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Had the art of Tone remained once for all in a. Word- poet such as the latter now occupies. Opera, then she could only have been employed by. Music was therefore destined to credit herself. Along two lines has Music developed in that. Opera: along an. earnest—with all the Tone- poets who felt lying on. Music. when she took upon herself alone the aim of Drama; along a. Musicians who, as though. Opera had won from an uncommonly. It is necessary that we should commence by. The musical basis of Opera was—as we. Aria; this Aria, again. Folk- song as rendered by the art- singer before the. Word- poem left out and. The conversion of the Folk- tune into the Operatic- aria was. Singer; whose concern was no longer. It was he, who parcelled out the resting- points. The Composer merely furnished the singer, the Poet in his turn the. The natural relation of the artistic factors of. Drama was thus, at bottom, as yet not quite upheaved: it was merely. Performer, the most necessary condition. Drama's possibility, represented but one solitary. Man. This one distortion of the. Performer, however, sufficed to bring about the. Musician before the Poet. Had. that Singer been a true, sound and whole Dramatic- performer, then. Composer come necessarily into his proper position toward. Poet; since the latter would then have firmly spoken out the. But the poet who stood nighest that Singer was the. Composer,—the composer who merely helped the singer to attain. This original relation of the artistic factors. Opera to one another we have to stamp sharply on our minds, in. Into the Dramatic Cantata, to satisfy the. Ballet. Dance and. Dance- tune, borrowed just as waywardly from the Folk- dance and its. Aria from the Folk- song, joined forces. Singer, in all the sterile immiscibility of un- natural. Poet's task, midst such a. Thus, with the Poet's aid, an ever more. That. which, in its actual self, was crying for no cohesion whatever; so. Drama—forced on by outward Want—was. Song- tune and Dance- tune stood side by side. Poet ply his lowly calling, did. Drama peep out here and there. Neither was Recitative itself, by any means. Opera. towards the Drama. Long before this mode of intoning was introduced. Opera, the Christian Church had used it in her services, for. The banal singsong of these. Opera. So that, what with Aria, Dance- tune and. Recitative, the whole apparatus of musical drama— unchanged. Further, the dramatic groundplans laid beneath this apparatus. Mostly taken from an. Greek mythology, they formed a theatric. The so famous revolution of Gluck, which. Opera's essence, in truth. The Composer, who, next to. Singer, had drawn the special notice of the public to. For the reaching of his ambitious goal there stood. Composer: either, by use of all the. Aria to their highest. Caprice's execution of that Aria, by himself endeavouring to give. Word- text. As, by the nature of these texts, they were. Gluck was surely not the first who indited. But that he spoke out with consciousness and firm conviction the fitness and necessity of an expression answering. Aria and Recitative, this it is that. Opera toward one. Henceforth the sceptre of Opera passes definitely over to. Composer: the Singer becomes the organ of the Composer's aim, and this aim is consciously declared to be the matching of. Thus, at bottom, a halt was only cried to the. Virtuoso; but with. Opera's unnatural organism things remained on their. Aria, Recitative and Dance- piece, fenced- off each from. Gluck. as they did before him, and as, with scarcely an exception, they. In the situation of the Poet toward the. Composer not one jot was altered; rather had the Composer grown. Singer—he set. to work with more deliberate zeal at the arrangement of the. To the Poet it never occurred to meddle with. Music, to. which the Opera had owed its origin, in any other form than those. Musician himself. To tamper with these forms. Music's essence. Wherefore, once engaged in the penning of an opera- text, he must. Thus the Poet, who looked up to the Composer with a. Opera, than set up rival claims thereto; for he was witness to the. It was Gluck's successors, who first bethought. These followers, among whom we must. Italian and French descent who wrote for the. Paris opera- stage at quite the close of the past and beginning of. The traditional divisions of. Aria, though still substantially preserved, were given a wider. Verbindungsglieder) were themselves. Recitative joined on to. Aria more smoothly and less waywardly, and, as a necessary mode. Aria itself. Another notable. Aria, in that—obediently to the. Monody of earlier opera was. Pieces such as Duets and Terzets were indeed. Aria: this had remained exactly the same in. Behauptung des einmal angeschlagenen thematischen Tones)—which bore no reference to any individual. To apply that specifically- musical factor in such a. Ensemble. The essential musical substance of this Ensemble was. Aria, Recitative and Dance- tune: only. Aria and Recitative. From the honest endeavour to observe this logical. Opera, which we meet in the serious operas of Cherubini. Méhul and Spontini. We may say that in these. Gluck desired, or could. Opera. The most recent of these three masters. Spontini, was moreover so fully convinced that he had. Opera; he had so firm a faith in the impossibility of ever seeing. Paris period, he. He obstinately. refused to look upon the later, so- called "romantic" development of. Opera as anything but its manifest decadence; so that he gave to. Opera.. Surveying the demeanour of our Modern Opera, Spontini could say. Have you in any way developed the essential. Form of the musical constituents of Opera, beyond what you find. Or have you, perchance, been able to bring forth any. Is. not all the, unpalatable in your works the mere result of your. Where will you find this Form more. Paris. operas? And who will tell me that he has filled this Form with more. Contents, than I?"—It would be hard to give Spontini's question any. Out of Spontini. speaks the honest, confident voice of the absolute- musician, who. If the Musician per se, as ordainer of the. Opera, desires to bring to pass the Drama, he cannot go a step. I have gone, without betraying his total. But in this there unwittingly lies the. If you desire. more, you must address yourselves. Musician, but—to the Poet."Now how did this Poet bear himself towards. Spontini and his colleagues? With all the maturing of Opera's. Form, with all the development of its innate powers of. Expression, the position of the Poet had not altered in the. He still remained the platform- dresser. Composer. When the. See what I can do! Don't incommode yourself; trust me to. So the Poet was merely hurried. Musician; he would have been ashamed to bring his. Poet nor Musician would have dared to mount, for fear. Thus, in the wake of the Composer, the Poet. The strictly musical possibilities, as pointed out by the. Stuff; and. thus, for all the fame that he began to reap also, he. Seeing that the composer had gained no. Opera, he could only. Spontini as. the fittest; for thereon he might flatter himself that he was doing. Opera, as a Musical Drama, maintain its claim to rank as an. That in the Drama itself however, there lay. Of all dramatic. possibilities, they could only light on such as were realisable in. Opera- music form. The broad expansion, the lingering on a motive. Musician required in order to speak intelligibly in his. Poet's duty to confine himself to dramatic sketches of. Mere stereotyped. To have. allowed his heroes to speak in brief and definite terms, surcharged. Since, then, the. His drama was forever a mere. Drama; to pursue a real dramatic aim. Wherefore, strictly speaking, he only translated Drama into the. Opera, and, as a matter of fact, mostly adapted. Paris with the tragedies of the. Théâtre Français. The dramatic aim, thus bare. Composer; from him was That awaited which the Poet gave up. To him alone—to the Composer—must it. The Musician thus had virtually to pen the drama. Drama's self! It is here that the predicate "dramatic" most. Music. Music, which, as an art of expression, can. Opera this is unmistakably the. Feeling of the characters conversing on the stage, and a music. A music, however, which would fain be more than. Poetry and Music, which in truth. With all its perverse. Music, the in any way effective music, has actually. Expression. But from those efforts to. Content—and that, forsooth, the Content. Drama—has issued That which we have to recognise as the. Opera, and therewith as an open. If the foundation and intrinsic Content of. Spontinian opera were void and hollow, and its musical investiture. Form both threadbare and pedantic, yet with all its narrowness. Modern opera, on the contrary, is the open proclamation of. In order to approach its essence. Opera's evolution. Dramatic Opera."LONG before the time of Gluck—as. Vortrag) of the operatic Aria with a more sincere. This step was due entirely to the individual disposition. Opera; and therein the true essence of. Music was so far victorious over formalism, as she proclaimed. If, in the evolution of Opera, we may call the. Richtung) on which this noblest attribute of Music was raised. Gluck and his followers into the ordainer of the. Opera: on the other hand, we must call. Italian opera- stage—was unconsciously evinced by. It is. characteristic of the first, that, coming to Paris as a foreign. Content. of that speech; whereas the second, the naïve line, remained. Italy, the home of modern. Admitted that it was again a German, who. Italian music bent down its. This mirror, however, was but the. Whosoever insists on seeing in Mozart an. Mendelssohn when, mistrustful of his own. 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