FACSIMILE OF AUTOGRAPH SCORE OF "LE RÊVE" " 240 _The frontispiece and the portrait of M. Massenet are taken from photographs by M. G. Camus, Paris. The portrait of the late M. Gounod, facing page 37, is taken from a photograph by M. Petit, Paris; and the portraits of MM. Thomas, Saint-Saëns, Reyer, and Bruneau, from photographs by MM. Benque and Co., Paris._ [Illustration: AMBROISE THOMAS] AMBROISE THOMAS It has become a trite saying that music is the youngest of the arts. The truth of this is nevertheless indisputable, and the remark is perhaps more applicable to music as represented in the "lyrical drama" than in any other form. What pleases one generation is often distasteful to the next, and a period of twenty or even ten years has sometimes been sufficient to witness a thorough evolution in the methods and general style of dramatic music. The career of the composer whose name heads this chapter is, from this point of view, interesting to study, and a cursory glance at the state of musical affairs at the time when he emerged from the Paris Conservatoire, having won the "Grand Prix de Rome," will not be out of place, and may help towards forming a more accurate estimate of his talent. Every art has traversed a period of degeneration, when true æsthetics have been neglected and men of undoubted talent, or even genius, have been unable to free themselves from the shackles of a vitiated taste. This applies, perhaps, more to music than to any other art, probably for the reason that in this case the demand upon the intellect is proportionately greater, and a certain degree of culture is absolutely necessary for its due appreciation. There is a semblance of truth in the contention advanced by Rubinstein, that music is the reflex of its time, and even re-echoes the political events and general state of culture of the age. The following paradoxical opinion of the eminent Russian composer and pianist, taken from his "Conversation on Music,"[1] is well worth quoting _in extenso_: "I can follow musically even the events of our century. Our century begins either with 1789, the French Revolution (musically with Beethoven), or the year 1815 is to be looked upon as the close of the eighteenth century, disappearance of Napoleon from the political horizon, the Restoration, &c. (musically the scholastic-virtuoso period: Hummel, Moscheles, and others); flourish of modern philosophy (third period of Beethoven); the July Revolution of 1830, fall of the Legitimists, raising the son of Philippe Egalité to the throne, the Orleans dynasty, democratic and constitutional principle in the foreground, monarchical principle in the background, 1848 in sight (Berlioz); the Æolian harp of the Polish rebellion of 1831 (Chopin); romanticism generally and its victory over the pseudo-classic (Schumann); flourish of all the arts and sciences (Mendelssohn); the triumph of the bourgeoisie, in sense of material existence, a shield