The principles of Gluck's school of operatic writing may be briefly summarised as follows:--That dramatic music can only reach its highest power and beauty when joined to a simple and poetic text, expressing passions true to Nature; that music can be made the language of all the varied emotions of the heart; that the music of an opera must exactly follow the rhythm and melody of the words; that the orchestra must be only used to strengthen and intensify the feeling embodied in the vocal parts, as demanded by the text or dramatic situation. We get some further light on these principles from Gluck's letter of dedication to the Grand-Duke of Tuscany on the publication of "Alceste." He writes:--"I am of opinion that music must be to poetry what liveliness of colour and a happy mixture of light and shade are for a faultless and well-arranged drawing, which serve to add life to the figures without injuring the outlines; ... that the overture should prepare the auditors for the character of the action which is to be presented, and hint at the progress of the same; that the instruments must be employed according to the degree of interest and passion; that the composer should avoid too marked a disparity in the dialogue between the air and recitative, in order not to break the sense of a period, or interrupt the energy of the action.... Finally, I have even felt compelled to sacrifice rules to the improvement of the effect." We find in this composer's music, therefore, a largeness and dignity of treatment which have never been surpassed. His command of melody is quite remarkable, but his use of it is under severe artistic restraint; for it is always characterised by breadth, simplicity, and directness. He aimed at and attained the symmetrical balance of an old Greek play. _HAYDN._ I. "Papa Haydn!" Thus did Mozart ever speak of his foster-father in music, and the title, transmitted to posterity, admirably expressed the sweet, placid, gentle nature, whose possessor was personally beloved no less than he was admired. His life flowed, broad and unruffled, like some great river, unvexed for the most part by the rivalries, jealousies, and sufferings, oftentimes self-inflicted, which have harassed the careers of other great musicians. He remained to the last the favourite of the imperial court of Vienna, and princes followed his remains to their last resting-place.