Cherubini’s _Médé_ and _Les deux journées_ were produced in 1797 and 1800, respectively. The latter ‘shows a conciseness of expression and a warmth of feeling unusual to Cherubini,’ says Mr. Hadow; at any rate it is better known to-day than any of the other works, and not infrequently produced both in France and Germany. It is _opéra comique_ only in form, for it mixes spoken dialogue with music--its plot is serious. In this respect it furnishes a precedent for many other so-called _opéras comiques_. Cherubini’s musical resources were almost unlimited, wealth of ideas is even a fault with him, having the effect of tiring the listener, but his overtures are truly classic, his themes refined, and his orchestration faultless. In _Les deux journées_ he abandoned the Italian traditions and confined himself practically to ensembles and choruses. He must, whatever his intrinsic value, be reckoned among the most important factors in the reformation of the opera in the direction of music drama. Cherubini was not so fortunate as to win the favor of Napoleon, as did his colleagues, Gossec and Grétry and Méhul, all of whom received the cross of the Legion of Honor. He returned to Vienna in 1805 and there produced _Faniska_, the last and greatest of his operas, but his prospects were spoiled by the capture of Vienna and the entry of Napoleon, his enemy, at the head of the French army. He returned to France disappointed but still active, wrote church music, taught composition at the conservatory and was its director from 1821 till his death in 1842. The _opéra comique_ continued meantime under the direction of Paesiello and from 1803 under Jean François Lesueur (1760-1837) ‘the only other serious composer who deserves to be mentioned by the side of Méhul and Cherubini.’ Lesueur’s innovating ideas aroused much opposition, but he had a distinguished following. Among his pupils was Hector Berlioz. F. H. M. FOOTNOTES: [1] Collegium musicum No. 29. [2] Riemann: Handbuch, II³, p. 121. [3] Usually Nicolo Logroscino is named as having gone before him, but, as that composer is in evidence only from 1738 (two years after Pergolesi’s death), the date of his birth usually accepted (1700) seems doubtful (cf. Kretzschmar in _Peters-Jahrbuch_, 1908).--Riemann: _Ibid._ [4] Born in Naples, date unknown; died there in 1763. He was one of the creators of _opera buffa_, his parodistic dialect pieces--_Il governatore_, _Il vecchio marito_, _Tanto bene che male_, etc.--being among its first examples. In 1747 he became professor of counterpoint at the _Conservatorio dei figliuoli dispersi_ in Palermo. [5] After his return to Naples his three last works, _Armida_, _Demofoonte_, and _Ifigenia in Tauride_, passed over the heads of an unmindful public. The composer felt these disappointments keenly. Impaired in health he retired to his native town of Aversa and died there August 25, 1774.