Page:A Dictionary of Music and Musicians vol 2.djvu/534

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��ofEoryanthe's is treated with

��indeed, to have 'Eoryanthe,* in


as to substitate heavily accompanied Recitative far y" dialogne throughout an expedient which he did not fcnow up in his later English

" ~ -* __ A.V* :- _*-^._J. *-* __ ^

OF UBG liiiflnTils^MlMi Ol

L that neither Engfish nor Ger-

! at that time prepared. Hkoagk Hpntr cannot be justly credited with the annl'msi of the 'Rrnnantif. Open,' his ima- ginative temperament and rich creative powers him to cultivate it with very great sac- while his unlimited command orer the m-

oftheCfcrassatieand lent a peculiarly deBuuiJjiuiiug to of treatment. His sFaust' now temporarily

��more all danger of hi permanent

'Der F H^s'sl' (1825), though less generally

known, is, in some leapecU, stOl finer; and is

���by the power of a magic spell, to solitude. T '


��her in her

to the ghostly fa

bythe- -

��contrasted with

��teD* the story with Spohr also reached a kdAaor'(i8i9), Der Alchymisf (1830), and Der Kreoxfchrer' (1845). In ' Jeasonda/ produced in 1823, and regarded by himself as his best Opera, he i attempt, like Weber, to abolish spe in fciuui of fliusiiiisniiil R

��, Hke Weber, that popular feeling was

it stffl holds ite ground, both in Ger- , France, and England. In Italy alone ha*

��HK gws ww at the Opera.

Next in order of merit are the Opens of TTiBiJi Marschner, ahose more im- portant productions, 'Der Yampyr* (1828), 'Der Tempkr and die Jldin' (1829), 'Hans Hefling' (.1833), and 'Adolph Ton Kassao' (1844^ rank among the best works of the kind


preservea m

an De la Motte Fouqne s story of 'Undine,' seems to have


'Liiliti nsti'iii,' 'Die Sicilianische Vesper.' 'Der Bergkonig,' and ' Der Vampyr,' far excel, both in artistic finsaeption and technical development, many works which hare unaccountably outlived them. TJndpahitner died in 1856; and, in noticing his works, we rirtually bring oar his- tory of the German Opera down to the present time; for His unnecessary that we should criticise the ephemeral productions of Conradm Kieutzer, Lortzmg, and other writers who confessedly en- tertained no h^her aim than that of pleasing the frequenters, of the theatres at which they were severally engaged ; and except in one important instance, too grave to be either passed over in silence or JMMM^ in company with others- we think it best to leave the inspirations of living Composers to the judgment of a future gene-

��When Chernbini fulfilled his great Art-mission in Paris, he worked side by side with men, who, though whoQy unworthy to be placed in the same category with himself, or with Beethoven the only other Compwi whose Dramatic Music beats the slightest analogy to his own were,

IM m Hull si, ramest enough, in their way, and

conscientiously acted up to their Hght. Of these QsnpiMHS we now propose to speak, as the chief actors in our RiifiifffH PERIOD, the most bril- liant in the history of the Optra comiqmc.

After the retirement of duck, Pkcinni still enjoyed a certain term of popularity : but, when the excitement of fection had settled down into the calm of sounder judgment, the field was really open to any French CVsiipuset with talent enough to secure a fair hearing. At this junc- ture, Gretry and Menu! stepped forward to fill the gap. Both were men of more than ordinary talent, and the works of both became extremely and held firm possession of the Singe years. Gretry's style was light and and exactly adapted to the taste of a

\IBsfl_Ma TWsOlIll V&A sWWl *. TVWtMfr

thorough Musician, and aimed at higher tilings; staving conaoentiously to uuiy out the pnnct- pies of his instructor, duck, for whom be en- tertained the deepest reverence, and to whose wise counsels he was indebted for many of the sterling qualities which tended to make his work deservedly famous. It was chiefly by the exer- of these two genial writers, and their equally 7 ,Boiddieu,

��that the Opera cssupu was raised to'the position which it has ever since maintained, as one of the most tfflfular ^Tf^T "^ Fr M *M'h T>*Mnti< Art^ for the great wrks of Cherubim, though Opera* erjmiqna in name, are, in style, much more nearly allied to the German 'Romantic Opera.' The true Opera eoauytu is essentially a French crea- tion. Its title is some hat anomalous, for it is not at afl necessary that it should introduce a single comic Scene or Character : but its fffffnatf<mfm must be a happy one and tln dia- logue must be spoken. Even Menul's 'Joseph* (1807), though founded strictly upon the Scrip- tare narrative, is Included, by virtue of this in the category, as are many other

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