A distinguished place in the records of French music must be assigned to ANDRÉ ERNEST GRÉTRY, born at Liége in 1741. His career covered the most important changes in the art as coloured and influenced by national tastes, and he is justly regarded as the father of comic opera in his adopted country. His childish life is one of much severe discipline and tribulation, for he was dedicated to music by his father, who was first violinist in the college of St. Denis, when he was only six years old. He afterwards wrote of this time in his _Essais sur la Musique_--"The hour for the lesson afforded the teacher an opportunity to exercise his cruelty. He made us sing each in turn, and woe to him who made the least mistake; he was beaten unmercifully, the youngest as well as the oldest. He seemed to take pleasure in inventing torture. At times he would place us on a short round stick, from which we fell head over heels if we made the least movement. But that which made us tremble with fear was to see him knock down a pupil and beat him; for then we were sure he would treat some others in the same manner, one victim being insufficient to gratify his ferocity. To maltreat his pupils was a sort of mania with him; and he seemed to feel that his duty was performed in proportion to the cries and sobs which he drew forth." In 1759 Grétry went to Rome, where he studied counterpoint for five years. Some of his works were received favourably by the Roman public, and he was made a member of the Philharmonic Society of Bologna. Pressed by pecuniary necessity, Grétry determined to go to Paris; but he stopped at Geneva on the route to earn money by singing-lessons. Here he met Voltaire at Ferney. "You are a musician and have genius," said the great man; "it is a very rare thing, and I take much interest in you." In spite of this, however, Voltaire would not write him the text for an opera. The philosopher of Ferney feared to trust his reputation with an unknown musician. When Grétry arrived in Paris he still found the same difficulty, as no distinguished poet was disposed to give him a libretto till he had made his powers recognised. After two years of starving and waiting, Marmontel gave him the text of "The Huron," which was brought out in 1769 and well received. Other successful works followed in rapid succession.