Slow progress of opera to other parts of Europe--origin of French opera--ballets of Boesset--Perrin--Cambert--their first opera--their patent from the king--Lulli--his success and productivity--attention to verbal delivery and the vernacular of the audience--foundations of the French Academie de Musique--opera in Germany--Schuetz--Hamburg and Keiser--selection from Lulli--"Roland"--Mattheson. CHAPTER XX--THE PROGRESS OF ORATORIO 244-248 Oratorio invented simultaneously with opera--Cavaliere--mystery plays--Carissimi--two types of oratorio--cantata--Haendel's appropriation from Carissimi--sacred oratorio--Schuetz's Passions--"Last Seven Words." CHAPTER XXI--BEGINNINGS OF INSTRUMENTAL MUSIC 249-260 Beginnings of instrumental music in seventeenth century--tentative character of instrumental music of sixteenth century--Gabrieli and organ pieces--imitations of vocal works--melodies not fully carried out--Swelinck--Scheidt--Schein--Frescobaldi--Reinken--Pachelbel; Muffat--Corelli--orchestra of the period--its defects. BOOK FOURTH--FLOWERING TIME OF MODERN MUSIC. CHAPTER XXII--MUSIC IN THE EIGHTEENTH CENTURY 261-264 The flowering time of modern music--complexity of developments now taking place--principal actors--two main channels of improvement; fugue--sonata--Bach and Haendel as writers of fugue--people's song makes its way into cultivated instrumental music--reference to Mozart's sonatas--thematic and lyric as elements of contrast. CHAPTER XXIII--JOHN SEBASTIAN BACH 265-272 Bach as a composer--sketch--his clavier--attainments as virtuoso upon the clavier and the organ--choral works--Passion oratorios--his pre-eminence as writer of fugues--general sketch of the form of a fugue--prelude--mutually complementary--Bach's concertos--his rhythm. CHAPTER XXIV--GEO. FRIEDRICH HAeNDEL 273-281 The companion figure of Bach--early life--violinist at Hamburg--conductor; composer--first opera--Italy--successes there--England--Italian operas--oratorio "Messiah"--other oratorios--list of his works--Bach and Haendel compared--Haendel's place in art--personalities. CHAPTER XXV--EMANUEL BACH, HAYDN--THE SONATA 282-291 The sons of Bach--Emanuel Bach as composer--difficulty of founding a new form--Haydn--early years--conductor for Prince Esterhazy, compositions--the visit to London--the money he made--"The Creation"; second visit to London--Haydn and the sonata form--"The Last Seven Words"--his rank as tone-poet. CHAPTER XXVI--MOZART AND HIS GENIUS 292-304 Charming personality--childhood--early talent--concerts--Mozart at Bologna and the test of his powers--Haydn's opinion--early operas--"Marriage of Figaro"--success--accompaniments added to Haendel's "Messiah" and other works--call to Berlin--mysterious order for the "Requiem"--death--general quality of Mozart's music.