cal may become too cold, may lose all connection with
the warmth of humanity. Such a fate does Haydn seem to have met
in many of his works. Beethoven, the mightiest classicist, also
to some extent Mozart, saw that the soul must not hold entirely
aloof from humanity. Hence it is that Beethoven broke
deliberately several, though not indeed very many, of Bach's more
enchaining rules, while Mozart, in his operas at least, had a
large amount of Romance worked into his music. On the other hand,
by its very nature the Romance style is occasionally apt to slip
into what is pre-eminently Classicism.

He confutes the argument that because base things have to be expressed
in the Romantic style therefore that style degrades Art, for "base
things handled artistically excite pure emotions of anger or
indignation."

Wagner, though he broke every rule set up by Bach, though he
abolished all the ideas of Classicism, produced with his later
works (_i.e._, _The Ring_, _Die Meistersinger_, _Tristan_, and
_Parsifal_) music which reveals infinitudes of art to quite as
great an extent as any classicist has done.... Wagner gives us
Nature's message, Beethoven the message of the incomprehensible
Empyrean, and it is for no one to say that the one message is any
greater or less than the other.

Necessarily the opera must be more romantic than the symphony.
"Composers who have given the world both opera and symphony such as
Beethoven, Mozart, Weber, Spohr, Berlioz, always wrote Romantically in
their operas and Classically in their symphonies." Of the development
of opera he wrote:

Opera was fast degenerating into a sort of collection of ballads,
with hardly any orchestration at all, when a strong man rose to
check these abuses. Gluck was the forerunner of the earlier
German school of opera composers, which includes such men as
Beethoven, Mozart, Weber and Schubert. Gluck had studied
carefully the progress of non-operatic music since Bach's time,
and seeing what vast strides the art had made in this direction,
tried to bring into line with the opera its improvements. He was
the first composer to show the immense and inestimable necessity
of properly orchestrated music in opera. Gluck's rich scoring,
beautiful melodies combined with dramatic connection between
action, voice and orchestra, entirely rev