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The music makes an effective accompaniment to the exciting incidents of the plot, but it has few claims to intrinsic interest. Leoncavallo is never much of a melodist, and 'Pagliacci' teems with reminiscences. The opera was probably written in a hurry, in order to pander to the taste for melodrama which 'Cavalleria' had excited.

The chief ambition of Mascagni, Leoncavallo, Puccini, and all the others has been to be called "the Italian Wagner;" and their operas are much more like Wagner's than like Rossini's and Donizetti's, being free from arias and the vocal embroideries that formerly were the essence of Italian opera. The same is true of the operas written in recent decades in France, Germany, and other countries.

No one else was sitting there, but many people were passing to and fro, and they could see the lamps round the "Musica Leoncavallo," and hear it fighting and conquering the twitter of the shepherd boy's flute and the weary wheezing of the organ within the house. A great, looming darkness rising towards the stars dominated the humming village. Etna was watching over the last glories of the fair.

Christophe was delighted. But when he looked at the bills of the Parisian theaters, he saw the names of Meyerbeer, Gounod, Massenet, and Mascagni and Leoncavallo names with which he was only too familiar: and he asked his friends if all this brazen music, with its girlish rapture, its artificial flowers, like nothing so much as a perfumery shop, was the garden of Armide that they had promised him.

Brahms shows many things that Bach did remember, so he is an eclectic, they say. Leoncavallo writes pretty verses and Palestrina is a priest, and Confucius inspires Scriabin. A choice is freedom. Natural selection is but one of Nature's tunes.

In 'I Medici' , a tale of the Florentine Renaissance, Leoncavallo aimed far higher. Here, too, however, his music is for the most part a string of ill-digested reminiscences, though scored with such extraordinary cleverness and fertility of resource as almost to disguise the inherent poverty of the score.

Ruggiero Leoncavallo, a promising representative of the young Italian school, was born in Naples, March 8, 1858. He first studied with Siri, and afterwards learned harmony and the piano from Simonetti. While a student at the Naples Conservatory he was advised by Rossi, one of his teachers, to devote himself to opera.

The influence of Verdi has been supreme among the Verdists of young Italy, though not one has proved knee-high to a grasshopper when compared with the composer of that incomparable Falstaffo. Ponchielli played his part, and under his guidance such dissimilar talents as Puccini, Mascagni, and Leoncavallo were fostered.

She remembered Mascagni and his Cavalleria, Leoncavallo and his Pagliacci. And she was almost glad that Claude was unknown. At any rate, he had never made a mistake. That was something to be thankful for. He must never make a mistake. But there would be no harm in arousing a certain interest in his personality, in his work. A man like Jacob Crayford kept a sharp look-out for fresh talent.

An anecdote about Herr Josef Lauff's Court drama 'Frederick of the Iron Tooth, dealing with an ancestor, an Elector of Brandenburg, and on which Leoncavallo, at the Emperor's request, wrote the opera 'Der Roland von Berlin, shows the Emperor's strictness in this respect. Frederick of the Iron Tooth is a burgher of Berlin who leads a revolt against the Elector.