Scot’ti

Antonio, Naples, Jan. 25, 1866 —Feb. 26, 1936; notable barytone; début Malta, 1889; sang in various cities; from 1899 at Covent Garden and Met. Op. House, N. Y., regu‘larly; famous as “Don, Giovanni,” and in later years as “Falstaff,” “Scarpia,” in “Tosca,” and the evil Chinese villain in Franco Leoni’s t-act “thriller,” “Z’Oracolo.” of the most distinguished dram. artists of his period, he was a regular mem. of the Met. Op. Co. until 1933, his 25th anniversary with this co. being marked by special ceremonies in 1924. His last few years were clouded by ill health and poverty, as his fortune had been lost and his farewell perf. was given as a benefit for him; his death occurred obscurely in Naples. (skét’-t5), (1) Ottaviano, and his son (2) Girolamo, mus.-printers at Venice, 1536-39, and 1539-73, respectively; the latter was also a composer. (skré-4’-bén), Nicolaievitch, Moscow, Jan. 10, 1872 -—April 14, 1915; eminent composer and pianist; pupil of Moscow Cons., studying with Safonoff (piano) and Taneiev (comp.) also with Arensky; after 1892 he lived in Paris, Bru els and Amsterdam, and also toured in various cities of Europe as a pianist; but returned to Moscow and taught in the Cons., 1898-1903; in 1907 he visited the U. S. and in 1914 England, as performer in his works. devoted the latter part of his life exclusively to composition, living in other countries until rg10o, when he again took up res. in Moscow. his earliest piano works, he was influenced Wagner, by Chopin, but he soon developed a markedly personal style, which also shows traces of folk-song inspiration and the nationalist idiom of the Ru ian Five. The earliest period includes op. 1 to 25, and numbers the 1st 2 symphonies in E (with chorus) and C minor, the piano sonatas, op. 6, 19 and 23; the études of op. 8, and the preludes, op. 11, 15 and 17. In his 2nd period his creative work took on a new, somewhat mysterious and ecstatic note, and he developed a highly original harmonic system, while his orch. writings were also individual, as exemplified in his “Divine Poem” and “Poéme de PExtase,” style of which bears a resemblance to Wagner’s “Tristan’’ but is extended to new vehemence of expre ion. The 2nd period includes also the 4th piano sonata, op. 30; the “Poéme Satanique,” the 8 études, op. 42, sth sonata, op. 53, and many His 3rd period smaller pf. works. saw the development of an entirely original harmony based on a so called “synthetic chord” composed of 7 tones—C, F sharp, B, E, A, D, G —which S. sometimes called the His theories at this “mystic chord.” time turned more and more toward the mystical and semireligious, so that he conceived his music as a sort of rite. The works of the final period include ‘‘Pro me the us’” (subtitled “The Poem of Fire’’), scored for orch., piano, organ, chorus and color-organ, the 5 sonatas, op. 62, 64, 66, 68 and 70; the “Poéme Nocturne,” “Guirlande”’ and “Vers ta Flamme,”’ and many briefer piano: He sought to combine the numbers. arts of tone, light, and even—in the “Mysterium’” on which he was working at his death—various elements of: smell by the use of perfumes. Studies of S. and his music have been written by Sabaneiev, Karatygin, Gunst, de Schloezer, Hull, Swan, etc. His letters were ed. by Sabaneiev: and pub. in Moscow, 1923.