then this great Belgian edition which provides keen pleasure for the music lover. There is the orchestral partition, followed page by page by the piano score, a text of which the accuracy and value are guaranteed by the mere name of Gevaërt; there are full notices by Fétis and V. Wilder,—all these are to be found in this monument of learning and taste. I have spent many hours with them. I have read Grétry’s literary works, those three volumes of Essays and Memoirs, so delicate, charming and diversified; also the excellent work devoted to the master by Michel Brenet, which gives us, besides learned analyses of all his operas, a biography adorned with pleasant documents. My studies and the reading of these works have made me an enthusiastic admirer of the composer of Richard. My aim will be to outline, if only sketchily, some features of his genius and his art. They were adored by our fathers, and deserve to be so by ourselves. Time may have taken off the freshness of some of Grétry’s productions, but, if we consider their general effect, it has in no degree tarnished their first brilliancy. They will appear younger and more full of savour than ever when restored to the theatre
I
André Ernest Modeste Grétry was born at Liège on the 11th February, 1741. His grandparents, Jean Noé Grétry and Dieudonnée Campinado had married against the wishes of their families, who had punished them by leaving them to themselves; from this had resulted a certain loss of social standing which the happy couple endured with cheerfulness. They had set up as innkeepers at Blegny, a hamlet near Liège,
