Musically Weber has many a distinction. He is the acknowledged founder of German opera (though Mozart with _Zauberflöte_ may be regarded as his forerunner), and the man who made German music aggressively national. Wagner, as we know him, would hardly have been possible without Weber. Weber is the father of the romanticists in his emphasis upon the imagination, in his ability to give pictorial and definite emotional values to his music. It is only a slight exaggeration of the truth to call him the father of modern instrumentation; his use of orchestral timbres for sensuous or dramatic effects, so common nowadays, was unprecedented in his time. With Schubert he is the father of modern pianoforte music; himself a virtuoso, he understood the technical capacities of the piano, and developed them, both in the classical forms and in the shorter forms which were carried to such perfection by Schumann, with the romantic glow of a new message. He is commonly regarded as deficient in the larger forms, but in those departments (and they were many) where he was at his best there are few musicians who have worked more finely than he. [Illustration: Carl Maria von Weber] IV The scene now shifts to Paris, a city unbelievably frenzied and complex, the Paris that gives the tone to a good half of the music of the romantic period. ‘As I finished my cantata (_Sardanapalus_),’ writes Berlioz in his ‘Memoirs,’ ‘the Revolution broke out and the Institute was a curious sight. Grapeshot rattled on the barred doors, cannon balls shook the façade, women screamed, and, in the momentary pauses, the interrupted swallows took up their sweet, shrill cry. I hurried over the last pages of my cantata and on the 29th was free to maraud about the streets, pistol in hand, with the “blessed riff-raff,” as Barbier said. I shall never forget the look of Paris during those few days. The frantic bravery of the gutter-snipe, the enthusiasm of the men, the calm, sad resignation of the Swiss and Royal Guards, the odd pride of the mob in being “masters of Paris and looting nothing.”’ This was Paris in Berlioz’s and Liszt’s early years there. In Paris at or about this time were living Victor Hugo, Stendhal, de Vigny, Balzac, Chateaubriand, de Musset, Lamartine, Dumas the elder, Heine, Sainte-Beuve, and George Sand among the poets, dramatists, and novelists; Guizot and Thiers among the historians; Auguste Compte, Joseph le Maistre, Lamennais, Proudhon, and Saint-Simon among the political philosophers. It is hard to recall any other city at any other time in history (save only the Athens of the Peloponnesian War) which had such a vigorous intellectual and artistic life. Thanks to the centralization effected by Napoleon, thanks to the tradition of free speech among the French, the centre of Europe had shifted from Vienna to Paris.