in
his seventy-third year, comes the intelligence that he has completed
still another opera, on the subject of "Othello," which will soon be
placed in rehearsal in Paris. In the interval between "Aida" and
"Othello" he wrote the "Manzoni Requiem," a "Pater Noster" for five
voices, and an "Ave Maria" for soprano solo. He has also written several
marches, short symphonies, concertos for piano, minor church
compositions, a stringed quartet, a "Stabat Mater," the choruses to
Manzoni's tragedies, and numerous songs and romances for the
drawing-room. With his wife, Madame Strepponi, he has spent a very quiet
life in his villa at S. Agato, looking after his farming operations, to
which of late years he has given more attention than to music. In a
letter addressed to the Italian critic, Filippi, he writes: "I know very
well that you are also a most distinguished musician and devoted to your
art: ... but Piave and Mariani must have told you that at S. Agato we
neither make nor talk about music, and you will run the risk of finding a
piano not only out of tune, but very likely without strings." He has been
overwhelmed with decorations and honors, but has studiously avoided
public life and the turmoil of the world. In 1866 he was elected a member
of the Italian Parliament from Busseto, but sent in his resignation
shortly afterwards; and in 1875 was appointed senator by the King, but
never took his seat. His fame is indissolubly connected with his music,
and in the pursuit of that art he has become one of the most admired
composers of his time.

The Manzoni Requiem.

The history of "The Manzoni Requiem" is of more than ordinary interest.
Shortly after Rossini's death, in 1868, Verdi conceived the idea of a
requiem in his memory, to be written by many hands, which should be
performed in the cathedral of Bologna on each centenary of the composer's
death, but upon no other occasion and at no other place. The project met
with favor. The work was laid out in thirteen numbers and assigned to
thirteen Italian composers, Verdi taking the "Libera me," which was to be
the last number in the work. Each of the composers finished his task; but
when the parts were joined in a complete requiem they were found to be so
dissimilar in treatment, and the whole work so incoherent and lacking in
symmetry and unity, that the scheme went no further. M. Mazzucato, of
Milan, who had examined the work, was so impressed wi