In 1884 when the first act of "Tristan" was given at one of Mons. Lamoureux's concerts, Reyer made amends for the appreciation somewhat hastily recorded by him twenty years previously by expressing his intense admiration for the wondrous beauties of this sublime work. "What a metamorphosis," he wrote, "had taken place in my musical faculties during twenty years! But also what a difference in the execution! It was the first time that I was hearing 'Tristan' with the orchestra." Reyer in his criticisms has always held up the banner of high art, and his writings will doubtless not have been without influence in determining the nature of the musical movement in France during these last few years. His admiration for Berlioz has not diminished, whilst his admiration for Wagner has increased. Apropos of the "Proserpine" of Saint-Saëns, he wrote: "We are practically all affected with Wagnerism, perhaps at different degrees; but we have drunk and we will drink at the same source, and the sole precaution for us to take is not to drown our own personality." This frank avowal may not be to the taste of all French composers, but it is none the less true. Ernest Reyer has almost entirely confined himself to operatic compositions. He is not a quick worker, and his operas all bear evidence of thought and an avoidance of claptrap effects. He is still a bachelor and has the appearance rather of a retired military officer than of the traditional musician. Reyer is _bibliothécaire_ of the Opéra, and inhabits a quiet little apartment on a fifth floor, where he is able to work undisturbed and meditate upon the trials and uncertainties of a composer's existence. [Illustration: Alfred Bruneau portrait, signed] ALFRED BRUNEAU In the month of November 1891, there was brought out at Covent Garden Theatre a work that had the effect of setting the musical world of London into a state of ferment. This was "Le Rêve," a musical rendering of Emile Zola's well-known romance, by the composer whose name heads this chapter. The absolute unconventionality of the music, the boldness and the novelty of the composer's method, took the public by surprise and led to many a discussion, at the end of which both antagonists and supporters remained unconvinced and, as is generally the case, retained their own opinions.