. For the Paris
stage he produced a succession of large and sensational operas,
following to some extent the footsteps of Spontini, in respect to the
heroic, the spectacular and the theatrical. Up to the time of his
going to Paris, Meyerbeer had figured as an Italian composer in grace
of melody, German in his harmony, and now he became a French composer
in refinements of rhythm. His first work in Paris was "_Robert le
Diable_," 1831, and it made his reputation, and at the same time made
an epoch in operatic construction. It was followed by "_Les
Huguenots_," 1838, which when played in Berlin, in 1842, so pleased
the king, Friedrich Wilhelm IV, that he created Meyerbeer "General
Musical Director" for Prussia, and Meyerbeer came to Berlin to reside.
Here in 1842 he wrote his "_Das Feldlager in Schlesien_" in which
Jenny Lind made a great success. Later, however, he made over a great
part of this music for his opera of "_L'Etoile du Nord_," 1854, for
the Opera Comique in Paris. His remaining works were "_L'Africaine_,"
performed after his death, in 1865; "_Le Prophete_," 1843, and
"_Dinorah_," 1859. He died in Paris while superintending the
production of his "_L'Africaine_." In his will he left a fund of
10,000 thalers, the interest of which to be used as a prize for the
support of a young German composer during eighteen months' study in
Italy, Germany and France, six months in each. Besides the operas
above mentioned Meyerbeer wrote a quantity of other music for
orchestra, cantatas, and occasional pieces for festival purposes, of
which the "Schiller March" is an example.

The music of Meyerbeer is extremely sensational. His instrumentation
is rich, at times _bizarre_, and strongly contrasted. His knowledge of
stage effect, such that he knew by intuition what would do, and what
not. He was to some extent created by circumstances, a striking
instance of which is told in connection with the opera of the
"Huguenots," where the parting with Valentine at the end of the fourth
act was originally without important music. But the tenor declined to
take the part unless suitable music could be furnished him at this
point. Whereupon Meyerbeer wrote the impassioned duet, since so
celebrated, and which in fact is generally recognized as one of the
most suitable, not to say most effective, incidents of the whole
opera. Meyerbeer's operas follow the lead of Spontini in their
fondness for military glory and spectacle. They partake of the