We must now turn our attention to two Italian composers, who belong to France through the fact of their having produced almost all their important works on the boards of either the Opera Comique or the Académie. Cherubini (1760-1842) wrote two or three great works, such as _Les deux Journées_ (1800), _Les Abencerages_ (1813), and _Ali Baba_ (1833). The first-named, known in England as _The Water Carrier_, although classed as opera comique, approximates in its music more to what Beethoven wrote in _Fidelio_ and Weber in _Der Freischütz_ than to the ephemeral productions which were the fashion of the hour. Cherubini’s music is that of a man who preceded all composers of the “romantic” period, and therefore sounds antique and colourless to modern ears; nevertheless it is solid and good, and far superior to much of the same date. Spontini (1774-1851) is spoken of by Naumann the historian in the following words:—“No other composer has succeeded in infusing into the music the spirit of _heroism and glory_ which prompted the victorious exploits of Napoleon, in portrayal of which Spontini created a kind of artistic expression, the influence of which has extended to the present day.” His chief works, replete with grandeur and magnificence, are _La Vestale_ (1807), _Fernand Cortez_ (written at the request of Napoleon in 1809 on a Spanish subject, partly with the idea of conciliating the Spanish), and _Olympia_ (1819). Other composers of the period include Boieldieu (1775-1834), who wrote the world famous _La Dame Blanche_, Isouard (1777-1818), Adam, Halèvy, Hérold (the composer of _Zampa_), and many another. The names of these composers pale before that Titan of French Grand Opera, whose advent upon the scenes we must now note—Meyerbeer. [Sidenote: =Meyerbeer, 1791-1864=] Meyerbeer, a German by birth, having first seen the light of day in Berlin, and, withal of Jewish origin, produced operas in Italy, Germany, and France; his choicest efforts were lavished upon his operas for the Paris Académie, and his name is now always classed with French music. He had wonderful gifts, which he sometimes abused, for his music seeks the _effective_, irrespective of its artistic unity or the reverse. In his lifetime he was lauded to the skies, and afterwards just as bitterly denounced. Wagner, who really learned much from him, speaks of him as “a miserable music-maker, a Jew banker to whom it occurred to compose operas.” It must be admitted that Meyerbeer’s music is often vulgar and conventional, but his masterpiece, _The Huguenots_, contains some fine writing, and is specially noticeable for the clever and striking use made at several points in the progress of the story of Luther’s grand old hymn-tune, “Ein Feste Burg.” This chorale is used as a kind of _leit-motif_ for the persecuted Huguenots, and forms a most effective foil to much of the other music of the opera. The opening of the Chorale, from Meyerbeer’s “Les Huguenots.” [Music]