me, it was hoped he might be
the legitimate successor. Melody remains the life-blood of his music as
it is that of Verdi's from his first work to his last;--as it will be
so long as music endures.

Terrible is the outbreak of Alfio's rage:--

Infami lero, ad esse non perdono,
Vendetta avro pria che tra monti il di.

[figure: musical example setting the above words]

Upon this storm succeeds the calm of the intermezzo--in its day the
best abused and most hackneyed piece of music that the world knew; yet
a triumph of simple, straightforward tune. It echoes the Easter hymn,
and in the midst of the tumult of earthly passion proclaims celestial
peace. Its instrumentation was doubtless borrowed from Hellmesberger's
arrangement of the air "Ombra mai fu" from "Serse," known the world
over as Handel's "Largo"--violins in unison, harp arpeggios, and organ
harmonies. In nothing artistically distinguished it makes an unexampled
appeal to the multitude. Some years ago a burlesque on "Cavalleria
rusticana" was staged at a theatre in Vienna.

[figure: a musical score excerpt]

It was part of the witty conceit of the author to have the intermezzo
played on a handorgan. Up to this point the audience had been hilarious
in its enjoyment of the burlesque, but with the first wheezy tones from
the grinder the people settled down to silent attention; and when the
end came applause for the music rolled out wave after wave. A burlesque
performance could not rob that music of its charm. Ite missa est. Mass
is over. The merry music of the first chorus returns. The worshippers
are about to start homeward with pious reflections, when Turiddu
detains Lola and invites his neighbors to a glass of Mamma Lucia's
wine. We could spare the drinking song as easily as Alfio, entering,
turns aside the cup which Turiddu proffers him. Turiddu understands. "I
await your pleasure." Some of the women apprehend mischief and lead
Lola away. The challenge is given and accepted, Sicilian fashion.
Turiddu confesses his wrong-doing to Alfio, but, instead of proclaiming
his purpose to kill his enemy, he asks protection for Santuzza in case
of his death. Then, while the violins tremble and throb, he calls for
his mother like an errant child:--

[figure: a musical score excerpt]

He has been too free with the winecup, he says, and must leave her. But
first her blessing, as when he went away to be a soldier. Should he not
return, Santa must be her care: