=Monteverde=.—The task of taking the opera from the experimental stage and of placing it on the artistic foundation which it now occupies was accomplished by =Claudio Monteverde= (1568-1643), a man of extraordinary genius and originality. A harmonist of surpassing force and boldness, he had always rebelled against the restraints of the contrapuntal school, though, unlike Peri and Caccini, he was skilled in its intricacies. He was viol player in the band of the Duke of Mantua, and had composed masses and madrigals, many of which were severely criticised by the pedants of the day. He joined definite issue with them in his _freedom of treating dissonances_, the distinguishing feature of modern harmony. Heretofore, sevenths, ninths, augmented fourths and the like had never been heard without preparation. Monteverde, however, introduced them without regard to this restriction, little heeding the anathemas heaped upon his head by those who considered his infractions of established rules unpardonable. His ardent, restless temperament, seeking novel modes of expression, often led to wild and extravagant combinations which even today appear harsh and forced. At that time they must have seemed wilful attempts at outraging the ear and the sense of harmonic propriety. These innovations, however, are the cornerstone of modern harmony; of this as well as of the opera, Monteverde is the real founder. What are defects in his church music are excellences in his operas. The discords which disturb the serenity of a religious atmosphere are admirably fitted to produce dramatic effects and powerful climaxes. Monteverde belonged to the stage as his great contemporary, Palestrina, belonged to the church. =Position of Music in the 17th Century=.—The interest which the success of the Florentine composers would have for a man thus gifted can be readily imagined. Yet he was obliged to wait a number of years for an opportunity to emulate their achievements. Music then was the especial pastime of the great; it was part of the state with which they surrounded themselves. Almost all titled and wealthy families had their own bands of musicians and choirs of singers. These assisted in their private chapels and lent additional eclat to seasons of festivity. Concerts and operas were given only at court or in the palaces of noblemen; public halls for any kind of musical occasion were unknown. A musician or composer could make his way only by attaching himself to a noble house or by securing a patron in court circles. _Dafne_ and _Euridice_ were made possible through the interest and protection of Count Bardi and Count Corsi. The opera was also attended with great expense. The taste of the times demanded an enormous outlay for mounting—costumes, scenery, decorations; only the extremely wealthy could afford it, and they reserved it for occasions of especial importance. [Music: ARIADNE’S LAMENT.]