 All of his significant music is for the voice ( opera and songs ) and this reflects his detailed grounding in Italian opera . Throughout his career he wrote his operas with specific singers in mind and took great care to temper his writing to their strengths ; but at the same time he seemed little interested in expressing the emotions of his characters , preferring to use his music to underline the larger @-@ scale machinations of the plot . In this way he was close to the ideas of his teacher Vogler , himself renowned for his dramatic depictions of nature and incident in keyboard music , who wrote in 1779 that " writing beautifully is easy ; expression is not too difficult ; but only the genius of a great painter ... can choose for each picture agreeable and natural colours that are particular to it . " Indeed , his devotion to the voice often led him to ignore the dramatic cohesion of his operas ; typically , he would write far too much music and the scores of his operas would have to be drastically cut during rehearsals . ( The lengthy overture to Le prophète had to be cut in its entirety , surviving only in a piano arrangement by Charles @-@ Valentin Alkan ) . 
 All of his significant music is for the voice ( opera and songs ) and this <a href='uninflect' title='1'><mark>reflects</mark></a> his detailed grounding in Italian opera . Throughout his career he wrote his operas with specific singers in mind and took great care to temper his writing to their strengths ; but at the same time he seemed little interested in expressing the emotions of his characters , preferring to use his music to underline the larger @-@ scale machinations of the plot . In this way he was close to the ideas of his teacher Vogler , himself renowned for his dramatic depictions of nature and incident in keyboard music , <a href='null_relcl' title='2'><mark>who</mark></a>wrote in 1779 that " writing beautifully is easy ; expression <a href='negative_concord' title='3'><mark>is</mark></a> <a href='negative_concord' title='4'><mark>not</mark></a>too difficult ; but only the genius of a great painter ... can choose for each picture agreeable and natural colours <a href='null_relcl' title='5'><mark>that</mark></a><a href='drop_aux' title='6'><mark>are</mark></a>particular to it . " Indeed , his devotion to the voice often led him to ignore the dramatic cohesion of his operas ; typically , he would write far too much music and the scores of his operas would have to be drastically cut during rehearsals . ( The lengthy overture to Le prophète had to be cut in its entirety , surviving only in a piano arrangement by Charles @-@ Valentin Alkan ) . 
All of his significant music is fa the voice ( opera and songs ) and dis reflect his detailed grounding in Italian opera . Throughout his career he wrote his operas with specific singers in mind and took great care to temper his writing to their strengths ; but at the same time he seemed lil interested in expressing the emotions of his characters , preferring to use his music to underline the larger @-@ scale machinations of da plot . In this way he was close to tdaideas of his teacher Vogler , hisself renowned for his dramatic depictions of nature and incident in keyboard music , wrote in 1779 dat " writing beautifully is easy ; expression ain't too difficult ; but only the genius of a great painter ... can choose ffaeach pic agreeable and natural colours particular to it . " Indeed , his devotion to thdaoice often led em to ignore the petty cohesion of his operas ; typically , he would write far too much music and thedaores of his operas would gotta be drastically cut during rehearsals . ( The dagthy overture to Le prophète had to be cut in its entirety , surviving only in a piano arrangement by Charles @-@ Valentin Alkan ) .