London Institution, 15 February 1864

Introduction

The original title of my lectures was as follows, ‘The Dramatic Music of France, Belgium, Germany, and Italy.’

Having, somewhat hastily, adopted this high sounding title, I repented at leisure – a very little reflection reminded me that I had chosen a title far too comprehensive for the moderate intentions I had in view, and for the means of illustration at my disposal.

In taking the title ‘Dramatic Music’ I intended to speak only of that music written expressly for the theatre and of those composers who have been most prominent in the formation and development of the opera as it is now brought down to us.

Having made this admission, I am, at the same time, unwilling to spare myself altogether the consequences of my rashness, and shall endeavour to say a few words upon dramatic music in general – principally at the present moment, however, in regard to that music which strikes me as dramatic, apart from the stage; I mean that dramatic music to be found in the oratorio, in the sacred cantata, and that dramatic music which is to be found in the instrumental compositions of the great masters. As to that which is written for the stage, my lectures will sufficiently provide for, and I need not [in this Introduction], except incidentally, go into this branch, which, if not always dramatic in character, is always dramatic in name.

The term ‘dramatic’ as now used is, indeed, comprehensive and very difficult if not nearly impossible to define satisfactorily, in as much as the word itself is used to describe something indefinite. Nevertheless it is found to be a convenient term to describe any sensation out of the ordinary way caused by music upon the listener. It is nowadays used alike in relation to the oratorio, the opera, and the symphony. I am not prepared to deny that the rapid growth of music as an art, the heightened effects produced, combined with the sharpened appreciation of the audience, excuse a more general use of the word than it had a quarter of a century since – still it is often very heedlessly applied, and applied to compositions which from their tame and even character (however good in other respects) are incapable of arousing more than the ordinary sensation bestowed by pleasing music at all times and under all circumstances.