Verdi: Man and Musician His Biography with Especial Reference to His English Experiences — Reading Notes

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In Category - Composers
Crowest, Frederick James, 1850-1927 Project Gutenberg 2014 Not confirmed
Composers -- Italy -- Biography; Verdi, Giuseppe, 1813-1901 Readers of public-domain and historical texts
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Words 65,059
Reading time 283 min
Text sections 11

Verdi: Man and Musician His Biography with Especial Reference to His English Experiences — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 65,059 words, 4 hr 43 min estimated reading time, and 11 detected text sections.

The text analysis averages about 22.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Composers -- Italy -- Biography,” connecting these edition facts with the source record’s subject description.

A 1897 biography focusing on Verdi's English connections, drawing on contemporary press accounts and Crowest's own opinions on Italian versus German musical temperament.
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ncole, an unpretentious settlement, sparsely inhabited, hard by Busseto, which, in its turn, is at the foot of the Appenine range, and some seventeen miles north-west of Parma, in Italy. The red-letter day, since such it deservedly is, on which this universal melodist first saw the light was the 10th October 1813. Terrible events shadowed his infancy. In 1814 the village was sacked by the invading allies. Then the frightened women took refuge in the church--safe, as they believed, near the image of the Virgin--until the soldiers forced the doors, and slew women and children till the floor reeked with blood. One woman, with infant at breast, flew to the belfry and hid there, thus saving herself and her child. The child was the infant Verdi!

Whenever a son of man is born into the world who, in the mysterious course of events, turns out to be what mankind calls "great," there is inevitably a community jealous to claim ownership of the illustrious one, alive or dead. The subject may have lingered through troublous long seasons, craving vainly for the stimulus of even scanty recognition. He has only to become "great" to find hosts of persevering friends. Verdi having risen to great eminence, more than one locality has claimed him. He has been styled "_il cigno di Busseto_,"[1] and "_il maestro Parmigiano_"; but he was neither the swan of Busseto nor the master of the town of cheeses. Roncole alone is entitled to the sonship of Verdi; and as both Parma and her smaller sister town, Busseto, have disputed his parentage, the point of interest has been very properly investigated. The result is that the question has been decided once and for all. A certificate written in Latin has been traced, which establishes beyond dispute both the time and place of Verdi's birth. The following is the text of the original document:--

"Anno Dom. 1813 die 11 Octobris--Ego Carolus Montanari Praepositus Runcularum baptizavi Infantem hodie vespere hora sexta natum ex Carolo Verdi q^m Josepho et ex Aloisia Utini filia Caroli, hujus parocciae jugalibus, cui nomina imposui--Fortuninus Joseph, Franciscus--Patrini fuere Dominus Petrus Casali q^d Felicis et Barbara Bersani filia Angioli, ambo hujus parocciae."

This dog Latin, translated into English, runs as follows:--"In the year of our Lord 1813, on the 11th day of October, I, Charles Montanari, placed in charge of Roncole, did at the sixth hour of this evening baptize the infant son of Charles Verdi and Louisa Utini, daughter of Charles, married in this parish, under the name of Fortuninus Joseph Franciscus. The sponsors were Father Peter Casali q^d Felicis and Barbara Bersani, daughter of Angiolus, both of this parish."[2]

The abode in which the infant Verdi first opened his eyes was one of the best known and most frequented among a cluster of cottages inhabited by labouring folk who found work and small wage in the immediate neighbourhood of Roncole, a three miles' stretch from Busseto. It was a tumble-down stone-and-mortar-mixture building of low pitch.

_Padre_ Carlo Verdi and his good wife Luigia Utini were the licensed keepers of this small _osteria_, whereat wine, spirits, and malt, with their close relations pipes and tobacco, were matters of trade between Boniface or _la signora_ and the frugal _contadini_ who lived in and about Roncole. Wine and music! Another illustration of the curious union between harmony and alcohol--a connection which harmless as it really is, has been discouraged and taken fearfully to heart by a sensitive sort of people, but which has never yet been satisfactorily disproved or accounted for by all the Good Templar philosophy. Bacchanalian aids were not the only commodities dealt in by the honest, though illiterate Carlo Verdi and his brave wife. The inn stood also as the local _dépôt_ for such unromantic necessaries of existence as sugar, coffee, matches, oil, cheese, and sausage--all indispensable items in housekeeping, even in Italy.

The business air pervading the home of Verdi's childhood seems not to have affected his young mind, and, pecuniarily profitable as such an establishment for the sale of the liquids and solids of life may have been, the future musician does not appear to have shown any disposition towards becoming a vendor of unromantic necessaries or alcoholic unnecessaries of life. Happily, the fire of genius--the _feu sacré_--was in Verdi.

Verdi _maggiore_ was distinctly a retail trader, running, with great good-nature, what are vulgarly known as "ticks" with the Roncolese. He went to market once a week, to buy in wholesale quantities grocery of one Antonio Barezzi, storekeeper, distiller, etc., who, as circumstances proved, was to figure prominently in the Verdi _dénouement_.

Crowest's 1897 biography of Verdi is unusual in its declared emphasis on the composer's English experiences, though the excerpts reveal that this focus is intermittent. The author frequently inserts his own strong views—for instance, asserting that Italians lack the 'industry' for orchestral music and that their overtures merely preview tunes—rather than letting Verdi's career speak for itself. The work draws heavily on periodical sources such as the Illustrated London News to document English performances, including the 1862 cantata L'Inno delle Nazioni and its rejection by the Exhibition Commissioners due to Sir Michael Costa's objections.

A Biography with a Thesis

The catalog subjects list Verdi simply as an Italian composer, but Crowest's text is far from a neutral account. He repeatedly contrasts Italian and German musical habits, claiming that 'Italians possess neither the industry nor the application requisite to plan and build a vast orchestral conception.' This national-character argument shapes his descriptions of Verdi's instrumental works, which he dismisses as slight. Readers should note that these judgments reflect Crowest's own aesthetic, not necessarily the consensus of Verdi's time. The biography is as much a platform for the author's views on musical culture as it is a record of the composer's life.

English Performances as Evidence

Crowest supports his narrative with excerpts from English newspapers, such as the Illustrated London News report on the 1862 cantata: 'The whole piece was encored, and repeated with increased spirit and effect.' He also mentions that Verdi was 'called for several times' and led forward by singers Mdlle. Titiens and Signor Giuglini. These details ground the biography in contemporary reception, though Crowest does not always explain how these performances connect to Verdi's broader career. The reliance on press accounts suggests that the author valued documentary evidence, even as he filtered it through his own interpretive lens.

The Composer's Early Years in Crowest's Telling

The opening chapters describe Verdi's childhood in Roncole, his fascination with a street organ, and his purchase of a spinet. Crowest notes that Verdi was 'not a musical wonder or show-child' and that his early compositions—'save the symphonies, the tragedies, and quartet music'—are lost, which he considers 'not to be greatly deplored.' This pragmatic tone extends to Verdi's first opera Oberto and his marriage to Margarita Barezzi. The biography moves quickly through these events, using them to establish Verdi's ordinary beginnings before focusing on his later successes and the author's own commentary.

Crowest's Verdi: Man and Musician is best approached as a period piece: a late-Victorian biography that mixes factual reporting with strong editorializing. Readers interested in Verdi's English reception will find useful contemporary sources embedded in the text, but those seeking a balanced life story should supplement this with modern scholarship. The author's voice is ever-present, making the book as revealing about its own era as about its subject.

There’s something touching about how this old biography lingers on Verdi’s English seasons—the polite applause, the foggy trains. It makes me think of its companion volume, The Great German Composers — A Reader’s Guide, and how both books treat music as a matter of national temperament. I suppose we read them less for facts than for that vanished earnestness.

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