Ro-land, cou-rez aux ar-mes, aux ar-mes, cou-rez aux ar-mes, Que la gloi-re a de charm-es, Que la gloi-re a de charm-es; L'a-mour de ses di-vins ap-pas, Fait vi-vreau de-la du tre-pas, L'a-mour de ses di-vins ap-pas, Fait vi-vreau de-la du tre-pas. Ro-land, cou-rez aux ar-mes, aux ar-mes, cou-rez aux ar-mes, Que la gloi-re a de charm-es, Que la gloi-re a de charm-es.] II. In Germany the contrary was the case for more than a century later. The first operatic performance, indeed, was given in the German language. A copy of Peri's "Dafne" was sent to Dresden and as a preparation for performance the text was translated, but it was found impossible to adapt the German words to the Italian recitative, owing to the different structure of the German sentences, bringing the emphasis in totally different places. In this stress the local master, Heinrich Schuetz, was called upon to compose new music, which he did, and the work was given in 1627. This beginning of German opera, however, was totally accidental. All that was intended was the repetition of the famous Italian work. Nor did the persons concerned appear to recognize the importance and high significance of the act in which they had co-operated, for no other German operas were given there or elsewhere until much later. Schuetz, moreover, did not pursue the career of an operatic composer, but turned his attention mainly to church music and oratorio, in which department he highly distinguished himself, as we will presently have occasion to examine farther.