This obvious condition of homogeneity appears not only in
the structure of these works, but also in the expression ; for
whether poignant anguish or exuberant joy is the theme,
there is hardly any variety in the style of the music, which
has therefore hardly any /unction beyond formalising the
declamation. In Binuccini's little drama of Euridice the
familiar story is relieved of its poignancy, and a good deal
of its point, by the success of Orpheus in winning back his
lost love from the Shades. Consequently the composers
had to set both the expression of despair at receiving the
news of her death, and of joy at bringing her back to life ;
and from the manner in which they addressed themselves
to this object much may be learnt. Two important settings
of the little drama exist, both of which saw the light in
1600. The best of the two is that by the enthusiastic
amateur Jacopo Peri, which was performed at Florence to
grace the wedding festivities of Henry IV. of France and
Maria Medici. It was not the first work of its kind, but
it is the first of which enough remains in a complete state
to afford safe inferences as to the aims and methods of the
new school; and the manner in which Peri treated the
two highly contrasted situations above alluded . to is very



I JO



THE ART OF MUSIC



instructive. The following is the passage which was then
held adequate to express the poignancy of Orpheus' feelings
over his loss :—



Voioe.
Aocomp.
