These happily turned thirds, although they weren't Sacchini's, were, none the less, an excellent innovation.
Benoist was less happy when he was asked to put some life into Bellini's _Romeo_ by using earsplitting outbursts of drums, cymbals, and brass.

During the same noise-loving period Costa, in London, gave Mozart's _Don Juan_ the same treatment.

He let loose throughout the opera the trombones which the author intentionally reserved for the end.
Benoist ought to have refused to do such a barbarous piece of work.
However, it had no effect in preventing the failure of a worthless piece, staged at great expense by the management which had rejected Les Troyens.
I was fifteen when I entered Halevy's class.

I had already completed the study of harmony, counterpoint and fugue under Maleden's direction.

As I have said, his method was that taught at the Ecole Niedermeuer.