on
history, renders it doubly attractive. Anyone acquainted with German
history at the time of Frederic the Great will not fail to recognize
him and his testy father under the assumed names of the young prince
and the reigning head of the house.

The opera is at the same time an amusing parody of the two great
schools of music of the age, that is, of German and Italian musical art.

Fuest Eberhard, the reigning prince and his son, Prince Ferdinand are
perpetually disagreeing, not only because of their radically opposite
dispositions, but because the parent is a champion of German music,
while his son is absolutely devoted to everything Italian.

The two prime favourites at court are two musicians, a German named
Pepusch, and an Italian, Maestro Emanuele, who take turns at conducting
the court orchestra. Naturally there is constant rivalry between these
two, particularly since Pepusch composed the so-called "Schweine Canon"
(hog-canon), for the gratification of Prince Eberhard. Taken literally
this song of the Hogs is a quartette, which skilfully reproduces the
various forms of grunting characteristic of these animals. To reward
Pepusch for his composition, Eberhard wishes him to become his wayward
son's tutor instead of Maestro Emanuele. The latter encourages the
young prince in his fondness for all things foreign and his violent
dislike of everything German.

{486}

At the beginning of the opera, Prince Eberhard laments over his son's
fondness for the flute to Pepusch, till an orderly abruptly summons him
to take command of the troops.--

Before going he shouts to Pepusch, that if Prince Ferdinand fails to
appreciate the "hog-canon", he had at least better make the "cannon"
his instrument instead of the flute.

Left to himself Pepusch goes into the concert pavilion, and picks up
his music.--Peppina, a famous primadonna, makes her appearance without
perceiving the German conductor. Soon she begins to sing and is quite
terrified, when Pepusch joins in. A lengthy conversation ensues and
Peppina is not long in expressing her contempt for the song of the
hogs.--When Pepusch confesses himself to be the composer thereof, she
lapses into the Tyrolese dialect of her childhood. Both she and
Pepusch declare their allegiance to the German and Italian schools of
music, but nevertheless they are highly pleased with each other.

Suddenly the sounds of a flute are heard, which cause Pepusch to run
away and Maestro E