[62] Dickinson, ‘Music in the History of the Western Church,’ p. 301. [63] Catalogued in Köchel, _Eine kleine Freimauer Cantate_. [64] Among them are ‘O give thanks,’ ‘O God Thou hast cast us out,’ and ‘O Lord God of Hosts.’ [65] This word is derived from the Anglo-Saxon _gligg_--‘music,’ and has no direct relation to the specific mood of mirth or gaiety. The glee, therefore, may be either cheerful or serious. [66] Similarly in Italy the _villanella_ was a harmonized popular melody, but it failed to exert any further influence on choral forms. [67] This is called an oratorio in the list of the German Handel Society. CHAPTER V THE CANTATA IN THE NINETEENTH CENTURY Conflict of tradition and progress--Ludwig van Beethoven: ‘Ruins of Athens,’ ‘Glorious Moment’; Andreas Romberg--C. M. von Weber; Franz Schubert; Ludwig Spohr--Mendelssohn: ‘First Walpurgis Night,’ etc.; 95th Psalm; _Lauda Sion_, etc.--Hector Berlioz: ‘Damnation of Faust’--Robert Schumann: ‘Paradise and the Peri’; ‘Pilgrimage of the Rose’; Miscellany--Ferdinand Hiller; Niels W. Gade: ‘Crusaders,’ ‘Erl-King’s Daughter,’ ‘Christmas Eve,’ ‘Comala,’ etc.--Félicien David: ‘The Desert’; Minor cantata writers in Germany and England: Benedict, Costa, Macfarren, Smart, Bennett--Anglican ritual-music and the German evangelical motet in the nineteenth century; the part-song. The student of history will observe that one of the most noticeable effects of the constantly accelerated pace that musical progress assumed after the art had once learned definite articulation, is that the successive periods in which characteristic styles and forms have been developed and perfected have been growing steadily shorter and shorter in duration. The Netherland period of vocal polyphony spanned two full centuries; the next century and a half was concerned with the first stage in the development of dramatic music and oratorio, and with the application of polyphonic principles to instrumental forms; the period of seventy-five years between 1750 and 1825 was memorable chiefly by the appearance and swift development of the sonata and symphony from Haydn to Beethoven, with occasional premonitions of impending revolutionary changes; the half-century from 1825 to 1875 witnessed the rise and full flowering of the remarkable movement of nineteenth-century romanticism; in the years since 1875 new ideas and tendencies, unfolded from the preceding period, have crowded upon the musical arena in such profusion and with such swiftness and persistence that intelligent orientation is beset with perplexing difficulties. The ‘youngest of the arts,’ so backward and slow of speech in its infancy, certainly displays unmistakable symptoms of precocity with advancing years.