Scan 15
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
64 lines. Read by computer on 22 September 2026. Printed page 16. See the scan on archive.org.
1mock him, separate him from Manru and chase him off. (Scene 7.) Manru, however, once more thinks of Ulana, but this time only in trying to justify his treason to her before his own conscience. Liberty it is what he longs for, and it is his right to seek it, for it is the heritage of all gypsies. Meanwhile daybreak is approaching and the gypsies make preparations for shifting the camp. The characteristic gypsy march is struck up and is worked up by the composer to a tremendous climax. Under the influence of its rousing rhythm, Manru, folding Asa to his heart, leads the band to the mountains. (Scene 8.) Scarcely has the march ceased when the betrayed Ulana, whom Urok has led to the scene, puts in an appearance. Desperately she calls Manru's name and beseeches Urok to run after him. While the latter is complying with her request, she bewails her fate in touching language. Then comes Urok's call from the mountains: "Too late!" Ulana, taken with the lever of utter despair, runs toward the lake and disappears in a watery grave. (Scene 8.) After a short pause Manru and Asa are seen to reach the peak of the mountain at the head of the gypsy band. The gypsy march is heard, when suddenly Oros, who had hidden behind a boulder, steps forward, and, claiming his right to Asa's hand and to the leadership of the gypsies, precipitates Manru from the top of the mountain into the lake.
3The following are among the principal musical motives from which the score of "Manru" is constructed:
5The opening motive:
7which is decidedly Slav in character, is used throughout the first act, and leads to Hedwig's plaintive song:
9Then the chorus takes up the first motive, and the following charming melody:
11The following beautiful fragments are also used to advantage:
13After a chorus full of color and life:
15with the accompanying figure:
17comes Ulana's motive for tuba and horns:
19and her song:
21The ballet music, which closes the first act, has this striking theme, which could have only been composed by one knowing and understanding the wild beauty of the Tatra Mountains, the melancholy of the steppes and the local coloring there:
23Many variations and the wonderful finesse of orchestration make this ballet music one of the gems of the first act.
25The second act opens with the hammer motive:
27and then Manru sings:
29The following berceuse, sung by Ulana, is the most beautiful lyric piece in the opera:
31Urok's second motive is used throughout the second act most skillfully in a contrapuntal way. The "Gypsy" motive (the violin solo played behind the scenes), which tempts Manru back to his tribe, possesses all the fire and melancholy and wild plaintiveness of the true Tsigane music, and is wonderfully effective. It runs as follows:
33Ulana's motive, giving Manru the drink:
35is beautifully worked up to the following climax:
37which, however, only prepares the audience for the duet between Manru and Ulana, which, perhaps, is the most passionately beautiful love song of this or any other opera:
39This is worked up gradually accelerando and stringendo to a tremendous finale, all on the same melody, the entire orchestra being called on.
41The third act begins with a prelude which adequately introduces the ensuing scenery—fleeting clouds on a dark night, with the moon appearing at rare intervals:
43Some very original effects are obtained by the use of augmented chromatically succeeding thirds before the second leading motive of the third act comes in:
45The orchestration throughout is marvelously handled; to mention among many things the storm and wind effect obtained by all the strings muted playing chromatic scales in unison, which I believe has never been done before. Also original is the idea of the orchestra playing alone during the time the clouds are passing. The gypsies enter to the following march:
47crescendo to the middle part in C major, with remarkable counterpoint of chorus and orchestra. The first and second motives from the third act are then very frequently used with the following played pizzicato:
49Asa, tempting Manru to return to the gypsies, sings:
51An effective cymbalum solo precedes the repetition of the "Gypsy" motive from the second act. The motives, Act 1, Ex. 4; third act, Ex. 1, 2 and 5 are then used, also first act, Ex. 2. Ulana's motive shortened leads to a tremendous climax; a reminiscence of the march pianissimo following and ending the opera.
53VITTORIO CARPI'S VOICE RECTIFIER.—The following are some of the names of people who have indorsed Mr. Carpi's invention: Signori Tamagno, G. Moretti, G. Carignani, Signore T. Stolz, Vaneri Filippi, Elvira Toni, Milan; Mme. Kupfer Berger, Vienna; M. T. Chapman, Paris; L. Giraldoni, Moscow; O. Nouvell, Varsovie; O. Sefferi, St. Petersburg; J. Crowe, London; E. Ramperzotti, Moossoorie, India, and by Signor Vannini, Mrs. K. B. Willson, Mrs. R. O. Skinner, Mrs. Hess Burr, Miss G. Shaffer, Miss Minfulda, Lila Johnson, Miss Furnass, Del Papa, and many other teachers, artists and students.
55For information call at Signor Vittorio Carpi's studio, 210 West Fifty-ninth street, New York.
57PADEREWSKI'S TOUR IN AMERICA
591902
61Under the direction of C. A. ELLIS, Boston.
63Sole Agent, W. ADLINGTON, London.
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