But this discussion is purely theoretical. The practical fact is that music, thanks to a complex web of traditional suggestion, is capable of bringing to us more or less precise emotional meanings--or even pictorial meanings, for there is no dividing line. And this fact must be the starting point for any practical discussion of the ‘legitimacy’ of programme music. Starting with it, we find it difficult to exclude any sort of music on purely abstract grounds. Any individual may personally care more for ‘abstract’ music than for program music; that is his privilege. But it is a very different thing to try to ordain ‘legitimacy’ for others, and legislate a great mass of beautiful music out of artistic existence. After all, the case reduces to this: that an ounce of practice is worth a ton of precept. And the successful practice of program music is one of the chief glories of the romantic movement. Whatever may have been the faults of the period, it demonstrated its faith by deed, and the present musical age is impregnated with this faith from top to bottom. H. K. M. FOOTNOTES: [98] ‘Berlioz’s Memoirs,’ Chap. X. [99] ‘Letters to Humbert Ferrand,’ quoted in Everyman English edition of the Memoirs, Chapters XV and XVI. CHAPTER X ROMANTIC OPERA AND THE DEVELOPMENT OF CHORAL SONG The rise of German opera; Weber and the romantic opera; Weber’s followers--Berlioz as opera composer--The _drame lyrique_ from Gounod to Bizet--_Opéra comique_ in the romantic period; the _opéra bouffe_--Choral and sacred music of the romantic period. I If vivid imagery was one of the chief lusts of the romantic school it would seem that opera should have proved one of its most typical and effective art forms. And, throughout the time, opera flourished in the theatres of Germany, and in Paris as a matter of course. Yet we cannot say that the artistic output was as excellent as we might expect. Of the works to be described in this chapter not more than eight are to-day thoroughly alive, and two of these are overestimated choral works. Yet in the most real sense the opera of the romantic period prepared the way for Wagner, who would no doubt be called a romanticist if he were not too great for any labels. And much of the music of the period, though it has been displaced by modern works (styles change more quickly in opera than in any other form) has a decided interest and value if we do not take too high an attitude toward it.