But Giordano does not make extensive use of the tune in "Madame Sans-Gene." It appears literally at the place mentioned and surges up with fine effect in a speech in which the Duchess of Dantzic overwhelms the proud sisters of Napoleon; but that is practically all.

The case is different with two other revolutionary airs.

The first crash of the orchestra launches us into "La Carmagnole," whose melody provides the thematic orchestral substratum for nearly the entire first scene.

It is an innocent enough tune, differing little from hundreds of French vaudeville melodies of its period, but Giordano injects vitriol into its veins by his harmonies and orchestration.

With all its innocence this was the tune which came from the raucous throats of politically crazed men and women while noble heads tumbled into the bloody sawdust, while the spoils of the churches were carried into the National Convention in 1793, and to which "several members, quitting their curule chairs, took the hands of girls flaunting in priests' vestures" and danced a wild rout, as did other mad wretches when a dancer was worshipped as the Goddess of Reason in the Cathedral of Notre Dame.
Caterina's account of the rude familiarity with which she is treated by the soldiery (I must assume a knowledge of Sardou's play which the opera follows) is set to a melody of a Russian folk-song cast in the treatment of which Russian influences may also be felt; but with the first shouts of the mob attacking the Tuileries in the distance the characteristic rhythmical motif of the "Ca ira" is heard muttering in the basses.