id="linknoteref-18030" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">30 was an important element in this success; but Monsigny's work was quite on a level with that of his collaborateur. His music expresses with instinctive truth the most amiable side of the French character. Monsigny not only had at his command a wealth of pleasing sympathetic melodies, but possessed as decided a talent for pathos as for light comedy, and a sure perception of dramatic effect, combined with life, delicacy, and grace. His natural feeling for beauty of form concealed the want of thorough artistic training, 31 and his operas were universally admired, some of them, such as "Le Déserteur," 32 acquiring more extended fame.

PHILIDOR, 1759-1795—GRÉTRY, 1768-1813.

A better theoretical musician was Franç. André (Danican) Philidor (1727-1795), who enjoyed the reputation of extraordinary genius as a chess-player before appearing as a composer with his first opera, "Blaise le Savetier," in 1759. 33 His fame as a musician was soon established, and he ruled the comic stage with Duni and Monsigny until Grétry took possession of it. He was reproached with justice for too great a display of musical scholarship, and for making his accompaniments too prominent. 34 He had more force and energy than Monsigny, with greater power of passionate expression, but his fun is coarser, and he is inferior in grace and tenderness. He finally abandoned music, partly from disinclination to enter into rivalry with Grétry, and partly from his passion for chess.

It was characteristic that comic opera, the outcome of vaudeville and chanson, should have been nursed in its infancy by composers like Duni, who had no pretensions to great genius, Monsigny, who was half a dilettante, and Philidor, who only composed music as a pastime. André Ern. Grétry, on the contrary (1741-1813), threw himself into the pursuit with all his powers, and with zealous ardour. He it was who perfected the comic opera, making it, what it still remains, the representative of the French national character in the province of dramatic music. As a boy, he had delighted in the performances of Italian opera singers in his native town of Liège, and as a youth he had been in Rome during the most brilliant part of Piccinni's career, had studied there for several years, and at last produced an intermezzo, "Le Vin-demiatrici," which was well received, and gained even Pic-cinni's approval. In Paris, although Monsigny and Philidor received him kindly, he had to contend with difficulties; but FRENCH OPERA. after the complete success of his opera "Le Huron," in 1768, 35 even his remarkable fertility in production could hardly satisfy the demands of the public for his works. Marmontel, Sedaine, and other poets offered him libretti which were in themselves pledges of success. The idea that dramatic poetry should represent human nature in its naked reality, which had emanated from the encyclopedists, found its realisation in the drama of common life, and had considerable influence on the development of the comic opera.

The strict line of demarcation between opera seria and buffa did not exist in Paris. The effort to give more dramatic interest and freer scope to operatic music led to the portrayal of the deeper and noble emotions, and opera approached more and more nearly to serious comedy in plot, situations, and psychological intention. Merriment gradually ceased to be the predominating element, and became nothing more than a flavouring thrown in; it was replaced by that mixture of seriousness and playfulness which, in opposition to the former prohibition of any amalgamation of different styles, was now considered as the true expression of music. 36 A characteristic distinction between comic and serious opera in France was the adoption by the former of spoken dialogue instead of recitative. 37 Any attempt to imitate the free, declamatory recitative of the Italians would have been thought too daring, and was perhaps actually prohibited by the privileges of the Grand-Opéra. But in renouncing recitative, the dialogue gained the freedom of witty and sparkling conversation, without which the French cannot exist; and this note, once struck, soon regulated the whole character of GRÊTRY. operatic music, which, elevated as it may be, nevertheless starts from the idea of a conversation.

No one could be better fitted than Grétry for the development of such a style as this. 38 His was a pliant and amiable nature, but not a great one. He was excitable and susceptible to any emotion, but without depth; his wit was delicate and versatile, and he possessed the power of giving it the most striking and appropriate expression. He was determined that his music should always faithfully render some definite emotion, even to the minutest detail of the dramatic situation and characters. He held that a composer could only attain this end by working himself up into a pitch of intense excitement, 39 and living for the time in the drama that was under his hands. 40 The actual means which he employed was song, that is, melody. He learnt the art of tuneful song from the Italians, 41 and made its expressiveness depend upon intonation in delivery, which it is the composer's part to suggest and control. 42 He laid great stress upon true and strongly accentuated declamation, 43 which he had studied under good actors. public@vhost@g@gutenberg@html@files@43412@[email protected]#linknote-18044" id="linknoteref-18044"