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viii
FORWORD

Should it happen that under the action of disturbing or depressing influences it deviates from its natural line or falls into a state of weakness, it will be no remedy to set before it some sort of theoretical or abstract model of itself to which it must studiously conform. It will be far better to bring back to it the contact and sentiment of the works that it created in happier times when it enjoyed the plenitude and lively vigour of its strength. Nothing could be better calculated to renew its lost or wearied vital energy, to kindle again the flame of its activity.[1]


  1. I owe grateful mention to several excellent works which have provided me with historic information or suggestions of ideas. My study of Grétry states clearly enough what I owe to the Grétry of Michel Brenet. My study on Rameau does not state clearly enough how much I owe to the work of M. Laloy on this master, and to the admirable study which M. Lionel de la Laurencie has devoted to him in Lavignac’s Musical Encyclopædia. In the biographical portion of my chapter on Rameau, certain passages in inverted commas, where not acknowledged to another author, are by M. Laloy. If what I have written about Verdi should inspire my readers with a desire to know Camille Bellaigue’s eloquent and poetic book, it would be the best reward my sketch could earn.