creative, he expressed it in music with such vigor, energy, and warmth of color as can not be easily surpassed.  With this composer there was but little spontaneous flow of musical thought, clothing itself in forms of unconscious and perfect beauty, as in the case of Mozart, Beethoven, Cherubini, Rossini, and others who could be cited.  The constitution of his mind demanded some external power to bring forth the gush of musical energy.

The operas of Meyerbeer may be best described as highly artistic and finished mosaic work, containing much that is precious with much that is false.  There are parts of all his operas which can not be surpassed for beauty of music, dramatic energy, and fascination of effect.  In addition, the strength and richness of his orchestration, which contains original strokes not found in other composers, give him a lasting claim on the admiration of the lovers of music.  No other composer has united so many glaring defects with such splendid power; and were it not that Meyerbeer strained his ingenuity to tax the resources of the singer in every possible way, not even the mechanical difficulty of producing these operas in a fashion commensurate with their plan would prevent their taking a high place among popular operas.

GOUNOD AND THOMAS.

I.

Moscheles, one of the severe classical pianists of the German school, writes as follows in 1861 in a letter to a friend:  “In Gounod I hail a real composer.  I have heard his ‘Faust’ both at Leipsic and Dresden, and am charmed with that refined, piquant music.  Critics may rave if they like against the mutilation of Goethe’s masterpiece; the opera is sure to attract, for it is a fresh, interesting work, with a copious flow of melody and lovely instrumentation.”

Henry Chorley in his “Thirty Years’ Musical Recollections,” writing of the year 1851, says:  “To a few hearers, since then grown into a European public, neither the warmest welcome nor the most bleak indifference could alter the conviction that among the composers who have appeared during the last twenty-five years, M. Gounod was the most promising one, as showing the greatest combination of sterling science, beauty of idea, freshness of fancy, and individuality.  Before a note of ‘Sappho’ was written, certain sacred Roman Catholic compositions and some exquisite settings of French verse had made it clear to some of the acutest judges and profoundest musicians living, that in him at last something true and new had come—­may I not say, the most poetical of French musicians that has till now written?” The same genial and acute critic, in further discussing the envy, jealousy, and prejudice that Gounod awakened in certain musical quarters, writes in still more decided strains:  “The fact has to be swallowed and digested that already the composer of ‘Sappho,’ the choruses to ‘Ulysse,’ ‘Le Medecin