It has probably already occurred to the reader that the "Opera of the Future," aimed at by Wagner, will be in some respect a return to the opera in its infancy, inasmuch as it will be devoid of the various artistically-written forms of composition which greatly contribute to the clearness and impressiveness of the music, and which Mozart has developed in his operas to the highest degree of perfection. Much might be said on this subject, were here the proper place for it. Enough if the facts which have been noticed convince the reflecting musician that the contemplated innovations alluded to might as well be termed retrocessions. Gluck was also a reformer of dramatic music, who aimed at truth in its noble simplicity; but, his objection to anything artificial in the opera did not mislead him to disregard the artistic beauties dependent upon form, which ensure the impressive total effect essential to a true work of art.
Furthermore, the examples given in the preceding pages will probably have convinced the reader that the origin of the opera can be traced more minutely in the first dramatic attempts of uncivilized races of the present time, than by a reference to the theatrical performance of the ancient nations. At any rate, the latter research does not render the former superfluous; they should go hand-in-hand.
A SHORT SURVEY OF THE HISTORY OF MUSIC.
The perusal of Chronological Tables illustrating the history of music must appear to many readers a dry occupation. Still, it enables the lover of music to obtain in a short time a comprehensive and clear view of the gradual development of the art from the earliest period of its cultivation recorded in history to the present day. Perhaps a coloured chart contrived like the "Stream of Time," which at a glance shows the great events in universal history, might answer the purpose even better. There is no disconnection in the progress of an art, though certain occurrences may appear to the superficial observer as being entirely accidental. A musical "Stream of Time" might exhibit in various colours the natural connection between the several branches of the art of music, and their modifications conspicuous in its history.
Or, this might be achieved by the representation of a tree. As in the genealogical tree which has been published of Johann Sebastian Bach the proper relation of the numerous members of his family is at once brought clearly before the eyes of the inquirer, so might the growth and spread of the different branches of the art of music be indicated, exhibiting distinctly their highest degree of culture, as well as their infancy and decay.