. Modern composers of Europe : being an account of the most recent musical progress in the various European nations, with some notes on their history, and critical and biographical sketches of the contemporary musical leaders in each country . shion. Two years later he ful-filled the same functions at the San Marco, inVenice. In that year he produced the first of the greatworks that have made his name so familiar andcaused so much discussion. His sacred trilogy, The Passion of Christ, including the Last Sup-per, the Sermon on the Mount, and the death ofthe Redeemer, made a sensation that rever
. Modern composers of Europe : being an account of the most recent musical progress in the various European nations, with some notes on their history, and critical and biographical sketches of the contemporary musical leaders in each country . shion. Two years later he ful-filled the same functions at the San Marco, inVenice. In that year he produced the first of the greatworks that have made his name so familiar andcaused so much discussion. His sacred trilogy, The Passion of Christ, including the Last Sup-per, the Sermon on the Mount, and the death ofthe Redeemer, made a sensation that reverberatedthrough all Italy, and caused his appointment inthe following year as honorary master of the PapalChoir. Both before and since that date Perosihas been indefatigable as a composer, having writtenno less than fifteen masses and nearly a dozen ora-torios. The latter include The Transfiguration, The Annunciation, The Raising of Lazarus, The Birth of the Redeemer, and the two-part Moses. Perosi carries his enthusiasm into the work ofcomposition. He sees the actual picture before himas he writes, and is wholly absorbed by the subjectin hand. His music reflects his temperament, for,while it aims to follow the old and strict styles, it. DON LORENZO PEROSI. ITALY 163 blends with them a most modern feeling fordramatic effect. Perosi is not of the school ofPalestrina, but stands midway between that andthe popular vein. He is eminently fitted for thepresent, however, and has done an excellent servicein paving the way for a return to the classicaldignity that once existed in Italian church recent edicts of the Pope are probably aimedto bring this about, through Perosis music. The growth of Italian opera has been longer inevidence, and is a more familiar story to musicalreaders. The singing-concerts that bore the nameof opera in Italy are not now held up as modelsof art, and only a few of them remain popular, toserve as a medium of display for some vocally agileprima donna.
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