y to thirty such arias (Hasse's
one hundred operas contain about three thousand arias). Now
these arias, although they were intended to paint a situation,
rapidly became simply a means to display the singer's skill. The
second part was a melody with plenty of vocal effects, and
the third part a bravura piece, pure and simple. So there
only remained the recitative in which true dramatic art could
find place. As this, however, was invariably improvised by the
singer, one can see that the composer of music had his cross
as well as his brother the dramatist. The music having no vital
connection with the text, it is easy to see how one opera could
be set to several texts or _vice-versa_, as was often done.

Another factor also contributed to retard the artistic
development of opera. All these arias had to be constructed
and sung according to certain customs. Thus, the fiery, minor
aria was always sung by the villain, the so-called colorature
arias by the tall, majestic heroine, etc.

All this seems childish to us, but it was certainly a powerful
factor in making fame for a composer. For, as has been said,
while a modern composer writes two or three different operas,
Hasse wrote one hundred versions of one. This also had its
effect on instrumental music, and, in a way, is also the direct
cause of that monstrosity known as "variations" (Haendel wrote
sixty-six on one theme.) In our days we often hear the bitter
complaint that opera singers are no longer what they used
to be, and that the great art of singing has been lost. If
we look back to the period under consideration, we cannot
but admit that there is much truth in the contention. In the
first place, an opera singer of those days was necessarily
an actor of great resource, a thorough musician, a composer,
and a marvellous technician. In addition to this, operas were
always written for individuals. Thus, all of Hasse's were
designed for Faustina's voice; and by examining the music,
we can tell exactly what the good and bad points of her voice
were, such was the care with which it was written.

Before we leave the subject of Hasse and his operas, I wish
to refer briefly to a statement found in all histories and
books on music. We find it stated that all this music was sung
and played either loud or soft; with no gradual transitions
from one to the other. The existence of that gradual swelling
or diminishing of the tone in music which we call crescendo
and diminuendo,