GOUNOD (1818-1893) stands as the most illustrious recent representative of lyric opera. Like Thomas, he was strongly influenced by contemporaneous German progression, but in some ways Gounod exhibits greater conservatism and again greater license than Thomas. This composite style of writing is undoubtedly due to the fact that Gounod diligently studied the works of two composers of differentiated views--Berlioz and Schumann, allowed himself further to be influenced by Weber and Wagner, and yet accepted in a measure the prevailing Gallic conventionalities of his day as well as the traditions inherited from Meyerbeer. Compared with Meyerbeer, however, Gounod possessed a far keener insight into those essentials that lead to the construction of a genuine music drama. Not that Gounod's operas embody such essentials to a degree sufficient to dignify them with the title of music dramas, for they lack structural continuity, contain an over-abundance of set arias, are frequently guilty of harboring superficially composed accompaniments, and betray carelessly developed inner details. On the other hand, Gounod displays a rare gift for melody and euphony, his feeling for genuine expression and characterization is sincere, the tone-colors are admirably adapted to the requirements of the situation, and his thematic development toward some ultimate climax is often superb. In a word, Gounod stands midway between the classical and the popular. His music is not quite pure, being tainted by a suggestion of the sentimental and of the chanson style. In the art of orchestration, however, Gounod exhibits the unusual attribute of attaining excellent results without apparent effort. His scoring may not disclose material increase of orchestral resources, since it follows the general path indicated by Auber and Meyerbeer; but it further shows that he possessed a considerable knowledge of the German science of instrumentation which he used to good advantage. The lyric operas "Faust," "La Reine de Saba," "Roméo et Juliette," as well as the oratorios "Mors et Vita" and "The Redemption" abound in interesting instrumental details and clever orchestral devices. Not only are the vocal parts admirably supported and characterized, but the orchestra also frequently reveals hidden emotions and passions of the stage characters by means of subtle thematic reminiscences from earlier scenes. This suggestive trait is pointedly illustrated in "Faust" when the muted violins break in upon Marguerite's vain attempt to pray, with the dainty waltz theme of her former joyous days. Another striking feature of Gounod's orchestration is its refinement, and as already intimated, few have excelled him in ability to procure rich effects with comparatively simple means. Thus the "Redemption" is scored for but eight instruments of wood, four horns, two trumpets, three trombones, kettle-drums, bass-drum, cymbals, together with strings and organ. Even when the organ is silent, the results are remarkably full and sonorous in spite of the absence of triplets of wood instruments, of English horn, of bass-clarinet, of bass-tuba, and of the harp. In all of Gounod's works it will be found that particularly the brasses are made to yield soft harmonies of limpid purity, whereas the instruments of percussion are reserved to reproduce novel and picturesque effects. Incidental mention must further be made of his free use of the harp, as illustrated, for example, by the slow scale for that instrument in the middle of the introduction to "Faust."