story merely through names. To opera goers, who do not limit the sphere of their observation to London, it would be simpler to cite four examples of works belonging to the century befo

tringed instruments, and as there are only two speaking characters in the drama, it naturally follows that all the musical pieces are of the simplest form. But when "La Serva Padrona" was produced, a composer, however many characters he

irs; choruses taking part in the dramatic action; occasionally duets; very rarely concerted pieces, and never finales. Gluck, like his rival Piccinni, but certainly not more than Piccinni, extended the limits of operatic art. If, as is generally admitted, he excelled in his dramatic treatment of chorus and orches

its composer had been already completely distanced by Mozart, who adopted all that was worth adopting in the methods of all his contemporaries and predecessors; but to Cimarosa all the same belongs the merit of having introduced quartets and other concerted pieces, n

siello's overture to the "Frascatana" had previously made a decided mark; but Rossini was the first composer of his nation who wrote a whole series of operatic overtures

till occasionally played at one of the half dozen musical theatres in Paris called Les Fantaisies Parisiennes, is anterior to Mozart, more even in character than by date. Produced twenty years before "Il Matrimonio Segretto," and only six years before the "Marri

than works of equal or greater importance, which can only be looked at on paper; and it is intere

century for a simple trio. Then trios, quartets, finales, fully developed finales, occur. In the meantime Gluck had given great prominence to the chorus, and had cultivated choral writing with the happiest dramatic effect; and while operatic forms, especially in regard to the employment of the voices, had been gradually varied and extended by the Italians, the instrumental writers