432                    MODERN'   CIVILIZATION

In the seventeenth century were created the forms in
which pieces of music were going* to he henceforth
embodied: the opera, and the oratorio; both origi-
nated in Italy, and in the same year (1600). That
year, at Florence, at the festivities for the marriage of
Maria clcf Medici and Henry IV. a piece of music was
represented, which was called a tragedy in music.1
This was the first opera. At Rome Saint Philip de
Neri had a sacred drama accompanied by a recitative
in music given at the church of the Oratoirc. This
was the first oratorio. Italy was regarded from that
time as the country of music, and until the end of the
eighteenth century, it was the fashion at all the courts,
even in Germany, to have an orchestra of Italian
musicians.

The opera was soon altered in Italy. The amateurs
(dilettanti) were more interested in the voice of the
singer than in the drama, or even in the music. In
order to please them, it was necessary to reduce the
opera to a succession of airs sung as solos or as duos*
It was simply a question of giving an opportunity to
the virtuoso2 (for so the singer in vogue was called)
to show off his fine voice, and his skill in using that
organ; during this time the orchestra ceased playing,
and all action was stopped. The piece was but a can-
vas intended to furnish words to the singer; the book-
let, as it was called was regarded as a property of the
piece. It was composed by a librettist in the pay of
the director. The Italian composers have kept, down

* Orpheus and Eurydice, whore each character sang his role.

* The word virtuoso has kept the meaning of une who seeks
Out useless difficulties.