: The Great German Composers by Ferris George T George Titus - Musicians Germany Germany

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k with the operas of Rameau, in which the declamatory form was strongly marked. His early Italian training had fixed in his mind the importance of pure melody. From Germany he obtained his appreciation of harmony, and had made a deep study of the uses of the orchestra. So we see this great reformer struggling on with many faltering steps toward that result which he afterward summed up in the following concise description: "My purpose was to restrict music to its true office, that of ministering to the expression of poetry, without interrupting the action."

In Calzabigi Gluck had met an author who fully appreciated his ideas, and had the talent of writing a libretto in accordance with them. This coadjutor wrote all the librettos that belonged to Gluck's greatest period. He had produced his "Orpheus and Eurydice" and "Alceste" in Vienna with a fair amount of success; but his tastes drew him strongly to the French stage, where the art of acting and declamation was cultivated then, as it is now, to a height unknown in other parts of Europe. So Ave find him gladly accepting an offer from the managers of the French Opera to migrate to the great city, in which were fermenting with much noisy fervor those new ideas in art, literature, politics, and society, which were turning the eyes of all Europe to the French capital.

Fresh adaptations of "Orpheus and Eurydice" and of "Alceste" were produced. The first, brought out in 1784, was received with an enthusiasm which could be contented only with forty-nine consecutive performances. The second act of this work has been called one of the most astonishing productions of the human mind. The public began to show signs of fickleness, however, on the production of the "Alceste." On the first night a murmur arose among the spectators: "The piece has fallen." Abb? Arnaud, Gluck's devoted defender, arose in his box and replied: "Yes! fallen from heaven." While Mademoiselle Levasseur was singing one of the great airs, a voice was heard to say, "Ah! you tear out my ears;" to which the caustic rejoinder was: "How fortunate, if it is to give you others!"

Gluck himself was badly bitten, in spite of his hatred of shams and shallowness, with the pretenses of the time, which professed to dote on nature and simplicity. In a letter to his old pupil, Marie Antoinette, wherein he disclaims any pretension of teaching the French a new school of music, he says: "I see with satisfaction that the language of Nature is the universal language."

So, here on the crumbling crust of a volcano, where the volatile French court danced and fiddled and sang, unreckoning of what was soon to come, our composer and his admirers patted each other on the back with infinite complacency.

But after this high tide of prosperity there was to come a reverse. A powerful faction, that for a time had been crushed by Gluck's triumph, after a while raised their heads and organized an attack. There were second-rate composers whose scores had been laid on the shelf in the rage for the new favorite; musicians who were shocked and enraged at the difficulties of his instrumentation; wits who, having praised Gluck for a while, thought they could now find a readier field for their quills in satire; and a large section of the public who changed for no earthly reason but that they got tired of doing one thing.

Therefore, the Italian Piccini was imported to be pitted against the reigning deity. The French court was broken up into hostile ranks. Marie Antoinette was Gluck's patron, but Madame Du Barry, the king's mistress, declared for Piccini. Abb? Arnaud fought for Gluck; but the witty Marmontel was the advocate of his rival. The keen-witted Du Rollet was Gluckist; but La Harpe, the eloquent, was Piccinist. So this battle-royal in art commenced and raged with virulence. The green-room was made unmusical with contentions carried out in polite Billingsgate. Gluck tore up his unfinished score in rage when he learned that his rival was to compose an opera on the same libretto. La Harpe said: "The famous Gluck may puff his own compositions, but he can't prevent them from boring us to death." Thus the wags of Paris laughed and wrangled over the musical rivals. Berton, the new director, fancied he could soften the dispute and make the two composers friends; so at a dinner-party, when they were all in their cups, he proposed that they should compose an opera jointly. This was demurred to; but it was finally arranged that they should compose an opera on the same subject.

"Iphigenia in Tauris," Gluck's second "Iphigenia," produced in 1779, was such a masterpiece that his rival shut his own score in his portfolio, and kept it two years. All Paris was enraptured with this great work, and Gluck's detractors were silenced in the wave of enthusiasm which swept the public. Abb? Arnaud's opinion was the echo of the general mind: "There was but one beautiful part, and that was the whole of it." This opera may be regarded as the most perfect example of Gluck's school in making the music the full reflex of the dramatic action. While Orestes sings in the opera, "My heart is calm," the orchestra continues to paint the agitation of his thoughts. During the rehearsal the musician failed to understand the exigency and ceased playing. The composer cried out, in a rage: "Don't you see he is lying? Go on, go on; he as just killed his mother." On one occasion, when he was praising Rameau's chorus of "Castor and Pollux," an admirer of his flattered him with the remark, "But what a difference between this chorus and that of your 'Iphig?nie'!" "Yet it is very well done," said Gluck; "one is only a religious ceremony, the other is a real funeral." He was wont to say that in composing he always tried to forget he was a musician.

Gluck, however, a few months subsequent to this, was so much humiliated at the non-success of "Echo and Narcissus," that he left Paris in bitter irritation, in spite of Marie Antoinette's pleadings that he should remain at the French capital.

The composer was now advanced in years, and had become impatient and fretful. He left Paris for Vienna in 1780, having amassed considerable property. There, as an old, broken-down man, he listened to the young Mozart's new symphonies and operas, and applauded them with great zeal; for Gluck, though fiery and haughty in the extreme, was singularly generous in recognizing the merits of others.

This was exhibited in Paris in his treatment of M?hul, the Belgian composer, then a youth of sixteen, who had just arrived in the gay city. It was on the eve of the first representation of "Iphigenia in Tauris," when the operatic battle was agitating the public. With all the ardor of a novice and a devotee, the young musical student immediately threw himself into the affray, and by the aid of a friend he succeeded in gaining admittance to the theatre for the final rehearsal of Gluck's opera. This so enchanted him that he resolved to be present at the public performance. But, unluckily for the resolve, he had no money, and no prospect of obtaining any; so, with a determination and a love for art which deserve to be remembered, he decided to hide himself in one of the boxes and there to wait for the time of representation.

Gluck's death, in 1787, was caused by overindulgence in wine at a dinner which he gave to some of his friends. The love of stimulants had grown upon him in his old age, and had become almost a passion. An enforced abstinence of some months was succeeded by a debauch, in which he drank an immense quantity of brandy. The effects brought on a fit of apoplexy, of which he died, aged seventy-three.

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