THE ROMANTIC OPERA. WEBER, SPOHR, MARSCHNER. =The Romantic Movement=.—The revolutionary spirit which arose in Europe toward the end of the 18th century had its counterpart in a similar intellectual and artistic reaction, commonly known as the Romantic Movement. In Literature, this movement was led by France; in Music, by Germany. Briefly described, it consisted in casting aside the classical traditions which the Renaissance had imposed upon art in general and in a substitution of themes and a treatment more in consonance with the atmosphere of freedom which had inspired such momentous social and political changes. =Its Effect on Music=.—The musician also felt the influence of the general unrest. In seeking new modes of expression, he rose to a consciousness of independence both as man and artist; he refused longer to occupy the position of an upper servant which had been decreed him by court and nobility. Mozart marked the passing of the old order of things by his indignant rejection of the humiliating conditions of service under the haughty Archbishop of Salzburg, only remembered by later generations through his connection with the musician he treated so contemptuously. Heretofore music had been the privileged entertainment of the great and wealthy. Like other privileges, it was to pass into the possession of the people, hitherto shut out from its enjoyment save in the Church. It was to draw inspiration from a rich store of Folk-lore and poetry heretofore disregarded by the scholar and the musician, but soon to be recognized as a national heritage of high import; it was to create new forms instead of being dependent on time-worn formulæ which were repressing growth and development.