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[ Grimm, Corr. Litt., XV., p. 283; cf. IV., p. 165. Grétry gives more particular instances of the faults of the old style ( Mém., I., p. 301).]
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[ The last performance of one of Lully's operas ("Thésée ") was in 1778.]
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[ Raguenet, Parallèle des Italiens et François en ce qui regarde la Musique et les Opéras (.Paris, 1702), translated into German, with notes, and the rejoinder of Freneuse de la Vieuville ( Bonnet, Histoire de la Musique, p. 425; Bourdelot, Hist, de la Mus., I., p. 291), in Mattheson's Critica Musica (Hamburg, 1712), I., p. 91, and in Marpurg's Krit. Briefen, I., pp. 65, 89, 113, 398. Freneuse, Comparaison de la Mus. Ital. et de la Mus. Franç. Brussels, 1705 (in Bourdelot'8 Hist, de la Mus., 1725 and 1743, II.-IV.). Raguenet, Défense du Parallèle (Paris, 1705).]
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[ La Harpe, Corresp. Litt., II., p. 302.]
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[ When Grimm first came to Paris he wrote to Gottsched: "M. Rameau is rightly considered by all connoisseurs to be the greatest musician who has ever lived" (Danzel Gottsched, p. 349). His opinion soon changed, but the account he afterwards gives of Rameau (Corr. Litt., IV., p. 80), prejudiced as it is, recognises Rameau's merits, though without giving him the credit of them. In his Lettre sur "Omphale" (1752, Corr. Litt., XV., p. 281), Grimm gave a detailed criticism in a very moderate tone. A good account of him may be found in Ad. Adam's Derniers Souvenirs d'un Musicien, p. 39.]