Rensselaer Republican, Volume 22, Number 27, Rensselaer, Jasper County, 6 March 1890 — NEW POPULAR TUNES. [ARTICLE+ILLUSTRATION]

NEW POPULAR TUNES.

Initial Publication of the Bast Ain of New Op?ra. Sip Arthur Sullivan Adda to His Laurels by Hew Selections— Melodies Which are Sure of Popularity, Whatever Becomes of the Opera of Which They are a Part Arthur Sullivajn’s latest opera, fTbe Gondoliers,” seems destined to succeed. In some of his notably ‘Tolanthe,” Sullivan evidently gave free rein to his fancy and wrote as the musician pure and simple rather than as the caterer. The result is in many numbers melodies that appeal to the listener as jpleasing only after several hearings. In his earlier works, as “Trial by Jury” and "Pinafore,” the melodies were uniformly such as were entirely comprehensible at the first hearing. In “The Gondoliers” Sullivan has apparently returned with due deliberation to the style of former days and the result is a collection of airs whose bold simplicity is at once attractive to the layman and astonishing to the musician. Here, for instance, is a phrase that introduces a song always received with encore:

The most cursory analysis of this phrase shows that it is simply a-eom-monplace variation upon descending diatonic scale in the same- key, as is shone in the staff that follows it. The scale is known to every school boy, and, therefore, may be- regarded as a popular melodic subject Sullivan appears to have worked: on this supposition, and out of it has-built the air which follows. The melodies here presented-are substantially, if not note for note, anrkaa are “sung 53 by the actors in the New York performance. This is the song referred to:

I stole the prince and I brought him here. And left him gaily prattlin'? With a highly respectable gondolier Who promised the royal babe to rear And teach him the trade of a timonecr With his own beloved brattling. Both of the babes were strong and stout, And, considering 1 all things, clever. Of that there is no manner of doubt, No probable, possible shadow of doubt; No possible doub.t whatever. The number which all await with the greatest expectancy in the opera is the “Regular, Royal Queen.” It has several variations in the score, as different voices in the quartette take up the solo stanzas, but the refrain, is always the same:. The first stanza and refrain follow:

Then one of ns-will bo a queen and;sit on a golden throne, With a crown instead of a hat on her head and diamonds all her own. With a beautiful robe of gold and green I’ve always understood: I wonder whether she’d wear a feather} I rather think sho should. Oh, it’s.a glorious thing l ween To be a regul at- royal queen No half ana half aflair Tween. But a regular,regular, regular, regular, regular, royal queen. It has bee® said by some-critic, that the most impressive music is that in which the melody follows closest to the consecutive notes of the diatonic scaeL or the notes that make up what is called the “tonie triad,” the above example, key of f, a, c. This- concloaion is wells borne out by examples, such as the German chorals and hymns, like “Old Hundred,” ‘-God Save the Queen,” etc. It also follows that mellodies so limited will be the most “catchy,” because founded upon melodic subjects which are universally Sami' ar. The astonishing feature of it : the immense, inexhaustible var. r.y of tunes that can be made from this sample base. In the example last quoted, for instance, the melody proceeds entirely in the three notes of the “tonic traid” as far as the word “sit;” and it is the phrase, too, that gives the charming color of individuality to the. air. The simplicity of the refrain speaks for itself to- the eye alone, nut not so clearly as in. the song of “The Duke of Plazo Toro.” There it will be observed that the great composer has actually dared to write the largest part of the tune on one note

[n enterprise of martial kind, W lien there was any fighting, He led his regiment from behind; He found it less exciting. But when away his regiment ran, . . ilis place wlis at the sere, O, The celebrated, cultivated,underrated nobleman, The Duke ol Plazo Toro. There are several other examples in "The Gondoliers” of airs nearly iur plain in construction as this. Whether it was wise to discard invention so deliberately Call be tolcj only after the opera-has proven its success or failure. If it becomes a great hit, like "The Mikado.” the last of Gilbert and Sullivan’s real successes in America It will probably depend more for lasting favor upon the more highly devel-

oped music than on oach tunes as nave been quoted. By far Die most pleasing air is Gianetta’s song when she discovers she must be separated from her husband. In as j&och as tbs opera has examples of Sullivan’s better work it wili be no more than fair to conclude with a quotation of that style. The first stanza of Gi&netta’s song follows. The second is like it save in the very end, where variation is expressed in grace notes.

I Kind sir, you cannot have thebeart r Our lives to part from those to whom an hour ago we were united! Before our flowing hope you stem, Ah, look at them, and pause bofore yea deal this blow all uninvited. You. men can never understand That heart, and hand cannot be separated when we go' a-yearning: You see, you’ve only women's eyes To idolize, and only women’s hearts, poor men, to.set you burning! Ah, me, you men will never understand’ That woman’s heart is ones with woman?* hand.

FREDERICK R. BURTON.