CHAPTER II

THE REFORMS OF GLUCK


The death of Lulli left French opera established upon a sure foundation.
The form which he perfected seemed, with all its faults, to commend
itself to the genius of the nation, and for many years a succession of
his followers and imitators, such as Campra and Destouches, continued to
produce works which differed little in scope and execution from the
model he had established. The French drama of the seventeenth century
had reached such a high point of development that its influence over the
sister art was all-powerful. The composers of the French court willingly
sacrificed musical to declamatory interest, and thus, while they steered
clear of the mere tunefulness which was the rock on which Italian
composers made shipwreck, they fell into the opposite extreme and wrote
works which seem to us arid and jejune. Paris at this time was curiously
isolated from the world of music, and it is strange to find how little
the development of Italian opera affected the French school. Marais
(1650-1718) was more alive to Southern influences than most of his
contemporaries, and in his treatment of the aria there is a perceptible
approach to Italian methods; but Rameau (1683-1764) brought back French
opera once more to its distinctive national style. Though he followed
the general lines of Lulli's school, he brought to bear upon it a richer
sense of beauty and a completer musical organisation than Lulli ever
possessed. In his treatment of declamation pure and simple, he was