The Great Composers. No. XV. Gluck (Continued) Author(s): Christoph Willibald Gluck and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 25, No. 498 (Aug. 1, 1884), pp. 448-451

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This content downloaded from 131.170.6.51 on Thu, 14 Jan 2016 13:02:35 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-AUGUST 448 I, 1884. meanwhileto "talk about the weather," like the The thirdAct openswith a grand scena forAlmna. youngladies in "The Piratesof Penzance." Alma's Trollbrings the real Ludmillato her,and thewaiting- father,who rejoicesin the peculiarname of Demoslav,maid, with the shrewdnessof her kind,plots a way thenenters, and insteadof rebukingthe young people of escape forherself and mistress. The Berggcistis fortheir breach of propriety, joins themin a Trio, for keptout of harm'sway by beingrequested to raise a the most part unaccompanied. This is a kind of cropof real earthlyflowers, to whichhe devotes his thingin whichSpohr is always successful,owing to energies. Ludmilla then promises Troll to be his his customof harmonisingevery note of his melodies, if he will conduct herself and her mistressabove and consequentlymaking always good part-writing.ground. The weak-mindedgnome consents. They It being necessary for the plot that Alma should set the Berggeistto the hopelesstask of countingthe be left alone, she now begs that the rest will flowershe has just raisedand take flight. The scene proceed to the church, whithershe will follow then changesto theexterior of the castle,as in ActI., aftershe has takena last farewellof the spot where and just as the fugitivesdeem themselvesin safety, she has spentsuch a happychildhood! Her fatherthey are pursuedand overtakenby the Berggeist. A and lover appear to thinkthis quite natural and long parleyensues, and finallythe spiritrecognises proper,and complywith her request. She accord- the fact-which he knewall along and told us at the inglybegins her necessaryscena. The Larghettoof beginning-thatlove is notfor the likes of him. He this is not particularlygood, the melodybeing too unites the lovers, blesses them,and returnsto his much brokenup, the Allegro,in E flat minorand nativesoil withTroll, bringing the ,which has major,is better,and worksup with some poweras many strongscenes, to a ratherfeeble conclusion. the chorus of approachinggnomes joins in with Treated in a less commonplacefashion this story increasingforce from below. Presentlythe Berggeistmight have been made really interesting,but in himselfappears. He is draggingoff the terrifiedthose days,even if any one ever looked forpoetry in younglady when Oscar,alarmed at the non-appear-an opera libretto,they never found it. ance ofhis bride,returns and fliesto her rescue. In (To be continued.) vain! The Berggeistfixes him where he stands, all storm is frightens the people with a (which THE GREAT COMPOSERS seeminglyonly dragged in to increase the confusion and terrorof the scene), and disappears with his BY JOSEPH BENNETT. prize. The music here is the same as the Allegro No. XV.-GLUCK (continued from page 392). of the overture. ON leaving London,towards the close of the year Act II. takes place in the bowels of the earth 1746, Gluck went to Germanyand enteredupon a again. The captured bride is disconsolate, and periodof his careerwhich has for us comparatively refusesto be comforted.To gratifyher the Berggeistlittle interest. We shall pass over it lightly. sends up to earth forsome flowers,which he gives The masterappears first to have settledat Dresden her,telling her thatif she throwsone intothe mist, in somecapacity connected with the Electoral Chapel, whichhides the back of the scene, she may summon but he remainedthere only a littlewhile. His father, theghost of anyof her formerfriends. She is pleased the old soldier-foresteron the bordersof Bohemia, at this,but on considerationdeems it desecrationto died at this period,leaving Gluck a small patrimony, play such trickswith eitherher fatheror lover,so by the aid ofwhich he was enabled to establishhim- summons firstLudmilla, and then all her female self in Vienna, after an absence of eleven years. chorus of attendants,who are commandedto frolic There he soon foundwork to do. He composedan and raise theirmistress's spirits. In orderto supply opera," Semiramidericonosciuta," to the words of the light comedy, which is necessary by way of Metastasio,for the f&teof Maria Teresa, obtaineda contrast,Troll flirts with the ghostof Ludmilla, who, markedsuccess, and foundhimself at once a favourite however,behaves very oddly,declaring that she is in the " greatworld." Accordingto thebest authori- only a flowerand has no heart; she cannot love, ties Gluckwas at this time a presentableman, and only dance. Their duet begins thus, in three-barnot as afterwardsdescribed by Dr. Burney. He had rhythm-- expressivefeatures, while his manner was full of A ndantino. vivacityand frankgaiety. It naturallyfollowed that he becameentangled in an affairof the heart,but his love ran at firstin a troubledcurrent, owing to the obduracyof a father,who, though he liked Gluck verymuch as an artist,rejected him as a son-in-law. Herr Josef Pergin, having made money by trade, entertainedthe usual contemptfor people who pos- The enamouredTroll determines to make an expedi- sessed none and were followersof art to boot. His tion to earth on his own account and capture the wife,on the other hand, favouredGluck's claim to real Ludmilla. the hand of their elder daughter,Marianne. She Scene 2. Oscaris roamingabout in themountains, possessed a woman's sympathywith true affection, seekinga road to Alma. He has a ratherpoor Aria. but unfortunatelythe powerof decidingits fatewas Demoslavcomes to tell him that Ludmilla has now in the hands of her unsentimentalhusband, and also been carriedoff, and imploreshim to leave this he said "No" in a tone so positive that Gluck dangerousplace. Duet. This scene is dramaticallyfled despairingfrom the Imperialcity, scarcely per- and musicallyweak and unnecessary. mittinghimself to halt till he reachedCopenhagen. Scene 3. Again downbelow. The Berggeistsum- The little Danish capital was at this time en fitc, mons all the spiritsof the fourelements to do him consequentupon the birthof a CrownPrince, and the homage and dance at his wedding,and good use is royal familywere glad to welcome a distinguished made of the sopranos, altos, tenors,and basses as musician into their midst. Gluck even had apart- fourseparate choirs. The ballet music is graceful,ments in the Palace. On March 12 (1749) he gave but does not call forespecial notice. It comes to an an evening Concert of Italian music; on April 9 unexpectedend; the flower-ghostsraised by Alnmatook place a gala performanceof his two-act piece fade and die, causing her great alarm,and breaking "," and ten days later he finishedup with a up the party in confusion. This is the scarcely " benefit,"at whichthe master performed a solo upon satisfactoryend ofthe secondAct. musical glasses. There can be no doubtconcerning

This content downloaded from 131.170.6.51 on Thu, 14 Jan 2016 13:02:35 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-AUGUST I, 1884. 449 thisfact, since extant copies ofthe Pest-Rytter contain the highestquarter came recognitionin the formof the followingadvertisement: " Saturday,April 19, a Papal decree nominatinghim Chevalier of the the ChapelmasterGluck will give a Concertat the GoldenSpur, an honourbestowed fifteen years later Italian Theatre,Charlottenbourg, composed of vocal upon the boy Wolfgang Amadeus Mozart. From and instrumentalmusic-a Concert brilliant and this date till 1762 nothingof special importancein mostremarkable (worthy of plaudits) in whichhe will the career of Gluck calls for detailed notice. The introduce,to the great satisfactionof his audience, masterspent part of his timein Vienna,composing an instrumentof glass hithertounknown." Gluck, music suitedto the taste ofthe Court-mostlyworks we have reason to believe, did not make his firstof the opera-comiqueclass-and the other part in appearanceon this occasion in connectionwith the Italy, producinglyric dramas essentiallyItalian in musical glasses. An advertisementin a London character,and differingonly in greaterfulness of paper shows that he performedupon them in the orchestrationfrom the ordinarytype. Britishmetropolis, also having,it is surmised,taken Comingdown to 1762,we findGluck travellingto lessonsin the art from an Irishmannamed Puckeridge, Bologna forthe purposeof openinga new theatre. who was an acknowledgedmaster. As it chances, everythingconcerning that event is From Copenhagen the composer proceeded to known,the masterhaving as companiona Boswell Rome, producedthere his Opera "," and in the person of Karl von Dittersdorff,violinist and wouldprobably have made a long stay had not news composer,whose gracefuland clever worksfor the of Josef Pergin's death come fromVienna. Gluck chamberare amongstthe thingsby which Fortune at once startedfor the Kaiserstadt,received a glad has dealt unjustly. Dittersdorffinforms us* howhis welcome fromthe widow, and, on September 15, companionshipwith Gluck came about:- 1750, was united to his Marianne. The marriage " One day Gluck told me that he had been called proved a happy one. Throughout a period of to Bologna to compose an opera. He asked me, at thirty-sevenyears Madame Gluckwas her husband's the same time,if I wishedto go to Italy with him, good friend and companion; accompanyinghim on condition,however, of bearinghalf the expenses. wherever he went, and enveloping him in an As for leave of absence, he would obtainthat from atmosphere of domestic peace. In the begin- Count Durazzo. 'Oh! with infinitepleasure,' I ning of 1751 we find Gluck at Naples, writinganswered, full of enthusiasm,adding sadly, ' I have and producingan Opera, " La Clemenza di Tito," not got the money.' 'In that case,' coldly replied poem by Metastasio. Here the masterhad his first Gluck, turninghis back upon me, 'nothing can be conflictwith the insufferablepride of pampered vocal done."' artists. Gluck also had pride,of a differentkind and Dittersdorfffinally obtained a loan from some withmore reason; whereforehe absolutelyrefused to friends,and the two men started in high spirits, go cap in hand to any singerwhatsoever, even to having as travelling companions a particularly Cafarelli,then at the heightof his power,and living vivacious young singer, Signora Marina and her in a palace overthe gates ofwhich he had inscribed,worthy mamma, who were bound forVenice, their "AmphionThebas, ego domum." Cafarelliexpected native city. Concerningthe adventures of the always to be waited upon by the composerwhose quarteton the road, Dittersdorffis veryprecise, and musiche condescendedto sing. Imaginehis surprise not a littleamusing. Here, however,we mustpass and disgust when Gluck firmlydeclined any such them by. Gluck stayed some days in Venice, and recognitionof supremacy. The Italian showed no heard an orchestraof females,who, according to resentment,however, but, much to his credit,ac- Boswell-Dittersdorff,played very badly. Going on ceptedthe situation,and paid Gluck the firstvisit. to Bologna,Dittersdorff was representedas Gluck's As a natural consequence, each foundreason to pupil, not as a violin virtuoso,it seemingwise to respectthe other,and theysoon becamethe best of keep his real professionsecret till he knewwhat the friends. Presently,the opera was produced,with Bolognese playerscould do, since among themwere Cafarelliin the cast, and thenGluck foundhimself Luchini and Spagnoletti. " Both of themplay very face to face with a bevy of Neapolitan composers,well," remarked Dittersdorff,after making their enraged by a certain passage in the work which, acquaintance, adding slily, "only each has his accordingto them,proved either Gluck's ignorance method." Gluck made the acquaintance of some of or contemptfor musical laws. The matterwas famouspeople in Bologna-of Farinelli,for example, eventuallyreferred to the arbitrationof Durante, who was then living in great magnificencehard beforewhom all bowed. Durantelooked at thescore by,and of Padre Martini,the illustriouscontrapuntist and said: " I cannotdecide whetherthis passage is, -but he had little leisure forpaying and receiving in everyrespect, according to the laws of composi- visits,owing to the demandsof the new Opera, " I1 tion,but I will ventureto declare that all of us, Trionfodi Clelia," under his hands. The case was beginningwith myself, would be proud to have con- otherwisewith Dittersdorff,who, havingtaken the ceived and writtenit." Away went the Neapolitan measure of Luchini and Spagnoletti,had bloomed composersrebuked and ashamed,leaving Gluck un- into a virtuosoand receivedmuch honour. In his disputedmaster of the field. gossipingbook he gives so minuteand curiousa pic- Gluck returnedto Vienna towardsthe close of the tureof the then positionand characterof music as same year and did not again leave the Imperial city connectedwith the church in Italy thatwe cannot till 1754,having, meanwhile, been appointedKapell- pass it by:- meisterder Oper by Count Durazzo, the Imperial- " Betweenthe Psalms [at the churchof St. Paul] Royal Intendant,about whom, in due course, we Spagnolettiplayed a concertoby Tartini which I shall have much to say. In the dischargeof his had studiedsome years before. The churchwas full duties Gluck workedhard at pieces forthe Court, of connoisseursand amateurs,and it was easy to see whichwere essentiallypieces d'occasion, and need not thatthe artisthad won generalapprobation. Gluck now have even their names revived. The year last said to me, 'Nevertheless, you can reckon with mentionedbrought relief from a somewhatunworthy certainty upon the applause of your auditors; your task. Going to Rome, the master there produced compositionand your playing are infinitelymore twoOperas-" I1Trionfodi Camillo" and "Antigone." modern.' Alreadyit had been spread abroad that Once more he had to contendwith Italian rivalry on the morrowa Germanvirtuoso would performon and intrigue,but Cardinal Albani standing as his firm * friendall enemieswere vanquished, while from Karl von DittersdorffsLebensbeschreibung. Leipzig, ISol.

This content downloaded from 131.170.6.51 on Thu, 14 Jan 2016 13:02:35 UTC All use subject to JSTOR Terms and Conditions 450 THE MUSICAL TIMES.-AUGUST I, 1884. the violin. When we came out of the church we All throughwhat may be called his Italian period heard one man say to another,'After the marvellous-at any rate,ever since his experiencein London- Spagnoletti,I am muchafraid that he will be hissed.' Gluck had been preparinghimself to put in practice However,on the morrowI played a concertoof my the reformshis thoughtfulmind had conceived. In own composition,and no one laughed at me, as the the firstplace, he made a study of languages,and gentlemanhad feared. Gluck,Bevilagua, and Man- especiallyof theiridioms, thus masteringLatin and soli congratulatedme upon the universalapplause I French; devotingto the living tongue,as by pre- had obtained. Gluck said that he had designedlyvision of the future,an extraamount of care. But placed himselfnear the two criticsof the previous when, in this and other ways, he had sufficiently day to overheartheir opinion, and that one of them armedhimself for the task,the questionwas to dis- cried, 'By heaven, the young man plays like an covera poet able and willing to workwith himon angel!' the other adding, ' How can a German the lines laid down. With the hourgenerally comes turtlepossibly arrive at such perfection!' Upon this the man. What we call an accident placed Gluck Gluck made bold to say, ' With yourpermission, sir, in contact with the imperial councillor, Raniero I also am a Germanturtle, but none the less have I the di Calzabigi, who had brought out an elegant honourto writethe new opera for the reconstructedcritical edition of Metastasio, in which the true theatre.' One ofthe gentlemen then retracted, declar- idea of a dramatic poem was set forth. The ing that he had entirelychanged his opinionwith firstfruits of the artistic union between Gluck regardto the Germannation. AfterGluck had toldme and Calzabigi was " ." Calzabigi this,the prior of theconvent appeared with two of his appears to have had some doubtsrespecting the fate monksand thankedme forwhat I had done,adding of an opera distinguished,both as to words and that,having heardfrom his stall the applause I had music, by a classic severityof style,and destitute received,he venturedto ask for anotherconcerto at of any ornamentsave the beauty springingfrom a vespers. I refusedpoint-blank. But mygood prior just alliance of the arts. Moreover,he fearedthe was not to be put off. Moreover,Count Bevilagua adverseinfluence of Metastasio,who had theretofore assured me that the requestwas a distinctionthat giventhe law in all mattersof the kind. So much had neverfallen to a virtuososince he had been in importancedid Gluck's librettistattach to Metas- Bologna,and that myrefusal would cause muchtalk tasio's goodwillthat he placed the poem of " Orfeo" in the town. On this I yielded. In the eveningthe beforehim. The famous poet read it politely,but church was crowded,many persons having to go made no betterthan evasive comments,and it was away. I played,but if I did well in the morningI withanxious heartsthat the two authors introduced excelled myself on that occasion. Aftervespers their work to the Viennese public on October 5, Gluck,myself, Mazzoni, and the twocastrati, Potenza 1762. Gluck knew how much depended upon an and Nicolini,who had sungthat day,took supperin initialsuccess, to securewhich he labouredwithout the convent. It was truly a supper worthyof regardto anybody'sconvenience. He called rehearsal Sardanapalus,for all that Italy could producein the after rehearsal, wearied the performersbeyond way of delicacies was on the table. We kept the endurance, and played the despot with such game alive till midnight,and reached our lodgings explosionsof wraththat more than once the artists verymusical indeed." were on the point of open revolt. Rebellionwould, What followedwas a good joke in the way of indeed,have brokenout but forthe genial Emperor, hypocrisy. Dittersdorffmust be allowedto tell it:- who was wontto say to the disgustedperformers, " On the morrow,my host announcedto me that a "My children,you know what he is. At heart deputationfrom St. Paul's desired to be presented.he is a good fellow." The firstrendering of the work I was about to receive,he said, a presentfor which I thus stormilyprepared made a deep impression. oughtto give the bearera scudoby way oftour boire. Amateursdid not whollyunderstand the new thing The deputationhaving entered,its leader made a that had come amongst them, but they felt the speech that lasted over a quarterof an hour,and influenceof a masterpiecetrue alike to nature and containednothing but thankson the partof the prior to art. It followedthat as "Orfeo ed Euridice" and the whole convent,and hopes that,considering became betterknown the public liked it more,and their extremepoverty (of which I had no doubt the fifthrepresentation was receivedwith unanimous afterthe supper),I would be satisfiedwith a small applause. Gluck had conquered,and the cause of presentcomposed of more than twentypounds of operaticreform scored an openingvictory. the most magnificentconfections, twelve pairs of Proud of his composer'ssuccess, CountDurazzo Neapolitan stockings,six of whitesilk, six ofblack, desiredto spreadGluck's fame over the frontiersof six Milan foulardsin doubledsilk, and a dozen more the Empire,and to that end enlistedthe aid of the or less large relics set in silverfilagree. I assured dramatistFavart, who, being under many obliga- the priorand all the conventof my satisfaction, and tions to Durazzo, undertookthe negotiationof a gave a scudo to my Demosthenes,upon which the Frenchedition. Upon this a copyof the score was deputationretired with a showerof compliments and sent to Paris, and Favart laid it beforeMondonville, obeisances." who, seeingits clericalerrors, declared that the cost From this entertainingillustration of Italian life ofpublication could not be less than eight hundred a hundredand twentyyears ago, let us now turn livres. AnotherFrench musician, Duni, declinedto again to Gluck. After seventeen rehearsals " Il make the necessarycorrections under five hundred Trionfodi Clelia" was broughtout in an unsatis- livres; but, happily, Philidor was so struck by factorymanner, but with fair success, and themaster "Orfeo " thathe offeredto see it throughthe press had in contemplationan extendedItalian tour,when as a labour of love, and, indeed, supervisedthe Count Durazzo peremptorilysummoned him home engravingthroughout. In order that blame should forthe coronationof the EmperorJoseph, at Frank- not unjustlyfall upon the Viennese copyist,we fort. Upon this Gluck and Dittersdorffhastened will here quote froman article,written by Berlioz, back to find,with much annoyance, that the imperial Jproposto the revival of " " at the Grand solemnityhad been postponedfor a year. Opera. We now enter upon the most importantpart of "Gluck's scores were all writtenwith incredible Gluck's extended and invaluable life-work. The carelessness. When theycame to be engravedthe question is no longer of ballet-music,divertisse- engraver added his errorsto thoseof the manuscript, ments, and opiras-comniques. and it does not appear thatthe author evertroubled

This content downloaded from 131.170.6.51 on Thu, 14 Jan 2016 13:02:35 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-AuGusT I, 1884. 451 himselfto correctproofs. Sometimesthe firstviolin grantednothing for the sake of mere display, but part was writtenon the lines properto the second remainedthroughout true to the situationand the violins; sometimesthe violas, moving with the text. The firstedition of "Alceste," publishedin basses, foundthemselves, in consequence of a col 1769,contained the famousdedication to the Grand basso negligentlythrown in at two octaves' distance, Duke ofTuscany, which remains for all timean expo- and playing above the melody; here the author sition of its writer'sartistic principles-a genuine forgotto indicate the key of his horns; there he confessionof faith. We mustreserve that important omittedto show what wind instrumentshould exe- document,and the considerationsit suggests,for cute a prominentphrase. Should it be a flute,an anotherchapter. oboe, or a clarinet? Who could tell ? Sometimes (To be continuted.) he wouldwrite on the double-bass line someimportant notes forthe bassoons,and troublehimself no more about them,so thatno one coulddiscover what after- THE COSTA BEQUEST. wards became of them. . . . In one of his letters THOSE who stood round the open grave of Sir Gluck says: ' My presenceis as indispensableat the Michael Costa barelythree monthsago, and heard rehearsalsof myworks as is the sun to the creation.' the solemn and suggestivewords, "We brought I believe it, but the fact would have been less nothinginto this world, and it is certain we can apparenthad he takenthe troubleto writewith more carrynothing out," mayhave called to mindanother care, and not leftthe performersto divine so many sentence,associated with Handel's beautifulmusic, intentionsand correctso manyerrors." and surelyapplicable to the great musician-" His Gluck havingdeclared his intentionto visit Paris bodyis buriedin peace, but his nameliveth evermore." and look afterthe French editionhimself, Favart The name of Costa would,in any case, be a familiar gave hima mostcourteous offer of hospitality, as the watchwordfor generationsto come, whereverour subjoinedextract from a lettershows:- art is cultivatedand its historystudied; but there " I have not the honourto knowyou personally,are ways by whichmen anxiousfor lasting fame can but I have always desiredthat advantage. May I retain it when the memoryof what they achieve flattermyself that you will respondto mydesires ? duringlife has fadedand becomeindistinct. If they Yes, I dare to hope,by the respect that I have always cannotcarry out of the worldthe accumulatedearn- had for your talent. For that reason I assure ings of their honest industry,they can dispose of myselfthat you will accept no otherhospitality than themin such a manneras to yieldsubstantial benefit mine. I can offeryou in myhouse furnishedapart- to others,and thus forall timecause theirnames to ments; you will findthere a good clavecin, other be utteredwith respect and veneration. It may be instruments,a small garden, and perfectliberty-- said that a thrillof gratificationpassed throughthe that is to say, you will be as thoughat home, and heartsof musicians when the contents of Sir Michael need not see anybodyunless you choose. Although Costa's will were made public. While he was yet in the mostnoisy part of Paris, our house, between alive unpleasantrumours filled the air with respect courtand garden,is a kindof solitude where one can to monetarymatters, owing chiefly to the action of a workas undisturbedas in the country." fewwell-intentioned but fussy and ill-judgingpersons. Gluckput off his visit,and meanwhilethe French Into this matterit is, fortunately,needless to enter editionof " Orfeo" was ready,having been engraved further. The death of the eminent Conductor and printedat a cost of 2,ooo livres. But the publi- removeda painfulsense of embarrassment,and the cation did not take place till afterthe composer's publicationof his willwas a practical contradiction arrival in the French capital, where, however,he of reportsconcerning his means which should never made but a short stay, Court duties requiringhis have been uttered. Since Handel's legacy to the presence at Vienna. The particularduty in ques- Royal Society of Musicians, no bequest has been tion was to compose music to Metastasio's " II made in the interestsof music in this countryof Parnaoso confuso," performedin honour of the equal significancewith that ofSir MichaelCosta. At Archduke Joseph's marriage, January 25, 1765. the deathof his nearestsurviving relative, who very Never, perhaps, had musician more illustriousin- properlyis to enjoyhis brother'sfortune during life, terpretersthan on this occasion, being played the whole of his propertyis to be realised and by the ArchduchessMarianne, and the Gracesby the devoted to the formationof scholarships in the ArchduchessesMarie-Elizabeth, Marie-Josephe, and Royal Academy of Music. It has been termed"a Marie-Caroline,while the ArchdukeLeopold accom- loyal bequest,"and so it is. The greatmusician has panied on the clavecin. So successful was this chosenthe mostpractical and most gracefulmethod illustriousperformance that Gluck received orders of evincing his gratitudeto the countryin which to prepareanother work for the Emperor'sfete. But he lived, and in which his labours met with such man proposesand God disposes. The Emperordied, unstintedrecognition and reward. Some surprise and " La Carona" was neverproduced. has been expressedthat the TenterdenStreet Insti- In 1766,four years afterthe startlingapparition of tutionalone shouldhave been selectedto receivethe " Orfeo ed Euridice," Gluck and Calzabigi brought benefitof this laudable intent. Costa was highlyin out "Alceste," of course on the same lines as the favourat Court,and it has been suggestedthat the previouswork, if not, as some contend,in accord- Royal College of Music should have shared in his ance with a modeleven more severe. For the sake liberality. If, however,the friendsof the College of rehearsal,the theatrewas closed duringan entire and the publicgenerally glance at the factsthey will week; but this precautiondid not save "Alceste" see thatby the course adoptedno want of confidence fromharsh criticism. One said, "It is edifyingcer- in the South Kensingtonundertaking is expressed, tainlyto be deprivedof the theatrefor nine days in muchless any slighton the Royal family. The will order, on the tenth,to assist at a funeralmass!" is datedApril 13, 1877,at whichtime the Royal Col- Anotherpointed out that he expectedto shed tears lege was not in existence,nor had any steps been of sympathy,not of weariness; another demanded takenbefore the public for its formation. The Na- his moneyback; and yetanother asked what pleasure tional Training School was a temporaryaffair, and could be got oit of an idiotwho died for her husband ? no sane individualcares to bequeath moneyto an But nothingworse than such mereverbal skirmish- institution which at the time of his death may ing tookplace. The publicwere soon conqueredby already be numberedamong the thingsthat have the simple beauty and pathos of the music, which been. When the Royal College was at lengthin-

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