ame time I send you a power of attorney
for M. Guyot, by which I renounce all claims to the parts of my
operas which may be represented at the benefit for the celebrated and
unfortunate Rameau family. Why will you not come to Konigsberg at the
festival? Why, in other words, are you not in Berlin? What splendid
music we have in preparation! As to myself, it is not only a source of
pleasure to me, but I feel it a duty, in the position I hold, to compose
a grand march, to be performed at Konigsberg while the royal procession
passes from the castle into the church, where the ceremony of crowning
is to take place. I will even compose a hymn, to be executed on the day
that our king and master returns to his good Berlin. Besides, I have
promised to write an overture for the great concert of the four nations,
which the directors of the London exhibition intend to give at the
opening of the same, next spring, in the Crystal Palace. All this keeps
me back: it has robbed me of my autumn, and will also take a good part
of next spring; but with the help of God, dear friend, I hope we shall
see each other again next year, free from all cares, in the charming
little town of Spa, listening to the babbling of its waters and the
rustling of its old gray oaks. Truly your friend, Meyerbeer.

IV.

Meyerbeer's operas are so intricate in their elements, and travel so far
out of the beaten track of precedent and rule, that it is difficult to
clearly describe their characteristics in a few words. His original
flow of melody could not have been very rich, for none of his tunes have
become household words, and his excessive use of that element of opera
which has nothing to do with music, as in the case of Wagner, can have
but one explanation. It is in the treatment of the orchestra that he
has added most largely to the genuine treasures of music. His command of
color in tone-painting and power of dramatic suggestion have rarely been
equaled, and never surpassed. His genius for musical rhythm is the most
marked element in his power. This is specially noticeable in his dance
music, which is very bold, brilliant, and voluptuous. The vivacity
and grace of the ballets in his operas save more than one act which
otherwise would be insufferably heavy and tedious. It is not too much
to say that the most spontaneous side of his creative fancy is found in
these affluent, vigorous, and stirring measures.

Meyerbeer appears always to have been uncertain o