|ORCHESTRA: New York Days and Nights; Concerto for Violin and Orchestra; Dream Pedlar; Poem for Piano and Orchestra; Moon Trails; The Aeroplane; In the Court of the Pomegranates; Fata Morgana; incidental music to Marco Millions.|
|BALLET: Sooner and Later.|
|CHAMBER MUSIC: Greek Impressions; Saturday's Child (for tenor, soprano and chamber orchestra); Grim Troubador (for voice and string quartet); Quintet for Piano and Strings.|
About Emerson Whithorne:
Howard J. T. Emerson Whithorne.
Modern Music 8:3January-February 1931.
Williams, Ralph Vaughan.
See Vaughan-Williams, Ralph
ERMANNO WOLF-FERRARI was born in Venice on January 12, 1876. His father, who was of German extraction, was a painter of talent who wanted his son to follow in his footsteps. Notwithstanding the fact that even as a boy Wolf-Ferrari showed far more talent for music than for painting he was sent to an art school in Rome; art, however, did not appeal very strongly
to him. As a boy he made a pilgrimage to Bayreuth where he was so stirred by Wagner's music-dramas that he became seriously ill. He left Bayreuth finally determined never again to touch a brush.
He began elementary music instruction in his fifteenth year, and his talent proved so great that it became necessary to place him with a much more competent teacher--namely, Rheinberger in Munich. He matured rapidly, and during his period as a student he composed with a pen that knew zest and enthusiasm. When he returned to Venice, in 1899, it was to receive the first warm rays of recognition, for the Philharmonic Society of Venice performed his oratorio, La Sulamita. This was so favorably received that it paved the way for performance of his first opera Cenerèntola at Teatro Fenice the following year. The opera did not add very much to Wolf-Ferrari's prestige.
The next year Wolf-Ferrari returned to Germany where his opera Cenerèntola, performed under the title of Aschenbrödel, achieved a certain measure of success. This performance was followed by the presentation of a buffoopera on a text adapted from Goldoni, I Quatro Rusteghi at the Court Theater in Munich.
Wolf-Ferrari continued his composition in half-obscurity until 1909 when, in December, Munich witnessed the first____________________