It is not, however, Perosi's dramatic genius that strikes me in his
work; it is rather his peculiar mournfulness, which is indescribable,
his gift of pure poetry, and the richness of his flowing melody. However
deep the religious feeling in the music may be, the music itself is
often stronger still, and breaks in upon the drama that it may express
itself freely. Take, for instance, the fine symphonic passage that
follows the arrival of Jesus and His friends at Martha and Mary's house,
after the death of their brother (p. 12 _et seq._ of _Lazarus_). It is
true the orchestra expresses regrets and sighs, the excesses of sorrow
mingled with words of consolation and faith, in a sort of languishing
funeral march that is feminine and Christian in character. This,
according to the composer, is a picture he has painted of the persons in
the drama before he makes them speak. But, in spite of himself, the
result is a flood of pure music, and his soul sings its own song of joy
and sadness. Sometimes his spirit, in its naive and delicate charm,
recalls that of Mozart; but his musical visions are always dominated and
directed by a religious strength like that of Bach.
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