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MUSIC.
431
improved the regimental music, Kristina called in French and Italian singers and
musicians and cultivated the allegorical »ballet» above all.
The Duben family was for a length of time the foremost representatives of
Swedish music, somewhat later J. H. Roman (1694/1758). A more regular
concert system now began to arise, and several foreign opera-companies were
called in. A permanent Swedish stage was founded by Gustavus III and, in 1773,
began its activity with the opera »Thetis and Pelée», then got a house of its own in
1782, inaugurating its work with »Cora and Alonzo» by Naumann, a German called
in, which soon was succeeded by his »Gustavus Vasa» — for a long time
considered to be the principal Swedish national opera (libretto by Gustavus III and
Kellgren). Among other foreigners called in, J. Hæffner (1759/1833) is
particularly to be noted as the specific creator of the Uppsala student-song and the
systematizer of the chorals for the hymn-book by Wallin, of 1819.
The Royal Opera, Stockholm.
The 19th century was introduced with the annihilating plans of Gustavus
Adolphu8 IV against the opera-institution, which, however, came to nothing but a
temporary paralyzation. The matter of concerts was promoted by the instituting
of the Harmonic Society in 1820, which, later on, was followed by a quantity of
vocal societies in the capital and the provinces, especially for practising quartets
of male voices — a creation of that century and an art in which Sweden ranks
foremost. In this branch and — within the precincts of solo-singing — in the
romanza, Swedish production has been more • national than within any other
branch of musical art. Amongst our quartet composers are to be mentioned
foremost: Otto Lindblad (1809/64), the creator of the Lund student-song and
the representative for the temperament of Southern Sweden, and Gunnar
Wennerberg (1817/1901), moreover famous as a poet, who represents the North Swedish
character and in his collection of duets, called »Gluntarne», has sketched student
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