities, a pilgrimage which was of
great value to him, as it made him acquainted with the resources of an
orchestra and the details of conducting. The troupe, however, met with
hard fortunes, and was soon disbanded, throwing Mascagni upon the
world. For a few years he made a precarious living in obscure towns,
by teaching, and had at last reached desperate extremities when one
day he read in a newspaper that Sonzogno, the music publisher, had
offered prizes for the three best one act operas, to be performed in
Rome. He at once entered into the competition, and produced
"Cavalleria Rusticana." It took the first prize.