G L UC K A N D T H E

—O P E R A

A STUD! I N MUSIC AL HISTOR!

E R N ES T N E WMA N

N DO N : B E R T R AM DO B E LL 7 7 C H A R I N G C R O S S Ry D I 8 9 5 f}

t: r e s e r ve di ll r igh d

H BE S N JO N M. RO RT O

G L UC K

O treibtes mick an belle): PVinterta en fi g , A n einem efirrzen Bil worbe iz u efiefl d d g , ' Dir in das stren e dn eszcfitz u seb en g g ,

nd e esmal m itinni em Beba en U jd g g . ’ ’ Wiisste iner n iche cvon dir doe/z musster ,

Da: war e in Geis tcvon ris cfiem s eb a em f , rf

komzten keine Nebel widers tfiefl Dem e , ’ ndWalker: wusster in die Flack: z u a en U jg .

’ 4 Wabrbeztabs tda wie er einer K um t 7 , g d d , ’ - V sebmfibtestleerer Tone s i ssen 24 nd er ,

A z die Ge afir der Mer e z u m is allen gf f , g gf .

' ’ Lessing der Oper ; die dare}; Gattergum t

fi n Moz tibren Gaetfie un Bald auc i ar f d ' ' te nick tdoe/5 ebrenw‘ rtwar ali Der Grou , e en.

DAVI D Fm mu c n 'ru vs S s .

P R E F A C E

SO as I e e e n o En lishbio ra h far am awar , th r is g g p y

e Cho u u e ti n f The e . o Gluck . articl by M Gustav q ’ ” Grove 3 Dictionary o f Music and Musicians is

e e e e c an b e the grossly inad quat , and littl mor said Of ' ’ late Dr Hu e fie r s article in the En c yc lo pmdia Bri

h e d e e the t . tannica ( 9 ) For English r ad rs, by far be st account o f the musician an dhis work is that in ’ “ ” o f e Mr. Naumann s History Music, translat d by

e P e e r F rdinand ra g . A part from the usual article s in the Fre nch and

e e e the e e G rman Dictionari s and Histori s, and tr atm nt o fGluck in books and article s d e aling with the history o fthe e e re are e e e e o fthe e Op ra, th s v ral for ign studi s lif ’

o f the e A Sc hm ids . . and works mast r . nton C W ” e vo n e e Le e e Le z Ritt r Gluck, d ss n b n und Wirk n ( ip ig,

1 8 e e e is a v ry d tail d biography, containing almost e e i f h far v rything that s known o te life o fG luck . B y the e o f o n the e e e the b st all books subj ct, how v r, is ce le brate d Gluck und die Ope r o fAdolph B e rnhard

2 e 1 86 e e Marx ( vols . , B rlin, 3, aft rwards publish d in ’ o n e e Le e Sc hafien volum as Gluck s b n und which, x Prefa ce

e e the e e e b sid s narrating lif of . th compos r, and supplying de e e e e e e tails that hav b n ov rlook d by Schmid, giv s a

e hi is e o f s . minut analysis almost all works It marr d,

e e e e - e c ri how v r, by undu h ro worship, and is scarc ly ’ e R e i s m ann s b e e e A . s tical nough to consid r d final .

vo n e Le e Christoph Willibald Gluck, s in b n und

e e e e e Le z s in W rk ( B rlin and ip ig, is an admirable and we ll-balance d work o fhistory and e riti c ism e e e e , thoroughly sound in v ry r sp ct, as far as it

e A f e e e o f go s . good pie ce o pati nt r s arch is that the e e De sn o ire ste rre s Fr nch antiquarian, M . Gustav ,

e tPic c in n i 1 1 800 La e Gluck , 774 Musiqu

e au 1 8m e u d e d P e 1 e e z . Francais s l ( aris, a ’ e e Barb e de tte s work which has s rv d as basis for Gluck, ” sa Vie so n e e e tse s ( E u vre s P , Syst m , ( aris, ’ “ ” ’ “ e We lti s e e r H inrich Gluck, in R clam s Musik ” e Biographi n, is small but good . A goodly numbe r o fworks e xist fo r a history o fthe

e the e o f Op ra up to and including tim Gluck, such as ’ the Mémoire s pour se rvir al histo ire de la revo lu tio n ” O e rée e le C e e p dans la musiqu par M . h vali r Gluck ’ P 1 8 1 A rte a a s Le z de l e ( aris, 7 and g rivolu ioni t atro ” musicale italiano dalla s ua origine fin e al pre se nte

2 n de d e e 1 8 o f n e ( . V nic , 7 5 , 3 which a tra slat d and abridge d form was publishe d in London m 1 80 2 . ’ ” Marce llo s Il T e atro alla moda is o f course indis

e e e b e e p nsabl , though, as a satir , it has to r ad with caution 5 it is e asily acce ssible in the Fre nch ve rsion o f Prefa ce xi

M e P isc hb ac he r On e o f Ern st David ( aris, F , the e e e o fthe e was Al aro tti most sugg stiv writ rs poch g , whose vario u s e ssays o n the arts we re translate d into Ge rman unde r the title o f Ve rsuche ube r die Archi te c tu r Mahle re m u sic alis c he O e e , y, und p ra ( Cass l, ’ “ 1 769 ) No ve rre s Le ttre s s u r la danse e tsu r les

’ ’ e L Plane lli s e O e ball ts ( yons, and D ll p ra

e 1 2 are e . in musica ( Napl s, 77 ) also us ful Fo r an accurate e stimate of Gluck and the music o f his time the ge ne ral inte lle ctual life o f the e ighte e nth

e b e e e e the o f c ntury has to studi d, sp cially in works

e who e o n as e e thos wrot music, such Did rot, Rouss au,

Marm o n te l Su ard La e Grimm, , , Harp , Goldsmith,

D u B0 3 e e o f e e m en e Harris, , and oth rs . Som th s kn w

e o fm u sic in e e e e e littl a practical s ns , butth ykn w at l ast as

e e e e fe e die e e much as Sonn nf ls, whos Bri ub r Wi n r ” s c hau b u hne are e o r always quot d approvingly . F a ge ne ral surve y o fthe music of the time by a compe te nt ’ Bu rne s are o f e musician, y various works cours indis pe nsable ; while the ge ne ral musical life o fthe e ightee nth ’ “ ce ntury is we ll illustrate d in Ve rnon Lee s Studie s ” o fthe ee e Eight nth C ntury in Italy . ’ B e rlioz A trave rs chants contains some inte re st

e o n Or o Alees te e o n ing articl s fi and , and articl s Gluck

are e e the Revue des deux Manda the scatt r d about ,

Revue Contem oraine the R evue Germani ue. p , and q

w ublishe din English translatio ns of his Essay o n the Ope ra ere p 1 6 and1 68 7 7 7 . xii Preface

’ “ Sc huré s Le drame musical tre ats cursorily o f

’ the e the is to o a riori Gluck and op ra, but book p in its ’ e t o be o f L N b l m hod t much value . udwig o s Gluck

e e e die E des and Wagn r, u b r ntwicklung Musikdramas

1 8 0 e fe e e ( Munich, 7 ) is Wagn rian in ling, whil an - e e e b e . anti Wagn rian count rpois is to had in C . H ’ e Die e de r O e u n d Bitt r s R form p r durch Gluck, ’ ” . e e der Z R Wagn r s Kunstw rk ukunft ( Brunswick, This give s a good account o f the ope ra pre vio u s e e . to Gluck, with copious musical xampl s A fe w words re main to b e adde d as to the ge ne ral

e o f the re e e SO m thod and purport p s nt volum . far as the o f e e I e o f biographical portion it is conc rn d, hav ,

e ee e e e e e the e e cours , b n ntir ly d p nd nt upon r cognis d

e e e e e e the authoriti s, whos unit d labours hav cov r d

e e e e the I whol fi ld xhaustiv ly . In critical portions ’ have atte mpte d to s u m u p the me asure o f Gluck s achi e ve me nt in re lation to the inte lle ctual life o f his

A s he e e e e day . t book is m ant rath r as a t ntativ contribution to culture-history from a side hithe rto

e e e e e o f painfully n gl ct d, than as a m r narration a

e - e I e e e e thric told tal , hav thought it w ll to disp ns with the e o fthe e e o fthe e . history, in d tail, t chnical sid op ra

c an b e e e e e e This had in many xc ll nt works, and it w r

sup e rfluous to de vote anothe r volume to the task . I

hl so hi have rathe r e nde avoure d to vi e w the subj e ct p i o p

the e o fthe e e e e cally, and to bring op ra ight nth c ntury ’ e e r e in g n ral, and Gluck s work in particula , into lin Prefa ce xiii

h e e e e e e f he e with te whol int ll ctual t nd nci s o t tim .

the e e o f he e Thus in sk tch s in Part II . t ris and de e e o f the e e v lopm nt op ra in Italy, Franc , and

e e e G rmany, I hav d alt only with such historical phase s o f it as fall within the province o f culture

e e e to m e the e history . This s m d mor important and the more pre ssing work in vi e w o fthe pre se nt condition o fmusical culture in E n gland while those who wish to supple me nt the account o fthe inte lle ctual de ve lop me nt o f music in the se ve nte e nth and e ightee nth ce ntu rie s by an account o f the formal de ve lopme nt o f

the e e e e o f o f e xpr ssiv sid music and musical structur , will find this without di fficulty in any o fthe nume rous

fthe histori e s o art .

My grate ful acknowle dgme nts are du e to my frie nd

Wo lle tt hi e H . o s Mr . F . for constant assistanc and

e advic .

C H R O N O L O G I C A L L I S T O F G LU C K ’ S WO R K S

P De f ds La D z . pro un i . an a ’ 1 A s e se L in n o c e nz a ius tifi 741 rta r . g

1 2 De m o fo o n . 74 te . cata

De e e e Le s s m m trio (Cl onic ) . amour cha

tres I e rm n e s tra é . p . p

1 Sifac e 11 Re s e . 743 . Pa tor

Artam e n e Le s e n . Chinoi poli

e 1 744 F e dra . Franc . ’ 1 745 Al e ssandro ne ll Indi e Le dégui s eme nt pas

II Re P ( oro) . toral . ’ ’ 1 6 La d de L i e de e 74 ca uta Giganti . l M rlin .

s La f ss e e s e Piramo e Ti b e . au clav ’ C thére ss é ée 1 747 Le noz z e d Ercol e e y a i g . ’ ’

dEb e L b e e é . . ar r nchant

La e de Te de 1 748 S mirami ricon ti . [ ’ M’ o sc iu ta L e c o rr1 e . ivrogn g( .

Te de Do n . 1 749 ti . Juan Le d d é T le a o . e m c c . ca i up

Le d e a 17 5 1 La Cl eme nz a di Tito iabl quatre . I f de 1 e e s l e . 7 54 L Cin i . trion o Cl lia ’ ’ n e s avise s L orfano de lla China . On jamai 11 f i de to ut trion o d Camillo . .

A fe . ntigono . Or o ’ C/zronological Lis tOfGlacé r Works

1 6 e ile m o ne E z io . 7 9 Bauci F .

A s e La re ncontre im pré ri t o . ’ vu e s s de und . Klop tock O n

Il ss f s L e de parna o con u o . i r .

La P e ss corona . H rmann chlacht .

1 e e e n A li A e s e . u de lc t 774 Iphig ni . 1 Ar id de e d e m e . Pari El na. 777

de e e s e 1 e e e n T de Prologo ll F t 779 Iphig ni auri . ’ dA Ollo e t sse p . Echo Narci .

I n the c as e Of s o m e o f the e arl o eras o fw ic itis im o ible y p , h h p ss to le arn the re al ear o fthe firste rfo rm an ce the abo ve da e s are m l y p , t e re y a i appro xim tve . C O N T E N T S

IN T R O D U C T I O N — The comparative me thod in critici sm De fic ie nc ie s o f — musical critici sm in England Ne e do f wider culture — The de ve lopment Of musical form NO form ab so — — lute Ne c essity o f an hi storical Vi ew The influe nce — o f Wagn er on critici sm We akne ss o f the Wagnerian — me thod Contras t be twe en the me taphysical an dthe — s ci entific me thods Failure Ofthe me taphysical me thod — to account fo r the change s in music The hi storical — e xplanation the true o n e Corre lation b e twe en the mus ic and the ge ne ral culture -conditions o f any — e poch The hi storical me thod as appli e d to the — e ighte e nth-c entury op era Gluck an d nature — A n ew musical critici sm wante d Hi stori e s o f m usrc

s db s e 1 e e m . houl phy iological , not m r ly anato ical p

A T 1 1 - 1 6 CH P ER I . 7 4 74

— - Anc e s try andbirth o f Gluck Early ye ars Education at — — Kommo rau and at Prague AtVi e nna AtMilan 6 xviii Contents

— ’ — unde r Sammartini The De P rofirrzdzr A rtarerre

' ' ' Dem oorzte—Demetrzo I ermaertra—A rtameae—Sz ace qf , p f — — ’ — Fedra Alerraadro dell I ndie I n London La

’ fl — C adata de Giganti Re latio n s With Hande l P iramo e

’ z — s s e d e o f 1 6 T rée The uppo awak ning Gluck p .

CH ER 11 1 6—1 6 2 APT . 74 7

— " ’ Ham burg an dDre sden Le Noz z e a Ercole e dEae — — AtVi e nna La S emiramide ricoaorciata AtCop e n — — hagen Tetide- Rome Te/cmacce AtVi e nna again — — ' — Marriage AtNapl e s La C lem enz a dz Tito Ar — ' — — ' Vi e nna Le C z rzeri Ar Rom e I I Triorgfo dz Cami/lo ’ ' — datigoao La Daaz a L z mzoceaz a giartzficata I / Re P artore Tetide D072 yra m AtBologna I/ — — ’ Triorzfo de C lelia Duraz z o an dFavart Gluck s work ’ ’ —L arére eacéaate 2 in light op e ra p . 9

C ER 111 1 6 2 —1 6 HAPT . 7 7 9

’ — — Gluck s inte ll e ctual life His s tudi e s I n flu e n c e o f the sys t e m o f patronage upon e ighte e nth -c e ntury mus1c Lack o fe ste em fo r musicians in the e ight e e nth c e ntury — ’ — Gluck s e arly e nvironme nt harmful Stre ngth o f — nature re quire d to ri se above itGrowing p erc e ption — in Europ e o f the ne e d fo r a re form in op e ra The ’ — de e p e ning o f Gluck s ide as His me e ting with Cal z a — ' ' ' bigi Th e ir collaboration in Orfeo ea Earz dz ce ’ é Gluck s probabl e share in the lib retto The firs t — — — ' pe rformanc e The poem o fOrfea The m usic Ez za xx Content;

— ’ — Arrival o f Pic c in n i e z da Gluck an dPic c inn i at

’ ’ ' ’ d e — t — inn r A work on Ipbzgem a z rz Taurir Gluck s — l e tte r to Guillard Pic c in ni an dthe dire ctors o f the

’ ' ' e — d f — Op ra Pro uction o Ipézgem a in Taarzr Its balanc e

an d — —l— proportion Beb e ctNarcirre The arrangeme nts — ’ — fo r Hypermrzertra Gluck s e nfe e bl eme nt Lcr Dan ' ' ’ — “ az aer Le tte r o fC alz ab igi to the M ercure de Franc e — ’ — — Gluck s life in Vi enna Vi sit o f s Le O Klop tock a td j geraea eraier De ath o f Gluck Proposal o f Pic c m n i to foundan annual conc e rt in his honour

His s e an d e 1 1 1 portrait, phy iqu charact r p .

PA RT II

G LUC'K’S RELJ TI ONS TO THE

I N TELLEC TUJL LI FE OF HI S EP OCH

C HAPTER I

1 . C OU RSE OF TH E OP ERA L! An o f IN ITA . outgrowth the — — R e nai ssanc e The Flore ntine re formers Artific ial — “ from the b e ginning The music Ofthe Gre e k s — Imitation o fthe antique Evil influenc e s o f the Re — — nai ssanc e in Italy De clamation in the op era Mytho — logical subj e cts Italy too we ak to produce ge nuine — - drama Gorge ous de coration in the op e ra I tpasse s —J from the Courts to the public G ro wth o f the lyrical — — e l e ment Ri se o f the s inge rs The domination o fthe — singe rs not wholly harmful N e e dfo r lyric al upli fting Contentr xxi — Abs e nc e o f dramatic fe e ling in Italian audi e nc es

’ ’ l a aa a 2 0 0 The C ommedza del Arte an dthe oper f p .

2 C RSE O ERA M ! P the O OF TH E P . . U IN GER AN opularity at — — Courts Took root in Italian Inte ll e ctual condition — o fGe rmany at the e n do f the 1 7th c entury Abse nc e — o fan indige nous lite rature Improveme nt in the 1 8th — — ce ntury Simultane ous awak e ning in mus ic Emo ’ tio n al e ffe ct Of the Thirty ! e ars War Gradual

a s Of us an d de hum ni ing m ic through Bach Han l , cul — m in atin g in Gluck Growth o f the native Ge rman — — — spirit in op e ra Kusse r Ke i s e r His s e riousne ss o f — — purpose Base d his airs on the Lied Wrote to — Ge rman words His pre fac e to Almira andOctavia — — Te l emann Growth o f the sc enic e l eme nt En

c ro ac hm e n to f the a s— f —Ze n O—Me tas Itali n Ste ani j

tasio ss e an d f e dthe Ne a Ha , Graun Naumann ollow — ' politan s chool Growing vogue o f parti rete op e ras The s tre ngth o f Germany up to thi s time in e c c le si

astic al e e s 2 1 1 rath r than in op ratic mu ic p .

C O RSE OF TH E OP ERA FRANC E e lo e ntf U IN . D ve pm rom — the ball e t Le ball e t comique de la rayne ( 1 5 8 1 ) — — P e rrin an dCamb ert Lully in Franc e The Fre nch — op era re stricte din purpos e an dme thod Comparative — ’ unimportanc e Of music in itLully s mode o f work — — in g Abs e nc e o f lyri sm in his music His basi s poe t — ical an d de clamatory Prom ine nc e o f the dam e — — The oar/ ertare Loui s an dJ e an Loui s Lully Colass e — — Marai s i m prove dthe aria The Fr e nch Op era ap xxii Contents

— - pro ac hing the Italian Brought back by Rame au His — — advanc e on Lully Vi sit o f the Bouffons The opera éafa a h e althi e r an dmore natural growth than the ' — opera rerza I ts influenc e on the Fre nch opéra comique — Gene ral Europ e an contempt fo r Fre nch music — Opinion o fBurne y Evil condition Ofop era in Europ e ’ he e s 2 1 at t tim Gluck care e r be gan p . 7

C HAPTER II

’ — Gluck s ide as not Ofsudde n origin National an dphysio — logical factors in mus m His de ve lopme nt re tarde dby — — s ocial conve ntions Ari s tocracy in art The patronage — o f music in the 1 8 th c e ntury Gluck not alone in his

de d fo r e f e —Al aro tti Adds man r orm in op ra g , i on, ’ e D Ale m b e rtLa e e ea d Marc llo, , Bruy r , Boil u, Panar ,

Evre m o n d La e D de — e o f St. , Fontain , ry n Importanc ’ — — Algaro tti s book His main ide as Re form in the — libre tto The ove rture to anticipate the op e ra — — Re citative Trill s and orname nts Pause s in the — — — music Re p e tition o f words Ritorne lli Di splay o f — — ’ te chnique The aria H ad Gluck s e e n Algaro tti s

s s 2 2 8 E ay p .

C HAPTER III — The pre fac e to Alcerte The music to s e condthe poe try — Bani s hme nt o f abus e s from the Op e ra The overture to pre par e the sp e ctators fo r the com ing action - His “ ” — m ain purpos e to s e e k a nobl e s im plicity H is Contents xx111

— ’ ass i s tanc e from C alz ab igi Gluck s oth e r writings an d - — conve rsations Contradictions in his ide as The — ’ attempte dre conciliation o f Marx futil e Gluck s ide as — vari e d at diffe re nt time s N e ce ss ity o f judging his — th e ori e s by the gene ral aesthe tic o fhis e poch Basi s o f — “ — his the ory The app e al to nature General re volt — “ agains t the artific iality o f the s tage Artan d imita ” — tion in the 1 8th c e ntury I n flu e n c e o f Aris totl e Confusion o f artistic me dia Re ason in philos ophy — an d art Mis tak e n Vi e w Of the function o f the im — agin atio n Comparative ly low s tage o f e volution o f — “ music The th e ory o f the imitation o f nature ’ — Dide rot s advic e to the arti st The nature principl e

Al aro tti A s e an d e s— s s in g , vi on, Ram au Oth r Illu tration o f 1 8 thc e ntury aes th e tic from Grimm an dRousse au ’ “ — D Ale m b e rton painting in music Harri s on music — -Du Bo s Atte mpts to mak e mus ic an imitative art I ts de p e nde nt position in the 1 8th c entury re lative ly — to poe try parall e l e d in Gre e k culture Ari s totl e an d — — ’ Plato Chaste llux Evide nc e from Gluck s own — writings o fthe s ubordinate position o fmusic Abse nc e — o fappre ciation o fmus ic fo r its own sak e Rousse au — — M e lody an dharmony Form an dcolour Baumgarte n — ' Winck e lmann Rouss e au on arazremolaace in op e ra — “ ’ — Im itation o f nature in the ball e t No ve rre Ge neral dri ft o fopinion in the 1 8 th c entury as to the — function an dnature o f musi c B e atti e an dTwining — — ’ on music as a mime tic art Burne y Gluck s ide as

he d aes e o fhis e 2 8 me re ly t or inary th tic tim p . 3 xxiv Contentr

C HAPTER IV

’ — The practical working o f Gluck s th e ory Subordination — o r music to poe try Painting in mus ic His “ ” diffe re ntiation o f characte r by painting de pe nds — mainly on the physical e l e me nts o fmus ic His the ory

f l s o f s e f—Is e ff e de fi e e s a l it l only ici nt to n typ , not — Characte rs The th e ory bre ak s down wh ere s trong — ’ pass ion comes into play Gluck s th e ory constantly — contradicte d by his practic e Diffe re nc e b e tween Romantic an dp re -Romantic art in the ir attitude s to - — wards music an dpoe try Critici sm o f B erlioz The — dive rge nce Of poe try an dmusic in e volution The — ’ high e r imaginative e xi s te nce o f mus ic He rde r s an — tic ip atio n o fmode rn musical ae s th e tic Fore shadowing — ’ — o fit in Rouss e au Exte rnality o fGluck s mind The — Opinion o f Michae l K e lly Marm o n te l disparage s — Gluck by comparing him with Shak e spe re Ne ural diffe re nc e s be twe e n the 1 8th c e ntury an dthe l gth — The corre lation b e twe en art an dphysiqu e Mus ic no — longer the handmaido f poe try in our day The real ’ — value o fGluck s achi e veme nt His immortality P 2 7 5 GLUC K A ND TH E OP ERA

I N T R O D U C T I O N

To make a ple a in the se days fo r the u se of the comparative me thod in criticism would se e m to b e a

o f e e . e so e work sup r rogation That m thod, distinctiv o fo u r e its e e c ntury in purpos s and r sults , has, through the u e o f m e n e the l labo rs of a numb r , rais d historica e the o f e criticism o f lite ratur almost to rank a sci nce . A part from the que stion as to whe th e r the compara

e e e the e e tiv m thod cov rs whol fi ld of criticism apart,

e e the e to the e ind d, from main qu stion as what purpos and function o fcritici s m re ally are it is indisputable

e o f e e o u r that c rtain forms lit rary criticism hav , in o wn e e e the e day, attain d to som thing lik c rtainty and the compre he nsive ne ss o f physical scie nce ; and e ve n in the minds o f those who disclaim the me thod and e e e is e o f d ny its validity, th r an und rlying conviction o f its truth, and an unconscious application its prin

‘ c i le s . e e e r the u se o f the p Whil , how v , historical me thod is thus at the pre se nt time practically uni e the o f e e e e v rsal in criticism lit ratur and of art in g n ral,

‘ the re is o ne de partme nt which is as ye talmost inno A 2 Gluck andtile Opera c ent of scie ntific tre atme nt 5 we look in vain for any atte mpt to bring the criticism o f music within the s cope o fme thod . U e e e e e e p to a comparativ ly r c nt poch it was, ind d, s carc e ly possible for the sci e ntific criticism o fmusic to e s a make e ve n a b ginning . It is a truism to y that in an y art o r any lite rature the e poch o f critici s m must b e o f e e e the e lat volution 5 it impli s, as v ry conditions e e e upon which it can xist, a fairly compl t and multi — form body o f data to go upon data furnishe d by e e e e e e e pr c ding pochs of gr at and vari d cr ativ activity . It is only Within quite re ce nt time s that music has e e e u e ffi e b com important no gh in its lf, and su ci ntly the e e e e e e rich in mat rial it pr s nts, to r nd r possibl a e e s e e e o f compr h n iv and p n trating criticism it . Thus i it is not surprising that, until now, mus c has known e o f e e e no oth r criticism than that p rsonal tast , unaid d e e e e by r fl ction and lacking in basic principl s . Ev n e twe are e the e y , for all practical purpos s, in low st f e The e stage s o musical cultur . appr ciation of music is almost unive rsal 5 re fl e ction on it is the gre ate st the o f e e we e rarity . In criticism lit ratur and art hav attaine d to some m easure of Civilisation 5 in our judg me nts o n music we are for the most part still u n e e e e tutore d barbarians . Whil in oth r d partm nts we have progre sse d b e yond the static conditions o f pre n s e the e e vio ag s to dynamic criticism of art and l tt rs, in the musical world we are ye tce nturi e s be hind the e we are the the e tim 5 still with scholiast, comm ntator, he e r the e e di t . e s xposito , p dagogu Nothing is mor appointing to the ge n e ral stude nt o f culture than the de ad stop that is give n him as soon as he re ache s

4 Gluck andMe Opera dile mma as this the m e n who c an look at musical cre ations in the same way as at othe r products o f the — human mind which is the indisp e nsable basis o f — rational criticism have not a suffici e nt k n o wle gde o f music at first hand to assist the m in the application o f the comparative me thod in anything more than a s u g e stive e the m e n e e e g way whil who hav this knowl dg , whose whole live s have be e n spe nt in the attainme nt o f are e e o f it, quit d void any critical faculty, and e e e e o o r ignor , with monotonous consist ncy, v ry pp tun ity for applying to the ir o wn art the me thods that e e e e e e hav alon giv n coh r nc to, and thrown light upon, * e the be ing and growth o foth r arts . Part o fthe ge n e ral ine ffici e ncy o fmusical criticism is undoubte dly du e to that pe culiarity which music e e the e the e shar s with non of oth r arts 5 p culiarity that, e e in de fin ite n e ss o f e e owing to its gr at r utt ranc , it has to se e k a gre ate r and more conve ntional de fin ite n e ss o f m e e n e c ds s i for . This d p nds upon a psychological ty

The i m p e rfe ct musical culture o f e ve n e min ent ’ m e n d is se e lite rary in Englan n in Mr . John Morl e y s painfully inade quat e tre atme nt o fmusic in his volume s on sse an dD de an d his m ss f his s Rou au i rot, in o i ion rom tran “ lation o f Le Net/ea de Rameau o f the te chnical points o f the s ds ss o n the d e s e mu ical i cu ion, groun that th cannot the e d the dan e e s . z din int r t now On oth r han , hapha ar conclus ive me thod Of profe ss e d mus ical aes the tic 1an s is fie din fe ss who his P s o f typi Pro or Knight, in hilo ophy ” the B e autiful not only omits any di scussion o f the late ’ Edmund Gurney s brilliant book o n The P ower o f — — Sound the abl e s t o fall work s on mus ic but e ven fail s ’ e s to me ntion Gurn y name . ‘ I ntroaac zzon 5 o f e we e to e r our natur , by which att mpt gath from ce rtain structural de vice s the comple te ne ss and the s ymme try that will bind the abstract musical tone s e e h e e e the into a consist nt Whol . T us v r sinc birth of e e e e e mod rn music, compos rs hav b n unconsciously re aching o u tto ce rtain structural forms with the obj e ct o f ge tting the maximum of e xpre ssion possible to * e e e e e music unaid d by po try . Th s forms hav gradu a e e e e e lly b com crystallis d and rigid, and th ir v ry e xce lle nce as mode s o fmusical e xpre ssion unde r ce rtain c onditions has le dto the ir be ing re garde d as unalte r e able laws which no future compose r must disob y . S ome such state of affairs as this has e xiste d in e ve ry e poch in which an art has attaine d to gre at e fficie ncy o f e e The e e o f the P e e a e xpr ssion . Gr ks ricl an g probably argue d that the curre nt form of drama was the o n e e e the e o u r inh r nt in natur of things, just as mode rn pe dants affirm that B e e thove n has said the “ l the we c an ast word in symphony, and that all ask o f those who follow him is n o tto come to o far short o f that inimitable In the case not only o f the e — e e is as symphony but of all oth r art forms, th r

9“ the de ve e o f the s a-s e the On lopm nt onat tructur , re de m a s th e x o f r e a r y con ult e c e ll e nt articl e D . Hub rt ’ in e s D s re fe Parry Grov ictionary . I may al o r to an “ a rticl e o f my own o n Wome n an dMusic in the Free R eviewfo r A 1 8 the s e pril 9 5, in which p ychological m aning o f the e volution o f musical form is corre late dwith the ge ne ral logical m oveme nt o f the mindin oth er de part s m e nt .

‘ “ S e e d a s e e n e de s 1 . A L M rthur Coquar , mu iqu Franc pui ” R e 1 . am au, p . 7 5 4 Gluck andMe Opera dile mma as this the m e n who c an look at musical cre ations in the same way as at othe r products o f the — human mind which is the indispe nsable basis o f — rational criticism have n o ta suffici e nt k n o wle gde o f music at first hand to assist th e m in the application o f the comparative me thod in anything more than a s u g e stive e the m e n e e e g way 5 whil who hav this knowl dg , whose whole live s have be e n spe nt in the attainme nt o f are e e o f it, quit d void any critical faculty, and e e e e o o r ignor , with monotonous consist ncy, v ry pp tu n ity for applying to the ir o wn art the me thods that e e e e e e hav alon giv n coh r nc to, and thrown light upon, * e the be ing and growth o foth r arts . Part o fthe ge n e ral ine ffici e ncy o fmusical criticism is undoubte dly du e to that pe culiarity which music e e the e the e shar s with non of oth r arts p culiarity that, e e in de fin ite n ess o f e e owing to its gr at r utt ranc , it has to se e k a gre ate r and more conve ntional de fin ite n e ss o f m e e n ec dss i for . This d p nds upon a psychological ty

The i m p e rfe ct musical culture o f e ve n e m in ent ’ n d is s e e lite rary m e in Englan n in Mr . John Morl e y s painfully inade quat e tr e atment o fm usic in his volum e s on ss e an dD de an din his m ss f his s Rou au i rot, o i ion rom tran “ lation o f Le Net/ ea de Ram eau o f the te chnical points o f the s ds ss the d e s e mu ical i cu ion, on groun that th cannot s n o w the e d the dan e e . z din int r t On oth r han , hapha ar conclus ive me thod o f profe sse d m us ical aesthe tic i ans I S fe d P fe s s Who in his P s o f typi i in ro or Knight, hilo ophy ” the B e autiful not only omits any di scus sion o f the late ’ Ed d e y s b ll t book o The P er o f mun Gurn ri ian n — ow Sound -the abl e st o fall work s on music but eve n fails ’ e s e to me ntion Gurn y nam . ‘ I atroaac zzoa 5 o f o ur e we e athe 1 m natur , by which att mpt to g fro ce rtain structural de vice s the comple te ne ss and the s ymme try that will bind the abstract musi c al tone s e e h e e e the into a consist nt whol . T us v r sinc birth of e e e e e mod rn music, compos rs hav b n unconsciously re aching o u tto ce rtain structural forms with the obj e ct o f ge tting the maximum o f e xpre ssion possible to * e e e e e music unaid d by po try . Th s forms hav gradu a e e e e e lly b com crystallis d and rigid, and th ir v ry e xce lle nce as mode s o fmusical e xpre ssion unde r ce rtain c onditions has le dto the ir be ing re garde d as unalte r e e abl laws which no future compose r must disob y . S ome such state o f affairs as this has e xiste d in e ve ry e poch in which an art has attaine d to gre at e fficie ncy o f e e The e e o f the P e e a e xpr ssion . Gr ks ricl an g probably argue d that the cu rre nt form o fdrama was the o n e e e the e o f as o ur inh r nt in natur things, just mode rn p e dants affirm that B e e thove n has said the “ l the we c an ast word in symphony, and that all ask o f those who follow him is not to come to o far short ” L o f e m o d 1 the e o f that inimitabl el. In cas not only the e - e e as symphony but of all oth r art forms, th r is

9“ the de ve e o f the s a a-s e the On lopm nt on t tructur , e de s the e x e e o f Dr e r a r may con ult c e ll nt articl . Hub rt ’ in e s D s e fe Parry Grov ictionary . I may al o r r to an “ articl e o f m y o wn o n Wome n an dMusic in the Free R eview fo r A 1 8 in the s e pril 9 5 , which p ychological m aning o f the e volution o f m usical form is corre late dwith the ge neral logical m oveme nt o f the mindin oth e r de part e s m nt . “ S e e d s n de s T . A La e e e M rthur Coquar , mu iqu Franc pui ” R e 1 am au, p . 7 5 . 6 Gluck andthe Opera ye tappare ntly not the slighte st pe rce ption o f the i r e the e r lativity, and of p culiar historical conditions e f e e A n d e und r which e ach o th m gr w up . unfortunat ly h d e e e we to te e vil doe s not e n h r . Not only hav submit to the ignorance o f p e dantry in the lite rature o f the e e o f o u r music, but imp rf ct condition criticism e e e e has r acts upon musical cultur in g n ral . Music be e n at all time s an art in which it was possible to e e e ffe e e to produc a pl asing ct by m r imitation, and the mi s taken ide a o f the absolutism o fce rtain musical forms we o we not only a vast quantity o f third-rate e o f the e the music writt n in imitation mast rs, but much more se rious e vil o f a hind rance to o u r future deve lopme nt along more natural and more conte mpo rary line s . The me thod o f proce d u re thus followe d in the criticism o f the more abstract forms o f music may be take n as typical o f the whole te nor o f o u r criticism at e e e e e o n he pr s nt . It is p rf ctly futil to go discussing t m sthe tic o f in a brtra cto e e e e the music , without r f r nc to historical conditions unde r which the art has live d and e e e e e by which it has b n mould d from c ntury to c ntury . A n dit must b e sorrowfully confe sse d that the loftie st musical ge nius o f o u r o wn day has contribute d more than any othe r man to darke n o u r counse ls and to le ad the A n e o f e us into wrong path . xamination his th o re tic al we the e e e e writings, had Spac to att mpt it h r , would furnish the most convincing proof o f the in e ffic ac y o f any othe r me thod than the historical in he e o f t criticism and ae sth tic music . Wagne r was typically G e rman in his me taphysical bias and his apriori manne r o f tre ating history ; and just as we I ntr oduction 7 n e e d hardly look to Ge rmany to say the last word in we e e e e f philosophy or in sociology, n d not xp ct rom it — a scie ntific tre atme nt o f mus ic the most abstract o f o f e e e e e the o n e all forms human xpr ssion, and th r for that le nds its e lf most to bastard analysis and spurious e The e e e r g ne ralisation . m thod follow d by Wagn in his ms the tic writings is typical of the labour that be gins in assumption and e nds in futility and if we c an furthe r lay to his Charge all that has be e n pe rpe r d tate e . e his by discipl s such as M Edouard Schur , * e e e The e e is guilt is h avy ind d . Wagn rian m thod just that which has be e n prove d time afte r time to b e utte rly in e ffic ac io u s in all othe r fi e lds o fthought 5 it is the me taphysical me thod that first e re cts spurious e e e e e e e e e e e s ntiti s, and th n proc ds to d duc from th s ntiti pre cise ly what has alre ady be e n put into the m ; in opposition to the ge nuine ly scie ntific me thod that e e e e e the e trac s r sults to caus s, and compr h nds whol sphe re o f human thought and action as a pe rpe tually e e f T he e n mobil syst m O inte racting force s . Wagn ria me thod is the counte rpart o f the me thod we are just be ginning to surre nde r in history and sociology e e e e we e e the e o f g n rally, wh r by us d to discov r caus s

I has te n to app e ase the ange r o f any Wagne rian who ’ may fe e l aggri e ve dat thi s attack on the mas te r s pros e s ss o f f dadm iratl o n fo r writing , by a uring him my pro oun e as s s s e de s e Wagn r a mu ician . I think it po ibl to mon trat , e e e his s atits e s is e how v r, that whil mu ic b t unmatchabl , a goodthre e -fourths o fhis th e ore tical ae s th e tic is the me re s t Te s e w s d e e utonic p culation, ith no hi torical vali ity what v r, an ds m d the e as d e s the d e o f i ply hol ing att ntion, o ial ctic e e b its f s o fs e an d s e e ss H g l , y actitiou air ymm try conclu iv n , 8 Gluck andtne Opera

ce rtain historical change s in the national characte r o f e e e e this or that p opl , and ndow abstract t rms with the e o f e e e e e e qualiti s concr t forc s, and g n rally xplain the e v e rything most le arn e dly in te rms o f itse lf. In Wagne rian diale ctic we still have the me taphysical m e thod in all its pristine glory and all its primitive e The e e ho w irr sponsibility . probl m for Wagn r is, to unite poe try and music in such a way as to procure the maximu m o f e xpre ssion with the minimum of friction e e e the to e e T o se e b tw n w sp cialis d arts . most plainly the futility o f any but the historical me thod in the e e o f e we e tr atm nt such a probl m as this, hav only e e the to look at a parall l cas in sociology . Copying ae e b e the sth tic formula, it may said that industrial proble m of the pre se nt age is how to strike a balance e e e so as b tw n socialism and individualism, to maintain all the e e e o f e the e d sirabl advantag s ach, and at sam time to incre ase the total s u m o f the e ffici e ncy o f We are e e e labour . not lik ly to com to any valuabl conclusion o n such a que stion as this by taking o n e “ e ntity calle d individualism and anothe r calle d “ ” te e socialism, and arguing downward from h s to the e e o f e the e e e concr t conditions lif , in H g lian styl , painting a fancy picture o fthe mortal combat be twe e n e e e the e e th s two principl s throughout ag s, and th ir final re conciliation in some form that include s the m ” e we h e both, as unity in div rsity . What shall av to e e e e do is to tak ach country by its lf to b gin with, trace the hi s torical and othe r conditions that have le d e e e e e e is to its pr s nt structur b ing pr cis ly what it , e stimate the re lative value o f the various inte rnal and e xte rnal force s that shape its industrial constitution at

1 0 Gluck andMe Opera e e e n o r ntity as po try, nor such an ntity as music, have the se two be e n turning e ach an e ye on the other A r has e e e o n throughout the age s . t not d v lop d any e e e has the e pr conc iv d plan, nor volution from form to form be e n according to the logical n e ce ssiti e s o f a e e e the e dial ctic . How painfully inad quat m taphysical me thod is to e xplain the vicissitude s o f music may b e se e n by any o n e who take s the trouble to compare the Wagne rian history o f poe try and music with the f e e o r actual history o thos arts . To tak Gluck e e e e e the Rossini, for xampl , and tr at th m as stag s in e o f e e e the volution a dial ctical id a, is simply to ignor actual social and ae sthe tic conditions that went to shape e e he th ir music and th ir re lations to poe try . To call t e e o f symphonic form absolut music, and to writ it e e e the e e e o f as an in vitabl stag in d v lopm nt music, is to ignore the pe culiar conditions unde r which that an d e e e e e form gre w up ros to such p rf ction . Th r has b e e n no musical e xpre ssion that has not owe d its The origin to the historical circumstance s o fthe time . in te rn alis m the o f e of music Bach, for instanc , was mainly du e to the shrinking-in o fthe Ge rman inte lle ct afte r the political trouble s o f the se ve nte e nth c e n e e e tury, and its r ligious pr occupation with its lf, thus ge ne rating in music a psychological state similar to that which unde rlay the conte mporary mysticism in philosophy 5 while the late r in te rn alis m o f the e du e symphonic forms, as I shall att mpt to Show, is to the comparative e xclusion o f the compose r from the e the e e o f out r world, cons qu nt atrophy his dramatic e e s ns , and his disposition to construct musical thought n e The o f e o pure ly inward lin s . Climax m taphysical I ntroduction 1 1 absurdity come s in the making o f analogi e s be twe e n Gluck and Wagn e r o n the basis o f a suppose dsimi lari t e e e e e o f e y b tw n th ir m thods r form, unmindful of the fact that while Gluck and the e ighte e nth-ce ntury thinke rs in ge ne ral h e ld that music should b e wholly e e e e e subordinat to po try, and should striv to xpr ss not

oeti ca l e the e o f the e musical but p id as, practic nin te e n th e ae e e e c ntury, wh t v r its th ori s may occasionally b e is e e , to subordinat po try to music in any combination

e e e e u se the e e e b tw n th m, and to po try m r ly to supply the de fin i e n e t s s that is lacking in music . Thus by the comparative me thod alone c an we hope to unde rstand the Change s that have come ove r s e the e n d the e e e e e mu ic sinc of s v nt nth c ntury, and - the varying attitude s ithas assum e d towards poe try . Eve rywhe re we se e that music has not de ve lope d o wn e e e e n e the e along its lin s without r f r c to oth r arts, but that the se and the ge n e ral culture o f the time s e e e e its The e hav h lp d to shap cours e . long controv rsy z about aria an dre c itative would in all like lihood have ne ve r be gun but fo r the fact that the time whe n the o ldpolyphonic syste m was be ginning to bre ak u p e the e o f e e e u e coincid d with r ign a pur ly d rivativ cult r , e e e e e the that look d back to Gr c for guidanc in arts, and that strove to mode l the n e w re lations be twe e n e the e e po try and music upon antiqu . Thus b gan

e o f e e e o u t the that syst m d clamation which, h lp d by e e e m e e d sir to mak music a mi tic art, and to mak e e the e e o f A e the practic squar with pr c pt ristotl , by re lative ly lo w stage o f de ve lopm e nt to which musi c e e e had th n attain d in comparison with po try, and by the ge ne ral cast o f thought o f an age that was 1 2 Gluck andtile Opera e e e e e e ss ntially obj ctiv , in philosophy as in art, in sci nc e the o f the as in sociology, dominat d dramatic music e e e e has e e f e e ight nth c ntury, and not b n without in lu nc o n the o fthe e e The e e e e e music nine t nth . v ry v h m nc ’ o f Wagne r s re volt against the florid Italian music o f e e e e e e e the his arly y ars could n v r hav b n, but for e o f e e e e political troubl s c nturi s pr vious, that crush d the e o f e e nativ Spirit Italy, and mad it impossibl for he r to e nvisage life with fre e dom and vigour and e o f e e L e e we we spontan ity xpr ssion . ook wh r will, find an invariable corre lation be twee n the music and the e e - * g n ral culture conditions of any e poch . On e othe r point be aring on this matte r is sugge ste d no t by the imme diate subj e ct o f this book . I do

A curious e vide nc e o f thi s corre lation may b e had “ f the e z e s At s e rom arly By antin mu ic . Con tantinopl e e e d an df s d s e e -s s th y w r a ainty a ti iou p opl . Hair plitting an dnic e ti e s o fthought an dlanguage ab s orb e dth e ir atte n an de e d e s s The s e o f the tion ngag th ir parti an hip . my t ry T th e s e e e e e o f the e tc . rinity, pr ci l ngth Incarnation, , w r de a e d an d de fi e d the e e s e an dthe b t n with gr at t acum n, s ubtl e ty o f the ir thinkingwe nt through the othe r parts o f fe as T s s s s e . e wa s li w ll h ir art mo aic painting, which con i t in pi e cing innume rabl e littl e fragm e nts o f til e s toge the r was an dmaking a picture out o fth e m ; th e ir lit e rary styl e d the s tyl e o f e xactitude an ddainty Choic e o f words ; an e m s e de e d -s s e s e m in th ir u ic th y light in hair plitting cal , the an dthe e ploying not only chromatic nharmonic, but the f e o n e - i ds o f e s So t Chromatic , which w nt by th r ton , an d the H e m io lian e e e chromatic, which w nt by thr f s s s an d s e s e e o f ourth , turn , trill , hak innum rabl , which a ” ’ S e Ro wb o tham s e e e s e s e . . . whol lit ratur urviv . Mr J F ”

s o f s 2 0 2 1 0 . Hi tory Mu ic, pp . 9, Intr oduction 1 3

think that in all the many tre atise s o n Gluck and the Ope ra the re is a Single re fe re nce to that principle o fthe “ imitation o fnature which playe d so large a part in the ae e o f the sth tics, politics, morals, and sociology e e e e e s o ight nth c ntury, and which r ally accounts for ’ many o f Gluck s ide as and s o much o f his me thod of T he e e to the e working . n ar st approach r cognition of e e e e o f e it is by Marx, who do s ind d sp ak thos arias in which Gluck atte mpts to sugge st the e xte rnal aspe cts - o fnature ( Gleic/on irs z frie ) 5 but e ve n in Marx it le ads to nothing furthe r ; he do e s n o te ve n try to discove r why Gluck he ld this opinion as to the imitative ! e the e e h function o f music . t principl star s te stude nt o fthe e ighte e nth c e ntury in the face at e ve ry u He e e o f he t rn . can scarc ly tak up a book t time e e e he BOS without m ting it 5 in Franc finds it in Du , e e e r in Voltair , in Rouss au, in Did rot, in G imm, in ’ D Ale m b e rt Marm o n te l Su ard A , in , in , in rnaud, in La e e A l aro tti Harp , in B aumarchais 5 in Italy in g ; A e e in England in vison, in Harris, in B atti . Nay, e ve n if the importance and unive rsality o fthe pr1n c 1ple e b e e the at that tim might miss d by musical historian, owing to his lack o fculture be yond the de partme nt o f e e e e e e music, it is in xplicabl how it could hav b n pass d e the o f e The ov r in writings Gluck hims lf. famous

e e dices te so pr fac to , round which much discussion has e e e n e the c ntr d, is absolut ly nothi g mor than application to the ope ra o f principle s that we re unive rsal in the thought o f the time ; just as the later romantic vi e w o fmus ic is paralle le d in the late r Ge rman philosophical move me nt unde r Kant and Sche lling and the ae sthe tic e e e Le e e The e mov m nt und r ssing and H rd r . r al 14 Gluck andtile Opera

’ me aning o f Gluck s music and its re lative importance in the history o f the ope ra c an only b e e stimate d by a

o fthe e - he e s tudy cultur conditions in which liv d . A n dif the comparative me thod has thus ne ve r be e n appli e d to o n e o f the most striking o f figure s and o n e o f the e the o f most obvious id as in history music, it is futile to look for its application to the history o f e On e e the art as a whol . has only to compar any ge nuine ly scien tific hi s tory of nations with the usual historie s o f music to re alise the gre at gulf that is s e t e the e e o f e e be twe e n th m . In tr atm nt music th r s e e ms to b e little grasp on the part o f the historian o f the unity and totality o f the conditions that go to the shape the form and de te rmine utte ranc e o f art 5 if his work has any organic conn e ction whate ve r it is o n e o fthe e e e e e the sid t chnical d v lopm nt alon . But that e e is is not e nough . What is r ally want d an explanation o f how the se various Change s and de ve lopme nts in e The e form we re re nde re d possibl . arli e r Op e ra o fthe e e e e the e e o f L lat R naissanc p riod, Fr nch op ra ully e the e the e and Ram au, op ra of Gluck, romantic op ra o f e e the e e e the e W b r, mod rn op ra of Wagn r, fugu , the the the — are e sonata, symphony, song all dir ctly e e e e e e e e xplicabl by r f r nc to th ir surroundings . Som day a re al history o f musi c will have to b e writte n ; e e o u tthe not an anatomical history, m r ly marking e e e e e lin s th s forms hav tak n , but a physiological e e e e e to history, having r f r nc both to structur and

u . e e e e e e e o f f nction H r , as in v ry oth r d partm nt e e e e the knowl dg , it is synth sis that illuminat s ; it is spe ctacle o fo n e m e ntal phe nome non bound up causally with anothe r that wide ns knowle dge an d give s it I ntr oduction 1 5

A n d e ce rtainty and cohe re nce . wh n this physiological m e e b e thod of musical criticism com s, it will found that no inte lle ctual matte r can surpass it in inte re st or h value . Music is just as important a factor in te history Of Civilisation as poe try o r philosophy ; and to e lucidate it by scie ntific criticism will b e a se rvice to e e e c an b e e e e cultur as valuabl as any oth r that r nd r d . P A R T I

L I F E

C H A P T E R I — 1 7 14 1 746

A s the Bach family se e ms to have had a he re ditary e the e e the pr disposition to music, h r ditary strain of family of the Glucks appe ars to have run in the dire ction o f game -k e e ping and fore stry in the se rvice ’ o f prince ly house s ; for be side s the musician s fathe r e two o f his e e e e e and grandfath r, uncl s w r ngag d in ’ The e e e . e th s occupations compos r s grandfath r, Johann A the e so n o f o n e e h dam Gluck, s cond M lc ior Gluck, 1 6 1 H was born in 5 0 and di e d in 72 2 . e had nine e o n e o f A e e e A Childr n, whom, l xand r, marri d nna Walb u r is the e o fthe g , and was fath r musician, Chris e to phe r Willibald . Four sons and two daught rs we re f e afte rwards adde d to the quive r o A l xande r Gluck ; o n e o f the A 1 1 6 e sons, nton, born in 7 , probably di d The e s o f the e a e young . young t daught rs m rri d a c e rta1n H e e - e e Klaudius ll r, a riding mast r 5 th ir daughte r Marianne was subse q ue ntly adopte d by he r e the e e uncl , compos r, and usually accompani d him on

1 8 Gluck andtire Opera

the e the vigorous constitution , gross good h alth, and stubbornne ss o fte mpe r that subse que ntly distinguishe d e fl e e his te e him, and that c rtainly in u nc d in ll ctual e e e im a 1n ative e e cr ations . Wh th r, as g biograph rs hav e the e lov d to fancy, his boyish soul was all whil e e o fthe e e o fthe drinking d ply myst rious b auty woods, and re ce iving impre ssions that we re ultimate ly to b e re — - produce d in his music as in the garde n sce ne in Arm ida — A e may re asonably b e doubte d . gainst this pl asingly fanciful the ory it must b e re me mbe re d that a se nti me nt of the be auty of nature is rare ly rouse d in those who are only brought into contact with he r by the e e e o f the e o f n c ssiti s painful toil, and that in gard n A e e e e e o f rmida, as Gluck d picts it, th r is rath r mor e s e o e V r aill s than fBoh mia . A e e e e e e the u ft r som littl ducation at Eis nb rg, yo ng Gluck was se nt in his twe lfth ye ar to the Je suit

s e the e o f K o m m o tau minary at n ighbouring town , whe re he re maine d for six ye ars ( 1 72 6 He re ’ he e e the Ce l arn d to sing and to play violin, llo, and A e e e o rgan . lthough his fath r int nd d him to b e a e s e e e he e e o n for t r lik hims lf, was comm ndably b nt e e giving him as good an ducation as possibl , and in 1 2 e s e the 73 , probably b ing dissati fi d with instruction so n e e K o m m o tau he e to his was r c iving at , s nt him e e e the e e e e o f h Pragu . H r boy had his first xp ri nc te e e e The e st rne r n ce ssiti e s of lif . par ntal purse was e e e e e e n v r too full, and with a larg family d p nd nt upon him the e e e e the o f , poor for st r had littl to spar in way e o n e re mittanc s to his s . Christoph r found himse lf compe lle d to e k e o u this live lihood by giving le ssons ’ the the e in singing, violin, and c llo, and by playing — Ly} : 1 7 1 4 1 746 1 9

the e A tthe Te in k irc he e in church s . , which was th n e the o f C z e rn o ho rsk o f und r control y, a musician e e e he e e o f som c l brity in his day, was in r c ipt a small he e e e monthly salary . This manag d to suppl m nt by - the e e e he vacation tours in surrounding villag s, wh r C e the e ar z e harm d rustic with walt s and polkas, and — was paid in e ggs the only available mode o f payme nt fo r the e he e e the e villag rs and xchang d ggs for , cash , h e e e the e e . if possibl , at first town cam to Th s tours we re n o taltoge the r value le ss e ve n from an o f e he artistic point vi w, for brought away with him many rustic me lodie s that afte rwards did duty in his e e L e he e o n to the w light r Op ras . at r, pass d to ns, giving conce rts the re that brought him in rathe r more e 1 6 he e to substantial re turns than ggs . In 73 w nt e e e he e e e e Vi nna, wh r was b fri nd d in a v ry cordial z manne r by the prince ly hou se o f Lobkowit . His patron introduce d him to the musical circle s o f the c e e the o f apital, and mad him acquaint d with group e the o f e musicians that adorn d court Charl s VI . at e— P o rs ile u x the that tim Caldara, , F , and Conti . It was in this culture d ci rcle that he m e tan e nthusiastic a e e z e e the mat ur, Count M l i , who, b coming attach d to n e e o wn promising young musicia , ngag d him in his s e e e o ff e e he e rvic and carri d him to Milan, wh r plac d e the o f the e e e him und r tuition c l brat d Sammartini . e e e e r e 1 1 The H r Gluck r main d fou y ars, until 74 . influe nce o f the Italian maste r is said to b e plainly ’ d e e e e e e e isc rnibl in Gluck s arly op ras , mor sp cially in the e e e the e promin nc giv n to string quart t, which ’ “ a e o f was a Char ct ristic Sammartini s symphoni e s . Whe the r he re ce ive d from his m aste r any profitable 2 0 Gluck andtbc Opera instruction in counte rpoint is a que stion difficult to ’ e e The e e o f e d cid . whol b nt Gluck s sse ntially dramatic mind was oppose d to any me re . display o f e e the e o n e t chnical profici ncy in op ra, and his work — — in the contrapuntal style the D e p rofu ndis is to o e e inconclusive to prov much . Nor is it d finite ly known whe n the work was writte n 5 Marx is incline d e the e o f I bi enia in Ta urir to dat it about p riod p g , as it be ars an occasional re se mblance to parts of that * e op ra . e - e e e Gluck was now in his tw nty s v nth y ar, and, fully e o fhis o wn e he e e e confid nt pow rs, r solv d to b gin his e e care e r as an ope ratic compose r . H chos for his

e the Artasers e o f e subj ct M tastasio, probably obtaining the commission for the work through the good office s o f e z e e the e Count M l i . H work d at op ra in a very e e e e e ind p nd nt way, without v n taking Sammartini into A h e e e e o f h e e . tte te his confid nc r h arsals, proph ci s e o f the e e e e fo r t e failur work w r fr qu nt ; al hough, lik e e e e o f the e almost v ry op ratic compos r tim , Gluck e as e the e r he wrot far as possibl in Italian mann , had n o te e e e e e his e ntir ly succ d d in v iling north rn origin,

the e e Tederco e e and pith t , at that tim a v ry damaging

o n e e . , was sarcastically appli d to him and his work A the he e e the ccording to orthodox story, ins rt d in ope ra an aria o f such grace and roundne ss o fform that the connoisse urs at the re he arsals de clare d it to be e r the e o f the the sup rio to r st music, and thought it

o f e e Artaserse composition Sammartini hims lf. Wh n e e e the e e u e o u t the cam b for public, how v r, it t rn d that

x 2 —0 Mar , i . 5 3 . — Life : 1 7 14 1 746 2 1 whole Ope ra was a succe ss with the e xce ption o f this * o ne e e e e o u to f e . aria, that s m d utt rly plac the e 1 2 he e In following y ar ( 74 ) produc d, also at

e e n e w e D em o Milan, and with qual succ ss, a op ra, oo t n e the e e e . f , libr tto again b ing by M tastasio This le d e e e e e e to his r c iving commissions from s v ral th atr s . In the same ye ar two o f his ope ras we re produce d at en e—D em etrio the e e e e V ic at San Samu l th atr , and

n D emftrio Iperm es tra at the San Giovanni Crisostomo . at first appeare d unde r the title of Cleonice 5 in it sang th n i e e e e e e Salim b e P . c l brat d F lic , a pupil of orpora 1 e saw the o f Artam ene In 743 Cr mona production , e S to r whil iface was produce d at Milan . Thus in w o thre e ye ars Gluck had compose d no le ss than six e he e he e Op ras . During t ne xt two y ars work d in a

e e e Fedra files mor l isur ly way, giving to Milan, and ’ sa ndro nell I ndie e e the e o f11Re P oro , produc d und r titl , to e e e e e e Turin . It is unfortunat that th s arli st op ras f o Gluck have not come down to us in the ir e ntire ty 5 e e e e e e e e o f the th y w r n v r ngrav d, and som original e e m fire so e e scor s p rishe d a . Gluck fr qu ntly borrowe d from his e arlie r ope ras that it would have be e n inte re st in e e we are e e e g to obs rv , as abl to do in oth r cas s, how

he e e . n e e e e adapt d his Old id as to his w r quir m nts . ’ T he e o f diessa ndro nelI I ndie most succ ssful portion , ’ a Marx r was e o f . ccording to , a ball t Indian sailors The numbe r o f ope ras thus produce d by Gluck — e ight in five ye ars in a coun try swarming at the e e e the e e e tim with facil musicians, indicat s xist nc in his music o f e le me nts that appe ale d strongly to the

d 2 " x 1 0 . 2 . 1 . . Schmi , pp 4 , 5 Mar , i 7 2 2 Gluck andtire Opera

e e e e e r popular tast . His fam was now xt nding ov e 1 he e e e Europ , and in 745 r c iv d an invitation from L e e e the e L n ord Middl s x, who controll d op ra in ondo e e at that tim , to visit England and writ a work for he e e e se o u t t Haymark t Th atr . Gluck accordingly t P e L z from Turin with rinc obkowit , passing through o e e He e L Paris n his way h r . cam to ondon at an e e e e e o f the e inopportun mom nt . Ind p nd ntly gr at e o f e t e e e e e e e vogu Hand l jus th n, which r nd r d it xc d in gly di fficult for any othe r compose r to make he ad e e e the way, political troubl s combin d to disorganis the atrical world 5 the Re be llion o f 1 745 had only just * ’ ’ e e e La Cadu ta de b n put down . Gluck s op ra, Gi a nti — e e e e the m o f e g having r f r nc , in custo thos ’ the e o f e e e e days, to Duk Cumb rland s r c nt victori s e o n the th 1 6 e was produc d 7 January, 74 , but was quit e l e five e r unsucc ssfu , and was withdrawn aft r only p ‘ he fo rm an c e s . t e It was sung by Italians, and danc s se e m to have won more applause than the vocal po r o n o f the e r e e e o f the tions, account imp f ct r nd ring latte r 5 the music itse lf doe s not appe ar to have be e n in any way above the ordinary Italian standard of the e the e e e tim , airs b ing monotonous, forc d, and ov r e e e e ‘ e load d with s ns l ss orname nt . 1 Hand l is said to ’ have e xpre sse d himse lf conte mptuously o f Gluck s e the e - e the e attainm nts, in w ll known phras that latt r

S e e e : P e se e o f s in e m Burn y r nt Stat Mu ic G r any, 6 e tc . 1 2 . , 77 3 ; i . 3

‘ 1 x . 1 1 0 1 1 1 . e e s f Of Mar , i , Burn y giv a air account the e an d dds m e b e e x e e df op ra, a So thing might p ct rom e d e is O e e fe as a young man abl to pro uc th p ra, imp r ct it ” ” was s o f s . . Hi tory Mu ic, iv Lpé : 2 3

’ e e o f e e kn w no mor count rpoint than Hand l s cook . But an ane cdote is toldby R e ichardt that se e ms to indicate rathe r more cordial r e lations be twe e n the two He s e . the musicians say that Gluck, in d spair at e e o f e we e c o n bad r c ption his Op ra, nt to Hand l for e e the e him solation and advic , b aring scor with for ’ “ the s e e e e ma t r s insp ction . You hav tak n too much e e e e e troubl ov r your op ra, said Hand l that is quit o u o f e e e o u h t plac h r . If y want to work for te o u e e e English y must giv th m som thing tumultuous, ” e the e o f - o n lik rattl drum sticks a drum . Gluck is said to have so far profite d by the advice as to have ’ e e e A n dR e ic hardts add d trombon s to his orch stra . n e e the - e o u t a cdot , as against cook story, is born by the e e e e ho w gossipy Micha l K lly, who r lat s Gluck , the e e n o f e o n e e the in v ing his lif , day show d him “ o f e e On e portrait Hand l hanging in his b droom . e ee s m ln he morning, aft r I had b n g g with him, said, ‘ m e s ir e Follow upstairs, , and I will introduc you to _ o ne m e e e whom, all y lif , I hav mad my study and ’ d b e d e nde avoure d to imitate . I followe him into his e the e o f b e d room, and opposit to h ad his saw a full e f e e he e e o . l ngth pictur Hand l, in a rich fram T r , ’ s ir he is the o f the in s 1re d e , said , fl portrait p mast r of o u r e e e e the art 5 wh n I op n my y s in morning, I look e e e awe e e upon him with r v r ntial , and acknowl dg him as an dthe e e du e such, high st prais is to your country fo r having distingui s he d and c he rishe d his gigantic ” 1’ ge nius .

d issm an n S e e De sn o ire s trr s 1 an Re . e e . 1 , pp 3, 4 5 , pp 1 0 9, .

‘ “ 1 e s e e s o f e e 1 8 2 6 . 2 . R mini c nc Micha l K lly, ; i 5 5 2 4 Gluck andtire Opera

The e e e e Giants having fall n, in a s ns not anticipat d he e o n the th 1 6 by Gluck, produc d, 4 March 74 ,

Arta nzene e e e e e his , writt n thr y ars pr viously for e m m e t e e to ten Cr ona, which with mor succ ss and ran e th e . o f e e p rformanc s This, cours , was thoroughly in “ s tle fi On e a R asserena popular Italian y air in p rticular, il m es to ci lio e e the cartra to g , which had b n sung by

‘ lar l e e e e e o u . Montic lli, had b com imm ns ly p p Many ye ars afte rwards Gluck charme dB urne y by singing it e e o f R asserena to him . I r mind d M . Gluck his air

il m erto ci lio e g , which was in such gr at favour in England so long ago as the ye ar 1 745 5 and pre vaile d s e e e o f upon him not only to ing that, but s v ral oth rs ” his e first and most favourit airs . I The n came the incide nt o u to f which so much has he e e e the s . t b n mad by historian of music Gluck, e e articcio o u to f the story runs, was invit d to mak a p o fthe e he e e most popular airs Op ras had alr ady writt n, the e which , it was thought, would catch popular tast . He so the P iram o Te is be e l did ; but pasticcio, , f l o the e e u e . e t tt rly flat Th n, according curr nt th ory, which probably owe d its propagation in the first place

S e e x . 1 0 8 . Mar , i “ 1 Some indication may b e hado f the gre at succ e ss o f the airs from thi s Op e ra from the fact o f th e ir b e ing pub — lishe din 1 746 a thing that rare ly happ ene dwith the “ s o f da Six s e e e — op e ratic mu ic that y. air w r print d The ’ s s the e c all d A rtanz ene S r f e . avorit ong in Op ra , by g ” L d P e dfo r s . S e e Re issm an n Gluck . on on . rint J. Wal h , pp . 9 , l o . f s1 1n e e tc e : e se e o . I Burn y Pr nt Stat Mu c G rmany, , 2 6 i . 3.

2 6 Gluck andtfie Opera e e e o f e e n e e the arli st y ars his car r in Mila , conc iv d ide a o f maki n g the music conform close ly to the A the e o f the words ccording to full v rsion story, he was fl e e the o f e o f e in u nc d by music Ram au, Hand l, o f A e e s the e and rn . Som thing in upport of th ory b e e o n e e e n o t the might bas d Ram au, w r it that — obj e ction alre ady made holds good h e re also that the e o f e e se e e e 1 6 1 6 2 l ngth tim that lap d b tw n 74 and 7 , the o fthe e e e e and quality works that occupi d th s y ars, are almost conclusive against the ide a o f n e w s ee d ’ be ing sown in Gluck s mind at thi s partic u lar ju n c tu re 5 ’ e e e e e e whil th r was littl in Hand l s op ratic music, and e o f A e o n so e e still l ss in that rn , which ss ntially - dramatic a ge nius as Gluck could base any ope ratic f e he e e . r orm Furth r, that always h ld strong opinions as to the functions o fdramatic mu s ic be ing s ome thing e the e e o f e e e mor than m r giving s nsuous pl asur , is shown by his customary phrase on the usual pathe tic s o fthe e e fin e bu t air Italian compos rs It is all v ry , ’ ” itdoesn tdra blood A e he e e e e b w . e ltog t r, th r s ms to little in the story that is o fany re al importance . Some e e e to e e e colour has b n l nt it, how v r, by a passag in Burne y : He told m e that he owe d e ntire ly to England the study of nature in his dramatic compositions ; he we nt thithe r at a ve ry disadvantage ous pe riod 5 Hande l e so e o ne was th n high in fam , that no would willingly liste n to any othe r than to his compositions . The re be llion broke o u t; all fore ign e rs we re re garde d as e the e the e - e dang rous to stat , op ra hous was shut up e o f the L e was by ord r ord Chamb rlain, and it with

S e e x . 1 1 2 . Mar , i f — Lye : 1 7 1 4 1 746 2 7

gre at difficulty and addre ss that Lord Middle se x e e e e obtain d p rmission to op n it again, with a t mporary ’ d aduta de Gi a ti an e e La C n . political p rformanc , g u e e e This Gl ck work d upon with f ar and tr mbling, n o tonly on account o f the fe w fri e nds he had in e e o f r England, but from an appr h nsion riot and popula the e o f the e e e fury, at op ning th atr , in which non but e e e e e d for igne rs and papistry w r mploy . He the n studi e d the English taste 5 re marke d par tic u larly what the audi e nce se e me d most to fe e l 5 and finding that plainne ss and simplicity had the gre ate st e ffe e he e e e e ct upon th m, has, v r sinc that tim , e n e e to e the e e the , d avour d writ for voic , mor in u e o f the ffe nat ral ton s human a ctions and passions, than to flatte r the love rs o f de e p scie nce o r di fficult e xe cution ; and it may b e re marke d that most o f his airs in Orfio are as plain and simple as English ballads! "e

But the re is an air o f 1n sm c e rity about this also . e e a e ffe he e L Gluck m r ly s ys, in ct, that wrot in ondon, he e he e e as had don in Italy, what thought would pl as the public most 5 and the complime nt to the taste and e e o f the e e — a disc rnm nt English audi nc s which, only e e e e e e e the e g n ration pr viously, w r nraptur d with farc — o f Hydas pe s an d the lion was almost ce rtainly a e e o f e e the e fo r pi c h avy flatt ry for worthy Burn y, m e n T he Gluck was an ade pt in the art o fmanaging . London spe ctators o f that time we re assure dly not the admire rs o f Spartan se ve rity which he pre te nds

e e se e o f s e e tc . Burn y Pr nt Stat Mu ic in G rmany, , 2 6 i . 4 . 2 8 Gluck andt/ze Opera

the y we re ; it was de cide dly not plainne ss and he e e e ffe e simplicity that had t gr at st ct upon th m . A n din his girding at the partisans o f de e p scie nce ” ffi e e e e e and di cult x cution, and his prof ssion of a d sir “ to write fo r the voice in the natural ton e s o f the ffe he the human a ctions and passions, was probably on o n e hand alluding to Hande l and his hold ove r musical L o n the e e e e ondon, and oth r nd avouring to mak light o fhis o wn lack o fcontrapuntal abil1ty 1n favour of the forms o f d ramatic e xpre ssion more pe culiarly suite d to Th e f e o e him . e ing nuity o Burn y in skipping at hc ’ from La Cadu ta de Giga n ti to Orfeo in his e ffort to ’ e n e w- vindicat Gluck s found passion for simplicity, is e the a furth r indication that story is untrustworthy . b e e to o e o f It may not d, , that Burn y says nothing ’ P iram o e Tisbe e the e o f , but mak s awak ning Gluck s ’ mind follow upon the failure o f La Caduta de

i a ntz G g .

e o f e ve Ram au, cours , may ha had and probably did e s fl e e P he hav ome in ue nc o n Gluck . Wh n in aris ’ e the e e Cas tor etP ollux had h ard Fr nch mast r s , and could not have faile d to b e struck by the dramatic e o f the the e -de fin e d pow r work, w ll dramatic rhythm, the e e the e e cl ar d clamation, and usual Fr nch practic f he the o subordinating t music to words . C HA PTE R II — 1 746 1 76 2

T OWA R DS the e n d o f 1 746 Gluck le ft England to e e r turn to G rmany, passing through Hamburg, a town e e e e e e e an d th n c l brat d for its op ratic p rformanc s, e e e e e e wh r Hand l hims lf had work d in days gon by . The e the e e op ra, at tim Gluck visit d Hamburg, was the h o f e e e e le d in ands a v ry comp t nt Italian troup , o ne P e e e e by i tro Mingotti, whos wif figur d as first the o f soprano . Mingotti was in habit taking , his

e e e e company to Dr sd n for occasional p rformanc s, although an Italian troupe was alre ady e stablishe d the re 5 and it is an indication of the vogue o f ope ra at e e e e o fthe e the that tim , mor sp cially Italian op ra, that Saxon capital Should have be e n thus able to support

e is e e e e e two compani s . Gluck suppos d to hav r c iv d e a e e e e an appointm nt as K p llm ist r about this tim , but e e 1 6 he e fe e in Nov mb r 74 l ft Hamburg, probably ling himse lf constraine d and hinde re d in his work with

Mingotti . O e l th 1 the e o f P e n Jun g , 747, marriag rinc ss

A e o f A . the e nna, daught r ugust III , with El ctoral P e o f e e e the rinc Bavaria, took plac in Dr sd n, and e e e e e e On he usual f stiviti s w r n c ssary . t day Of the e e e fIrcbidamia e e w dding an op ra by Hass , , was p rform d 5 30 Gluck andtile Opera

e e e e e h M , m anw il ingotti had had a libr ttto put tog th r which was hande d to Gluck to b e se to music . It e o n the 2 th e o n e e e e was produc d 9 Jun , a n wly r ct d e the e P z e the e stag in Schlossgart n at illnit , und r titl ’ ’ z e d E cole d Eb e e o f Le N oz r e e . Nothing much n d b e the e e e e e said about music, which s ms to hav b n e T he e e Italian in styl throughout . Jupit r was a t nor the e e e e cas tra to and H rcul s a soprano, but as th r was no available for the latte r part it was take n with gre at m The e e succe ss by Mada e Mingotti . p rformanc e e he r e e e the e e as r sult d in b ing ngag d at Hofth at r, ‘ f rim a donna o 2 0 00 e . p , at a salary thal rs ’ A e e e e bout this tim Gluck s fath r di d, l aving him a e e—an he small inh ritanc inn in Johnsdorf 5 this sold, e e e e e 1 8 T he and th n s ttl d down in Vi nna, arly in 74 . A e e e e - ustrian capital was h nc forth his chi f dw lling place . - Vie nna had be e n fo r ge ne rations a music loving city ; the he donistic taste s o f the inhabitants had le dto the e e o f e e the firm stablishm nt Italian music th r , and e e e e e e Emp rors had long fost r d and prot ct d it, r taining in the ir se rvice the most ce le brate d compose rs and

e e e . e e po ts, such as Hass and M tastasio H r Gluck found the high e st circle s o f art and le tte rs Ope ne d to e e e him . His fam as a compos r had by this tim spre ad o ve r Europe 5 and not only his musical ability but his ge ne ral inte lle ctual powe rs made him a we lcome and e e e e o f e He re sp ct d gu st in any soci ty cultur . had n o t be e n long in Vi e nna be fore he was calle d upon to provide an ope ra for the fe stiviti e s atte nding the ce le ’ o f the e bration Empr ss s birthday, and working again o n e o f e he e La S emiramide a po m M tastasio, produc d riconosciuta o n the 1 the e e e e 4th May, in n wly r ct d — 1 746 1 7 6 2 3 1

- The e o f the as Ope ra house . succ ss work w c o m le te e e fe w o fthe e p , though it gav v ry indications futur T h e o f e o f the e . e e are r form op ra charact rs, cours , e e e e only court charact rs, and th ir s ntim nts only court * The e e the s o n e e e gossip . ov rtur is cu tomary in thr e e e e e e the e e mov m nts, s parat d ntir ly from Op ra its lf. — — The middle se ction anda nte m aes toso is marke d by e e e e e e e e r al f ling and arn stn ss, though its b auty is som what marre d by monotony o frhythm fi Most o f the e the bravura e airs b long to ord r, with long and prolix e e e the fin e o f Sc talc o Voi ritorn lli 5 v n dramatic air y , , cb c e m ic vicende e orit l ure . On e , is spoil d by trills and fi pe culiar Sign o f the diffe re nce be twe e n the inte lle ctual world o f the compose r in the e ighte e nth ce ntury and o f the e the e e e h b e e e n that compos r in nin t nt , is to s in the many atte mpts of Gluck and his conte mporarie s to tre at a musical situation from the point of vi e w o f the — des cribe o r ain t b plastic arts to p a Situation, y ’ giving to the spe ctator s e ar an impre ssion som e what e the e e e similar to that giv n to y by a pictur . Nothing shows more Cle arly than the se atte mpts the re ally obj e ctive way in which the op eratic compose rs o f that time looke d at music and the e motions 5 and e vide nce s o f e C the e e e this kind, tak n in onjunction with vid nc ff e e ms the tic s a ord d by cont mporary writing on , cannot be ne gle cte d in any atte mpt to arrive at the re al me an o f e the en o r ing op ratic forms in last c tury in this . In

s s s o fthe e se e x I 8 For a copiou analy i Op ra Mar , i . 5 1 7 5 . T The andante is give n at the e ndo fthe s e condvolum e x N 8 o f O. . Mar , 32 Gluck andtbc Opera

se ve ral airs o f La S emiramide riconosciu ta we find Gluck trying to imitate the e xte rnal aspe cts o f nature —the fl the e o r brook owing calmly through vall y,

e e e e so . m ting with obstacl s in its cours , and on “ ” e t o f b e This m hod painting in music, as will e e e e o fthe e e ae e shown lat r, was a cons qu nc g n ral sth tic e o f the e e e e r o u r o wn e id as ight nth c ntu y ; in tim , “ though it survive s in an atte nuate d form in pro ” e- the e e e e gramm music, m thod is g n rally abandon d, as be ing e sse ntially inartistic and oppose d to the re al e o f s o f e natur mu ic as an art inn r imagination . A ve a fo re shado win o f ccording to Marx, Gluck gi s g the future dramatist in the sce ne be twe e n Sc ytalc o and e e e e S miramis, which is distinctly abov anything ls in

” the 1 work . the e o f v e In cours his isits to Vi nna, Gluck had be come acquainte d with and e namoure d of Marianne Pe r in the e o f e e g , daught r a rich bank r and m rchant, Jose ph P e rgin 5 but though both the mothe r and the e e e e s the daught r w r favourably inclin d toward Gluck, e e e e e e e o f fath r, who s ms to hav b n som thing a P e l e o n the he hilistin , ook d coldly suit, not having a e o fthe e e s o f v ry high opinion financial r sourc musicians .

e his . e Finding it impossibl to carry out plans just th n, e e e e e Gluck d part d from Vi nna, ob ying a call to Cop n

For an int ere sting light on the e ighte enth-c entury “ ” ’ “ e o f s s e e s s D s se vi w mu ical imitation, Harri i cour on ” s P an d P e Worbr -60 Mu ic , ainting, o try ; , vol . i . pp . 33 “ ” edit The D s se was fi s s e d in ( . i cour r t publi h

I 744° 1' The Tradita r rez z ata he e fe s is aria , p , to which r r , s the e n do fhis s d e a . e e giv n No 9 at con volum .

34 Gluck andtbc Opera

fo r e e e e o r e e Rom , trav lling for som r ason oth r und r the o f e e as e fo r garb a Capuchin ; ith r, is imagin d, e o r to ffi e e . conomical r asons, avoid passport di culti s A tRome he produce d at the Arge ntina The atre a ’ n e w - e Telem acco ossia l Is ola di Circe two act op ra, , , which m e twith the gre ate st succe ss both at Rome and e The e e e e e at Napl s . scor is pr s rv d at Vi nna 5 it shows Gluck to b e re ally trying to shake o ff the yoke o f the Italian ope ra ; he aims at gre ate r unity o f h e e e the andling, a tru r dramatic xpr ssion in airs, and a more continuous inte re st in the re citative ; in o n e part he has nine numbe rs following e ach othe r in o n e ‘ dramatic se qu e n c e fi Probably the ope ra wou ld have shown Still furthe r e xce lle nce s had the libre tto be e n e e mor i n spiring . Gluck thought a gr at de al o f Telem acco e e m e e in lat r y ars, judging fro his mploym nt L o fportions of it in his mature r wo rk s fl the e o f 1 0 the P e P e r in e In b ginning 75 hilistin g di d,

e e e e e he e s e and Gluck r turn d to Vi nna, wh r spou d e o n the 1 e e e s Mariann 5 th S pt mb r . Thi was for him the be ginning of what se e ms to have be e n a we dde d

e o f e e e . e ac c o m lif unint rrupt d happin ss His wif , an

lishe d e e e o n p and int ll ctual woman, accompani d him most of his wande rings 5 s he survive d him s e ve ral ye ars 1 80 A e e an d di e d in 0 . lmost imm diat ly after the i r e the e e e e e marriag pair trav ll d to Napl s, wh r Gluck r e his e La Clem en z a di Tito the had to p oduc op ra ,

an s s o the e s e e x 1 8 — f . 2 0 2 For analy i op ra Mar , i 9 .

” “ ’ I Gluck s borrowings from his e arli e r work s are de tail e d with Ge rm an thoroughne ss by Bitt e r ; s e e Die R e form de r ” — H s 2 1 2 . e te e d . e n s es Op r urch Gluck , pp 3 43 giv in tanc in has se dTelemacco in his e e s which Gluck u lat r op ra . 1 — 6 Lye . 746 1 7 2 35

* o f e e e . A t e words which w r by M tastasio Napl s, Gluck S l gnalis e dhimse lf by a succe ssfu l combat o f the e e e cas tra to ff e who obstinacy with c l brat d , Ca ar lli, ! was at that time the idol and spoile d childo f the e The e e the N apolitan public . op ra, lik almost all ’ o f e e s u c productions Gluck s first p riod, was v ry

fu l c e ss . Fie ld-Marshal Prince Jose ph Fre de rick o f Saxe H e e o f e e ildburghaus n, a favourit Maria Th r sa, had be e n captivate dby an air in La Clem en z a di Tito ’ ‘ — S e m ai s enti spira rti s ul volto and o n Gluck s re turn e 1 1 he e e o f the to Vi nna in 75 , appoint d him dir ctor conce rts which we re give n e ve ry Friday in his palace e e e e e fo r o f Rofrano . Th r Gluck wrot s v ral works e le d the fe the e . him, and r qu ntly violins in conc rts e the e o fD octor a ndA otb ecar was Ditt rsdorf, compos r p y, e o f he P e also in the se rvic t rinc . 1 the P e e e the e In 75 4, rinc was nt rtaining Emp ror d Empre ss and othe r me mbe rs o fthe Impe rial family a e o f e the at his ch t au Schlosshof, n ar Hungarian e the e f e e e fronti r, and usual musical p r ormanc s w r e re quire d in the fe stiviti s . Gluck was commissione d ’ to se t e Le Cineri to music M tastasio s , which was e o n the 2 th e e e the e produc d 4 S pt mb r, work b ing 1a lio e e magnifice ntly stage d by Q g . It was int nd d as ’ a e e e the e o fL Or a no prologu to a ball t, which bor titl f della Cbina The e was e . following wint r it giv n again the T e e e the e in Court h atr , with Gabri lli in chi f part . f vo n z z was In July 75 4, Count Jacob Dura o

h s s f e s e Moz art s e tte am e poem to mu ic orty y ar lat r . 36 Gluck andtb c Opera appointe d by Maria The re sa to the post o f Dire ctor o f the e e z z Court Th atr . Dura o, who was favourably e e e e e o f inclin d towards Gluck, mad him Kap llm ist r the Ope ra at a salary o f 2 0 00 fio rin s ; and in this capacity he wrote a numbe r o f works for the Vie nna e the e n do f 1 he e to Th atre . Towards 75 4 was invit d R e the o f e Il Trion di om for production two op ras, fi

am il a n ti ono e C l I . e e e and g Both w r succ ssful, in spit f H o a cabal that was forme d against him . e was furthe r honoure d by having the title o f Che valie r o f the Golde n Spur be stowe d upon him by the Pope a title which h e nce forth was gre atly affe cte d by the e He was e e the e compos r . always v ry car ful in futur ” e e e o n to styl hims lf Ritt r v Gluck . I n 1 he se t e e the 75 5 to music, for p rformanc at ” e a e L e P e o f e Imp rial Ch t au ax nburg, a astoral M ta e e La D a nz a o f stasio, ntitl d , consisting a Symphony in * e e o n e e On the 8 thr parts, four airs, and du t . th e e e he e e as ticcio e o f D c mb r produc d anoth r p , mad up e e o f e e the s l ctions from various works M tastasio, und r ’ e L innocen z a iurti ca ta o ne A c t titl of g fi , in 5 it was re pe ate d at the Court the atre in A ugust of the ne xt e s e s e y ar . Thi work shows anoth r t p in advance in e e e the e e the dramatic pow r, sp cially in portions wh r e ff e e e Al libr tto a ords him g nuin dramatic mom nts . ‘ ’ e e in I elem acco he e the though, how v r, had abandon d conve ntional symphony in thre e pie ce s in favour o f an he e e e e e e the Introduction, h r mak s a r trograd st p to “ - m e e e e the symphony for again . N v rth l ss, symphony ’ L innocen z a e e the of indubitably b ars, at l ast in first

x 2 1 Mar , i . 5 . — I éé : 1 746 17 6 2 37

e the o f e e and third s ctions, Signs striving aft r charact r indication 5 and it is the first sym phony o f which this The e e e e z e can b e said . po m has vid ntly s i d upon e e o f the e Gluck, and rous d in him an id a anci nt He e t e e e Romans . has not y succ d d in making a plastic re pre se ntation o f the m ; as ye twe only see the bare thought of some thing warlike 5 the music conse que ntly only give s an impre ssion o f common formalism and o f a c o lo u r1n g that aims at the re pre se ntation of ” e charact r . ’ 1 6 the e e o fthe e In 75 , for c l bration Emp ror s birth

he se tto e e -ac t e o f e day, music a thr op ra M tastasio,

11 Re P as tore e e as Telem acco e e . H r again, in , th r is “ ” s the e e e no ymphony 5 work b gins with an ov rtur , which finish e s in the dominant and le ads imme diate ly h e t te e . e e into op ning aria Gluck, how v r, is not y quite at home in the ove rture form ; though he use s e e the e e e n two th m s in contradistinction, contrast b tw e ffi e e e fo r e th m is insu ci nt not m r ly dramatic purpos s, A n d e e e e fo r e e e . but v n pur musical tr atm nt h r , as e e e e he e e e e e ls wh r , hov rs b tw n dramatic int nsity and e e e He e e conv ntional w akn ss . b gins with a fin ly e e e e e e e e e xpr ssiv air, but soon d g n rat s into m r bravura orname ntation 5 and e ve rywhe re throughout the work good inte ntions are se e n to go along with lack o f e to e e e e e pow r r alis th m ad quat ly . In the autumn o f 1 760 the marriage o fthe Grand Duke Jose ph (afte rwards Empe ror ) with Isabe lla e o fP e the Bourbon, Duch ss arma, took plac , and usual e fe e e e e e e e the r op ratic stiviti s w r r quir d . R utt r, fi st

x 2 2 2 Mar , i . . 38 Gluck andtire Opera

e e e e e the n Kap llm ist r, was pass d ov r, and commissio e He e for the n e w ope ra was giv n to Gluck . wrot a “ ” e e e Te tide e e s r nad , (his s cond work of that nam ), to G ian n am b ro s io Mi liavac c a words by g , which was The is o f produce d o n 1 0 th Octobe r . work little e e e e e valu . It comm nc s with a fairly good thr e e e e e e the e o f s ction symphony, which h r r c iv s nam e e ov rtur . The e 1 6 1 saw the o f following y ar, 7 , production a e D on u an oder dar s teinerne Gas tm abl D on ball t, y , (

Giova nni ossia il convita to di ietra the e , p ) , words b ing

A . e u n fo r by ngiolini It was succ ssful, though it is tu n ate in challe nging compari s on with the opera o f z e e o f fo r Mo art . Gluck aft rwards utilis d portions it i bi enia in Aulis drm da and Ip g . - Some ! time pre viously the ope ra house at Bologna

e e n e w o n e e e e u had b n burnt down, and a r ct d by Co nt T o e e e the e o f e . B vilacqua c l brat op ning this, a work ’ e n e e was de mande d from Gluck s p . H chos again a

e e - e e s Il trion o di Clelia thr act Op ra by M tasta io, f , and e to 1t e s He w nt Bologna to conduct in p r on . took e who e b e with him Ditt rsdorf, claim d to a favourite ’ the e e e e in gr at man s y s, and who has l ft in his Lebens bes cb reibu n e so n e gf writt n by his , a liv ly “ he e On e account o f t journ y . day Gluck told m e that he had be e n invite d to Bologn a to compos e an e He e m e h ope ra for that plac . ask d at te same time e to to if I would car to go Italy with him, but, it was b e e o n the the und rstood, condition of my paying half e xpe nse s o f the journe y and half o f o u r daily e xpen di

Le z 1 8 0 1 ip ig, — 1 746 1 7 6 2 9

e to e e o f e e he e e tur ; as l av abs nc , und rtook to procur ‘ z z h l e that from Count Dura o . O with infinit ’ e e e e the e e pl asur , I answ r d, in high st nthusiasm ( a se e e e ntim nt which a man lik Gluck, who kn w my e e e lov for art, as w ll as my circumstanc s, ought to ’ e e e e e e e e e hav b n abl to appr ciat abov v rything) 5 but, ‘ ’ ‘ ’ e e n o e . e e e I add d sadly, I hav mon y Th n, r pli d ‘ m e Gluck coldly, turning his back upon , that is an ’ d e e e n to the e . e e matt r How v r, Ditt rsdorf manag d to e e e e e the find a g n rous patron to pay his xp ns s, and e o f e e e e e e e tim th ir d partur was fix d upon, wh n a r qu st e e e e cam from Signora Marini , a c l brat d young e e e s he he r e b e V n tian sing r, that and moth r might he e e allowe d to join the party . S had b n Singing in P e two e an d e ragu for y ars, was now anxious to r turn e the se to ff to Italy ; and Gluck b ing willing, four * e e e e e e tog th r . Th y pass d through V nic , and Gluck e e e e e e and Ditt rsdorf r ach d Bologna during East r w k . e e e the e o f arin e lli the Th r Gluck mad acquaintanc F ,

i e e He n e the e P e . si g r, and of c l brat d adr Martini found the Bologne se orche s tra ve ry incompe te nt in c omparison with those he had be e n accustome d to e his n e w e e e at Vi nna, and op ra had to go through s v n te e n comple te re he arsals b e fore he was sufficie ntly satisfie d with the re nde ring to ve nture o n a public The e a e e n e . w s e e p rforma c op ra succ ssful, how v r, though it has little i n te re st o r value fo r the m ode rn e A e the d e e stud nt . ft r thir p rformanc Gluck and Ditte rsdorf mad e pre parations for de parture o n a o f e e e e e tour pl asur , that was to includ V nic , Milan, — S e e De sn o ire s te rre s 2 . , 3 34 4 0 Gluck andtile Opera

e e e e A t e e e Flor nc and oth r citi s . this junctur , how v r, the y re ce ive d a summons from Duraz z o to re turn imme diate ly to Vi e nna for the approaching coronation o f e T e e e Jos ph II . h y accordingly mad th ir way back P e o n through arma, Mantua and Tr nt, only to find re aching Vi e nna that the coronation had be e n post pone d to the following ye ar . Fo r e e e z z som tim pr viously Count Dura o, in his c o f e e e e the e r apacity dir ctor, had b n n gotiating for p fo rm an c e at Vi e nna o fse le ct Spe cime ns o f the Fre nch e e e o f light op ra . This was a sp ci s composition in P e the e high favour in aris at this tim , music b ing 1 Mo n si n e usually by Dun and g y, whil Favart sup e e De plie d the te xts that w re most sought aft r . In “ c e m b e r 1 z z e : e 75 9, Dura o had writt n to him Wh n Favar e e P e e . t M writ s a comic op ra for aris, th r is e nothing to hinde r his s nding it to Vie nna . Count Duraz z o will have it se tto music by the Che valie r o r e e e b e e e Gluck oth r abl compos rs, who will d light d o n e e e e T he e an d to work such agr abl ve rs s . po t musician will thus e xte nd the ir re putations by mutual a s e o ne fo r s istanc , and will doubly profit by working the othe r ; and M Favart will obtain n e w music e e e e without xp ns . Gluck had alr ady writte n se ve — ral works o f this orde r La fa usse escla ve ’ ’ L arbre encb an te L ivrogne corrigi Le cadi dupi and Le diable doua tre — while to Six othe rs Les am ours cb ampitrer

Le Cbinoir oli en Fran ce Le dé uisem en tas to l p , g p ra ’i L le dc Merlin Cytb ire a ssiégée ’ and On ne r avise jam ais de tou t( 1 76 2 ) -he e e a irs n ouveaux e o f at various tim s add d . Som the se

4 2 Gluck a ndtire Opera

e the e e e e e e artistic imitation lik ight nth c ntury, wh r in many case s the trace s o f the individual handling are almost as nothing compare d with the ince s sant sinking ’ o fthe artist s pe rsonality to comply with the fashion e e o fthe abl d mands time . T o many who must have be e n we ary o f the conve ntionality and inanity o f the curre nt Italian e o f e e e e e op ra, impossibl and unint r sting Gr k and e e s c u t the e Roman p rsonag , all to sam unvarying e e e e e ee in te lle c patt rn, th s comic op ras may hav b n an e e e e e e tual r li f, and a symbol, how v r faint and imp rf ct, o f e e e e o f o wn a lif that was at all v nts, in spit its e e e r e o f th atrical formalism, n ar to th m than that e A e o r e e is e e Rom or th ns Bagdad . Th r a fr shn ss about some of the se works that brings a little warmth ’ to the stude nt s bre ast afte r much groping among the dry and dusty stupiditie s o f e ightee nth-ce ntury Italian

e e n e r h e o f Op ra . Th y stand are to te possibiliti s ge nuine dramatic de ve lopme nt than the conve ntional ope ra according to Me tastasio and the courts 5 just as the e o f the e e e e e e at tim R naissanc , as, ind d, b for and e e e e e e e o f aft r it, th r w r mor possibiliti s dramatic de ve lopme nt in the songs o f the pe ople than in the futile antiquarianism and scholarly e xclusive ne ss o f the “ ” e se e k e rs afte r the music o f the ancie nt Gre ks . T he ve ry title s and th e me s o f the comic ope ras o f the e e e e are e o f e ight nth c ntury indicativ a fram of mind, o n the o f e e e e part artist and of audi nc , mor cl arly be aring o n the actual life o f the day than the hollow stage -imitations o f antiquity that made hp the ave rage ’ a a L a rbre en cb a n te e o er seri . p , for instanc , is a fairly e o n e - e o f amusing story, bas d a w ll known tal Boccaccio — l ee : 1 746 1 7 6 2 4 3

e e th th e e La ren D cam ron, 7 Day, 9 Nov l) 5 whil ’ ‘e con tre im revue e n r e o f p j by Dancourt, is tak f om a farc ’ Le e the e e o f z Sag , subj ct b ing similar to that Mo art s

' ' a il e o f e e En tfub rung au s dem S er . In ach th s works som e opportunity is give n to the compose r re ally to ’ e e e e e e o f the o ld d lin at charact r, and Gluck s tr atm nt man Thomas in the firs t-name d ope ra is de cide dly A n d e e humorous . insignificant as th y may app ar to o u r e e e e e y s, th s works in all probability play d no ’ unimportant part in the de ve lopme nt o f Gluck s e Fo r e e e o f g nius . Gluck was at h art no m r imitator a suppose d antiquity ; fre que ntly as he blunde rs in ae e e e so o f e e sth tic th ory, lik many his cont mporari s, - e the through a too conscious r aching back to past, his o wn re ally gre at work is most Charac te rl stl c o f e o f e e his poch, its thoughts, its motions, and its lif . That he constantly re ad a wrong me aning into his o wn artistic me ditations and inte ntions is not a characte ristic o f him alon e ; in our o wn ce ntury Wagne r has fre que ntly work e d rightly and re asone d e e e wrongly, arguing, lik Gluck, from pr miss s that, if e o u t e e the e work d logically, would n gat valu of ’ o n A n d e his w work . in spit of Gluck s aspirations

e he e aft r antiquity, was unconsciously p rforming a much gre ate r se rvice than that o f re producing “ the music o f the Gre e ks 5 he was e xpre ssi n g fo r us h n te o w . e u e thought of his day To do this ad q at ly, to e xpre ss himse lf and the m en he live d among as the y e e e it e e he e e r ally w r , was n c ssary that should br ak loos

s de o f e se s se e x For a con i ration th two work , Mar , i z 6o —2 . 79 . 44 Gluck andthe Opera

the e e the o f from conv ntionaliti s, slothful spirit e e e o fthe e o f imitation, that w r this curs op ratic music that time ; and in this e ffort afte r gre ate r inte lle ctual e e e e e e fr dom, his ssays in musical com dy w r not without e he e ve e importanc . That took much troubl o r th m ’ ’ e he o ld L arbre encb a n te is und niable . T man in is a

‘ e e e o f an dthe e g nuin cr ation humour, orch stration is e e n e he e e e at tim s v ry fi . Though t op ra comm nc s “ the ee with usual symphony in thr portions, Gluck is re ally e nde avouring to make it be ar upon the e o f the he e the e subj ct coming play, and mploys obo ve ry e ffe ctive ly to give a rustic colouring to it . What is o fgre ate r importance is the fact that Gluck e nte rs in to this n ew fi e ld quite conformably to his e the e e . e e e he r al charact r Wh r v r finds l ast support, he attains to dramatic truth and characte risation ; e e to b e he e wh r this support is not had, writ s music in the s ense and according to the taste of his time ; so ’ that a thoughtful re ade r who kne w nothing o fGluck s future would fe e l the que stion u rge d upon him e e e he e e what will this l ad to, if v r g ts a r ally dramatic n ! is e to o we fou dation It not worthy, , that what ‘ ’ have calle d in the abstract music (not music in n e the e the a tith sis to dramatic mom nts, has always colourin g o fthe rustic me lody to which it is linke d 5 this the e the e abstract music is in Italian Styl in Italian op ra, an d the e e e SO we e in Fr nch op r ttas, far as know, quit ’ — Fre nch ; no o n e would take Lubin s arie ttas fo r ’ e e the fi o n e P ris de l ob et— xampl , rst , j for Italian music .

T s is s e e ds hi a ubtl G rman i tinction which, I am af d e s e e . rai , non but compatriot can appr ciat — Lye : 17 46 1 7 6 2 45

’ e we e e e e L arbre Wh n look mor clos ly, how v r, at encb a n té we see e e e , that v n in such a trifl as this, ’ e e he Gluck s originality is und niabl . In t Italian ’ e — e e Pic c in n i s La buona liuola comic op ra for xampl , fig , the o f G alu 1 l enre the e r compositions pp n this g , lat — works of Cimarosa and Paisi e llo the main obj e ct is to write e asy and ple asant me lodi e s w1than appropriate e the the ff accompanim nt 5 comic man, bu o, must de light the audi e nce with e ndle ss cascade s o f chatte r 5 the Fre nch have almost the same be nt in the ir vaude e e e e e e e the vill s and op r ttas, xc pt that th y mak music much le ss e xube rant and bring it n e are r to the ir popular — songs the se latte r be i n g more wittyand pointe d than h e o r e . te e ff e charact ristic motional In Gluck, ort aft r ” e de finite characte risation is und niable . ’ La rencon tre imprevue se e ms also to have be e n ve ry

e u the air Unse dum . r m er popular in its tim In it occ rs ,

' ' P obel m ein tdass wir s tren en leben Les b om nzes ieuse , g ( p m en tour Ca tons nous rennen t z p p ) , upon which Mo art e se to f The e afte rwards wrot a variations . op ra was e e e 1 80 e r produc d at Vi nna in 7, but by that tim a e e e e the e gr at chang had com ov r public tast , and it fe ll rathe r flat .

x 2 6 Mar , i . 9 . CHA PT ER H I

1 762- 1 769

LU CK n o w -e e G was in his forty ighth y ar, and in full o f e e e vigour body and mind . His r sid nc in Vi e nna and his constant association with m en o f ge nius and e e e e e We cultur w r now b ginning to b ar fruit . know, e e the te n e 1 0 1 60 b sid s, that during y ars from 75 to 7 he e e e o f e e had b n an assiduous stud nt lit ratur and art, and his virile inte lle ct was now comme ncing to be ar more strongly and more consciously upon m sthe tic e the ue o f the qu stions, and in particular upon q stion nature s o fpoe try and music and the ir combination in e n e e he n Op ra . It is inco c ivabl that should o thave be e n struck from the e arli e st ye ars o f his care e r with the e e o f the e e compl t fatuity curr nt Italian op ra, though he might we ll fe e l himse lf powe rle ss to do e the e o f anything to alt r xisting condition things . His e arly ne ce ssity o f e arning his bre ad and making the e the e r e e f his way in world, as w ll as lat n c ssity o ministe ring in the accustome d way to the musical

e e o f the he was e pl asur s Court to which attach d, would make it impossible for him to ste p far o u to fthe

e f e 1 common circl o conv ntionality . No e stimate can he b e too gre at o f t de adly e vil done to music in the e ighte e nth ce ntury by the syste m o f patronage in — Lye : 1 7 6 2 1 7 6 9 47

courts and noble house s 5 it is o n e o fthe points in the history o fmusic that has not ye thad a tithe o f the n e e e e conside ratio it d s rv s . A truly sci ntific criticism would inve stigate the syste m o f patronage in its ’ e e e ffe the e e its in vitabl cts upon compos r s natur , and e qually ine vitable e ffe cts upon his art 5 whe n we ex e the r e o fthe c an d amin cha act r pacifi timorous Haydn,

fo r s e e e o f du e to in tanc , and r fl ct how much this was long-continue d subs ervi e nce to the wishe s and habits o f s e to the his patrons, it is impos ibl avoid conclusion - that much o fthe o u t-o f-the world re pose that pe rvade s his music is the e xpre ss ion o f a spirit almost e m asc u late d by undue se clusion from the active life o fm e n a Spirit o f we ak complaisance and unambitious c o m e e the e the promis , turn d away from out r world to e e e e o f e o f inn r, rar ly v nturing to touch upon a phas lif

e e . which, ind d, it was almost wholly ignorant In the e ighte e nth ce ntury it was a matte r o f the gre ate st difficulty fo r the musician to se e the world as e e e m e n e o f it shap d its lf to oth r , by r ason his having the o f T he to look at it from salon his patron . musician was in many case s le ss a man than a human - e s o f he song bird . Thus a tru hi torical study t de ve lo pm e n to fmusical form would have to take account ’ o f the influe nce upon the musician s art o f his de e de n e e e was p n c upon kingly or princ ly patronag . It partly by re ason o f this that pure instr u me ntal music attaine d to such e xtraordinarype rfe ction in the last

“ e e o f e e c ntury . A musician lik Haydn was n c ssity Shut h e f e r e e e the up wit hims l to a v ry la g xt nt, and ine vitable conse que nce was a d e ve lopm e nt o f a bsolu te m e e e the usical forms, that bor littl r lation to moving 48 Gluck andtire Opera

fe m e n e the o f li of , rath r than of forms dramatic music 5 ’ e o f e e e and in spit Gluck s r form , it is quit possibl that ope ra as an inde pe nde nt growth would have languishe d — in Europe in anoth e r quarte r o f a ce ntury would have me re ly e scape d the Scylla o f Italian absurdity o r “ the imitation o f antiquity to have falle n into the Charybdis o fthe absolute forms o finstrume ntal music -had it not be e n for the R e volution and the n e w e e e e are Romantic mov m nt . Th r not wanting signs o f this dange r thre ate ning dramatic mu5 1c from the side o f pure instrume ntal music in the late r work o f e e e e e Gluck himself. In v ry d partm nt xce pt that o f — ’ farcical come dy placing Gluck s six gre at ope ras on — o ne Side the musical imagination was distinctly be low he o f e m e n o f e t imagination oth r that day . Compar the re lation be twe e n poe tical come dy and musical e D ie M is ters in er o fthe e com dy in g , or in any Gilb rt ’ e o n e o f A e e Sullivan op ras, or in any ub r s b st works, e e e the e e the e wh r th y stand on sam plan , with r lation be twe e n the ve rbal come dy o f B e aumarchais in Figaro ’ and Moz art s mus ical come dy in his se tting o f that b e e e far e e play, and it will r alis d how b low cont mpo the e e e - e rary thought b st ighte nth c ntury music was, ’ tthe e e o f o f . z Fi aro wi h xc ption that Gluck Mo art s g , o f e o f e the cours , is a work immortal b auty, but Sig n ific an tpo m t1S that this be auty is far more akin to the symphonic work and the chambe r-music o f the e the fe e s to e tim than to drama it pro ss illustrat . All that is inte re sting to the stude nt of e ightee nth ce ntury manne rs in the come dy o f B e aumarchais e e o f z vanish s in this s tting it by Mo art . This inte re st e e e e e e is r plac d by anoth r, that of absolut sot ric musical

5 0 Gluck andtire Opera

e e e e a man or a think r, but as a m r machin to grind d forth music whe n it was re quire d o f him . Coul e e b e e e e as e e th r produc d, und r such circumstanc s th s , t b e e e e u music tha should of any p rman nt valu , m sic that would survive afte r its o wn imme diate day had e ! e e the his n e e e n e clos d D priv artist of i d p nd c , his i e e e e ndividuality, his v ry ss nc as a man, distinct from e o r e o r his capacity as s rvant . to a court a princ any e o f e e his syst m conv ntion, and you tak away from art the the all be aring upon life and thought of world . He e b e the may still produc art, but it will for most the e o r the part simply art for chamb r church, not art c an m e n c an e e m n e w that stir , not art that giv th n e The e h impulse s and w lights o n life . op ra of te e e e e u n di n ifie d ight nth c ntury was g , and paltry, and s e e e e the m e n e e e u n di n ifie d rvil , b caus who wrot it w r g , d e e . and paltry, and s rvil Social con itions in which the artist is re garde d as a me re me ans of ministe ring the e e the e s e to njoym nt of ignorant and s lfi h w althy, mus t in e vitably re sult in the de gradation of himse lf an dthe e o fhis masculation art . It was unde r such conditions as the s e that Gluck pas s e d his ye ars of appre ntice ship ; from the ve ry be ginning he found himse lf in that dignity-de stroying e f 1 The o n f e o e . s o e e atmosph r patronag a poor for st r, de pe nde nt from his e arli e st ye ars upon himse lf fo r r e e e e e suppo t, forc d to r c iv his musical ducation the e e e o through charity of princ s and nobl m n, intr du c e d e r e e o f e r e into th i hous s as an obj ct th i prot ction, whe re a thousand sile nt influe nce s would b e constantly at work to sink his soul in n erve le ss acquie sce nce in — the spiritle ss course o f things around him a syste m — 1 7 6 2 1 7 69 5 1 o f patronage on the o n e Side and o f de pe nde ncy upon the othe r 5 the n finding e mployme nt in writing for Italian the atre s whe re e ve rything original had to b e sacrifice d to the dominant tast e for s lothful c o n ve n ’ e e the e o f tions , wh r musician s sol function was that e e e e e an mbroid r r, to adorn w ak and foolish libr tti with figure s and colours all Of o n e invariable kind ; the n e the e the e e é é o f attach d to Imp rial court, p tt d prot g the e e r e e n the e mp ro s, wh r agai , as in hous s of his e e e e b e princ ly patrons, v ry original conc ption must e e e e e e e stifl d in mbryo, wh r d p thought and tru imagination and s e rious fe e ling we re hampe re d and vitiate d by the o n e gre at ne ce ssity o f doing nothing ffe the e o f e e to o nd ars his nobl prot ctors , of putting nothing in his compositions that would b e above the ir small capacity 5 the wonde r is how he manage d to do e o f c an b e good work in spit all . Nothing said in gre ater praise o f Gluck than that he live d through e e e e e th s conditions and outgr w th m . Nothing is mor conclusive o f his claim to honour than the way in e o f e which, by virtu his strong physical and m ntal o e e o f fe e he rganisation and his g nuin humanism ling, s e thimse lf with iron will to e xpre ss bim self in his the e e o f the o f music, and in t th all opposition foolish e e n to e n ss, and conv tionality, and sham, mak his music m e e e o f anly, truthful and sinc r . This firmn ss will e e n to e le d and purpos , oft n amounti g dogg d obstinacy, him fre que ntly to the commission o f injustice s and to a harshne ss o f attitude towards othe r m e n ; but we c an e do the pardon this and mor in him . To e e he he e e magnific nt and courag ous work did, r quir d a stren gth o f nature that pe rhaps ne ce ssarily le dhim 5 2 Gluck andt/ze Opera

into an attitude o funcompromising roughne ss towards e m e n e oth r and we ake r . But without this dogg d e -su ffic ie n c e he e e the a e s lf y of charact r would n v r, in g he the f e e e ee in which had mis ortun to liv , hav b n at t e all e qual to the re formation o f he op ra . During all the se ye ars of se rvitud e and imitation he must have fre que ntly re alise d with shame a n dse lf-conte mpt that he was pande ring to me anne ss o f spirit and u n in telli e e o f He e e e e g nc soul . hims lf is r port d to hav said that he had waste d thirty ye ars o fhis life in imitating o m e lli P e e e e J and rgol si . Critics hav tri d to com p romise the matte r by saying that the se thirty ye ars we re n o twholly waste d 5 that the y had give n e ase and s o e e the facility to his imagination, and pr par d ground for his late r re forms ; as if any e ase and facility that came of se rvile and uninte llige nt imitation o fan art that ’ was itse lf divorce d from the de e pe r me anings o f me n s e b e o f e o f e e liv s, could any valu to a man nativ str ngth ’ o fsoul 5 as if thirty ye ars o f a strong artist s life spe nt in me an and pitiful pande ring to the de sire s of m e n who had no part in the thoughts and move me nts o f e b e e n e actual lif , could anything l ss tha thirty y ars take n from the study o f m e n as the y actually we re - outsid e the salon or the op e ra house ; as if the musician who could cre ate re al and bre athing m e n and wome n could b e anything e lse ' but we ake ne d and ’ de grade d by thirty ye ars association with the n e rve le ss ‘ dolls and bloodle ss puppe ts O f Me tastas io and the The e e Vie nne se and Italian the atre s . as and facility e the e ee he that Gluck gain d from Italian styl , if ind d e e e e e e e gain d any, could hav b n acquir d in som thing l ss e e than thirty ye ars . But that aft r such a l ngth o f — Ln} : 1 7 6 2 17 6 9 5 3

time his soul and spirit should n o thave be come as e e e o f e e e masculat as thos his cont mporari s, that aft r this time he Should still have stre ngth o f mind and force o f will e nough to bring his music to be ar upon the expre ssion o fwhat m e n re ally fe lt and thought this it is that make s him so magnifice nt an d s o e e e He the Pic c in n is statu squ a figur . dwarfs and all around him 5 the same ge ne ric nam e is hardly applicable te to h m both . Of late ye ars Gluck had bee n e arne stly studying n e e e e the a ci nt and mod rn lit ratur , and thoughts within He him we re slowly rip e ning to fruit and flowe r . could n o thave faile d to b e struck ye ars e arlie r by the the e O e e e the inanity of Italian stag . th rs b sid him in e ighte e nth ce ntury had turn e d away in disgust from its we akn e sse s and its lack o fh u man inte re s t Ho w is it the Italians have not a good se rious ope ra ! asks “ Gretry 5 for during the nine o r te n ye ars I have e e e e sa o n e e e e an liv d in Rom I n v r w succ d . Wh n y body we nt the re itwas to he ar this o r that singe r 5 e the e e o n the e e e but wh n latt r was no long r stag , v ry o n e e e to e at e r tir d into his box play cards and ic s, while the pit The P reside n tde Brosse s had said the same thing about the time Gluck was m atu rin g ' his plans fo r the re formation of the ope ra 5 e the e e e e he he onc in D lla Vall Th atr , says, found “ che ss an e xce lle nt pastime for filling the void in ” the e e e e e e e s long r citativ s, and music qually xc ll nt ’ ” fo r inte rrupting one s to o gre at passion for che ss ! ”

é e s e tss s s ur s e . 1 1 . M moir E ai la Mu iqu , i 4 ” “ “ d 8 f La Presi e n tde ss e s e n I talic . . Bro , ii 35 7, 35 d Des n o ir s trr s 8 e e e e . Quot in , p 4 . and ire era _ 5 4 Gluck t Op

e e e e e the e Forty y ars b for , Marc llo had satiris d inaniti s o f the Italian stage in his ce le brate d Il Te atro alla moda ; while A ddison in England and Algaro tti in e e e o f e e e Italy, b sid s a numb r oth r writ rs , had call d atte ntion to the gre at de gradation into which the ope ra e had fall n . Thus Gluck by no me ans stood alone in his pe r c e ptio n o f the crying ne e d for re form in the Italian

e . e e e op ra His crowning m rit is not that p rc ption,

' ’ the re alisatio h o f the but it in work , translating it e a e into actual re form . A thousand w ry and sat d he are rs o fthe Ope ra might se e the foolishne ss and the hollowne ss o fit all ; Gluck alone could cre ate some e e e e A e e o f thing b tt r to tak its plac . lr ady in som his works he hadshown flashe s o f that rich cre ative e e he f n rgy that was at t foundation o his nature . In

S emira m ide Telem acco e e e e he e , , and ls wh r , had giv n s o f n fo r proof a strong dramatic capacity, waiti g only e the e e f a favourabl opportunity for mploym nt o it . Naturally the first re quisite was a re form in the ve rbal

f he u groundwork o t ope ra . Nothing co ld b e done the e e e with ordinary libr tto, with its sham p rsonag s, e its conv ntional airs and situations, its rigidity of e e e e e o f s de s tl structur , and its w arisom r it ration word tute o fthe bare st dramatic o r e ve n inte lle ctual S ign ifi e e e e e e cation . Gluck b li v d hims lf to hav chos n rightly whe n he fixe d upon Rani e ro di C alz ab igi to b e his a z coadjutor in the re form of the ope ra . C l abigi was an Impe rial Councillor who hadalre ady e arne d some re putation in Europe as a critic and a man o ftas te 5 at P he e e e o f e he aris had dit d an dition Dant , to which r had writte n an introduction . Gluck appa e ntly had — Lye : 1 7 6 2 1 7 6 9 5 5

found in his conve rsation e vide nce s o f culture and e e e the und rstanding, and had s ttl d upon him as man e his n e w e T h most fitt d to work with him in proj ct . e re sult o f the i r collaboration was the ope ra Orfeo ed a ‘ f Euri ice e e was ltfc s d . It is not known pr cis ly what G e the s o fthe e shar in compo ition libr tto, though it was e o n e P e b e ce rtain to b e a larg . robably w shall not he far wrong in saying, with Marx, that would insist o n the e e e e s o f the e e o n s ns and dramatic int r t r citativ , the e e the lyrical portions b ing r ally lyrical, and not “ c e e o f e o n the im onv ntional ari M tastasio, and f he b e e the portance o t work to giv n to chorus . In t e he e d e his last conn ction , would in all lik lihoo hav in his e o f the e o f e mind a vivid imag chorus s Ram au, he e P o f e T rae tta which had h ard in aris, and thos of , * e I b i en ia fin e o f u rie s whos p g , containing a chorus F , had be e n pe rform e d at Vi e nna in 1 760 . The n ew work was produce d o n the 5 th Octobe r 1 6 The e e A h 7 2 . ball t was arrang d by ngiolini ; te The o f O e machinist was Quaglio . part rph us e cas tra to o u tin was giv n to Guadagni, a who stands re fre shing contrast to his fe llows o f that age by be ing the posse ssor of two qualiti e s not usually found among — n e e He e e e the m i te llig nce and mod sty . nt r d into the ’ o f e e e e spirit Gluck s work with p rf ct compr h nsion, and re fraine d from d e facing the music allotte d to him with ” o f the e e e the e any customary mb llishm nts, mploy e o f du e the e the m nt which , in first instanc to vanity and

‘ o fthe e hadb e en e e vulgarity Sing rs, so long cons crat d

‘ ’ e e by custom . Gluck s xacting spirit showe d its lf at

S e 1 6 — e e . 1 . Bitt r, pp 4 77 5 6 Gluck andtb c Opera

the e e e e e e r h arsals . Mor than onc h cam into conflict the e e e the with instrum ntalists, to app as whom Em ’ pe ro r s pe rsonal influe nce had to b e e xe rte d ! o u e he he know, my childr n, what is But is a worthy ” C alz ab i i e e man at bottom . g hims lf had tak n in hand the training o f the Singe rs in the action and e e s s he xpr s ion n e ce s ary to t re alisation o f his play . The first pe rformance naturally cre ate d astoni shme nt an d e e e e e som opposition, but th s gradually d clin d,

' until at the fifth re nde ring the po sitio n o f the n e w e e o u to f e work was assur d . It pass d G rmany into P e T rae tta o n e o fthe e e Italy, and at arma its lf, , gr at st m e o f e e the e ast rs that tim , c rtainly most path tic and ’ the e o f e e most G rman Italian compos rs, was unabl to have his drm ida pe rform e d 5 the public wishe d only ” o to h e ar Orfe . Much as Gluck wishe d to e mancipate himse lf from

traditional c o n ven tio n alit1e s o f the ope ra o f this . he e e e e his day, was bound by th s conv ntionaliti s in e e the a e choic of a subj ct . It was lmost univ rsal custom “ ” to take the storie s fo r gran d ope ra from classical e e e lif , and it is from this anci nt world that Gluck dr w - - his subj e ct 5 a pre historic sun myth was to se rve the e the e ! . , as groundwork for r formation of op ra He has give n u p the o ld symphony form o f m ’ he b e in s the e e e introduction ; g op ra with an ov rtur , is e e e which , how v r, disappointing and inconclusiv both from the dramatic an dfrom the musical standpoint ;

the e e e the e e fe o f c o n s tru c from form r, b caus gr at d ct tion o fthe poe m o fOrflo is its absence of any strongly

ir s e s 1 s te rr . De n o e . , p 5

5 8 Gluck andtire Opera

o f o f e e moving background chords diminish d int rvals , e o f e e e the o f the inst ad bl nding, as b for , with chord o f th he f minor third e dominant . Thus in t first e w e the e e r mom nts Of op ra, Gluck had Shown his xt a ordinary faculty for re alising the most striking dramatic e ffe ct by the most simple and m ost natural e “ m ans . ' T h e chorus conclude the ir sorrowful . appe al to e e r andO e e e e Eurydic to r tu n, rph us addr ss s th m in a e e ! e r citativ , Enough, my companions your gri f e e e w e he e . e t incr as s min Str flow rs about marbl tomb, an d e e m e e e e e l av ; h r will I r main , alon with my ” e e e s he sorrow . Th y mak Sile nt proc ssion round t e e the e tomb, crowning it with flow rs, whil orch stra give s o u tsole mn music ; the n th e y bre ak again into the the o f e e first chorus, to strains which th y mak

e e e O e e . s th ir xit, l aving rph us alon In a hort but e xtre me ly be autiful air he calls upon Eurydice to re turn to him The is e he . air mor in t voluptuous Italian fashion than are the late r arias we are accustome d to e the e o f associat with id a Gluck, but is not without e e e e o n the dramatic Significanc , mor sp cially words, Vain is my lame nt my be love d o n e answe rs not l Thre e time s during the course of the aria an e cho o f the the me is h e ard from a small orche stra be hi n d the e e s The e r the the sc n . most s ious flaw in aria is e o f ia no orte constant alt rnation p and f , almost chord by h e e e c ord ; it is at onc unn c ssary and undramatic, and by forcing the e xpre ssion te nds to re nde r the aria ’ o n e o f e e o f insignificant . This is thos instanc s Gluck s e mployme nt o f the usual trick e ry and frippe ry o f his

e r e ho whard cont mpora i s, which show it was for him — Lye : 1 7 6 2 1 7 69 5 9

e e e the e e to br ak compl t ly away from conv ntional styl . The e e e e e following r citativ , Eurydic Eurydic d ar “ e e e o f the e shad , wh r art thou is accompani d h e e . te e e ord r, and mor dramatic Not only is xpr ssion e e the sought most car fully and pati ntly in vocal part, b u tthe orche stra is give n its share in producing the e ff e O e e e ge ne ral e ct . Th n rph us r p ats his aria to ffe e e he slightly di r nt words , A third tim Sings it, and e e e e e o f a third tim br aks into r citativ , this tim a

e e e a . mor passionat charact r, and in parts lmost lyrical

' He has ju stde c lare dhis re solve to de sce nd into the e - e e und r world and win back Eurydic , wh n Cupid e e he the o f the app ars, t lls him that has sympathy e e e to gods, and that Jupit r piti s him ; and advis s him e e the o f the e e e the d sc nd to kingdom shad s, wh r by o f he his fe magic his harp may win back wi . Short as — — this pi e ce o f re citativ e is only fifte e n bars ite x e m plifie s the studie d way in which Gluck was now the e e s e e the e handling impl m nt of his craft . Wh r l ast e e the e e e r significanc is giv n in words, ov r and abov th i e e e he e m r ordinary indicativ quality, att mpts to illus e e e the e o n the trat th ir m aning through orch stra, as “ ’ ” Le e e u e e e words, th s dr adf l strand, wh r a sugg stion o f the gloom o f the rive r is give n in the ac c o m pan i e m nt . The e e e following r citativ , in which Cupid t lls him the conditions o n which he will b e allowe d to bring — Eurydice from the unde rworld that he is not to look upon he r face until th ey have com e into the f — o e e . light day again is dry, unlyrical, and unint r sting ” e u d e e e e Think ov r it, says C pi 5 Far w ll B for e re e e he making his d partu , how v r, sings an aria, which 6 0 Gluck andt/ze Opera affords an inte re sting illustration o f the e ighte e nth “ ” ce ntury me thod o f painting in music 5 whe re the e e o fthe c han e s a e e e e s ns words g , compl t chang is mad the e h the in mat rial characte ristics of te mu s ic . Thus o fthe e the e the first part aria, d picting happin ss of man e to the o f the e who bows pati ntly will gods, is a rath r e e the k e s os ten uto broad m lody in 27 tim , in y of G, 5 in the e e O e o f the s cond part, Cupid t lls rph us joys that him e the await , and to paint this Gluck conv rts sostenu to a nda n te iano e the into an (p ) , chang s from forme r k e y to that o f D and from the 5 time into a e e e e e e v ry tripping tim , mad v n mor dactylic in characte r by the strong acce nt o n the first note o f e s e efi e e e ach phra , and pr x s to almost v ry bar an orname ntal triple t figure 5 the purpose of all this be ing to conve y through the e ar a picture o fthe joys that are e o f the n e o n e e e spok n in words . This cha g from th m e e e five e the e e e e to anoth r tak s plac tim s, sam th m b ing e the e always us d to accompany sam words . That occasional impe rfe ction o fthe lyrical se nse also that is e e e e e n otice able in Gluck be trays its lf h r . Th r is a pe culiar awkwardne ss about the conclusion o f the 3 se cond the me 5 by se tting the words to this 3 time he fi e the e n do f e o n e e o ff the nds hims lf, at th m, just st p o f e e s e e tonic conclusion his th m , con id r d as a musical e The e e e he e phras . cons qu nc is, that has to conclud a symme trical swe e p o f four bars with anothe r bar that se e ms to n e e d still anothe r to balance it 5 and the e ffe ct o f this make -we ight conclusion is in e x pre ssibly awkward 5 it sugge sts the pe de strian diffi c u ltie s o f an animal e ncumbe re d with an e xtra an d e superfluous l g. — Lye : 1 7 6 2 1 7 6 9 6 1

e e O e e e e Cupid r tir s, and rph us d bat s within hims lf, — in a re c 1tat1ve that is both d ramatic in inte ntion the inte rvals be twe e n the note s be ing gre ate r than in any — o f the pre vious re c 1tat1ve s and accompani e d in a e e the e u e d scriptiv way by orch stra, which also concl d s th e act . - The S e cond A c tShows the unde r world 5 the ground e e e e is brok n by abyss s 5 h avy clouds com floating down, e e e e o f e riv n v ry now and th n by lurid bursts flam . A e e the e e in ft r a ball t, Furi s br ak into a chorus, octave s Who is the mortal who dare s approach this ” e o f e P — e e e plac dr ad strongly and d cisiv ly writt n . e e e the to is Th n follows anoth r ball t, music which amongst the most e ffe ctive balle t-music Gluck has writte n ; afte r which the que stion of the chorus is e e e e e e e r p at d, this tim with an xt nsion 5 whil through the orch e stral accompanime nt is he ard ince ssantly the e e e the howling of C rb rus . Without any paus , music [ e e u e fo r the l ads into a Short pr l d harp, to which accompanime nt Orphe us lifts up his voice in passionate e e the e e e e the ntr aty . This is marv llous sc n that aft r lapse o f a ce ntury and a quarte r has not lost o n e atom o fits original force and be auty : that is among the e e o f o r most r markabl dramatic productions that any , othe r age 5 and which alone would suffice to give to future ge ne rations some indication o f the wonde rful f e o f e e s o . pow r Gluck, if all w r lo t ~ his work but this It is almost impossible to speak with undue admiration o fthis e n tm e lody, with its pi e rcing anguish e n t e e e e e of mirabl l ading up, tim aft r tim , the o f the e to word supplication, and dramatic d cision o fthe No o fthe e the e n Furi s, which, in middl portio 6 2 Gluck andtire Opera o f the e e the e o n the air, wh r word is pronounc d B is e the e e natural, positiv ly appalling . Nor is succ ding o n e e e e e o f the chorus whit inf rior . Th r is som thing highe st psychological e xpre s sion in the passage in e the e e e o f the which, aft r warning wr tch d intrud r h s e the e e orror that inf st plac , th y ask , What wouldst ” 3 ! The thou, poor youth What wouldst thou o rche stra take s up a short the me that s e e ms by unconscious and s ubtle sugge stion to le ad us o u to f the e e e e o u r imm diat pr s nt, to throw minds forward into the late r de ve lopm ent o f the sce ne 5 it is o ne o f those rar e psychological mome nts that are the triumph f e e the h P he o dramatic art . R p ating word W at t Suppre sse d rage of the Furie s bre aks o utagain in lurid Th e s . e e O e are pas ion r ply of rph us, In my br ast a e e e m e e are thousand torm nts 5 h ll its lf is within , its fir s ” e r is fin e e burning in my h a t, as and as pr gnant with musical be auty and as significant with dramatic me an e e e T he e e ing as his pr vious ntr aty . Furi s r ply in e e e e s e o f the e s subdu d ton s, xpr s iv pow r his ong is “ e e e o n e b ginning to x rt th m, What magic in him ove rcome s o u r rage ! Finally the y throw Ope n the e an d e e die e gat s to him, th ir voic s down to xhaustion s e the e e e and submis ion, whil orch stra continu s th ir

e e e pr vious th m .~

The s ce ne change s to the Elysian fie lds . Som e o f the are e e n e happy spirits p rforming a ball t, in accorda c with e ighte e nth-ce ntury ide as o f the occupations o f in e e the happy Spirits i Elysium, whil Eurydic and the e o f e e e chorus sing of qui t joys th ir abod . M an e O e e e e e e e e whil rph us has nt r d, and xpr ss s his wond r at the be auty o f the sce ne 5 How pure the light 1 — 1 7 6 2 1 7 6 9 6 3

His me lody is some thing be twe e n aria-form and that o f re citative (Gluck has marke d it qua si recita tive ) ; e e e and, consid r d from a pur ly musical standpoint, it is among the fin e st o f his cre ations 5 it has that unity and consiste ncy that are s o notice able in his late r ’ e e the en e A e works, sp cially in sc in rmida s gard n and

e f b i enia in i in the first sc ne o Ip g Tau r s . Particularly fin e is the e ffe ct of the constant modulation o f the e e he e b autiful th me for t obo . On the e e e his asking chorus for Eurydic , th y r ply,

ensem ble she in a charming , that is now approaching . The A c t e e e draws to a clos with a b autiful ball t, re minding us in parts o f the swe e te st balle t-music in h P aris a ndH elen . e z te o f , and a chorus S i ing hand e he r e O e Eurydic , but without looking into fac , rph us e he r hast ns away with . The T hirdA c t the e e l shows pair in a labyrinthin cav . O e I S s t1ll e he r the e rph us l ading by hand, and his fac is still turne d away from he rs 5 he will answe r nothing he r e e e e e e h e to qu stions, but r it rat s his ntr aty to ast n he r e e e ed onward . But suspicions hav b n arous by his e e e she e av rt d fac ; is b ginning to doubt his passion,

and all his e ntre ati e s are o f no avail . It is curious to notice how Gluck is hamp e re d h e re by the mate rial e e e e e h has chos e n to work in . Tim aft r tim th re s e e m to b e struggling through the bald re citative a passion and a dramatic powe r that cannot find the ir A e e . s full r alisation in such a m dium it is, j ust whe re the fe e lings o f the personage s de mand lyrical e e u e e tr atm nt, Gl ck is ti d down, by a conv ntion from he e e e to which cannot fr hims lf, a form of musical spe e ch that is the ve ry ne gation of all lyrical e xpansion 64 Gluck andt/ze Opera

Thus at o ne point o f the dialogue we have the following

U ! D de e d — E R ICE . But my light at b hol ing you again, you, s s e ala , har it not . ORP H E S d e U . O oubt not, but know h ar m e Oh s adf e ! De d e at ar Eury ic , e e tarry no longer h r . d e e s ds U ! D . are s a E R ICE Why you , wh n raptur urroun u s

ORP E S has e e d as f e s ! An d e t H U . It happ n I or aw y I mus t k e e p s il e nc e

Now this spe e ch o f O rphe us is a kind o f crisis o f e e the e e e the f ling in dialogu , and no xpr ssion that compose r could put into it could b e too d e e p o r too ! e tb e o f e e sorrowful . y r ason having chos n to writ e e e e s e t this part in r citativ , Gluck can do no b tt r than to the se important words the we ll-known co nve ntional f o f e e o f the ce orm r citativ conclusion, a fall voi from the the e e the tonic to dominant, follow d by a clos , in e accompanim nt, from dominant back again to tonic . His n e gl e ct o f the e motional possibiliti e s o f this e e o f the passag , and his abandonm nt it to most e e e e c an ffe the m aningl ss formalism that r citativ o r, is more inexplicable 1n Vie w o fthe fact that his se tting of the e e o f e n o t v ry n xt words Eurydic , Wilt thou e m e e k m e e t e ! i c . is mbrac not sp a to , strongly e the e e o n dramatic and passionat , and r citativ is its way e The e again to lyric warmth and f rvour. r mainde r o f the re citative in thi s sce ne is alte rnate ly passionate and “ e o n the two s o n the conv ntional, and occa ions which ” O b e e are e e e words, follow and sil nt, r p at d, Gluck,

6 6 Gluck a ndtb c Opera is o f r The e - e sue the i trials . ball t music is not sp cially n e e the e e the m e otic abl , with xc ption of char ing gavott — ’ which may b e a re minisce nce o fthe compos e r s e arly — days o f wande ring among the country pe ople and the rathe r pre ttyop e ning phrase o f the succe e ding a ndan te The in D . work conclude s with a trio and o f e e e chorus rath r commonplac charact r . Such was the ope ra with which Gluck be gan his e e e e gr at r form . It is a mixtur of xtraordinary e The e str ngth and e xtraordinary we akne ss . b ginning the e n d the e e the e are e e and , ov rtur and final , sp cially vacuous and futile ; and B e rlioz is right in spe aking W o fthe incroyable niaise ri e o fthe ove rture . ith the e e as has e e e o u t in op ra its lf, again, b n point d in the e S e e s o f e e e e s an d for going analysis, c n d athl ss int r t b e auty e xist sid e by s ide with passage s almos t de void o f e e s o r s e ith r mu ical dramatic ignificanc . Gluck, in was e e o f e ffe fact, in a doubl dil mma, that cting a compromise be twe e n the mus ical and the dramatic e e s the o f int r st in lyrical portions, and that striking a ge nuine balance be twe e n ordinary spe e ch and pure the e e s . e e lyrism in r citativ Thus his practic , lik his s e e -e e e e e the ubs qu ntly xpr ss d th ory, was vitiat d from outse t b vfallacy and contradiction ; as will appe ar e e s e e e e e e e lat r, th w r n c ssary r sults of his hov ring — irre solute ly be twe e n two cours e s o f action be twe e n re al e xpre ss ion of the e motional life of his own day in e e lyrical forms, actually and naturally cr at d by this e e an d e e e o n motional lif , a fictitious xpr ssion, forc d him by the u sual practice at that time of imitating a U de s s upposititious antiquity . n r such circumstance as ’ the se it was ine vitable that Gluck s ope ra-style should — Lfe 1 7 6 2 1 7 6 9 67 b e always contradictory both o f itse lf and o f his e e e writt n th ori s . e o f e e r he e e e In Spit this, how v , had r ally achi v d o he e e e the o ld much in Orfe . Though pr s rv d anta o n is m e e e e te he e t e g b tw n aria and r cita iv , y aim d the e e o fthe e straight and strongly at improv m nt latt r, and at giving it a re al place in the de ve lopme nt o f the o e e o f in the e p ra, inst ad making it, as conv ntional e e e the e e e e the styl , m r padding to fill up Spac s b tw n o f e was e he e in airs . This, cours , a r form had r ally

e e e e Telem acco he part att mpt d much arli r . In fl had alre ady give n a hint o fwhat he could do in ac c o m an ie d O o e e he e the e e . r p r citativ In fi , how v r, appli s e e e principl mor rigorously, by writing accompani d e e e e h r citativ throughout, and thus giving incr as d sig i e A e as fic an c e to the orch stra . similar r form w e ffe e the ie lin u ishin e ct d in aria by q g, in most cas s, the e e e da ca o st r otyp d p form, which, although not e e e e without its us fuln ss and its m aning in many plac s, was s o palpablyartificial in its ordinary e mployme nt b e e the d 1 ff as to quit against possibility o f ram atc e e ct . That Gluck use s it occasionally he re an din othe r e e e e plac s, and with succ ss, is a proof that th r is nothing

e e the da ca o e m ss ntially undramatic in p , but that its ployme nt must b e strictly re gulate d by the conte nts o f the e e e e the aria . Nothing, for instanc , could xc d impre ssive e ffe ct o f the re turn to the first subj e ct the o f e O toi ui rolon ea s m es in aria Iphig nia, q p g ’ e e o he jou rs . B ut Gluck s incr asing p rce ption f t ‘ e e e e e n an d possibiliti s op n to fr motio al outpouring,

' his growing se riousne ss in re lation to his art made him e the d ca o e mploy a p form v ry sparingly, and “ 6 8 Gluck andtbc Opera

e e fe e e e substitut for it a form that was mor un tt r d, mor

e e s . e me e dir ct, and mor continuou This r form almost c s sarily be gat anoth e r : the giving o f gre ate r unity to

‘ the fi iama by linking e ach succe ssive pi e ce to its

e e e e e e u xta o s i pr d c ssor ; not, as form rly, by a m r j p

s e e o u t tion, but cau ally, ach dramatic mom nt growing

o f e e e . e e that which pr c d d it H r , again , Gluck had re ache d o u tte ntative ly to this re form o n pre vious

Te m a cco e e le . occasions, notably in That v n in Orfio he was pre ve nte d from carrying o u te ach o f e e n e w e e e e e e e du e th s m thods to compl t r xc ll nc , was , e the e e e the in part at l ast, to w akn ss s in construction o f he e e c an e t libr tto . No compos r writ dramatic

u n dram at1c s1tu at1o n the music to an , and it is mis fortune o f Orfi o that the inte re st o f the play de ge n e e atthe e n d A the rat s . part from absurdity of ’ Cupid s whole e xiste nce and appe arance in the ope ra -fo r no study o fcharacte r whate ve r is possible in the — case of a me re alle gorical pe rsonage such as this his ’ final coming as deus ex m acbinato give the comple ting the e the e e e Th touch to drama is w ak in xtr m . e “ - ” e nding of Orfeo is an e xcursion in anti Climax 5 the re al e n do f the inte re st o f the play is at the swooning o fEu rydiCCD

o f e Gluck , cours , had still his position to main the e he e tain at Court at Vi nna, and found hims lf e e e e e the e comp ll d, tim aft r tim , to fill up int rvals be twe e n his gre ate r ope ras with the customary e phe me ral works inte nde d for perform ance at some impe rial r e e A e ce re mony o at som country hous . bout a y ar afte r the pe rformance o f Orfeo he is suppose d to have ‘ — Lue 1 7 6 2 17 69 6 9

* se t Ez io e e -ac t e e o f to music , a thr op ra by M tastasio, ofthe e which only part s cond act is known . In the followi n g ye ar he re ce ive d from Dancourt

o f e Le e e e Les an adaptation a farc by Sag , ntitl d

P ilerins de la Mec ue he se t q , which to music as a

‘ ' “ h e e e h comic op e ra in thre e ac ts . l I av suppr ss d te ” “ e e z z lic ntious in it, writ s Dura o to Favart, and I have only pre se rve d the more noble portion and such comic sc e ne s as could go along with it 5 I have n o the e e e doubt that po m, thus arrang d in accordanc the e o f the e with actual tast nation, will mak its e e e the o f mark, sp cially as it is support d by music

. e e e e . M Gluck, a man incont stably uniqu in his sph r I would like the pi e ce yo u are to adapt to b e tre ate d in e e e e this spirit . I think I hav alr ady, in my pr c ding e e e o u e o n l tt rs, communicat d to y my id as this e do n o te e e e e e matt r 5 but I h sitat to r p at th m, b ing ” e e e e e anxious for th m to hav th ir full ff ct . I Duraz z o me anwhile had se tabout having the score o fO eo e e e P rf ngrav d, and had s nt it to Favart at aris, b e m e th gg g him to tak e matte r in hand . Favart e e o n e e to hand d it to Mondonvill , who, b ing appli d ,

' e e the e 8 1 e u stimat d probabl cost at about 00 ivr s . O the e o f e e r was coming to ngraving it, how v , it found

It is not c e rtain wh e th e r thi s op e ra was re ally writte n s e De c e e e s e e at thi tim ( . or tw lv y ar arli r the work p erforme d on the pre s e nt occas ion be ing a re susc i fthe d o n — tatio n o e e . S e e x 1 2 . ol r Mar , I . 33 T Thi s is the work which has alre ady b e e n de scrib e das a encontre im révue L r p .

Le e du e D z z aFavart1 1 6 1 ttr Comt ura o , 9 Nov. 7 3, in

De sn o ire s te rre s . 2 . , p 5 7 0 Gluck andtire Opera

* to b e e e full of rrors and omissions, and Favart pass d he The e t e o n e . scor to Duni for corr ction latt r, e e e how v r, thinking it an opportunity to gain som e e profit for hims lf, gav Favart what was probably an n f he o f the e xagge rate d accou t o t confusion score . ” e to z z o n the 1 A Duni , writ s Favart Dura o 9th pril, “ 1 6 e o f the e ed 7 3, has mad a mountain scor of Eu ridice 5 he says he could only unde rtake the task o f ’ the e rf rs e e corre cting copyist s o for 5 0 0 livr s . I hav the e Philido r e so Shown scor to , who is not n arly difli c u ltto de al with ; he offe rs to corre ct the false n e e e the e o f the ot s gratis, and to sup rint nd ngraving work pe rsonally ; he only asks a single copy from e e He e e he e Your Exc ll ncy . has xamin d t op ra ’ atte ntive ly ; he finds that the copyist s e rrors are n o t ve ry nume rous ; he is e nchante d with the be auty o f the work ; in se ve ral place s he has she d te ars o f e e He has e fo pl asur . always had a gr at admiration r the tale nt o fthe Che valie r Gluck ; but his e ste e m has grown into ve ne ration since he has be come acquainte d

Or eo we c an o o n e d e he with f . So g imm iat ly with t e the e e o f ngraving without n c ssity waiting for M . A fte r some little trouble Favart manage d to e e z z e obtain a r mittanc from Dura o, who had appar ntly e e e the e ov rlook d this pr liminary, and work was tak n Philido r e e f in hand . has b n accuse d o appropriating

the e o f the Cbia m o il m io ben cosi m lody air, , and, by

B e rlioz has pointe dout in de tail the almos t incre dibl e “ e e s s e ss o f the m e o fhis s e s S e e A car l n Gluck in att r cor . ”

e s s . 2 0 1 2 0 2 . trav r chant , pp , ‘ te rre s 1 De sn o u e s . . , pp 5 3, 54 — Life : 1 7 6 2 1 7 69 7 1

e o f e e e e m ans a littl d xt rous manipulation, conv rting it ’ o wn e Nous etions da m im e a e to his us s for an air, g , in his Le S orcier T he e comic ope ra . fraud was point d e d e e z o u t e e an . e s by S v ling s, lat r by B rlio F ti e e e the e m u s1c 1an o n the d f nd d Fr nch , ground that a comparison o f date s prove s the ope ra in que stion to have bee n pe rforme d be fore the publication o f the score o f Orfeo ; to which it is re plie d that the above quote d le tte r o f Favartto D u raz z o shows that some nine months had e lapse d be twe e n the time whe n Philido r r e ce ive d the Orfeo and the pe rformance of Le r The e e e o f e S orcie . curious in th s matt rs lit rary squabbling will find the subj e ct thrashe d o u tby z e sn o ire te rre s B e rlio and D s . A tthe coronation o fthe A rchduk e Jose ph as King o f the ran k fo rt-o u - o n the rd Romans at F Main, 3 A 1 6 07 230 e e e pril, 7 4, 7 was produc d with gr at succ ss . e e e e ffi e n Shortly aft r, Gluck s v r d his o cial conn ctio the the e 1 6 with Court, although in b ginning of 7 5 ,

the e o f e . he s e tto 11 for marriag Jos ph II , music

P arnasso con u so e Sc hOn b ru n n f , which was produc d at .

u e e A e Le Four archd ch ss s sang in it, and rchduk opold e n the o tho f he e conduct d . O 3 tsam month (January)

Telem a cco e . A e La was again produc d noth r work, Corona (words by Me tastasio) which was inte nde d fo r the e e o f the e - the e r c l bration nam day of Emp ro , ’ was re nde re d unne ce ssary by the m onarch s sudde n e e e the e o f the e o f d ath . M anwhil ngraving scor Or eo e z z f was approaching compl tion, and Dura o was astonishe d to find that the e xpe nse s had run to ne arly e the e e had 000 e . 3 livr s Gluck hims lf, in m antim , m e P z z e ad a Short visit to aris, Dura o b gging Favart 7 2 Gluck andtbc Opera

to give him all the information he might nee d about “ the e P e e o u tast of aris at that tim . I will s nd y ” “ he e the e e b e also, wrot , l tt r I wish to put in front o fthe e o fO eo b e e e as n scor rf , which must corr ct d soo as Gluck re ache s Paris ; and to this I b e g you to e he e e forc him, for is naturally indol nt and v ry ” indiffe re nt about his own works . ‘ The e Or eo e 1 6 e e scor of y sold v ry badly 5 in 7 7, thr e e e 1e e e y ars aft r its publication, only nin cop s had b n s e e o r z z o old, and it is not known wh th r not D ura inde mnifie d Favartfor the e xpe nse he had bee n

put to . e e e O eo e the the Fiv y ars aft r rf , Gluck gav to world se cond o f the gre at works that we re de stine d to immortalise his nam e ; Alces te was produce d at the e e e o n the 1 6 e e e 1 6 Vi nna Court Th atr th D c mb r 7 7 . e e C alz abi i c o - e e H r again g had op rat d with him, and the re sult was a libre tto gre atly supe rior to that o f

Or eo o f e e e e e . A t f , and, n c ssity, l ading to a fin r op ra a e e e the e P lat r p riod, wh n work was giv n in aris, e e s e the Gluck alt r d it in om particulars, notably at ’ e n d e e C alz abi i s e e , wh r g conclusion is disp ns d with — — and a n e w characte r He rcule s is introduce d as deus ex m ac/rind the e e e , words b ing suppli d by Du Roull t . b e e e e e the e It will b st, how v r, to consid r op ra in this e the e e e plac , as notwithstanding alt rations subs qu ntly e its e e e Or eo e e the mad , tru plac is aft r f and b for works ’ e n o fGluck s Fr ch pe riod . The ove rture to dlces te is a notable triumph o f e e the e e e dramatic xpr ssion, and is all mor r markabl by its comple te contrast with the aimle ss futility of the ’ r o ove rture to Ofi . Gluck s hold upon dramatic fe e ling

74 Gluck andtire Opera

e e e he e e ee and passionat lyrism . H r t dil mma is b tw n the dramatic form and the forms o f pure instrume ntal e e e o f music . Gluck is r ally aiming, in a t ntativ kind - e o f e . way, at a primitiv form sonata structur But in m usic writte n in this form the the m e s should b e e e e e e strongly contrast d . Now Gluck do s ind d mploy e e the e e the two th m s, looking at ov rtur broadly, but The contrast be twe e n the m is e xce e dingly faint . e e o n e o f e contrast, ind d, is mainly m lody and harmony ; the ide a e xpre sse d in both is the same passionate grie f ’ e A n d e e and d spair . it was Gluck s true dramatic s ns e o f e fflces te that k pt him to this uniformity id a, for is - pre e mine ntly a drama o fo n e ide a 5 the burde n o f the e play is sorrow and lam ntation, which Simply shifts from A dme tus at the be ginning o f the drama to A the e e the lce stis in subse qu nt acts . This th n was ’ u e o f e e b e nconscious dil mma Gluck . Th r can no re asonable doubt that had the subj e ct o fthe ope ra bee n e e e e - e m e o f mor vari d, had it b n duo th atic inst ad - e he e e e e mono th matic, would hav writt n an ov rtur e e e e e e an d r pr s nting both th s asp cts, anticipating in e e e e e som d gr such a composition, for instanc , as ’ z Ma ic Flu te e e he o f Mo art s g ov rtur , though would course have tre ate d it le ss s ymphonically and with le ss we alth o fte chnical display. e e e e n o It is notic abl , too, that this ov rtur has formal e e five clos , but l ads forthwith into a short chorus of “ O s e e o u r n o u r e bars, god , r stor to us ki g, fath r ’ The e e P e o f the e sc n is at h ra, in front king s hous , the e e are e e e e e the and p opl gath r d th r , awaiting n ws of A e e e is e de ath o f dm tus . A trump t fanfar h ard ; a h e raldste ps forward an dannounce s that the king is — Lye : 1 7 6 2 1 7 69 5

the o f e e o f now at point d ath, human aid b ing no e The e e avail to sav him . r citativ in which this is e e e e e the spok n is fin ly xpr ssiv , and following chorus e s o e e e is almost qually , its dignity, how v r, b ing slightly marre d by a suspicion o f artific iality in the e e o f the e e the tr atm nt s cond portion . Evand r, o fA e e the e e e confidant dm tus, xhorts p opl to susp nd e e the e o e A e th ir lam ntations 5 palac d ors op n, and lc stis e e h e h rs lf come s forth with e r childre n and att ndants . “ She e e e e O e is gr t d with a doubl chorus, unfortunat A dme tus O unhappy Alce stis O de stiny too crue l ” O fate too heavy l tre ate d some what in the manne r o f the strophe and antistrophe o f the chorus in the e e The he . t Gr k drama chorus is in minor, and a ve ry sombre and ye tpi e rcing e ffe ct is give n to it by the constant e mployme nt o f the chord o f the dimin i h d e e A e e e e e s e s v nth . lc stis r pli s in a r citativ that ‘ e Or eo e e o u t again shows an advanc on y , and th n br aks “ ada io O e the o f into an aria ( g ) , gods, r lax rigour my fate which afte r a short m odera to passage le ads

e e a lle ro c an abruptly into a mor passionat g , Nothing ” ’ e e e e qual my d spair, which is p rhaps Gluck s fin st

e e e e o f fire achi v m nt up to this tim . It is full and the the mobility, and both downward modulations on e e he r e the e words addr ss d to childr n, and agitat d e e S he e se e he r orch stral figur as pr s s th m to bosom, Show the comple te r maste ry the compose r has now e e the vo c ab u lar f attain d ov r y o his art . T he e e e e e the e s att ndants and p opl r p at pr viou chorus, O unfortunate A dme tus and Alce stis summons

I n th e Fre nch s core . 7 6 Gluck andtire Opera

e to e her the e e e e ffe e th m att nd in t mpl , th r to o r th ir supplications to the gods 5 and th e y quit the stage to the e accompanim nt o fthe first chorus . The e e e the e e o fA n xt sc n is in t mpl pollo, showing the T he statue o f the god and the sacre d tripod . High Pri e st and the atte ndants are pre paring for a sacrifice 5 the ir pre parations are inte rrupte d by the “ e e o fA e he r e The e ntranc lc stis and p ople . pantomim e e the e e e e that tak s plac in t mpl , with its xquisit — — simplicity o f scoring strings an d flute s is we ll h f he known . T e following chorus and solo o t High Pri e st are in some re spe cts the fin e st passage s in the e e e e he whol op ra . To an agitat d accompanim nt e the e e the implor s god to hav m rcy on dying man, and to re me mbe r the time wh e n A dme tus had she l tere d the d s e him in ays of his trouble and bani hm nt . N o tthe le ast n ote worthy thing is that the pie ce is in e ffi e e 5 tim , which it is usually di cult to tr at grav ly e e e e e e and impr ssive ly . Th r is som thing t rribl in this e e e e music, with its agonising th m and its f v rish re p e titions 5 it re minds us some what o fthe scene with ’ the prie sts o fBaal on the mountain in M e nde lssohn s ’ El ab e e e e e o f i/ , xc pt that Gluck s sc n has mor wild e o f o f e k e e e abandonm nt passion, almost unsp a abl xcit e me nt strivin g to mak e itse lfarticulat . Dramatically it he e s wa fo r is as fin e as anything e ve r wrote . It giv y a e e e the P e e mom nt to a r citativ for High ri st, and is th n e A e e e ffe e tak n up again . r markabl ct is produc d by the e e e e o f e z contrast b tw n all this int nsity human fr n y, the e o fm e n e moving and g sticulating swarm and wom n, and the statue squ e immobility o fthe image o fA pollo ; the e e o f e e ffe m r contrast its lf is full of dramatic ct .

7 8 Gluck andtile Opera again the orche stra has a part o fthe utmost importance to play ; it e mphasise s the vocal utte rance at e ve ry point in the most varie d manner . In a vigorous re citative Alce stis calls upon the gods to acce pt he r e th P e e e sacrific , and e High ri st, taking it in th ir nam , e he r A e e e e t lls that dm tus is now r stor d to h alth again, an dthat at the close o f day he r sacrifice will b e “ de mande d o f he r I will haste n to fulfil a duty so ” e m e e e A e e o u t the d ar to , r pli s lc stis, and br aks into e e e D ivinités da S tx e z e c l brat d aria, y . B rlio has point d o u thow the pe culiaritie s o f the Fre nch translation compe lle d Gluck to alte r the arrange me nt o f the e the e the syllabl s in Italian scor , by which dramatic e ffe ct he had primarily achi e ve d was some what

e e e . I s e e e e w ak n d it possibl to b li v that Gluck, in orde r to comply with the e xige ncie s o f Fre nch ve rsific atio n the e e o f or impot nc his translation, should e e e dis fi u re o r e e hav cons nt d to g , , to sp ak mor justly, to de stroy the marve llous arrange me nt o f the ope ning o f e he fo r the e so this incomparabl air, which has r st a e e e ! ! e t th Th dvantag ously alt r d this is e truth . e first ve rse o fthe Italian te xt is this

mbre [ arr/ e com a ne di m orte O , , p g

The om bre the e first word, , with which air b gins, e s e t the two e o f the b ing to long not s, which first can

b e e e o u t e the e e to and ought to sw ll d , giv s voic tim e e e e the e e o f the e n d v lop its lf, and mak s r spons inf r al e e e e the the e gods, r pr s nt d by horns and trombon s, e the e as th much mor striking, song c asing just e e c r is e the e instrum ntal y h ard . It is sam with the two ) — Luz : 1 7 6 2 1 7 69 7 9

e e the the sounds writt n a third high r than first two, for

e the e s e larv. e cond word In Fr nch translation, inst ad o f the two m l ht e e e Italian words, which g hav b n e e e s e we e translat d ntir by simply adding an to ach, hav

D ivinités du S tx e e e o fo n e y , cons qu ntly, inst ad organic e e e e the e the e e phras , xc ll nt for voic , and with s ns e e e o n e the e e e contain d compl t ly in bar, chang r nd rs n e ce ssary five insipid re pe titions o f the same note for the five e di—vi—ni—tis da the S tx e syllabl s , word y b ing e the e e the e the plac d in succ ding bar, at mom nt of e ntry o fthe wind instrume nts and the fortissimo of the e re e e e orch stra, which crush it and p v nt its b ing h ard . the e e e m e e the e e So that, s ns b ing inco pl t in bar wh r the e e e the e e m lody is fr to Show, orch stra app ars to e e b e e e nt r too soon, and to r sponding to an unfinish d

e e e the e com a ne di int rp llation . Furth r, Italian phras p g m orte the e e e so e , on which voic can d ploy its lf fin ly, e e e the e e e b ing suppr ss d in Fr nch , and a sil nc sub e e e the e stitut d for it, l av s a lacuna in m lody which an u s t1f The fin e e o f the e nothing c j y. id a compos r b e e e e e would r produc d without any alt ration, if, inst ad o f the e e we e e the words I hav not d, w r to adopt following

’ mbres [ arr/ es ales com a nes de la mort O , , p p g

u e the In this aria, again, Gl ck constantly chang s

e andan te ada io andan te u n oco a nda nte len to tim ( , g , , p , , a ndante len to a nda nte ex ressive res to a ndan te , , p , p , , ada io a ndn t b e e e a e . g , ) From this it will s n how strongly such an aria partake s o f the . characte r o f

“ A e s s 1 2 I ° trav r chant , pP 7 , 7 3 80 Gluck andtlze Opera

A he painting . lthough had partly give n up the o ld

e to e e leicb niss-z frie he was att mpt imitat natur (g ) , still making the atte mpt at a kind o f de scriptive surve y o f h e f t i te passions by m ans o changing emp and rhythms . Ho w far this was re nde re d ne ce ssary by the nature of the ff e the is o f groundwork a ord d him in words it , e e sa we c an b e e cours , impossibl to y ; what c rtain about is the maste rly manne r in which Glu ck has e e e e o fthe e accomplish d this d scriptiv surv y motions . the n e the e e In Italia scor , s cond act Op ns with a e e e e P e e the sc n in a gloomy for st n ar h ra, sacr d to e the e - A e pow rs of und r world . It is night . lc stis is e the e e e e hast ning through for st, accompani d by Ism n , e he r e e e he r She who, susp cting purpos , nquir s Of why e e he r e A e s c o m thus l av s husband and childr n . lc tis he r b e e e e e mands to sil nt and ob y, and aft r furth r e h r Le e she e e e e . to wand ring dismiss s ft alon , r alis s the the the e s o f full all horrors, f arful sights and sound h r e he the e e e e . S for st, but purpos is unchang abl calls o n the e e e the e ghostly pow rs, and is answ r d by invisibl “ Thanatos, What wouldst thou Gradually through the darkne ss s he be gins to disce rn his fe arful form and e c an he r ghastly livid fac ; but nothing now turn back, e e e She e e to die she and to his qu stion wh th r is r solv d , boldly answe rs ! e s Her sacrifice is acce pte dby e s her e e the Thanatos, who invit to d sc nd into gloom with him 5 the ghos tly ste e rsman waits fo r he r o n the she e s banks of Styx . But obtains p rmis ion first to

e u P e to A e he r e r t rn to h ra, bid dm tus and childr n he e the i e fare we ll 5 and r e xit is mad to accompan m nt e the o fa horrible pantomim by spirits . It will at once b e unde rstood what an opportunity

8 2 Gluck a ndt/ze Opera c haracte r ; an indication o f the e xtre me ly re alistic mann e r in which Gluck was able to conce ive not only the e e o f e b u tthe e m ntal stat s his charact rs, prop r

physical corre lative s o fthe se state s . A e e e o fthe s e e e e ft r a r p tition choru , gr tings tak plac e e b twe e n the re cove re d king and his subj cts . Nothing could we ll b e fin e r than the be autiful re citative o f “ ” A e O e ! O e ! dm tus, my childr n my fri nds with the dolorous wailing phrase in the orche stra ( in e e e e e e D minor ; r p at d lat r in F minor) , that s ms to “ link itse lf by association with the poignant se cond ” A e e he s ubj e ct of the ove rture . dm tus inquir s t e o f e e e the m aning his r storation to lif , and h ars for first time o f the unknown o n e who has voluntarily ” e e he gone to de ath for him . O f arful oracl ! e the e e xclaims 5 but chorus br ak in again, int rrupting e The is e e e his words of prot st . chorus sp cially notic a e e the e bl for a charming quart tt in middl portion . e A e e the e e Th n, just as dm tus is wond ring at abs nc o f A e the e e e e e lc stis, qu n h rs lf app ars, slowly and

s the e e mournfully, and in gloomy contra t with g n ral e The e appe arance o f f stivity . chorus again xhort to e e e e e A e m rrim nt, int rrupt d for a mom nt by lc stis with a o f e e he r poignant cry pain, that s ms wrung from e e e e e m e o f e s cr t h art, Th ir songs r mind my gri f 5 an d e e e a e A e aft r anoth r short r cit tiv by dm tus, who is

the e his e e e e the happy in lov of p opl , th r follows e xquisite chorus which als o doe s duty in the first sce ne o fP a ris a ndH elen e , D ck your brows with garlands ” T he e e e n e w. Short int rcalary passag giv n to Alce stis during a mome ntary ce s sation o f the chorus is o ne o f ’ e dam atic e ff O u t Gluck s high st i orts 5 gods, s s ain my — Life : 1 7 6 2 1 7 6 9 8 3

e e e o e e n e courag 5 my xc ss fgri f I cannot hid . I spit o f e the e e e s 1s m mys lf, t ars fall from my y . It his e e the e b st mann r throughout ; voic part, which is e e e e confin d within v ry narrow limits, sugg sts utt r we arine ss and de spair o f soul ; while the fine ly graduate d sway and undulation o f the orche stra about h A e te voice add a furthe r e le me nt o f sorrow . dm tus n o w e he r the e o f he r e qu stions as to m aning sadn ss, she c an e A his e but only answ r, las and xhorta are e e e he he r tions to joy vain . His f ars incr as asks in acce nts o fpassionate rapidity to te ll him the me aning “ o f all e e m e e he it . Do you no long r lov , th n he r she e e T he e e asks 5 and r pli s, gods who hav h ard ” e e ! my vows and my sighs, th y know I lov you He r e e e e e fe short aria, N v r hav I ch rish d my li but ” fo r e e e e you alon , is unn c ssary in this plac , and is a we ake ning of the dramatic te xture ; it re ta rds and hinde rs the full swe e p o f passion o n to the sce ne wh e re she is force d to te ll him that it is She who has

' ffe e e e the fo r s he o r d h rs lf to gods him, and who must die e e e e e in his st ad . This sc n Gluck manag s v ry e the e e e fin ly, bringing catastroph to a h ad in a du t in e e e e e e e r citativ , incr asing in int nsity v ry mom nt, up to “ the e o f the e e n A n d slow d spairing cry qu , who but A lce stis should die for you ! The chorus add the ir o f e to o f A e strain astonishm nt and sorrow that dm tus, who bre aks o u tinto passionate de nunciation o f he r ac t e e e e to ffe e , and d clar s his r solv o r hims lf again to the o r e o wn gods as a victim, failing that to tak his e he b e e A e . lif , that may not part d from lc stis It is difli c u lt e e the to charact ris music to this sce ne . It is hardly re citative 5 pe rhaps it more ne arly approache s 84 Gluck andtlze Opera

e the e e e e o fthe e . d clamation, in g n ral s ns t rm Gluck is at his highe st pitch o f abandonme nt he re 5 ne ve r in e e e the e - e e e e the his r citativ hav h art b ats b n so viol nt, f pulse so fe ve rish 5 he is carri e d a a flood o passion so swift and so turbule nt th time is le ft him to colle ct and arrange his ide as according to any e e He the d finit forms . is hardly writing music, in

u e he e e signification that word sually carri s 5 is loqu nt,

e e . 1 1 15 e o n e e n rh torical, for nsic This sp r t carri d v ” the O r e o n e e e into aria, c u l , wh r an additional poignancy o fe xpre ssion is importe d into the orche stra s the e n d A e n e e f as, toward , dm tus, havi g lash d hims l e e e into a fury of gri f and ang r, rush s wildly from A lce stis . e he e S he fo r e the Wh n is gon prays him, whil pe ople mourn he r too e arly de ath in a chorus of e xqu i e e e sit simplicity and b auty . Bidding th m not to mourn fo r he r she e e e he r e s u n an , h rs lf b wails s tting in aria e e e fo r e long and justly c l brat d its pathos, its b auty, e e e e he r e e be and its d p dramatic pow r . Th n r gr t come s more mordant ; s he bre aks into a passionate c ry in the mann e r o f the pr e vious re citative o f h A e . e e e te dm tus Int rrupt d for a mom nt by chorus, “ Ohhow the dre am of life fli e s rapidly away ! like a ” dying flowe r with e re d by the wind ! to the philo Sophical me aning o fwhich Gl u ck has give n an e xtra

fin e e e s he e f o ordinarily xpr ssion, br aks orth again int he r e s e s e e d liriou csta y of gri f and d spair . Atthe e o f the d ac t the n b ginning thir , in Italia e A e e i s e the scor , dm tus is wand r ng about di tract dly in e He e e de corate d hall of his palac . has mad th m i nquire of the oracle once more 5 Evand e r e nte rs and

86 Gluck andtile Opera

the o f role o f work again, but with addition this . e e the e n do f the H rcul s, which, coming in towards

’ a a e e e the dinozim en t dr m , had no int r st and no purpos ; e e the e e o f A b ing possibl Simply with int rv ntion pollo, al a u n as C z b igi had writte n it . It was an fortunate ide a that had bee n sugge ste d to Du Roulle t re rise we m a e for this p , and y suppos that Gluck, to whom it was no doubt submitte d in le tte rs to him at e e e e he n e Vi nna, only adopt d it r luctantly, Sinc obsti at ly e e e the n e A r fus d to writ an air for w characte r . young Fre nch musician name d G o sse c was the re fore ” commissione d to write it . The re is re ally not much to choose be twe e n the two e o r t e ffe ndings in point of dramatic, undrama ic, ct ; e e e e the re n Ch Alces te has ach is ss ntially w ak . B ut F be e n de cide dly vulgarise d by the introduction o f the swashbuckle r He rcul e s . The act be gins with Evande r and the chorus mourn “ the e e n d o fA e the e e ing untim ly lc stis, chorus W p, I O The ssaly be ing that which in the Italian score was sung as Alce stis disappe are d with the ministe rs

o f e . e e e e d ath It is d ply and painfully impr ssiv , and its sombre e ffe ct is h e ighte n e d by an inn e r chorus o f e re pe ating it as a kind sorrowful cho . The n e e e e ff e H rcul s nt rs, announcing in an a abl way that ’ having se i z e d a mome nt s re s t from the toils impose d on the e he e e his him by implacabl Juno, has com to r visit On e e o n e fri e nd A dme tus . b ing inform d by of the

e o f the s e o f A e o f the att ndants acrific lc stis, and

e e o f A e s he r the e he r solv dm tu to follow into shad s, de clare s his ability and his de te rmination to re scue he r e e o n the e e , s tting forth his vi ws subj ct in a v ry — 1 7 6 2 1 7 6 9

“ e e o n ranting aria, In vain H ll r ckons its victims . the we are b e e This is aria which , glad to assur d, is o s n o tfrom the pe n of Gluck but from that of G s e c . M e anwhile A lce stis is groping about painfully an d e the o f the u e - d he r s o u l f arfully in gloom nd r worl , a d fthe e He r fin e pre y to all the dre a ful horrors o plac . re citativ e is inte rrupte d by the chorus o f spirits “ U o n e e e e ! nhappy , wh r go st thou Thou shalt e the e o f No de sce nd to the dark riv r at clos day . t — long shalt thou tarry he re ! in which the voice s e e u e the e maintain a singl not througho t, whil orch stra we ave s its sombre harmony about it in passionate The — s e . e unr st scoring string , horns, trombon s, — e e The clarin e tte s is particularly impr ssiv . whole e e passag has an iron rigidity, som thing chilling,

e - e e e e e e r t rror striking, in xorabl , that mak s it v n a fin e fthe e the T h utte ranc than that o oracl in first act . e succe e ding aria is distinctly lowe r in conc e ption and in e e xe cution ; it is thoroughly cold and artificial . H re A e e e her e e e e lc stis m ts husband, whos pray r has b n e e e the an d e e r j ct d by gods, who has com to p rish with T he s he e he r. aria in which conjur s him to re turn u e e the e o n e and g ard his childr n is, lik pr vious , ine xpre ssibly poor and glacial . It is strang e that afte r this should come a sce n e that has many Claims to b e “ e e the e s the e ! e r gard d as fin t in Op ra . What liv ” “ e e ! e A e L e without th xclaims dm tus . iv to abhor the o f e e the e s o f light h av n and cru l god , authors all o u r e o n e e tOrn ill to drag lif through t rribl days, by n e w torme nts Oh He ave n A lce stis A n dth e n “ he e o u t e A e br aks into that wond rful air, lc stis, in the e the e the e nam of gods, b hold fat that is crushing 8 8 Gluck andtire Opera

[ 93 m e in which Gluck attains a m aste ry o f his mate rials such as he has nowhe re surpasse d 5 in which e e e e e re- e e voic and orch stra bl nd and s parat and unit , ach e the e the e giving lif unto oth r, till spirit that animat s e e e th m is absolute ly o n e and indivisible . Nowh r has he tre ate d the orche stra s o organically ; he give s it a e e e e o f writhing th m , similar in xpr ssion, though e the e - o n e cours not in actual form, to w ll known at “ ’ ” the e e e o f Tann hau se r s P e comm nc m nt ilgrimag , which we ave s in and o u tamong the vocal the me s with a e e the e the p culiar sinuous motion , whil climax com s in e e c r the e n do fthe e e marv llous asc nding y at aria, wh r e e e e s e o n wav s ms to follow wav , pa sion to pr ss passion . U nfortunate ly the succe e ding sce ne s be twe e n the m are e e a e s almost commonplac , and wh n Than tos app ar , e A e he r t lling lc stis that Charon awaits , and warning he r o f the conse que nce s to A dme tus if she fails in c e his b an al the ourag now, aria is and undramatic in e e e e the e e xtr m , b longing to sam showy and sup rficial f e class as the pre vious air o He rcule s . L thim live c e A e e o fthe e o f A e ri s lc stis, in spit prot st dm tus, and the e e the e o f chorus br aks in sombr ly, till voic e e o n e s A dme tus rise s abov th m in last pa sionate cry . he he r e e e e Just as is about to follow , how v r, H rcul s a e o n the e e the e e are pp ars sc n , and pow rs of d ath the e e e e e e vanquishe d . But op ra has alr ady d g n rat d d we are e the sa ly, and not now surpris d at thoroughly Gallic e xchange s o fcomplime nts be twe e n the god and the king

ER ES the ds o f f e ds e e ve m H C L . U From han ri n hip r c i , y de Ad e s the O e o f ar m tu , worthy bj ct thy s s pa ion .

9 0 Gluck andtlze Opera

o f e e e o f e e e conc ption , all high str nuousn ss purpos , w r utte rly in e ffic ac io u s whe n the lib re tt1stwas allowe d to pe rpe trate his manifold inaniti e s unch e cke d ; the gre ate st subj e ct fo r wonde r is that both in the last e e e e c ntury and in this, compos rs hav manag d to produce s o much fin e work unde r circumstance s o f such unmitigate d stupidity o n the part o f the ir c o l lab o rato r s . The te nor in the Vie nne se pe rformance o f Alces te ’ was Tibaldi , who had sung at Bologna in Gluck s

Il Trion di Clelia 1 6 W e are fi in 7 2 . told that his e n e e e e e he upp r ot s had d t riorat d som what, but that more than made up for this by his supe rb acting T he A e and his inte llige nt facial e xpre ssion . lc stis

e Bu o n asc o si e was Madam , who till th n had only sung He r e o f A e in comic parts . imp rsonation lc stis was so fin e that she be cam e the re cognise d e xpone nt o f ’ "6 s The e e e e e Gluck s mu ic . op ra do s not s m to hav be e n at once succe ssful ; it was probably too gloomy and too se ve re for the Italiani s e d Vi e nne se se ns e o f “ ” “ ! e the e e that day . What they cri d, th atr is e fo r e he the e we clos d nin days, and t n on t nth simply assist at a re qui e m Oth e rs said th e y had come to

e e s en nui . On e w p through compa sion, not through “ e his e k e e want d mon y bac ; anoth r, mor cynical, ask e d what ple asure o n e could find in the j e re miads of ” e he r hu n h an idiot who di d for sb an d. i O te othe r

e e h e e e e dlces te m e t hand, among mor nlig t n d h ar rs, with a re cognition that would e asily console Gluck

x 2 Mar , i . 39 . D n o r ste r 6 6 f e s i e r e s . . , pp 3, 4 — Lye : 1 7 6 2 1 7 69 9 1

' “ fo r the e e o f the P e e e e disparag m nt hilistin l m nt . I ” the o f e e e e am in land marv ls, wrot Sonn nf ls in his ‘ Brie e iiber die FVieners cb aubiib n e o r e y , a day two aft r the e the e o f e e e e battl , r sult which for a littl tim app ar d “ e e e cas tra ti s unc rtain ; a s rious op ra without , mu ic e —o r e e e without solf ggi to sp ak mor corr ctly, without — gurgling an Italian poe m without bombast and — without atte mpts at wit such is the tripl e prodigy ” e A n d with which the Court The atr has ope ne d . pe rhaps the be st me asure o fthe succe ss dlces te wo n is the f o e in e fact that it ran o r tw y ars Vi nna . The e e e 1 6 the e e scor was ngrav d in 7 9, and in c l b rate d de dicatory e pistle to the Grand Duke o f e e o f Tuscany, Gluck formulat s that th ory his art which has be e n the starting-point o fs o much ae sthe tic ‘ l‘ b e e s e e late r. discussion . It will quot d and con id r d

e e the r o f the e e Two y ars aft r, thi d gr at op ras,

“ d e 6 S e u n . e . Nohl , Gluck Wagn r, p 5 " “ 1 De sn o ire s te rre s has the f : A e ollowing not by Brack , the s o f e e s the e d o f s tran lator Burn y, attribut r action thi ‘ ’ he A é e T s e f s e s e t . e he s pi tl to bb Colt llini hi pr ac , ay , ‘ is s e e e o f s e e d an d m u sic al which a ma t rpi c ta t , ru ition, e s was e the A é e ds r a oning, writt n by bb Colt llini , a i tin i h as e The s gu s e d p oe t who w th n at Vi e nna . Engli h e s was s e o f author, who attribut it to Gluck , ur ly ignorant s m s e as was e the o f the thi circu tanc , , in Franc , author Mercure o f 1 6 e s s s the G e t 7 9, who giv thi compo ition to m an s e s e de s an dd e s the compo r, who i a ramatic conc p tion e was n o d De sn o ire s te rre s p o t oubt only , ’ 66 ote s as de e xe . n . s e w e d s o p , Gluck own tyl , in , truly crabl e that th e re is no difficulty in b e lie ving the pre fac e Alceste e e e e fo r to to hav b n writt n him . 9 2 Gluck andtlze Opera

The P a ride ed Elen a e e . , was produc d at Vi nna ’ - the poe t s name doe s not appe ar on the title page o f th s core 5 but it is e vide nt from a le tte r by Gluck to e

Mercure de Fra nce e e r C alz abi i , four y ars lat , that g was “ to again the lib re ttis tfi H e re again Gluck pre fixe d th e e score an e pistle de dicatory ; it may b e quot d “ he re : I only de te rmine d to publi s h the music o f “ Alces te he the e o f , says, in hop finding imitators 5 I was bold e nough to flatte r myse lf that in following the

e e e e u b e e path I had op n d out, p opl wo ld mov d to de stroy the abuse s that had be e n introduce d into e the o f e Italian op ra to dishonouring it . I conf ss with sorrow that up to the pre se nt I have trie d in vain .

The dem i-sa va n ts the e o f e — a e e , prof ssors tast sp ci s e e s unhappily too num rous, and at all pochs a thou and time s more pe rnicious to the progre ss o f the fin e arts — than that o f the ignorant have bande d the mse lve s

e e e e e e tog th r against a m thod which, if it w r onc e e e e e e stablish d, would annihilat th ir pr t nsions . “ It has be e n thought possible to criticise dlces te e e e e e an ds e aft r chaotic r h arsals, badly dir ct d till mor badly e xe cute d 5 the y have calculate d in an apartme nt the e ffe the e e e te ct op ra might produc in a th a r , with the same sagacity as in a Gre e k town the y once tri e d e the e fe w e e the e ffe o f to judg , at distanc of a f t, ct e e the s s o f statue s d stin d for ummit lofty columns . On e o f those d e licate amate urs who put th e ir whole te e e d soul into h ir ars will hav foun an air too harsh, a e x e s e o r e e transition too strongly pr s d, badly pr par d, e the without consid ring that, in situation, this air or

a x . M r , i . 397

9 4 Gluck andtlze Opera

Such was the de dication o f P a ris a ndH elen to the e o f z the e e e n Duk Bragan a, in scor publish d at Vi n a 1 0 e e e e e e the in 77 . H l n, it is n c ssary to pr mis , is not late r he roine of Troy 5 the story de als with he r in the time be fore s he had be com e the bane of Ilion ; and although Me ne laus is incide ntally me ntion e d in the e the he e e cours of work, do s not app ar in it as an e T he e e e actual charact r . op ra is simply conc rn d with the o f the the P a wooing Spartan by hrygi n, his e he r e e pl ading and final surr nd r . The e e e e e o f ov rtur is in thr s ctions, but a totally “ ” ffe e h l e e di r nt nature from te o d symphony . B sid s e e e e o f the e b ing musically int r sting, ach s ctions has e e e e e the e r e r f r nc to and is pr paratory to op a its lf, and o n e o r two sugge s tions from the ove rture actually

e e e o n s e e e the e r app ar lat r . E p cially notic abl is middl

e e m odera to con ex ression e A Of pi c , p , in minor, an x e e quisit ly languorous e xpre ssion . - The first act ope ns on the se a coast ne ar Sparta 5 all a are the e the e e round t nts of Trojans, whil th ir ships are e the e e are ffe visibl in distanc . Th y making o rings

e the e Non sde nare o to V nus, singing b autiful chorus g ,

bella enere e e dlces te V . , which Gluck has also mploy d in e e e e e e o f e Th r , how v r, it is as ss ntially out plac as in aris andH elen e P P it is appropriat and harmonious . aris inte rrupts his followe rs with an aria in which the c ontras t with the rigid form and h e avy-lade n atmo ’ e o f lces t s ph re ff e is at onc e notice able . Gluck s hand in P aris andH elen was so much fre e r than in e ithe r T o f re he c o u ldSirrre n de r e his p vious works, that hims lf e e e luxuriantly to his mor pur ly lyrical impuls s, that only re quire d a fitting occasion to burst the iron gate s e e ho o fformality and re se rve . It is curious to r fl ct w e 1 6 —1 6 Lif . 7 2 7 9 5 gre atly the compose r who write s only vocal composi tions rs de pe nde nt for his fame upon the nature of the e e We e n v rbal m ate rial that is suppli d to him . hav o ly to conside r Gluck n e ve r having had such a libre tto

as P aris a ndH elen e se e ho w we within his r ach, to would th e re by have misse d the e vide nce of this lyrical side of his ge ni us 5 for P aris a ndH elen stands quite i e e m z Irm da e . apart, v n away fro , among his op ras It is the product o fa frame o fmind so wide ly diffe re nt e the e from that which gav birth to oth rs, that it is with some thing o fbe wilde re d de light that we surre nde r e f ourse lve s to this str am o pure and e ngaging lyrism . A n dit is furthe r notice able that in this ope ra C alz abigi himse lf has also writte n ve rse o f a more ge nuine ly poe tical nature than any he had pre viously produc e d 5 “ ” e e e o f the e c r v rs with som thing r al lyrical y, that ’ f e e e e ound an cho in Gluck s b autiful music . Wh n w

o fthe e e r e e dlces te think oft n fals and tawd y s ntim nt of , fo r e we e ho w the e instanc , can und rstand compos r would fe e l an adde d stimulus to writ e good m usic to ’ such words as those o fParis first aria

Oh de l mio dolc e ardor e Bramato ogg tto, ’ L aure c he tu re spiri Alfin e s r piro . e il d io Ovunqu guar o giro, Le tu e vagh e s embianz e Amor e in m e dipinge ; I l mio p e n sie r sifin ge Le iu e e S e z e p li t p ran , E n e l de s io c he cos i ’ M e m ie il e p p tto, e te te C rco , chiamo , e e s s Sp ro o piro . 9 6 Gluck andtlze Opera

A e the the e e e e ft r aria, first chorus is r p at d in anoth r k e e P e y as a ball t, and aris again br aks forth into song 5 he is e e e e him int rrupt d by a Trojan, who com s to t ll o f e e e The an approaching m ss ng r from Sparta . e e e o ld e who e m ss ng r, in fact, is our fri nd Cupid, com s e e disguis d in Spartan garb, and follow d by a Spartan the e e the e o f train 5 god pass s und r nam Erasto . To the e s o f P qu tion what brings him to Sparta, aris

e e e e o r disclaims any int ntion of s king rich s, honour e e e e e e e e aggrandis m nt, and r counts his xp ri nc s as judg e e e e s P the e o f b tw n V nu , allas, and Juno in tournam nt “ e e he e b auty . Erasto quickly t lls him has r ad his e the e e e to h art, that motiv imp lling him to com e e e e e the o f Sparta has b n lov for H l n, and that aid e e b e e i n e V e nus h rs lf will giv n him his und rtaking . e e P Th n follows a charming du t, in which aris asks in astonishm e nt how Erasto has be e n able thus to discove r e e the e him e his int ntions, whil god assur s that lov is s o plainly writt e n o n his counte nance as to b e le gible A he e e e e e by all . gain promis s in r citativ that H l n h l e his e the e s al b . , ratifi s contract in an aria, and d parts e e e e e e M anwhil , mor Spartans hav b n flocking in, and stand amaz e d at the luxurious pre se nts that are be ing e e the e e n arrang d in ord r by Trojans ; at l ngth,

c o u ra e d e e e e the g by th ir r c ption, th y join visitors in e fe stive danc s . The balle t music of P aris a nd H elen is re mark f r e e e e e e he able throughout o b auty and l ganc . H r t e e e e o f s cond pi c (in C major) , is a pl asing snatch e e the e z h o fthe m lody, mor in styl of Mo art t an in that i Gl u ck o f/ flces te and Ipb genia in Ta uris 5 but the mos t e e e e e e the e e notic abl s ction, p rhaps v n most r markabl

9 8 Gluck andtire Opera

to e the e the o f B ut r turn to op ra, first act which is The e e close d by the s e balle ts . s cond act op ns in a the e e e e e e e room in palac at Sparta, wh r H l n is s at d in the o f he r e an d s he r midst att ndants, with Era to by

e e e e e e the o f sid . Erasto num rat s in r citativ charms P the the e o f the aris, till colloquy is cut short by ntry e e e o f Trojan youth himse lf. Th n com s a dialogu asid e s in re citative

P S e e ! e ds ARI . O qu n ( go E E h do s e e H L N . (W at I ve e ss PARIS . (What lo lin H ELEN e e . (What a count nanc A S s s e z e s s P RI . (Oh what angui h i my oul

e e e e e the P Furth r complim nts pass b tw n pair, aris ’ singing the praise s o f He le n s be auty 5 and finally P e e e e z e aris, H l n and Erasto indulg in a t r tt, in which e the e e e Paris is rath e r bant re d by young qu n . His n xt ” a e e e o f L e we e ria Sw t imag s ov , in which again h ar

u e o fthe e o n e the s gg stions lat r Romantic art, is of most be autiful m e lodie s Gluck e ve r wrote . This finish e s the se cond ac t. A tthe b e in m n the the e e the g g of third, sc n is in c ourtyard of the palace 5 Paris and H e le n e nte r to watch the gam e s that are to b e give n in honour of the e T e e is fin e o f e e e strang r . h r a chorus athl t s, follow d by “ e e e a t nor solo, and this again by an aria of athl t s the e — a for orch stra bold and vigorous composition . the e are e all e e the e Finally, gam s ov r, and l av stag but

P e e . e e e s P aris, H l n and Erasto H l n b g that aris will s he r the e ing to , as a contrast to rud Spartan strains, s e e P e z e the om m lody of Troy, and aris gladly s i s — Lfe 1 7 6 2 1 7 69 99

h r The opportunity thus to e xpre ss his love for e . harp

' is he s in s a e s in brought to him, and g passionat ong e he r e e e e e prais of y s, that approach s both in f ling and — o f he e in tre atme nt the love songs t lat r Italian schools . e e e the It is marr d, how v r, by a slight monotony in the e ar e e e le d e e harmony, b ing som tim s to xp ct a e e e modulation wh e r non is forthcoming . Ev r through the e e e she e e aria H l n int rrupts him, as gradually s s that it is she whom he is e nde avouring to re ach through the song .

’ ' H e len s ab ru ptte rmination o fthe aria has a disastrous e ffe P he o n the o f s o ct on aris ; is point swooning, that e e He r H e l n has to de spatch Erasto for assistanc . e e e e e e e fin e e e e u r citativ h r is xtr m ly and xpr ssiv , dig i fyin g and e nnobling of itse lf this poor play o f mario e - h f P s e e s e . te o n tt passion In midst it ari r cov r , and He le n de bate s within h e rse lf whe the r she ought to s O e m e e P tay or fly . stay and h ar cri s aris, and be gins the first part o fa due t that is the fine st psycho logical e xpre s sion in the whole ope ra ; the opposition ’ o f e e s e n sb o f the o f P H l n s duty to passion aris, and he r e e are e vacillating moods of f ling, skilfully portray d . Probably Gluck ne ve r again had such a truly lyrical mome nt as this 5 at time s we se e m quite transporte d o u to f the re - e so e s o e e p Romantic Op ra, asy and fr is ’ ’ the e e so e e e the fe hlffi mov m nt, g nuin ly passionat g, so truly doe s the m u sic al form cling to and obe y the

A d - h e e . n e te po tical motion again wh n, at conclusion o fthe u e e e e the o r d t, H l n fli s from him, following aria e e e u e e Paris is qually tru and n rvo s in xpr ssion . This ’ e e e in o wn was ind d music that dr w blood, Gluck s e the e e e e e significant phras . It is mast r at his gr at st as 1 0 0 Glucb andtlze Opera and most consummate powe r ; the re is l e s s divorce me nt he re than in m u ch o fhis fine st music be twe e n the ide a and the manne r of e xpre ssing it ; he has struck the pe rfe ct balance be twe e n dramatic inte nsity and e m o tio n al be auty and artistic obj e ctivity o fform . The e the e u o f the e e act clos s with r t rn athl t s, and th balle ts in honour of e victors . A tthe e o fthe e e b ginning fourth act, H l n is sitting he r e he r e e fro m ~ ariS P . in chamb r, holding in hand a l tt r She re ads it in re citative 5 he is be gging he r to fly with U e e e e e e him . nd cid d for a tim wh th r simply to answ r e e e e she e e his l tt r by scornful sil nc , finally r solv s to e e le tfe r r ply, and sitting down writ s a to him, re proaching him for having come to Sparta to induce he r e e he r d im e e to l av husband, and a vising h to s k e e o r e he side r e l lse wh e r f anoth r love . S do n aty imp arts ’ the e e e e the wo rds e to audi nc , in r citativ , as th y flow h r n e e . s he e e r from p Calling Erasto, bids him d liv the e e e e he e e P l tt r, but b for has tim to d part aris him

e e e the e e s lf nt rs and Erasto hands not to him . Th n e e z e the o f com s a t r tt, at conclusion which Erasto

e P e e e o n e disapp ars, and aris and H l n br ak out into of the lovelie st snatche s o f due t imaginable 5 its only e de fe ct is that it is too short . In a long r citative he e he r e e continu s his attack on wav ring r solution, till, e s he e e e he r almost vanquish d, implor s him to l av and e he r e e e he e forg t . Forg t th cri s, and bursts into e an aria not without passion, though it is disfigur d by an absurdity that might b e take n as a matte r of course we m e t e the had with it in an op ra of Italian school, e e e e the but that is in xplicabl in Gluck, sp cially in e e e Alc s The light of the d dicatory pistl to e te . aria is

1 0 2 Gluck andtile Opera

e e e e e the b tw n doubt and r solution, and th n third ’ e e e e e e th m , wh n , rushing into ach oth r s arms, th y the e f o he cast vil prognostications o Pallas ttwinds . the e e has e e e e e Thus ov rtur dir ct r f r nc to, and is e he e e o f the t e . clos ly bound up with, lat r cours Op ra n o w e e Cupid appars, promising th m support and happine ss in spite of Pallas 5 and afte r a florid due t the se The e e e to he pair tout for the shore . sc n chang s t i h are e e h coast . It s night 5 in te distance s n te Trojan ships . Sailors and atte ndants of Paris and He le n com e the e e e o n down to shor , and in an xquisit Chorus call e e e the se a e th m to mbark whil is tranquil . Th n follows an aria by Cupid and a due t be twe e n Paris and e e the e e e e the an d e e the e H l n, and thr nt r ship l av shor the o f h e e to strains te form r b autiful chorus . It will b e se e n at once ho w diffe re nt all this is from ’ Alces te The b e e . contrast may stat d in Gluck s own words

h e he e the e o f the Your ighn ss, wrot in d dication

e e e the o f P a ris a ndH elen scor , will hav r ad drama , and will have notice d that it doe s n o tprovide the e e e e compos r with thos strong passions, thos gr at e e c fllces te e imag s, thos tragi situations which , in , mov the e s o e e e e o o r sp ctators d ply, and giv such .gr at pp ffe o n e tu n itie s for artistic e ct . So that in this music must not e xpe ct to find the sam e force and e n e rgy ; e e e e e just as, in a pictur r pr s nting a subj ct in full light, o n e e x e the e e ffe s the would not p ct sam ct ofChiaroscuro, - e e e . sam contrasts, as in a pictur paint d in half light e e we e e o n the H r hav not to do with a wif , who, o f her e e e point losing husband, finds courag to vok — Lye : 1 7 6 2 1 7 69 1 0 3 the infe rnal diviniti e s in the de pths of the te ne brous e the o fhe r night, in a savag wood, and, in anguish e e the e o fhe r e agony, tr mbl s for fat sons and cannot t ar e e the she e e e e are h rs lf away from husband ador s . H r w e u e t d aling with a yo ng lov r, who stands in con rast with the Strange humours o f a proud and virtuous the o f e woman, and who, with all art ing nuous passion, e e he r e e e nds by triumphing ov r . I hav had to s k tr u th o f colouring in the diffe re nt characte rs o f the P the e e the hrygians and Spartans, s tting in parall l to rude ne ss and savage ry o f the latte r the d e licacy and e o fthe e softn ss form r . e e e I hav thought that, song in my op ra b ing e fo r e o n only a substitut d clamation, I ought, occasion, to imitate the native rude ne ss ofmy h e roin e 5 and I hav e e e e r e the e o f also thought that, in ord r to pr s v charact r b e e e to this music, it would not a fault som tim s e e the d sc nd to trivial . ’ e o n e e e e the e e Wh n wish s to k p to truth, on s styl must b e adapte d to the subj e ct that is be ing tre ate d 5 the g re ate st be auti e s o f m e lody and harmony be com e e e e are e the e imp rf ctions wh e n th y out of plac in whol . I do not hope for my P a ris a gre ate r succe ss than

o f lc s te A s e e e that A e . for my nd avour to l ad musical e e s o e b e e e compos rs towards a r form gr atly to d sir d, I am sure to m e e t with the gre ate st obstacle s 5 but I will not ce as e to make n e w e fforts to re alise my ” de sign .

“ e e the Thus it is vid nt, both from words of Gluck

Barb e de tte 6 Re issm an n . 1 0 1 1 . 5 , pp 7 , 77 5 , pp 3 , 3 x 6 rb tm s s e s o ss . Ba e de te Mar , i 445 , 44 . i tran lat gr ly at 1 0 4 Gluck a ndtlze Opera an d e e o f the e e from his tr atm nt op ra its lf, with its s trong contrasts be twe e n Phryg1an luxury and Spartan

e e was . plainn ss, how thoroughly pictorial his m thod He e e e n the e ar fo the aim d at pr s nti g to , as if ’ e e ffe e e e e e y , two di r nt pictur s, paint d in ntir ly dif fe re n t the e e e w c o n colours, distinction b tw n hich ’ s e the e e o f the titut d, for him, gr at r part dramatist s

A e a is a nd el . s P r H en e function an Op ra, has fall n into unde se rve d n e gle ct ; Gluck himse lf appare ntly did not care to te mpt the Fre nch taste with it at the time he was giving Alces te and Or/Teo to Paris as a pre e The f e paratio n for his lat r works . story o cours is e the o n e e e e is e w ak, and att nuat d motion dragg d out e e firrthe r the e a e to an inordinat l ngth 5 and , app ranc o fPallas at the e n do fthe ope ra and he r proph e syings o f e e are e s e e e futur misfortun s ntially undramatic, s ing that th e se must find th e ir fulfilme nt at some late r he e o f the e e time outside t scop op ra its lf. But as a pure ly lyrical work P aris a ndH elen stands in many

' e e e O eo Alces te lie le c re spe cts v n abov rf and . Its g t

’ s e e e e we e e n ha b n in xcusabl , and may agr with Nauma n that its re storation to public favour is only a matte r o f ! e e e e has e e e time . Nowh r ls Gluck writt n so fr ly and e e e e e with such cl ar impulsion of g nuin , h artf lt passion 5 an dthus it has for o u r e ars p e rhaps more charm than

it had for the m e n o fits o wn day . It stands ne are r in motive and treatme nt to the lyrical fe rvour o fo u r o wn

e s an dhis e s o fthe e is full o f e e s fo r tim , v r ion abov lib rti 5 “ ” “ s e m in the s e e e s in tanc , by omitting y nt nc , ong in ” e e s s e fo r de he my op ra b ing only a ub titut clamation, e p erve rts the me aning e ntir ly .

1 0 6 Gluck andMe Opera t o forge t that he was a musician 5 e ve ry dramatic c o m pose r who ge nuine ly strive s to write dramatic music e e the e e o f e e the e r cognis s n d ch cking, at tim s, impuls to de ve lop the music unfe tte re dalong its o wn non ve rbal line s ; but Gluck pushe d the principle to an e x e e n o w e the e illogical tr m , making allo anc for mor e xclusive ly m s the tic side o f us that crave s artistic e e e e e e njoym nt as w ll as dramatic nforc m nt, and that the e e e e e e in xtr m cas , would rath r hav a wrong thing e xqui s ite ly said than a right thing said crude ly and ’ e e uninvitingly . Thus Gluck s the ory fail d to corr late his e the e c o m with practic , and situation was furth r plicate d by the fact that the re we re re ally two Glucks

—the Alces te I bi en ia in du lis Gluck of and p g , typical o fthe e e e e e the o f ight nth c ntury in his id as, and Gluck

P a ris a ndH elen drm ida e and , constantly r aching out the o f o u r o wn e to Romanticism c ntury, losing his e xte rnalism of thoughtand e motion in e xquisite s u g ge stion s o f wide r issue s ; the motive force be ing n o t so much the bare dramatic insiste nce upon the ve rbah the e e e e in facts of sc n , as a pur ly lyrical d light giving wing to his art . But Gluck was only a Romanticist e 1trs e e at tim s, and probabl that, standing alon in this e e he e he W e e r sp ct as did at that poch , ould t nd to hav s e e e e e e misgiving about th s mor ntir ly lyrical impuls s, ide ntifying the m e rrone ously with the ways o f the fatuous Italian school against which he so re solute ly s e t e the e e e e o f his fac 5 and mor xt rnal, pictorial mann r the e ighte e nth ce ntury pre dominate d in his tran s c rip

n e . e tio s of motion It was this mann r again which, be ing the accompanime nt of those moods wh e n he was e e e o f s e e calm r and mor consciously mast r him lf, gav — Ly} : 1 7 6 2 1 7 6 9 1 0 7

to ae e e e its form and colour his sth tic th ori s . He nce e e e e th ir sho rtc o m m gs in r lation to mod rn art . Th y are o f the e e e e almost e ntire ly ight nth c ntury . Had

' he e the e e o f e allow d for mor lyrical sid his natur , e e e e e he wh r in xist d Romanticism in mbryo, had j udge d the ae sthe tic proble m o f the ope ra in the light o f e e o f the this also, and incorporat d it in his surv y n e e e he e c ssari s of dramatic composition, would hav e e e e he has e don v n mor for musical art than don . B ut we c an but take the be st a man c an give us and b e grate fu l for it 5 and Gluck would have be e n supe rhuman had he so transce nde d the thought of his o wn time as to have base d an aesthe tic the ory upon the dim s tirrings of the n e we r impulse s that only came to actual birth some thirty or forty ye ars late r . In the same ye ar which saw the production o fP a ris a ndH elen Gluck was calle d upon to furnish the ne ce ssary music for the fe s tivals atte nding anothe r e the e e e e royal marriag , c l brations b ginning in Vi nna o n the 2 th e P e o f 7 Jun , and in arma a coupl months e he lat r . Gluck provide d t Court with thre e n e w ’ ’ — lo o elleFes te ollo L tt i a P ro d drf z f o di Bau c e works g p , ’ ’ Filem one an dL / Itto dfIris teo the e , , , all in Old styl , and o f e e e e no mor m rit than such an occasion d mand d . The e o f e e e s cond th s works contain d a solo and chorus, the the me of which be ars an e xtraordinary re s e mblance to that o f the ope ning Chorus o f P aris a ndH elen

de a e N on s gn r .

‘ d e e ee c o rn o sit1o n s e s o f In ad ition to th s thr p , a v r ion O eo was e the e e e e rf produc d, op ra b ing compr ss d into T he e the o f O e o n e . act sing r cast for part rph us, at P the e e e dMillic o e arma, was c l brat , who is said to hav 1 0 8 -Glucé andtlze Opera unde rtake n it with many misgivings 5 close r study o f the e e e e fo r work, how v r, having rous d his nthusiasm he e e o n e the e e e e o f it, b cam of most d vot d adh r nts

. e e e e e Gluck Taking up his r sid nc aft rwards in Vi nna, he be cam e the pe rsonal fri e nd and companion o f the e e the e vo c al e compos r, and und rtook furth r ducation ’ o f e e e Gluck s young ni c , Mariann , who was at this e tim a girl of about thirte e n ye ars o fage . Gluck had now won for himse lf a position o fassure d e e e fin e e he lac e o f r sp ct at Vi nna . His hous was t p e o f e e e o r r sort all who w r distinguish d in art, music

e e u e e l tt rs, and an introd ction to him had b com an e honour di fficult to obtain . It was about this tim that e e the Dr . Burn y visit d him, procuring introduction L the through ord Stormont, English ambassador at ’ e e u se the ffi e o f Vi nna, who mad of good o c s Gluck s e the e She e e he fri nd, Count ss Thun . had b n, says, s o e e good as to writ a not to Gluck on my account, he e e bim e e fo r and had r turn d, for , a v ry civil answ r 5 he is as formidable a characte r as Hande l use d to ISO ;

e o f are e . e e he a v ry dragon, whom all in f ar How v r, had agre e d to b e visite d in the afte rnoon ; and Lord Stormont and Counte ss Thun had e xte nde d the ir conde sce nsion as far as to promis e to carry m e to him He was so good-humoure d as to pe rform almost e e Alces te e his whol op ra of ; many admirabl things in , e e his e P a ride edElen a a still lat r op ra of , call d 5 and in ’ e e e I bi enia he a Fr nch op ra, from Racin s p g , which has e s he e t just compos d . This la t, though had not as y e e e was so e e e committ d a not of it to pap r, w ll dig st d e an d e e so e he in his h ad, his r t ntion is wond rful, that s e f the e the e n d ang it n arly rom b ginning to , with

1 1 0 Gluck andtire Opera

It was at this time that Gluck did such a signal

‘ e ve e e ' the a e o f s r ic to Sali ri , th n a young man about g

e u the e e tw nty, by proc ring p rformanc of his comic

e Le don ne lettera te e op ra, , writt n to words by e The e e o n e o f Bocch rini . young Italian b cam his e e e clos st and most trust d fri nds . Me anwhile Gluck was e mploye d o n some works more intimate ly conne cte d with the thoughts o f the Ge rmany o f his time than any to which he had for e e He e m rly writt n music . had tak n a liking for the o f e e n o f work Klopstock, and publish d a coll ctio

Oden u ndLieder beim Klavier z u sin en in Musib his , g , * “ es etz tvon Glu ck e are e g . Th y , says Marx, s hr ” de c lam ato risc h e e the e l , indicating onc mor car fu , e e e he the p rhaps too car ful, att ntion was paying to o f A e e ve rbal basis his art . mor e xt nsive u n de rtak

” the e o f the H erm a nn s scb la cb t1 the ing was s tting , of e e r n T he music to which , how v , nothing is know .

” choice o f the work shows Gluck in a n e w light; that o fGe rman patriot .

wrong in saying that Ipbigenia in Aulis was not ye twritt e n in s e e s f e e o fDu e D e e cor 5 it app ar rom a l tt r Roull t to auv rgn , ’ e f e Burn e s s the about a month b or y vi it to Gluck , that was e d e e d Op era alr a y compl t .

x 1 1 . Mar , ii . " bid 1 2 tc 1 I . . e . ii , C HA PT ER I V — I 769 1 787

BUT the Ale xande r o f the ope ra was now longing for e e e e e e a fre sh kingdom to conqu r . His y s w r turn d on P e e he e e e e e aris, for it was th r b li v d a gr at succ ss b e He e e the might won . was imp ll d to court suffrage s of the Pari s ians by the con side ration that his work was re ally more afte r the Fre nch mode l than any e o fthe o f L e oth r 5 by a study works ully and Ram au, that convince d him of the similaritie s be twe e n his e e o f the e o f e styl and th irs, and c rtainty succ ss with the Fre nch public o n that account 5 and by the know le dge that Paris was at that time the ce ntre o f the e e e e e int ll ctual world . Gluck at all tim s show d hims lf an ade pt in the art o f obtaining his e nds by skilfully e e e working upon oth rs, and with charact ristic addr ss he now be gan to cre ate an impre ssion in his o wn socie ty that he bore a particular affe ction towards e the e e e Franc and Fr nch school, by making d xt rously flatte ring re fe re nce s to Lully and othe r Fre nch ’ e The e dEs c he rn e s he favourit s . Comt y narrat t e o e de mann r in which Gluck w rk d through M . Se ve lin ge “ A e de e e lin e e e e c rtain M . S v g was r comm nd d to m e e 1 6 de Se e lin e at Vi nna in 7 7 . This M . v g was a 1 1 2 Gluck andtlze Opera

e e n m lomaniac, and, without actually b i g a musician, was the soul o fthe music o f Paris and the pre side nt o f the e o f e e all conc rts that tim . I thought it w ll to do de r the e e e . honou to l r comm ndation, and invit d M Seve lin e e e e e m e g s v ral tim s to din with , inviting at the e e the e e e e b e sam tim Ch vali r Gluck . It n d hardly e said that music was talke d of. Gluck laid hims lf o u t — to praise Lully most highly praise which no doubt e de Se ve lin e . e was m rit d in many ways, but which M g e e f e o f e He did not xp ct rom a compos r Italian op ras . e L e ( Gluck) prais d in ully a nobl simplicity, a natural He e me lody and dramatic inte ntions . had studi d ’ Lu ll s e he e e y scor s, said, and this study had b n a re ve lation to him 5 through this he had pe rce ive d a re al e e the e basis for path tic and th atrical music, and tru e the e e e d b e g nius of op ra, which only r quir to de ve lop e d and brought to pe rfe ction 5 and that if he Should re ce ive an invitation to work fo r the Opera at P he e e e the stlho f L aris would hop , by pr s rving y ully the e e e e e the and Fr nch cantil na, to cr at in this mann r

rica l tra ed true ly g y. “ de e ve lin e . S e M g , with his nthusiasm for music , e e e e o f the C e e was inflam d by th s hop s h vali r Gluck, and I had no n e e d to urge him to me ntion at Paris the the e de e e lin e e . . . S v e d sir and proj cts of M Gluck M g , o n e P e his r turn to aris, did not fail to do so, and work d

e fficie ntly for M . e e e e e Gluck, how v r, was s tting furth r machin ry at e He e e e e work to attain his nds . had b n for som tim

’ “ e dEsc h rn é e s de L é e e tc Le e . Comt y, M lang itt ratur , , 6— ir s rre s 8 8 De s n o e te . . s 1 8 1 1 . . Pari , , II 35 35 In , pp 77, 7

1 1 4 Gluck andt/ze Opera

de parte d from the true path 5 that the Fre nch style is the true o n e for the musical drama 5 that if this has

' e t e e e e e e the not y attain d to p rf ction, it is l ss b caus of e s the e are e e tal nt of Fr nch musicians, which ind d e e the airtho rs o f the e stimabl , than through po ms, e the o f e who, not und rstanding capacity music, hav in e e e e e e th ir compositions pr f rr d wit to s ntim nt, gallantry the ve rs ific atio n the to passion, charm and colour of to o f e A e c o m pathos styl and situation . ft r Gluck had m u n ic ate d e o n e e e o f e his id as th s matt rs to a man tast , e e he e e e the e tal nt and und rstanding, r c iv d from latt r h e e e two Italian poe ms which e s e tto music . Th y w r o u t P e brought in arma, Milan, and Napl s with e e e s e incr dibl succ s, and wrought in Italy a r volution * e e On e e e e in op ratic matt rs . of th s op ras, which was ’ produce d at Bologna last winte r during Gluck s a e e e e e t) e s bs nc , dr w mor than tw n ythousand sp ctator , an d e e the e e yi ld d to manag m nt about ducats . Wh e n Gluck re turne d to Vi e nna he be came o f the opinion that the Italian language was ce rtainly fitte d for that s warm o fnote s that goe s by the name o f ‘ ’ s s e e the e e pa ag s, but had nothing lik cl arn ss and s e the e e s o e e e e tr ngth of Fr nch tongu , that this xc ll nc e to we are the in r lation vocalisation, which first to e e e e conc d , is p rnicious in r lation to truly dramatic ‘ ’ e the e e e s e are music, sinc in latt r th s pas ag s inap ro riate o r e e e the e e p p , at any rat w ak n xpr ssion . A e e e e ccording to th s obs rvations, Gluck was rous d against the bold asse rtions o f those of o ur famous

‘ write rs . who have dare d to calumniate the Fre nch — Lye : 1 7 69 1 7 87 1 1 5

e e e e tongu , saying that it could not l nd its lf to gr at b e e e e o musical cre ation . Nobody can mor comp t nt t

e o f e e e judg this matt r than Gluck, who has a compl t knowle dge of both language s 5 and although he spe aks e difli c u lthe e e Fr nch with y, compr h nds it thoroughly 5 he has made a particular study o f it ; he unde rstands

the nesses e e the o f the e fi , sp cially prosody it 5 on latt r, H e e he e e e . e ind d, has mad som profound obs rvations has e e e e e , b sid s, for a long tim tri d his tal nt in both e e ee e languag s and in various styl s, and has b n succ ssful e e e are e e at a Court wh r both tongu s spok n flu ntly, — although the Fre nch is pre fe rre d in socie ty a court the e e e e c ars mor capabl of judgm nt in this fi ld, as and e are u se e he o f tast continually in . Sinc thought the se matte rs he had be e n de sirous o f having his opinions o f the e ffi cacy o f the Fre nch lan guage e e j ustifi d by actual proof, wh n an opportunity was afforde d him by the re ce ipt o f the tragic ope ra

I bi enia in Au lis He e e e he p g . b li v d had found in this he e e work what had be e n s king . The o r e e e the e author, , to sp ak mor corr ctly, adapt r

o f e has e e e this po m, follow d with scrupulous xactn ss the e e e e he e to po t Racin , whos trag dy has wish d work

’ e up into an op ra . T o attain this e n dit was ne ce ssary to re strict the action some what and to e liminate the o f Eri hile h part p . In te first act Calchas appe ars e o f the con da n tA the u m inst ad fi , rcas ; in this way o fthe ee e the e folding situation has b n chang d, subj ct ee e the e e e e e has b n simplifi d, and action has r c iv d gr at r a The nimation . inte re st has not be e n lost by the se ’ c e is e e e e hang s 5 it as compl t as in Racin s play . Sinc the o f the e e e e e with omission pisod inv nt d by Racin , 1 1 6 Gluck a ndtlze Opera

his conclusion of the poe m could not b e pre se rve d in the e the e n d e e e e the e o f Op ra, has b n alt r d for sak a e e ffe fin r ct . “ The e e e op ra falls into thr acts, a division which appe ars to m e the be st for a spe cie s o fcomposition the e e e action of which r quir s a rapid progre ssion . In ach ac t e e ee e w td e e th r has b n arrang d, ithou oing viol nc to

the e e divertiss em en t e pi c , a brilliant , in such wis that the e e e e e e e action is th r by only h ight n d and compl t d . C are has also be e n take n to contrast the Situations and characte rs in such a way that the y afford a piquant ’ e e e the e and n c ssary vari ty, which will hold sp ctator s e the e e o f the e e att ntion, and that int r st pi c is fully v e e maintaine d throughout . Without ha ing r cours to e o r e e e e e e machin ry incurring any gr at xp ns , it has b n found possible to provide a noble and sumptuous display he e e n e w e was e e r fo r t y . I hardly think a op ra v stage d in which s o little e xpe nditure was ne ce ssary n e e e e The and ye ts o fi a sp ctacl afford d . author o f the e e the e e e diver pi c , r pr s ntation of which, including

tissem en ts S e e , hould not tak mor than two hours and a e e e e the s half, has mad it his duty to pr s rv thought e e the e e o f e so e e and v n v rs s Racin , far as was p rmitt d ’ e e e in an ope ra which is not r ally a trag dy . Racin s ve rse s are we lde d in with care s u fli c ien tto pre ve nt any mark of division be ing pe rce ptible in the style o f the e The e I bi enia in dulis e whol . choic of p g app ars to m e so the e the e much happi r as transcrib r, by following e e e e the e o f Racin as far as possibl , has s cur d succ ss his unde rtaking ; this be ing ample compe nsation fo r

any loss o findividuality . ’ Gluck s name would reli e ve m e o f the ne ce ssity

1 1 8 Gluck andt/ze Opera o n yo u by m e n th e mse lve s distinguishe d in music ! A S o f e as h e z e c e r man tal nt and on st citi n, you will tainly n o tmisjudge the advantage that li e s in so famous a fore igne r as the Che vali e r Gluck thinking it e e e o u r e worth his whil to conc rn hims lf with languag , and de fe nd it against the calumnious accusations o f o u r o n w authors . Gluck only wish e s to know whe the r the Academie de Musique can place so much re liance o n his tale nt a e He e s to d cide o n producing his ope ra . is r ady to e e the e to e he e und rtak journ y Franc , but must hav a thorough ass urance both that his Ope ra will b e pro

du c e d e e e , and at what tim . If you hav nothing fix d fo r the e Le o r fo r e e wint r, for nt, aft r East r, I think you could n o tdo be tte r than arrange with him for o n e o f e e e e to th s p riods . Gluck has a pr ssing invitation

e e A he e e Napl s for May n xt 5 for his part, has not b n to e e e e e e e willing acc pt any ngag m nt, and is d t rmin d to sacrifice all the se advantage s if he c an b e assure d e b e e A e to that his op ra will tak n by your cad my, ” e whom I b e g you to communicate this l tte r .

e e e e e e e Dauv rgn did not answ r this l tt r imm diat ly, but publi s he d it in the Octobe r ( 1 772 ) numbe r o fthe Mercure de France 5 and some months afte rwards Gluck himse lf addre sse d to the e ditor o fthat journal a e e e the e fo r e r l tt r, which was publish d in numb r F brua y

1 773. It ran as follows

O e e e m e Sir th rs might with justic r proach , and e e e e e r I too would not spar mys lf, if, aft r s ing in you

x 11 2 — 0 Mar , . 5 3 . — Lye : 1 7 69 1 7 87 1 9

Octobe r numbe r a le tte r to o n e o fthe dire ctors o f the A cadémi e de Musique o n the subj e ct o f my ope ra I bi enia n o t e the airtho r p g , I did hast n to thank of this e e his e o fm e e t the e l tt r for high prais , and y at sam time to point o u tthat his fri e ndship and his u n doubte dly too gre at pre poss e ssion fo r m e have le dhim e am e to say too much , and that I mys lf v ry far from be li e ving that I have re ally de se rve d this flatte ring e e e e ulogium . Still mor would I r proach mys lf if I pe rmitte d the inve ntion o f the n e w style o f Italian e the e e e e e op ra, att mpts at which hav b n justifi d by e s b e e to m e e r succ s , to attribut d alon . It is to Signo C alz ab i i the e rars e du e g that chi f p is , and if my music e e has found som approbation, I think I must grat fully e e e e e he r cognis that I am ind bt d to him, sinc it was who gave m e the opportunity to pour forth the wate rs o f e e e the my art . This writ r, who is poss ss d of e e e e e Or b eus gr at st g nius and tal nt, has, in his po ms p ,

Alces tis P a ris o u t e , and , struck a path that was littl e e are f h known to the Italians . Th s works full o te e n o f the e e e happi st situatio s, most t rribl and sublim e e the e the e e o f traits, which s rv compos r in xpr ssion de e n the o f e z p passio , and in writing strong and s i ing music 5 since howe ve r gre at the tale nt o fthe compose r b e he e ffe e the may , will only writ indi r nt music if po e t doe s not rouse in him that e nthusiasm without

te o f are du ll e e Th which all h forms art and lif l ss . e imitation o f Nature is the aim both must se tthe m e e S to e . s lv s, and it is this I hav ought attain Simply e is and naturally my music always striv s, as far as it e m e e the e e o f e e possibl to , aft r high st pow r xpr ssion and the stre ngthe ning o f the de clamation in the 1 2 0 Gluck andtire Opera

e . On e e e po try that account I n v r mploy trills, e e z the are so passag s and cad n as, with which Italians e lib ral . Your tongu e offe rs m e nothing in that e e e e e r sp ct . Born in G rmany, and r asonably conv rsant with the Fre nch and Italian lan guage s through dili e e e e e e o f a re g nt study, I do not b li v mys lf capabl pp c iatin g the de licate shade s which might make o n e e e e the e e e e pr f rabl to oth r, and I think v ry strang r

‘ s hould abstain from judging be twe e n th e m ; b u tI think it is pe rmitte d m e to say that the language which will always suit m e be st will b e that in which the poe t furnishe s m e with the most varie d me ans o f e e the the e xpr ssing passions . This is advantag I belie ve I have found in the words o f the ope ra o f I bi enia the e o f e m e to e p g , po try which app ars to hav all the e e e n e m e fin e n rgy prop r to i spir with music . A lthough I have ne ve r -be e n in the position o fOffe ring e te b e e s e my works to any th a r , I cannot displ a d with the author of the le tte r to o n e o f the dire ctors fo r having propose d my Ipbigenia to your A c adem ic de b e to s e ro Musique . I avow that I would glad e it p du c e d P e e e ffe the in aris, b caus by its ct, and with aid

the e the . e e e v and advic of famous M Rouss au of G n a, we e te e b e e e e e may p rhaps og th r abl , by s king a m lody e e e e e e nobl , s nsibl and natural, tog th r with a d clama tion following exactly the prosody o f e ach language an dthe e o fe e e the e charact r ach p opl , to find m ans to e ffe ct my purpose o f producing a music appe aling to m e n o f e the all nations, and liminating ridiculous dis i o f The e e tn c tio n s national music . study I hav mad ’ — o f this gre at man s writings o n music among othe rs the le tte r in which he has analyse d the monologue in

1 2 2 Gluck andtbc Opera de n l e e A the e e y b calm d at ulis . Consulting oracl , th y are e the e e inform d by Calchas, pri st, that favourabl winds will spring up again only o n condition that e the e o f A e e Iphig nia, daught r gam mnon, is sacrific d e e A to Diana . Th r upon game mnon is urge d by e e U e to e e as M n laus and lyss s s nd for Iphig nia, giving his motive his de sire to see he r we dde d to A chille s ; the e to e e e e e d and king yi lds th ir wish s, b ing imp ll by the de sire o fglory and o ffulfilling the pl e dge s he had e e e the e e e e mad wh n und rtaking xp dition . Wh n l ft to e e e A e e e his hims lf, how v r, gam mnon is ov rcom by ffe e e she a ction for his daught r, and in agony l st should obe y the command o fhis l e tte r and come to A ulis to e e he r e he e e e e to m t d ath , s cr tly s nds an att ndant e e e he r e e he r Clyt mn stra, his wif , bidding d f r coming o f e the e and that Iphig nia, as nuptials of his daught r e e e o ff 30 e e e e hav b n put 9 a lat r tim This l tt r, e e e e e e e s how v r, is int rc pt d by M n lau , who upbraids A e his e rfid the gam mnon for p y, and customary Eu ripe de an sce ne e nsue s in which the two characte rs The e e e e e . abus ach oth r roundly . warning m ssag ) e e e e e having miscarri d, Clyt mn stra and Iphig nia arriv in the Gre cian camp and are gre e te d sadly by A e he e o f A e . t gam mnon chill s, coming to hous A game mnon to inquire o f him why the Gre e k host e n o tse t e e e e do s sail for Ilium, m ts Clyt mn stra, who, s the affian c e d o f e acco ting him as Iphig nia, thus acquaints him for the first time with the mann e r in which A game mnon has made u se o fhis name to draw e e e e his daught r thith r . During th ir mutual qu stion e e e the e e ings and xplanations, how v r, sam att ndant e nte rs who had be e n e ntruste d with the note inte r — Life : 1 7 69 1 7 87 1 2 3 c e te d e e he e o ld e o f p by M n laus 5 , b ing an s rvant e e e he r o f the the e o f Clyt mn stra, t lls plot against lif ’ e o f A e e e Iphig nia, and gam mnon s strat gi s, first to he r A u e to e he r bring to lis and th n av rt coming . e e e e t e e Clyt mn stra is ov rcom wi h gri f and d spair, While A chille s swe ars to save he r daughte r from the e A e e fe sacrific . gam mnon soon l arns that his wi and are a e the e child acqu int d with all train of circumstanc s, but de clare s himse lf unable to fight against the will o f ’ the e e e e e e gods 5 whil Iphig nia, aft r a mom nt s w akn ss, ffe e e e the e pro rs h rs lf calmly and brav ly for sacrific , in spite of the e ntre atie s and prote stations o fClyte mne stra A c hille sf She e f e e to the and go s orth , ind d, altar 5 e e e soon aft r, word is brought to Clyt mn stra that a e e e he e e the miracl had happ n d . Just at t mom nt wh n ’ i e e e the vict m s n ck was bar d, and Calchas had rais d e e to e e e m he sacr d knif strik , Iphig nia was tak n fro t ir e e e he r e e e pr s nc , and in st ad was s n panting

do f e s a hin larg t bulk , In form e xc e lling ; with its Sprouting blood Much was the altar o fthe godde ss de we d;

the e e e the n and gods b ing thus app as d, winds Spri g up the e e e e again and Gr ks mak th ir way forth to Troy . e e e e e o f the e Racin alt r d this sch m drama mat rially . o n e he e d the e In point improv it, from mod rn o f vre w A e the e r dramatic point , by making chill s lov o f e e e e he r Iphig nia, and ard ntly xp cting coming ; e e e e e e inst ad of b ing, as in Euripid s, m r ly a count r in he s - e t hand OR A game mnon . But Racin brought in “ ” the ine vitable confidan tand confidan te ; the atte ndant the e e e e A e r in Gr k play b com s rcas, and a furth 1 2 4 Gluck andtire Opera

e e e e e dom stic, Eurybat s, is introduc d ; Clyt mn stra i H s e e con dan te . e also nrich d with a fi , n ina furth e r thought to give additional inte re st to the b n e w e drama y introducing a totally Charact r, Eri hil e o f e he r con dan te . p , with, cours , fi , Doris This Eriphile was the daughte r o f that rathe r abandone d e e e e e e her lady, H l n, by Th s us 5 and Racin suppos s to e e e e A e hav b n captur d in war by chill s, brought up in e o fhe r e e b e e e as ignoranc tru nam and irth, and d liv r d c o m anro n e she a p to Iphig nia . In this condition is a — pre y to two e motions the de sire to le arn he r name he r e o f e e e and par nts, and, cours , a s cr t passion for A e h he e e f he e e chill s . Wit t xc ption o t sc n s in which Eri hile e e the p and Doris app ar, Racin conducts drama o n the a e e e o f e much s m lin s as thos Euripid s, allowing for the fact that he re Achille s is the e xpe ctant love r o f

e He m k / m n n . a e sA a e m o e e e e Iphig nia g , how v r, sch m more fo r the de live rance o f his daughte r by se nding he r an d e e o f the his e Clyt mn stra out camp, but d sign e Eri hile the e o f is frustrat d by p , who informs soldi rs e the e f r h what is passing . Wh n time com s o te e A e P e e who sacrific , chill s and atroclus b at back thos e e e would slay Iphig nia, and sudd nly Calchas l arns from the oracle that there is pre se nt in the crowd o n e o f the e e b e e fo r blood of H l n, who must immolat d Eri hile e he e . t Iphig nia p do s not wait for attack, but e he fe he r o wn plung s t sacrificial kni into bosom . ” She plays the part o f the hind o f large st bulk of e e e s e o f e e Euripid s 5 whil Iphig nia, in t ad b ing translat d the e e by Diana into clouds and d posit d at Tauris, is e e A happily w dd d to chille s . Thi s is the fo rm o f the s to ry upon which Du

1 2 6 Gluck andtire Opera

the b e e to gods to propitious . Calchas dismiss s the m with the assurance that a victim shall b e found

that day . Le e A e e ft alon with gam mnon , Calchas urg s him to h o fthe e e bow to te will gods . Can th y wish a fath r ” to bring his daughte r to the sacrifice ! asks A ga e e e e e e m mnon, and giv s agonis d xpr ssion to his gri f ; the e e air, broad and nobl , is accompani d by strings ianissim o e e e e the e p , whil alt rnat long not s for obo and o f e o n his bassoon form a kind wailing comm nt words . he e he e the e Finally av rs will not ob y gods, and on b ing aske d by Calchas whe th e r he int e nds to bre ak the oath he e he e e he e was has tak n, r pli s that all had promis d to give his daughte r up to de ath if she should se tfoot — in A ulis se cre tly re lying o n the clande stine me ssage h he had s e nt to warn er against the journe y . But o f e is e this cours has m carri d, and just as Calchas is e are e the r plying to him, shouts h ard in camp, he e e e announcing t arrival of Clyt mn stra and Iphig nia . Sole mnly the pri e st admonishe s him that he is nothing to the he e e e e gods, and that must b nd b for th m 5 and e e e the sorrowful king inclin s his h ad in r signation . The chorus add n ew poignancy to his gri e f by singing o f the e e his e e b auti s of wif and daught r, and his s e e happin e s in poss ssing th m . e e e e e the e Clyt mn stra go s in to s k king, l aving Iphige nia to re ce ive the homage o fthe Gre e ks in the e e o fhe r e customary ball ts, and a chorus in prais b auty 5 Iphige nia h e rse lf inte rj e cting a short lame nt that e e to e her e A chille s do s not app ar gladd n ye s . But ' - e e re e e . A e Clyt mn stra hastily nt rs gam mnon, with the purpose o fge tting he r and he r daughte r away from — Lye 1 7 69 1 7 87 1 2 7

A her A e e s e ulis, has told that chill s has prov d fal 5 and in a magnifice nt aria s he calls upon Iphige nia to cast — from he r he art e ve ry re me mb rance o fher be traye r an o f e n e is the aria cl ar, strong, si wy passion that all more powe rful by contrast with the some what we ak e e e e e balle t music and chorus that w nt imm diat ly b for . e e he r e e e Iphig nia b wails fat in an aria now t nd r, now

s e e o f e e e e e pas ionat , thos portions it b ing fin st wh r ang r e against A chille s bursts forth . But at this mom nt

A e e e e the o f chill s hims lf nt rs, in transports at sight his ”

e e e e e he s . be trothe d . Can I b li v my y s ! ask “ A e e e e Thou in ulis, my princ ss Iphig nia b com s “ n m e imme diate ly as fre e z ing as a gra de da . What e e it b e m e e e e v r may that brings h r , at l ast I cannot ” e e e e e e A e r proach mys lf with be ing h r to s k chill s . e e the e Explanations and r proach s follow, music b ing e e e e e the e unint rrupt dly xpr ssiv and final du t, in e are e e e which th y r concil d, has in it som anticipatory

sugge s tions o fthe m anne r o fMoz art or We be r. The se cond act be gins with the congratulations of the I e e e e e chorus to phig nia, whos h art, how v r, is ill ’ e e A e e o fA e e at as . chill s has h ard gam mnon s r port he e e e e e that was fals , and Iphig nia dr ads an ncount r e n e e h r be twe e n the m . Clyt m stra urg s e to rejoice o n

he r e - A e e e in tro du c w dding day, and chill s hims lf, aft r P he r e e ing atroclus to in courtly wis , l ads a chorus in — “ he r praise the chorus Sing and ce le brate your ” e e e the e n e o f qu n, which was appli d during p rforma c the ope ra to Marie A ntoine tte ; afte r which the usual

‘ r e so e e cong atulatory ball ts and forth proc d . Just, e e A e e e to the how v r, as chill s is about to l ad Iphig nia A the e e e altar, rcas, att ndant, st ps forth and disclos s 1 2 8 Glucb andtlze Opera the purpose o f A game mnon to have slain he r whe n she e e e All are - e he e s arriv s th r . horror strick n 5 tTh s a a s s e ar he n o te r the s a r e li n w t y will p mit c ific , h e e e s ra to A h e s re s w il Clyt mn t , clinging c ill , implo im ts ave he r da h r h s A h e s r m s e s h o ug te . T i c ill p o i to do h e a s e wha d e s him to , but Ip ig ni om t col ly b g re e e r ha A am e is s he r a he r m mb t t g mnon till f t , h h de e db a e to s a h r t oug con mn y f t l y e . I n the following s ce ne A chille s me e ts Agam e m n o n an dthe two a s e e a h o he r in the r h d , bu c t o t o ox s e A h e s de ha he s ha tyl , c ill finally claring t t t y ll only h h e a hro h him he he has re a . n e c Ip ig ni t ug W gon , A am e m in a fin e re a ve an d r a h ve rs in g non , cit ti a i , o anguis h b e twe e n love fo r his daughte r an d fe ar o f “ the gods 5 in the e n d he s e nds A rc as to Clyte m n e s tra with o rde rs to pro ce e d with Iphige ni a to

Myce n ae atonce . I! I n the third ac tthe Gre e ks are clam ouring fo r A h e re s e n a o fl the ir victim . c ill s implo Iphig i t y him s he e re a s him to e a e he r as s r with , but nt t l v , u in him o f the e e s e s s o f the a e m e tro g us l sn tt pt, y p “ ” e r e e r ve H e r a are e ! i te s ting h t nal lo . ria F w ll s o n e o f the mos t pe rfe ct e motion al utte rance s o f the e ighte e nth ce ntury ; in it c an b e s e e n the gradual ’ amalgamation that was taking pl ace in Gluck s m ind

e e the to s e o fAlces te an dP a ris a ndH elen b e tw n w tyl s . A chille s swe ars to strike down the pri e st himse lf at the A e he e altar, and to slay gam mnon if com s in his the e the e e way . This is aria that fir d audi nc to such e the e e the ffi e we nthusiasm at first p rformanc 5 o c rs, are e e e e an d told, ros in th ir s ats, grasping th irs words, n he te scarce ly able to re frain from rushing o t s ag .

1 30 Gluck andtlze Opera w o n e v he e t e e orking a larg r can as than had y att mpt d . In Orfeo the dramatic inte re st was small 5 the re we re o e e e o n e e nly two r al p rsonag s and only motion . Exactly the same criticism appli e s to P aris a nd H elen the ffe e e the e o f , allowing for di r nc in phas

e e e e e dlcest h e . e te lov that is th r und r tr atm nt In , s e o f e e e e e e trong st his op ras up to this tim , th r w r e e o n e e similarly only two r al charact rs and only , r al e motion 5 that o f a wife for a dying husband and o f a e the e o f the husband for a dying wif . Much of spac c anvas in both Orfeo and Alces te is tak e n up with — re pre se ntations o f the une arthly sce n e s that are in the ir ve ry e sse nce incapable of psychological tre atme nt i n the se nse in which that phrase applie s to sce n e s of human life and characte r 5 the y are simply de signe d to a dd the e n e ral e ffe o f e a e ne pictorially to g ct t rror in s c .

’ B ut in Ipbigenia in f zfu lis the supe rnatural is wholly e e we e e the e rt liminat d, if xc pt v ry small part plays in the final announce me nt of Calchas 5 and e ve n in that cas e it only e nte rs by way of narrative ; it plays no

e the e e pictorial part its lf, as do Furi s and Shad s in

O o o r the e e the e - rfl , oracl and pow rs of und r world

Alces te are e e bi nia i in . Nor th r in Ip ge n Aulis any e e o r e m r ly abstract mythological p rsons, such as

C Or eo P P aris e e s upid in f , allas and Erasto in , H rcul dlces te e e he an d A pollo in . H r all t characte rs are

e has e e e actual human b ings, and Gluck a gr at r vari ty — o fthe m to study than in any othe r ope ra Agam e m e e e A e an d non , Clyt mn stra, Iphig nia, chill s, Calchas , e xcluding such minor pe rsonage s as A rcas and

P e e the e o f atroclus ; b sid s which, chorus s Gre e ks a n dThe ssalians are so tre ate d as to be come additional — Ly} : 1 7 69 1 7 87 1 3 1

e the . e e the acting charact rs in drama Mor ov r, story e e e e e e its lf is mor intrinsically int r sting, mor vari d, e e he e mor moving, mor human, than any had pr viously A e e are e e e e e are e e . s tr at d th r mor p rsonag s, th r e e o f b e e e the mor stat s mind to d pict d, and psycho logical scop e o fthe drama is proportionally wide ne d . ! e t e o f e o f the in spit all this, and in spit many e e o f e I bi enia in Aulis magnific nt strok s g nius in it, p g s d as e e e i isappointing a whol . Gluck too rar ly ris s

e o u to f e e e he e s o abov and hims lf ; wh r do s , as in e e e many passag s in his pr vious Op ras, his work is e invariably fine st and most convincing . But h e r the opportuniti e s of this forge tfulne ss of se lf are n o t

e e . N o w e e o f the fr qu nt and again, as in his tr atm nt e l o f A e the e o f m nta anguish gam mnon, rag and fury e e the o f A e he firm Clyt mn stra, and passion chill s, is and clear and to u ching 5 but he cannot maintain this e e the e high l v l throughout op ra, in all probability e e f the e o f the The b caus o frigid ton libre tto . s timulus to pure and love ly lyrism that had at time s bee n give n him by the re ally poe tical words o f Calz a e f the e bigi , was abs nt rom cold and formal libr tto f o e . e fo r Du Roull t What could any compos r do, i e e e ! nstanc , with such words as th s

Ah ! you e ssay in vain to re pre ss my alarm ; A e s has e d the f e chill h ar that king, my ath r, s he s de s s e s e think that my charm pi , m aning to e his f H iS ‘ ho o r br ak aith . n u re s e nts the s us ic io n an d e s ffe e is p , to him, it app ar , mortal o nc e e e din his e e s h giv n . I hav r a y all the anger e fe e s an d as e d is l , , you know, v ry prou my

f e . The e m e t s e ath r two hav thi v ry hour . 1 32 Gluck a ndt/ze Opera

A M TH E WD S e e the fie e WO AN IN CRO . rc raging lion, e d e his e e untam , roaring with ang r, by lov ov r e the d: s ss e com , crouching low on groun ubmi iv ,

f o f as i hs s e his e e s f he ull g , carc ly y upli ting, e ss e s the d e d e the d car go lik han that gav woun . C H OR S OF M Be s ad e &c U WO EN . no mor , . I P H ! o u I n i s an e n d . try va n to bring my alarm to , fo r love has only fe e bl e we apons wh ere a he ro * s his is think honour hurt .

A libre tto like this accounts for many o f the short

o f I b i enia in Aulis comings p g , though not for all . The re are sce ne s whe re Gluck is ine xpre ssibly dull e e e the e o f and t dious, sc n s unlit by faint st ray passion — o r be auty whe re ye te xiste d in the libre tto the possi ili f e e e A n d e b ty o fin r tr atm nt . it is notic able that some o f the be s t andsome o f the worst spe cime ns ’ f - e e e e e o Gluck s aria writing h r xist sid by sid . The re are e e he e e e we mom nts wh n has surpass d hims lf, wh n the e z e e e fin e t e o f catch br ath in ama m nt at som s rok , art ; the r e are othe r mome nts whe n o u r s e n s e s fall asle e p unde r the h e avy burd e n o f dull and me aningl e ss e e he e se que nce s o f not s . Whil t m lody thus hove rs

I quote the s e passage s from the re ally admirable ’ f h Re v T e e s e di s o te . . tran lation J routb ck , in Nov llo tion o fthe e e e d e ffe s e tf op ra . I hav tri , but in ctually, to orth ’ the s S e e S e e the fie e in m e and woman p ch , rc lion, rhy as the e e x colere altiere—terrass é rhythm, in Fr nch t t, , , bless é but although th e re is e vide ntly a most courage ous “ ” e e in d d the ss e de fie s att mpt at rhym groun , woun , pa ag d e s o f s d an d e all or inary rul pro o y, I am r luctantly com ll d as se f d e s the pe e to print it pro , with pro oun apologi to

translator .

1 34 Gluck andtire Opera

Bu ffo n is ts e o f e the e , making a virtu dulln ss in sacr d e o f e m the e caus patriotism, r aining faithful to Fr nch ’ e e e compose rs . Imm diat ly upon Gluck s adv nt into P the e e e aris, musical world b gan to rang its lf for or U f e e e against him . n ortunat ly for a cl ar und rstanding o f he was o f the o f things, Gluck, though not school e e e o f the o f Italy, c rtainly was not altog th r school e e e Franc 5 which was unfortunat , as it complicat d e e e e e e o f ff what might hav b n a v ry cl ar stat a airs, making nice ly for a se ttle d antithe sis be twe e n Italian e z z e e music and Fr nch, and pu l d many amiabl and e nthusiastic h e ads that would have be e n glad to range e e e o n o n e e o r the e e th ms lv s sid oth r, had th y only e e o f e e e e to e . w e e b n c rtain th ir sid How v r, arti w r — ’ soon forme d G lu c k is ts and Anti-Glu c k ists ; and it must have be e n a c o n sp latio n fo r the latte r party to cast the Skin of ne gativism and wriggle forth as some

' thing positive whe n the late r adve nt o f Pic c in ni as an tagonist to Gluck gave the m the Opportunity to e e e e s Pi in n is s he styl th ms lv c c t. Such is t consolatory virtue of name s . The conste rnation o f the o ldplaygoe rs was gre at the e e he e He at app aranc of Gluck upon t sce n . s aw that it would b e ne ce ssary to make influ e ntial frie nds the e a e e o f the in Fr nch capit l, and to conciliat som more powe rful among the writers who might range e e e He e e th ms lv s against him . b gan with Rouss au, who was we ll known as a pe rsiste nt oppone nt o f e e o f the Fr nch music and an advocat Italian, and whos e main the sis in his Lettre s ur la m usique franpaise ( 1 75 3) had be en that France could ne ver e e e o f he r e e her hav a g nuin music own, b caus — l i fi : 1 7 69 1 7 87 1 35 language was fundame ntally unfit for it an doppose d to e e s e e v rything mu ical . Rouss au, of cours , was not e e e e e asily acc ssibl , but Gluck manag d to procur an e z introduction to him through Coranc , who was at o n o f he ou rnal de P aris He e tim e part dire ctor t 7 . afte rwards narrate d a conversation be twe e n Rouss e au and himse lf re lative to the Ge rman compose r “ Rouss e au said to m e o n e day ( it was be fore the ’ ‘ e e o f e initial p rformanc Gluck s first work), I hav se e n many Italian score s in which the re are some fine

e e . e e s e t dramatic pi c s . M Gluck alon app ars to himse lf the aim o f giving to e ach o f his pe rsonage s the style that is prop e r to the m ; but what I think e e e e e e most admirabl is that this styl , onc adopt d, n v r e e e h e change s . His scrupulousn ss in this r sp ct as ve n made him commit an anachronism in his ope ra P a ris ’ a nd H elen A . e e e e stonish d at this xpr ssion, I ask d ‘ ’ e e . he e him to xplain hims lf M . Gluck, continu d, ‘ e e e d P the e e u has xp nd upon aris, in gr at st prof sion, all the brilliance and softne ss o fwhich music is capable 5 e e the he e e to H l n, on contrary, has giv n a c rtain e e e he r e e the e x aust rity that n v r abandons , v n in o f her T ffe e e pre ssion passion for Paris . his di r nc doubtle ss arise s from the fact that Paris was a Phrygian and H e l e n a Spartan ; but Gluck has fo r e the e e e gott n poch in which th y liv d . Sparta only ’ re c e ifre dthe s e ve rity o fits manne rs and language from the o f L L e e to laws ycurgus, and ycurgus b long d a ’ b s r much late r age than He le n . I re pe ate d thi s o e ‘ ’ Ho b e . . w vation to M Gluck happy should I , ‘ he e e d e o f the e r pli , if any numb r sp ctators could unde rstand and follow m e in this way ; pray te ll 1 36 Gluck andtlze Opera

e n M . Rousse au that I am grate ful to him fo r the att ntio he is good e nough to be stow o n my works ; obse rve to e e e n o t e the him, how v r, that I hav committ d a m e nachronis o f which he accuse s m e . If I hav e e e e e e e is n o te e she was giv n a s v r styl to H l n, it b caus a e e e e e he r s Spartan, but b caus Hom r hims lf giv s thi e e s u m the e charact r 5 t ll him, in short, to matt r up in h ’ S e e e e e e . a word, that was st m d by H ctor Such was the re markable brilliance of ope ratic c riti c ism the e e e n e in ight nth ce ntury . O hardly knows whe the r Rousse au o r Gluck was the more absurd . Aff e e e e e e e e airs b tw n th s two, how v r, cam to a e e the e rath r strange pass . Gluck had s nt philosoph r a s core o f the Italian dlces te for his pe rusal and the e e o f e o f his xpr ssion his Opinion . In spit musical e s the o f the e attainm nt , study scor was probably no “ e e Ro u sséau . He e e . asy , matt r for hims lf writ s M Gluck pre sse d m e so much that I was unable to re fi1se it a m e s him this favour, although was fatiguing for as ” e e e it was us l ss for him . But Gluck brought matt rs to a he ad by sudde nly taking the score away from ”

. e e the e e him I had comm nc d task, writ s Rouss au e e he e e to Dr . Burn y, wh n withdr w his Op ra, without a m e e e e sking for my r marks, which w r only just e e the e e e comm nc d, and ind ciph rabl confusion of which e e mad it impossibl e for m e to s nd the m to him . Gluck found the task o f producing Ipbigenia harde r he e than any had y tund ertak e n . Nothing was in a e e the e e condition to pl as him ; orch stra, sing rs, e e e e ffi e chorus, ball t, all w r in ci nt, and had to go

ur al d P a s NO 2 1 8 1 8 th A u 1 8 8 o n e ri . . . y , . 3 , p 39 , g 7 ir s e rr s 8 6 8 De sn o e t e . In , pp , 7 .

1 38 Gluck andtbc Opera confronte d with similar di fficulti e s in the case of the “ e e e e to o ld orch stra, which had b n compar d an coach e e le d o n e e drawn by consumptiv hors s, and by d af ” “ ’ m hi The Le e de m de e 5 fro s birth . ttr l a ant Juli ’ ’ e o e e Nouvelle H eloise Madam d rb , in Rouss au s , f e e . e e e o (l ttr xxiii . , part ii ) giv s an qually bad pictur “ the condition o f the singe rs : I will not spe ak to you o f this music ; you know it ; but what you can e e are the e the hav no id a of frightful cri s, long roars with which the the atre re sounds during the pe rform

e . On e ee the e e anc s s actr ss s, almost in convulsions, e e the e o u to f e e viol ntly t ar y lps th ir lungs , th ir fists e e the e the e the cl nch d against ch st, h ad thrown back , fa e e the e e the e c inflam d, v ins swoll n, stomach h aving 5 o n e doe s not know which is the more disagre e ably ffe e d the e e o r the e ar e e e e a ct , y ; th ir x rtions giv as much suffe ring to thos e who s e e the m as th e ir singing doe s to thos e who h e ar th e m ; and the astonish ing thing is that the spe ctators applaud hardly any t h e e hing but the s e howlings . By te way th y b at th e ir hands toge th e r o n e would tak e th e m for de af e e e e e e e e p opl , d light d to catch a pi rcing ton h r and the re ’ The Iphige nia in Gl u ck s ope ra was the ce l e brate d e A fin e Sophi rnould, a dramatic soprano, though with e e to o u to f e The A e a t nd ncy sing tun . chill s was Le e e he e gros, who mad up in voic what lack d in ’ e The e e e . L ee int llig nc thorn in Gluck s Sid was arriv , e e e e the A e to whom had b n ntrust d part of gam mnon . Once the compose r was force d to te ll him that he ee e e c o m re he n so n o f s m d to hav no p his part, and to “ e e e the o f b e unabl to nt r into spirit it . Wait till I — Ly} : 1 7 69 1 7 87 1 39

’ e t e L ee o u g into my costum , said arriv 5 y won t ” e At e e e the r cognise m e th e n . a lat r r h arsal singe r e e e e e e r app ar d in his costum , but his int rpr tation e e e Oh L ee L ee e e th . r main d sam , arriv , arriv cri d Gluck 5 I re cognis e yo u ’ e e He With the b alle t Gluck s troubl s b gan again . found himse lf compe lle d to struggle with the stupidity — — o fVe s tr1s le diou de la dan se who once said that — th e re we re only thre e gre at m e n in Europe Fre d e rick

. e e . the e II , Voltair and hims lf Full as Op ra was of e Ve stris e e t e ball ts, want d y anoth r, in which to intro

e so n . e e e e duc his Gluck p r mptorily r fus d . Quoi “ ” stamme re d Ve stris ; m o i ! le diou de la danse ! “ o u are the o f the e e e e If y god danc , monsi ur, r pli d “ e e e e The Gluck ; danc in h av n, not in my op ra . “ gre at man lame nte d that th e re was no chaconne at he e n d f the e A e t o . op ra chaconn said Gluck, “ whe n e ve r did the Gre e ks dance a chaconne ” Did the y not ! was the compassionate re ply o f Ve s tris 5 the n so much the worse for the m More than once the compose r thre ate n e d to with draw his ope ra and proc e e d to Vi e nna ; and Mari e Antoine tte had to e xe rcise he r powe r to re move the ‘ o hi the e ffi e fr m s . e di culti s path Finally, p rformanc was fixe d' fo r 1 3th April 1 774 5 but almost at the last mome nt Le gros announce d that he was to o ill to e e e the e e o f the app ar . Gluck d mand d postpon m nt e e e e e e e e Op ra, but as v ry arrang m nt had b n mad , and

‘ the R s e to b e e e oyal family it lf was pr s nt, it was atte mpte d to induce him to allow anoth e r singe r to e he e L s s e e e t e . tak plac of gros It was impo ibl , how v r, ’ to shake Gluck s re solution 5 he swore he would rath e r 1 40 Glue/e andthe Opera throw his work into the fire than submit to se e it murd ere d by an infe rior re nde ring 5 and the opposition e e The e e n was forc d to giv in . Op ra was at l gth e o n the 1 th A e e produc d 9 pril with gr at succ ss, though parts of it ple ase d be tte r than the whole 5 the ove rture e The e e e was ncore d . op ra gr w in favour with ach e e N O e e b e e o f r p tition . b tt r proof could giv n its popularity than the fact that the ladie s be gan to we ar a he ad dre ss in the form Of a coron e t o fblack flowe rs e the e e o f e e e e surmount d by cr sc nt Diana, wh nc scap d a kind o f ve il that cove re d the back o f the he ad 5 it was calle d It is unne ce ssary to quote he re all the le tte rs and articl e s by the littérate urs o f the day o n Ipbigenia in Au lis 5 a fair s e le ction o f th e m will b e found in De s n o ire ste rre s th e e o f On e and in e s cond volum Marx . ” e e r b e e e z quotation, how v , may giv n from Coranc , ’ as it illustrate s Gluck s o wn ideas o f dramatic c o m position “ ’ On e the e P euwn t-ils ordonner u un day passag , g

re I bi en ia in Au lis e fi , from p g , was b ing sung at my ’ ’ e e e e he e e n obéz ra i oin t hous . I p rc iv d that in t lin j p da tordre inb um ain the re was a long note to je the

' e e e e first tim it occurr d, and a short not wh n it was e e e e e e r p at d . I obs rv d to M . Gluck that this long not e e e m e in the e I had b n unpl asant to m lody, and was the more astonishe d at his e mploying it the first time e e he e e e he s ing that had disp ns d with it aft rwards, himse lf appare ntly n o tmaking much of it . “ ‘ ’ ‘ e he e e This long not , said, which has displ as d

De s n o ire ste rre s . 10 0 , p .

1 4 2 Gluck andtile Opera

e e I also complain d to M . Gluck that in this sam

e I bi enia in Aulis the o f e Op ra, p g , chorus soldi rs who advance s o many tim e s to de mand loudly that the b e e e victim giv n up to th m, not only has nothing e o f e is striking in its lf, in point m lody, but that it e e e e e e fo r e e r p at d ach tim , not not , although vari ty s e e ms s o ne ce ssary ’ ‘ e e e he e e e e e Th s soldi rs, r pli d, hav quitt d all th y e — e e e e hold most d ar th ir country, th ir wiv s, th ir —i n he e e o f The childre n t sol hop pillaging Troy . calm surprise s the m in the middle of the ir progre ss e e e the o f A A and k ps th m bound in port ulis . b e e e e e contrary wind would l ss harmful, sinc th n th y ’ e e e e he e could at l ast r turn hom . Suppos , add d, that e e e The z e some gr at provinc is in famin . citi ns gathe r toge the r in crowds and se e k the chie f o f the e e the : e provinc , who app ars on balcony My childr n, ” “ ” ! All e e e ! what do you wish r ply at onc , Br ad “ “ ” e we are e ! e ! My fri nds, Br ad br ad “ ” To e ve rything he says the y will answe r Bre ad ! Not only will the y utte r nothing but this laconic b u te e r the e e word, th y will utt it always in sam ton , e e the re e o n e e b caus g at passions hav only acc nt . He re the soldi e rs de mand the ir victim 5 all the circum stance s count for nothing in the ir e ye s 5 the y s ee only Troy o r e lse a re t u rn to the ir o wn country 5 s o the y o ught only to e mploy the same words and always with e e e the same acce nt . I might p rhaps hav writt n some e e e thing mor b autiful from a musical point Of vi w, and varie d it so as to ple as e your e ars 5 but in that case I would only have be e n a m u sm an and would have be e n

e e I e e . DO untru to natur , which must n v r abandon — 149 : 1 7 69 1 7 87 1 4 3 n o t e e e e o u imagin , how v r, that in that cas y would have had the additional ple asure of h e aring a fin e pie ce he o fmusic 5 I assure yo u to t contrary ; for a be auty o u to fplace has not only the disadvantage o fmissing a e o f e ffe is e e u gr at part its ct, but it r ally p rnicio s, e e s the e e b caus it di tracts sp ctator, who is no long r in the n e ce ssary di s position fo r following the dramatic ’ action with any inte re st . My absolute ignorance o fthe art o f music did not I e to e e re e . p l M Gluck ; did not f ar int rrogat him, e spe cially whe n it was a que stion Of criticising some e e e appar nt faults . His r pli s had always an air Of simplicity an dtruth which only mad e my e stee m for his p e rson incre ase day by day . I be gge d him afte rwards to e xplain to m e why the

e I bi enia e the e o fA e numb r in p g , d scribing ang r chill s ,

e e m e e m e so to s nt a shiv r through , and transport d , e the o f the e e e sp ak, into situation h ro hims lf whil if I e e e sang it mys lf, so far from finding anything t rribl o r e I saw e e m nacing in it, only in it a m lody pl asing the e ar to . “ ‘ ’ ‘ ! o u e e e e he t must r cognis b for all, said, tha e e e e t music is a v ry limit d art, sp cially in that par d ! o o f e m elo . u e e it which is call d y would s k in vain, the o f e e the in combination not s which compos air, a

characte r prope r to ce rtain passions 5 it doe s not e xist . The e the e e compos r has r sourc of harmony, but that

e e ffi e the e e o u e o f is fr qu ntly insu ci nt . In pi c y sp ak , all my magic consists in the nature Of the air which e e e the e the e pr c d s it, and in choic of instrum nts that Fo r e e e o u e accompany it . som tim pr viously y hav he ard nothing but the te nde r re gre ts o f Iphige nia an d ' Gluck ana t/ze Opera he r adie ux to A chille s ; the flute s and the mournful e e tone s o f the horns play the gre ate st part th r . It is e r e e e e e no wond that wh n your ars, aft r b ing thus lull d e are e the e o f to r st, sudd nly struck with sharp ton all the e e e e military instrum nts tog th r, an xtraordinary e ffe e o n o u — an e ffe e e ct is produc d y ct, ind d, which it e e te e was my aim to produc , but which y d p nds principally upon a pure ly physical s e nsation ' ' I b z em a in Au lis e e the p g , b sid s honour and adulation e e e e it brought Gluck, b n fit d him also in a mor

e e e . e e e e mat rial s ns In Vi nna, wh r to r ports of his e e e e he r triumphs had spr ad, Maria Th r sa mad him - Ka m m er Kompositeur ; in Paris he re ce ive d e e e e e e livr s for this and for ach succ ding op ra . Wh n he had produce d thre e ope ras fo r the Fre nch stage he to e e 1 0 00 e b e was hav a p nsion of livr s, which was to incre as e d to 1 5 00 IlVI‘ CS afte r the fourth and 2 00 0 afte r he tsixth . He e se t e e at onc to work upon his s cond Op ra, having re solve d to produce Orfeo upon the Parisian e e e e e e e e e e stag . S v ral alt rations w r n c ssary ; as th r ' e e eas tratz P the e - b e w r no in aris, titl part had to e e - e e o f r cast for a count r t nor inst ad a contralto, and , “ as Fe e e e e o f tis r marks, it th r by lost that charact r ” f e e the e s o e pro ound m lancholy that suit d subj ct w ll . e e the k e u the This chang , by alt ring y througho t o fO e e e s l e e the e music rph us, n c s arily a t r d m aning and he e the e t . impr ssion throughout In op ning chorus, ” the e ffe ct of the e xquisite call Eurydice was utte rly

’ l NO 2 firs A s 88 oarna a e P arir . 1 ff , 34, t ugu t 7 , ire s te rre s 1 0 1—1 0 I n e s n o . 10 0 10 10 . D . pp . 9, , pp 4

Gluck andt/ze Opera

’ Ri e n ici n e n flam m e ’ a e l m , U n e douc e ivre ss e lai ss e x l s s e s U n calme h e ure u dans tous e n .

“ ‘ ’ ‘ The e o f the he e happin ss just, add d, must c e fl e e f e its hi y consist in its continuity, and th r or in e quable ne ss 5 that is why what we call ple asure c an have no place there ; fo r ple asure is susce ptible o f dffe e e e e e e e to o the i r nt d gr s 5 it b com s blunt d, , and in ’ e n d e produce s sati ty . The e P e e e op ra had a long run at aris, and v n pass d

again into Ge rmany in its Gallicise d form . the the Gluck was in high favour at Court, and as young Archduke Maximilian was visiting Paris at e e e e e the e this tim , an op ra “ was r qu st d Of G rman He du e o n 2 th e 1 c s e . ompo r pro c d, 7 F bruary 775 , ’ L a rbre en eb a n té e e his Old work, , slightly alt r d from its e s e e e e pr vious form 5 its ucc ss, how v r, was not v ry e e he e P s e a gr at . Shortly aft r, l ft ari for Vi nn , calling o n e e he m e t his way at Strasburg, wh r Klopstock . e e e e e e e e e e Som corr spond nc pass d b tw n th m aft rwards, ’ and Gluck s le tte r is worth quoting as a Spe cime n o f hi e e b e e s pistolary styl . It must giv n in Ge rman 5 it would b e impossible to do justice to the orthography an dpunctuation in a translation

ffe s ie e e de m Hrn ra n Ich ho w rd n Von . G ffe Von

C o b e n tz l die e e A e e e n V rlang ri n richtig Erhalt n hab ,

ourne l de P e ri; as e S e e De sn o ire strre s . e f abov ,

1 1 2 . p . — Lye : 1 7 6 9 1 7 87 1 47

ic h habe se lbige durch di e se ge le ge nhe it we ge n Ers ahru n de r P o sts e se n e e die e p g p ihn n g schickt, anm r k u n e n e m iis se n we c k lasse n e e ic h g hab ich , w il n nicht e au s z u rii c k e n wie e e wust , mich , ich Es V rlangt , ich e Es wiirde e e so e e glaub , ihn n Eb n schw r vorkomm n, sie e e e d Brie ffe e e e wie wan sollt n j mand n urch b l hr n, , u n dmit was vo r Eine n au s s dru c k Er ihne n Me ssias

' z u de c lamire n haltte e e e e e de r , all s di s s b st ht in

Em fin dun e x lic irt e e p g, und kan nicht wohl p w rd n, Wl e Sle a e e -I c h Erm an le z b ss r wiss n, als ich 5 g war z u fian tz e n e b an dle n e nicht p , ab r hab ich bis dato n k On n en ic h e och nicht , dan kaum war in Wi n e e so e e e de r e ang komm n , v rr ist Kais r, und ist noch z uriic k e e e iib er e e nicht g komm n , di s s muss man an n o c h die e Virtlstu n de e e u m b gutt b obacht n, Etwas

e ffe c tu ire n z u k On n e n b e e offe fin dt , y gros n H n man e e e e e e e z e e e s lt n g l g nh it, Etwas gutt s an ubring n, ind ss n hOre ic h e e A e e de r d nnoch, das man will Ein cad mi Sc hOn e n e e e e Wiss nschaft n allhi r Erricht n, und das de r Vo n de n Z e e C ale n de rn Eintrag itung n, und soll

e de s au s sm ac he n u m b die e Ein portion fondi , Kost n z u b e s tre itte n ; wan ic h we rde basse r Von der sache e e e e e e e e unt rricht t s in, w rd nicht Ermang ln ihn n all s z u e e e e s i e b richt n . Ind ss n habe n e mich Ein w nig

e ic hwie de ru m b liic klic h s ie z u e e . li b, bis so g bin s h n Me in We ib und Tochte r mach e n ihne n Ihre Compli me nte n und fre ye n sich se hr Vo n ihn e n Etwas z u hOre n e e e e , und ich V rbl ib d ro, “ e e e e Ihn n Erg b nst r,

GLU CK .

x 1 1 Mar , ii . pp . 44, 45 . ’ 1 48 Gluck ana t/ze Opera

Evide ntly the introductions to Alces te and P a ris a nd H elen e h f e e w re not te work o the compos r hims lf. e e e e e fo r P M anwhil anoth r Op ra was want d aris, and

e e his C tb ére assie ee he Gluck gav th m y g , which had e 1 e e e writt n in 75 9, and which was now som what alt r d e e e for the Fre nch stage . Passage s we r ins rt d in it ' P a ris and H elen I bi enia in j u lzs from and p g , and B e rton hims e lf compose d some o f the n e w music for * it e o n the 1 l h A 1 . t It was produc d ugust 775 , but ’ e e e e was r c iv d with little e lse but laughte r . Ev n Gluck s o wn e e e e e the e adh r nts w r forc d to admit failur , and to e e e e the m at A He r consol th ms lv s with of rnaud, that ” e h the cul s was more at home with te club than dis taff. He had re c e iv e d from the Dire ctors of the Ope ra a n e w as e as commission for two works, w ll for an ’ Alces te The e e u in a adaptation Of . two works w r ( l ults ' ’ rm zaa e Rol d e e o f 4 , and an op ra, an , bas d on a po m in a lt e ( u u e . l , though not following it ntir ly But in his abse nce from Paris the Italianist party had be e n e e e e e st adily working to und rmin his influ nc , which e b e e e e could b st don , th y thought, by bringing anoth r A musician to write in opposition to him . ccordingly the y brought to Paris the N e apolitan Pic c in n i ( born at that time o n e o f the most ce le brate d and e e e e most popular compos rs in Europ ; a facil writ r, e e e Gin u e né whos Op ras, says his biograph r g , had alre ady mounte d up to the re spe ctable numbe r of n e fin e o n e h undre d and thirty . O morning Gluck re ce ive d the information that to P ic c in n i also had

e e e Roland be n ntrust d the composition of a . His — S e x 1 8 . e . . 1 Mar , ii pp 4 5 5

1 5 0 Gluck andtile Opera

e the e o f e e o n e o f having fall n into clutch s such p opl , e o f l the whom is a blind admir r Ita ian music, and othe r the author Of s o -calle d comic ope ras 5 the y e e e the will mak him s moon at midday. Héb I o u t . ert am truly put about it, for M is a I e e e worthy man, and that is why do not h sitat to giv Arm ida o n the e e I him my , conditions, how v r, which e e e e e Of m ntion d to you in my pr vious l tt r, and which the e e are e I e P ss ntial points , that wh n com to aris I must have at le ast two months in which to train my actors and actre sse s 5 that I shall b e at libe rty to have as many re he arsals as I think ne ce ssary ; that n o part shall b e double d 5 and that anoth e r Op e ra shall be

e e e o r e . in r adin ss, in cas any actor actr ss shall fall sick e e are tu I e e Th s my conditions, wi ho t which will k p rmida e e the d for my o wn ple asure . I hav writt n music f Old o it in such a way that it will not soon grow .

‘ ! o u e e e e o f 1 say in your l tt r, my fri nd, that non my Al e t works will e ve r compare with c s e . This prophe cy

dleeste e e e I e e . cannot agr with is a p rf ct trag dy, and o f e fe I do not think it Ofte n fails its full p r ction . B ut yo u cannot imagine how many shade s and manne rs e o f e can music is capabl , and what vari d paths it ’ d m zda s o ffe e dlces te w. r o ne follo is di r nt from , that he e would hardly be li e ve the y we re by t sam compose r 5 and I have put into it what little powe r re maine d to t e e m e e Alces e . I b e Arm ida aft r hav striv n to , in , e e e ho w mor paint r and po t than musician ; of that, e e b e e e e e e r v r, you will abl to judg yours lf wh n you h a I e ee a the ope ra . With it think to clos my car r as n The ee e artist . public, ind d, will tak as long to

e drm ida e e Alces te und rstand as th y did to und rstand . — Life 1 7 6 9 1 7 87 1 5 1 There is a kind o fre fine me nt in the forme r that is not in the latte r ; for I have manage d to make the diffe re nt pe rsonage s e xpre ss the mse lve s in su ch a way that yo u will b e able to te ll at once whe the r Armida o r d e . I e n anoth r is singing must , or you might e think m e eith r a charlatan o r a lunatic . Nothing sits so badly o n a man as praise o f himself ; it only e he e e o r arm o n el suit d t gr at Corne ille . Wh n I M t

o u r o wn e e e o u r e . blow trump ts, p opl laugh in fac s the e are the e For r st, you right in saying that Fr nch compose rs are too gre atly n e gle cte d ; fo r I am ve ry e G o sse c Philido r e much in rror if and , who und rstand the e o f the e e s o e n o te e styl Fr nch op ra w ll, could s rv the e e the e o f e public b tt r than b st Italian compos rs, if pe ople we re not too e nthusiastic ove r whate ve r is

n e w. ! o u sa e e e O eo e a y furth r, d ar fri nd, that rf los s in

Alces te e e ho w comparison with . But, good h av ns is it possible to compare two works that have nothing in c ommon ! The o n e can ple ase as we ll as the othe r ; but put Alees te on the stage with your worst playe rs

Or eo e se e Or eo and f with your b st, and you will that f will be ar away the pri z e ; the be st things be come e e e insupportable in a bad pe rformance . B tw n two works o f a diffe re nt nature the re c an b e no c o m e e Pic c in n i I parison . If, for xampl , and had both

e R ola nd e e e e e e e compos d a , th n p opl would hav b n abl to judge which was the be tte r 5 diffe re nt libre tti must e e s e ffe e e o f n c s arily produc di r nt compositions, ach which might b e the most be autiful of its kind 5 in any

' e e— om nis eom ara tio elaudzea t e e I oth r cas p . Ind d must almost tre mble at the ide a o f a comparison be twe e n Armida Alces te— e e e o f and two po ms so div rs , which 1 5 2 Gluck andMe Opera o n e move s to te ars and the othe r stimulate s e xquisite s e are e I n o t nsations . If such comparisons mad , do e e G o d e the know what to do, xc pt to pray to giv ” e worthy city o fParis its sound common se ns again . This le tte r subse que ntly appe are d in the dnnée ' “ Litterazre fo r 1 6 the 77 , without participation , it was “ h m e e . o r o f te e said, ith r of M Gluck p rson to who it is addre sse d 5 but we may discount that state me nt e e e h e fo r consid rably . Gluck vid ntly inte nde d te le tt r publication . e e r he e to do e Now, how v , thought it tim som thing e he s e to u t P the hims lf, and accordingly for aris with

e e e f l s te e o n 2 rd alt r d scor o A ce . This was produc d 3

” A pril 1 776 5 1 and though the first and se cond acts e t e re he e . e e w applaud d, third f ll flat It is r lat d that e e the e the Gluck , who had b n watching hous from e e the e e e e he wings, rush d d spairingly into str t, wh r “ e e happe ne d upon the A bbé Arnaud . dl ertis falle n “ ” e the e e e e ! re moan d compos r . Fall n from h av n e the A é e z e pli d consoling bb . Coranc wrote at a lat r date : dlees te was not succe ssful at the first re pre se nta m et the him . I tion Gluck in corridor, and found more occupi e d in se e king the cause o f an e ve nt that e e e so e ffe e the s m d to him xtraordinary, than a ct d by ‘ ’ l b e e he e o f the e . small succ ss op ra It wou d a jok , ‘ m e e e to b e e said to , if it w r fail ; it would an poch o f e e i n the history taste of your nation . I can conc iv

6—1 ir 11. 1 . n o e s te rre s 1 2 . x De s . Mar , pp . 5 59 , p 4 1‘ The titl e runs Re pre se nt e d fo r the fi rst time by the A dé e e de s e 0tb A ca mi Royal Mu iqu , 3 pril

1 5 4 Gluck andtile Opera othe rwise the force o f the e motion de cre ase s in the e e e the e is e the h ar rs ; and wh n prop r limit pass d, e the e actor striv s in vain, for sp ctator grows cold and

finally impatie nt . “ e s the e e s e It r sult from this fault that int r t, inst ad o f be ing quicke ne d by d e gre e s in the course o f the e e e the e n d e e pi c , di s away to , which, with all r sp ct u e e u u to E ripid s hims lf, is cold, d ll, and almost la gh ” e in abl its simplicity . A s Gluck had passe d ove r Sophie Arnould o n o f he r e e e the account inf rior physiqu , and confid d o f A e e Le e the c r was part lc stis to Rosali vass ur, y he ard that a cabal had be e n raise d against the work the e d f h e e e e by fri n s o te slight d sing r . But th r was e t the e the e e o f e littl tru h in charg , b st r futation it b ing the fact that the succe ss of dlces te gr e w with e ach ’ e e u e e e e p rformanc . Gl ck s fri nds w r not idl in pro claiming the me rito f the work : the Abbé A rnaud in particular distinguishe d himse lf by his S oirée ’ ’ — perdueja l Opera a controve rsial pie ce in the form e the Glu c k is t e Of a dialogu , in which had an asy e e e e b e triumph ov r his oppon nt . Onc mor it may e e e worth whil to q uot a passag , as showing what conte mporary criticism of music was like ’ O n e e o n e e e - e mom nt, mom nt, Sir Et rnal admir r, cri e d angrily a man who we pt with rage whe n e ve ry ‘ se nsible pe rson was we e ping with compassion ; now yo u will he ar a pi e ce I challe nge you to unde rtake to e e e : e s a e e prais Th r it is w ll, what yyou, g ntl m e n e e e e the o n e e the e four ntir v rs s on ton , on sam note ! Could anything b e more wre tche d ! is it not ’ ‘ the ve ry ne gation o f music ! It is true that the — Lfe : 1 7 69 1 7 87 1 5 5

o f e e e to function music, and sp cially th atrical music, is e z e the e the e e s i acc nt of passions, to mb llish it, fortify e e e e e e are s hades o n it, and r nd r it mor palpabl 5 but th s the e e e are e fe stag , and th r no passions b yond this li ; th e se ve rse s are not susce ptible ofany othe r de clamation 5 and it is in de priving the m of e ve n the ir natural and ordi nary acce nts that the che valie r Gluck prove s his fin e

e e o fthe . e e as s ns congruous How v r, it is not simply a e e e matt r of imitation, and as imitation ought to hav plac e e o n e e ar e the e in music, k p op n for orch stra, and you will se e that the compose r supple m e nts this monoto e e e e e nous d clamation by a most vari d, most xpr ssiv , — and most picture sque harmony a harmony that will ffe e e e the e e e a ct all s nsibl p rsons, and at sam tim mov with te rror and admiration those who have not only ’ se nsibility but a knowle dge of art . This de fe nce o fthe part o fthe music in que stion was u e d e e A e ndoubt ly sugg st d to rnaud by Gluck hims lf, fo r we find it re appe aring in Corance z The chorus o f the infe rnal de iti e s struck m e with e I e e le d . t rror, but could not conc iv what had M Gluck to make the se four ve rse s b e sung to a single note . ’ e he m e to e the It is not possibl , said to , imitat n e e e we e e e la guag of fantastic b ings, sinc hav n v r he ard the m 5 but we have to try to approach the ideas inspire d in us by the functions with which th e y are d e . e e e e a charg D vils, for instanc , hav a conv ntion l characte r that is we ll known and ve ry pronounce d ;

“ ’ La é d l O e e e a éra . in Soir p r u p , pp 5 3, 54, ” é e s se i e tc M moir pour rv r, . 1 5 6 Gluck andt/ze Opera the y ought to b e dominate d by e xce ss o f rage an d e h r n o e we madn ss . But te infe rnal gods a e td vils ; re gard th e m as the ministe rs o f de stiny 5 th e y are not e swaye d by any pe culiar passion ; the y are impassibl . Alce stis and Adme tus are indiffe re nt to th e m 5 all the y have to do with the m is the accomplishing o f e d stiny . In orde r to de line ate this spe cial impassibility o f e I I e e e e th irs, thought could not do b tt r than d priv e o f e e e r e the th m all acc nt, r s ving for my orch stra task Of painting all that is te rrible in the ir announce

A n dagain Corance z writes I was at the first re he arsal o f dlees te 5 I thought e e the e e mys lf alon in amphith atr , which was in dark e The e e o f the o f e e e n ss . x cution march pri st ss s pro e m e e e e o f bably dr w from som xt rnal sign approbation .

M . Gluck was almost at my side without my se e ing ’

. SO e e o u he him this march pl as s y , said, coming up m ’ ‘ l i e . e e e I e e a re i o u s to It do s ind d, r pli d 5 it has g h ’ character whic at once ple ase s an dsurprise s m e . I ’ e i he I e e e will xpla n it to you, said . hav Obs rv d that all the Gre e k poe ts who have compose d hymns for the te mple s have made a ce rtain m e tre pre dominate in the ir Ode s ; I have thought that this me tre had in it some thing sacre d and re ligious 5 I have compose d my march in conformity with the same succe ssion o f ’ longs and shorts ; and now I se e that I was right . e m e o n the e e e e fin e Th n, striking should r, Th y w r e e e e f llows, thos Gr ks

oa nal d i NO 2 th r e P ar r . 2 Au . 1 8 8 I n De s y , 37, 4 g 7 .

n i s te rre s 1 1 o re . , pp 34 3 7 .

1 5 8 Gluck andthe Opera

Orploee was tre ate d as the author o f Zai re had be e n e e e e e tr at d six y ars b for ; and it is this bust which, a e e e e e the o f 1 ft r having b n xhibit d at Salon 777, was place d by the orde r o f the king in the grand foyer o f ” the é the e o f o f O e . p ra, by sid that Ram au ' ' A e Alees te I loz enza in dull: ft r , p g was again brought u t e A he r o . A n d , with Sophi rnould in original part n o w La e o n e o f the e e e o f u n Harp , n mi s Gluck,

e e e ourn a l de oliti ue etde burd n d hims lf, in his 7 p q littérature i n e , a passag that is worth quoting as anoth e r light o n the manne r o f e ightee nth-ce ntury criticism “ e e e Those who r proach M . Gluck with fr qu nt o f e e the e o f lack m lody, r mark, to advantag Italian e e e e e the compos rs, that th ir airs wh n s parat from e e e e e accompanim nt still hav gr at b auty . But at l ast e o f o n e cannot de ny that M . Gluck r pairs this lack e e e e m lody, as far as possibl , by his profound knowl dg f a the e ffe o f e o h rmony and cts which it is capabl . Anothe r obse rvation has be e n made apropos Of the tf e the e du c o A chill s and A game mnon in s cond ac t. is e the It , that it is in no way consist nt with dignity o ftwo e e b e e the e e e h ro s to sp aking at sam tim , as wh n two vulgar pe ople are quarre lling ; and inde e d this conflict o f me nace s and clashing crie s is absolute ly lacking in the nobility that should characte rise this s e e e n o t e the e o n e fee c n , and do s inspir t rror ought to l whe n in the pre se nce o ftwo su ch m e n as A chille s and

A e . On e e sa gam mnon might go still furth r, and y that the music hardly le nds itse lf thoroughly to the

De sn o ire ste rres 1 1 8 , pp . 47 , 4 . — Lfi e : I 7 69 1 7 87 5 9

The main e xpre ssion o f this sce ne . acce nt o f pride is hard and anti-harmonic 5 and this dialogue o fA chille s and A game mnon is o f a kind o f re citative at which e e the e ar is at any rat astonish d . It should not rise e e e e e e e e v n into d clamation, in which styl , n v rth l ss, the atte mpt has be e n made to write it 5 an dpe rhaps A chille s and A game mnon could not brave e ach othe r e the e ffe in musi c . What is c rtain is that ct of this e e e e fe the e ffe o f the sc n , wh n sung, is v ry in rior to ct sam e sce ne whe n de claime d ; and although it may b e e e e e e r e e tru in g n ral that music can r nd v rything, p e rhaps it is as we ll not to e mploy it o n Obj e cts to ” b e e e which it cannot f licitously appli d . La e u e This brought upon Harp , who was undo bt dly the most stupid o fall the stupid littérate urs who wrote

e ln the ournal de about music in thos days, an attack y “ ” P a ris he e e e A e de Vau irard by t c l brat d nonym g . The e e o n e e e xtrao r cont st w nt for som tim , arousing an e din ar e e the La y amount of int r st in musical world . e fo r who e Harp was no match his antagonist, asily convicte d him o f be ing as we ak in his re asoning as he was supe rficial in his knowle dge Of the subj e ct . But the e o n e e war w nt raging in oth r quart rs . It was ’ “ h e Marm o n te l s les év about t is tim that Essai s—ur r olu tions de la musique e n France appe are d a work not e fo r e to e e without m rit, having its Obj ct d monstrat that while the Fre nch stage was inconte stably supe rior the e s e to Italian, its music was as incont tably inf rior, and that a tru e ope ra would only be obtaine d by trans

’ oarnal de oliti ae etde litteratare th 1 7 p o , 5 March 777 . I n De s n o ire s te r s re 1 1 0 . , pp . 49, 5 1 6 0 Gluck andtile Opera planting Italian melody into the re ally dramatic poe ms e e in P e e e that w r in favour aris . Innum rabl pamphl ts e Marm o n te l La e sprang forth in r ply to and Harp , ’ ’ Le ttre dun gentilhomme alle mand aqui l On avo it ’ prete l Essai sur le s revo lu tio n s de la musique La ” érOm e e e Le e e e t . Brochur M J , p tit cont moral 5 ttr ’ ” d un he rmite de la foret de Senart 5 and so Pic c in n i the e e o f u e , int nd d rival Gl ck, had l ft e o n 1 6 e e 1 6 P o n Napl s th Nov mb r 77 , arriving in aris h 1 3 e e A t e he o f te g tD ce mb r . this tim was a man -e e e e about forty ight y ars Old 5 pal , thin, w ak, and impre ssionable 5 e vide ntly no fit a n tagonist for the P ic c in ni e e vigorous Gluck . had to s tto work to l arn the e e e e Fr nch languag , and had littl tim for anything e e e but continuous r ading of Voltair , Rouss au and ’ Marm o n e l e R ola d Racine . thad adapt d Quinault s n the e e e e for Italian compos r, and sp nt thr or four hours e a day with him, trying to ndow him with a just o f e appre ciation acc nt and quantity . All this time Gluck was working at the fifth of the e he to b e e e e e gr at works by which was r m mb r d . O n this occasion he had gon e straight back to Quin

e the e o fArm ida the e ault, acc pting libr tto as po t had e i writt n it and as thad be e n se tby Lully . In a notice o fthe ope ra in the 7 ourna l de P a ris the follow ’ ing re asons we re give n for Gluck s re te ntion Of the “ ’ original poe m : The plan o f Quinault s poe ms is

not the most favourable for dramatic music ; M . Gluck might have be e n able to avoid some o f the difficultie s by suppre ssing in Armida seve ral fee ble o r

Se e De sno ire te rre s 16 . , p . 3

1 6 2 Gluck andMe Opera

’ e the o f e P lus on can na itl am our op ras ; air Hat , , is ’ an adaptation o f o n e of Jupite r s airs in Bauci e ’ t r Fz lem one 5 while oth e r portions of he ope ra a e take n ’ ’ Le n oz z e dEreole e dEbe Telema eeo from , from , from ’ D on uan T L innoeen z a iustz ea ta . he g fi , and from y o e e e s e v rtur b gin with a pompous subj ct in C major, that l e ads afte r a fe w bars into a the m e of a more a e e b e e e e the gitat d charact r, which may tak n to d not m e ntal anguish and irre solution o f A rmida ; wh e n

e Te e aee e e e e The pr fixe d to l m o it had re f r nc to Circ . n e x t the me is thoroughly dramatic and pointe dly e e e the e e e e r f rabl to op ra its lf, and is handl d with mor s kill and pe rs iste ncy than is ge ne rally the case in ’ Gluck s music ; ke e ping the ope ning the me of this e he e e e s ction running almost throughout, cl v rly int r w e ave s othe rs with it and draws n e w me anings from “ ” e e e the A e e it ; th n, with a r p tition of rmida th m o f the s e e the e first ction in a modifi d form, ov rture e e the e e e the s l ads at onc into op ning sc n of fir t act . A rmida is s e e n in the garde n of he r palace with he r eon da ntes P e e e are he r fi , h nic and Sidoni , who urging e e e to banish car and m lancholy . No r gular aria is ass igne d e ithe r to Phenice o r to Sidonie ; th e y carry the flood o f m e lody on by turn s in a rathe r charming T he e e e . mann r music is soft and g ntl and languorous, — o n e fin e trait be ing notic e able the disturbing e le me nt that is introduce d into the harmony as soon as the war is m e ntione d ; we he ar a re minisce nc e of the the m e that is so we ll work e d o u tin the se cond se ction o f the A ffe e o ve rture . di r nt colour is diffuse d ove r the m usic whe n Armida sp e aks 5 s he complains that what e ve r may b e he r powe r ove r the othe r warriors it fails — Lfi : 1 7 6 9 1 7 87 1 6 3

e he the to subdu Rinaldo, and this although is in e o f e he b e s u s c e maytim youth, wh n should most p e P e e e e e tibl to love . h nic and Sidoni nd avour to console he r with the philosophical re fl e ction that o n e victory more o r le ss can make ve ry little diffe re nce to he r the e e , and that prop r way to mak Rinaldo conscious o f his shortcomings is to tre at him with e e A the e cont mptuous disr gard . gain pictorial chang e com s ove r the music whe n Armida re pli e s . In rapid and vigorous tone s s he re minds the m o f the prophe cy that he r powe r would b e vain against this h e ro ; and the acce nts ris e and quicke n as she e xclaims Ho w I hate him ! ‘ how his scorn wounds m e ! in spite Of e e the o f mys lf, inc ssantly thought him disturbs my ” e s e e e s he e he r e r t . Th n in a r citativ narrat s dr am,

R a e he r -an d e in which in ldo had vanquish d , Sidoni tri e s to consol e he r in an aria that is an adaptation o f

a i and len o n e in P r s H e . A fe w bars of music o fa pompous characte r are now — h e ard the kind o f pre te ntious nullity that was always e mploye d to signify the arrival of s ome important e — Hidrao tthe e fA e e o e . p rsonag and , uncl rmida, nt rs He he r e e wants to choos a husband, that wh n his own days e n dhe may know that A rmida will le ave othe rs e the h . S e e e s the e to inh rit kingdom r pli , in languag “ Of the Court o f Louis ! IV that s he dre ads the alluring tie Of Hyme n Ah! how unhappy doe s ” the e e e e e H dr h art b com wh n lib rty abandons it . i ao t e he r the e o f e dde admonish s again, singing prais s w d e e her s he has lif , and r minding that only to look in orde r to conque r 5 but she re ite rate s he r re solve to live e she e e f e alon , adding that admir s b or all things valour, 1 6 and ile era ‘ 4 Gluck t Op

and that she would be stow he r hand upon no o n e but the e o f e the the conqu ror Rinaldo . Th n chorus sing e he r e e e e prais s of pow r and b auty, th ir song b ing e e e z P e e an d e int rsp rs d with stan as for h nic Sidoni , and e e e e e a v ry pr tty ball t . It is notic abl how Gluck maintains the pictorial me thod he had spoke n of in e e e e e he e o f e his l tt r to Du Roull t, wh r sp aks ach characte r having a music o f its o wn that at once e the e e P e e distinguish s it from all r st . Each tim h nic o r e o r A the e e Sidoni rmida sings, music und rgo s a e total chang . are e e the o f A Just as all c l brating might rmida, e e he r e e e e how v r, and pow r to vanquish h ro s and armi s e A ro n te s e e e e with a smil , nt rs, bl ding from his e the e he c o n wounds, and b aring n ws that as was ducting his captive s thithe r the y we re tak e n from “ A him by the prowe ss of a single warrior . single ” “ ! e e A e e O warrior all xclaim ; whil rmida jaculat s, e e he e e A ro n te s h av n it is Rinaldo It is , r pli s 5 fin e o f e e and in a chorus, full mov m nt and passion, all

swe ar to pursue the victor and have ve nge ance . T he e ac t e e e s cond op ns in a woody country, wh r e e o f A rte m ido ro Rinaldo is taking far w ll , who is re turning to the Christian camp afte r having be e n r r re scue d from his captors by the he ro . A te m ido o e e e wish s to accompany him in his adv ntur s, but e e the he Rinaldo urg s him to r turn to camp 5 , for his e the o f e part, having incurr d wrath Godfr y, must A rte m ido ro pursue his unde rtaking alon e . warns him against the blandishme nts o fArmida ; Rinaldo re plie s he ffe e he r that is indi r nt to charms, his only passion

be ing for liberty .

1 6 6 Gluck andt/ze Opera

o f e e e she Finally, in an aria magnific nt xpr ssion, e e e e e e e the yi lds h rs lf r gr tfully to lov , and invok s powe rs of e arth to transport he r with Rinaldo to the o f the e e is e s bounds univ rs . It strang what a pas ion o f e e e profound r gr t quiv rs through this music, which is oste nsibly a confe ssion o f love 5 Gluck was at the h e ight o f his psychological powe r in thus pourtraying the struggle o f A rmida against he r sudde n e ngulfing passion . Equally fin e is he r aria atthe be ginning o f the ac t e e s he e her e e third , wh r again lam nts w akn ss, and the e e e the e e o f the contrast b tw n d p, moving passion music and the frigid formalism o f the words is most e e e e ha e e o f notic abl . Mor than onc Gluck s writt n som e e his fin st and most nduring music to words that, apart the are e e from music, int ll ctually almost ridiculous . ’ Close upon A rmida s lame nt is he ard the light he arte d frippe ry that se rve s to de signate Phenice e e e he r the and Sidonie . Th y att mpt to consol in s he e usual way, but is inconsolabl ; Rinaldo has e e e he r e e z she the r j ct d lov , and in a fr n y calls upon e t e e de spirit of Hat o app ar . Hat sings an aria e e e e scriptiv of his pow r, and th n, aft r a chorus and a e e e e L e e to strang ball t of Furi s, conjur s ov to yi ld him ’ his place in A rmida s h e art 5 and the re follows anothe r e A e e he r e ball t . rmida how v r finally lifts up voic ‘ he e e e . e in prot st, in a du t with Hat Whil sings ’ ” L e e e e A she ov , br ak thy chain 5 l av rmida s bosom, e the e o f the e e e o h e u cri s, in languag tim , C as , dr adf l Hate ! le ave m e unde r the laws o f so charming a conque ror 5 le ave m e ! I re nounce thy fe arful aid ! N O ! it is impossible to take Love from m e withou t — Life : 1 7 6 9 1 7 87 1 67

e e . e e o n he r t aring out my h art Th n Hat turns ,

e he r e e the s e she t lling , s cond d by chorus, that inc has e L e L e s he e the e n d chos n ov , ov shall hav , but that in L e e he r e e ov will prov ban 5 and in a short monologu , A e e e e to the e e rmida, l ft alon , abandons h rs lf t nd r god he r as only solace . The fourth ac tis both ridiculous in itse lf and wholly undramatic and unne ce ssary as far as the ope ra e e U r is conc rn d . baldo and the Danish knight a e first be he ld struggling among the horrors and pitfalls o f the sce n e ; b utthe y dispe rse the de mons and e me rge into the ope n country by the charm o f ’ U b aldo s e e magic wand . Joining in a du t, th y warn e ach oth e r again s t the se ductive influe nce s o f the U place . baldo points out the palac e of the e n e e e e e the e e e e e chantr ss, wh r in li s captiv h ro th y hav b n e e e e A n e e e r e d put d to r scu . vil Spirit how v app ars, e the o f L the e e o f the und r form ucinda, b lov d Danish the o f o f knight, and by aid song, a chorus Spirits e — e e e e the lik mind d with h rs lf, and a ball t, works upon ’ susce ptible warrior s fe e lings ; and in spite o f his ’ companion s prote stations, he is about to wande r o ff ’ the o n e e U b aldo s ff e with fair , wh n magic sta br aks the s e L e the e p ll, ucinda disapp ars, and scal s fall from the e f e ye s o the Danis h knight . Congratulating ach e e e s e oth r and moralising profoundly ov r th things, e e e e the e e th y pass on, wh n, to compl t farc , a s cond e e the e e o f U spirit app ars as M lissa, b lov d baldo, and the e e e e the sam p rformanc is gon through again, ff Danish knight this time brandishing the magic sta . e e e e e t Th n th y go on th ir way r joicing, Singing y ’ anothe r due t to fortify e ach othe r s soul against the 1 6 8 Gluck andthe Opera

e o f the e e the e the e s ductions nchantr ss, paus s in du t be in g fille d with a languorous phrase carrying the mind h f e e S ignificantly back to te sce ne o th ir t mptation . The e the e e e fifth act Op ns in a room in palac , wh r A e e o f he he r rmida is taking l av Rinaldo ; clings to , e he r T e e the b gging not to quit him . his sc n is most ’ voluptuously be autiful that e ve r came from Gluck s - e n . e he sa e e to p W ll might y in aft r y ars, according e e e he e b e Gr try, that if v r was damn d it would for e e The e e o f he e this sc n . nchantm nt t gard n is upon e e o u r e e the e us, cloying our tast and s aling up y s 5 v ry air se e ms h e avy-lade n with subtle narcotic fragrance ; an dfor once we are o u to f the formal salons o f the e e e e the - e e o f ight nth c ntury, in wind sw pt vall ys R e e e e e the omanticism . H r Gluck ris s for onc abov grinding commonplace s of his age 5 he re he has c o m e e e e e e e e munion with mor s cr t voic s, h ars mor s cr t e e e e e e e whisp rs of imaginativ b auty, than w r v r his e e n e e e n e be for or aft r . O wond rs what strang w

‘ s ti rrln g o f unknown de pths o f soul was in this Old

’ o f e the d o f thatso man sixty, wh n, in mi st labour Ofte n re quire d the me re st me chanical unimaginative e e e e e e o f n ss, th r cam ov r him this wondrous br ath e him e f e the motions unknown to b or . In garde n s e e e e he e e c n , ind d, had sunk his s ns s in voluptuous e e SO the d light in romantic b auty, that music almost s e e ms fille d with the placid murmur o f the wate rs and - the odour of the falling rose le ave s ; but he re the

' e e is e e e s u b tle m o re e nchantm nt v n mor , imaginativ , e f more romantic . It is a for shadowing o all that was e e e most b autiful and most s ductiv in Romantic art . e e e e e o f e A W igh d down with pr s ntim nts vil, rmida

‘ 1 7 0 Gluck and zlze Opera

A s e Arm ida e e s uc was said abov , was not altog th r c ess fu l the e e e the at first p rformanc , whil customary ' s ottz ses we re pe rpe trate d in the journals at the first La r Opportunity . Ha pe e spe cially had scarcely a good “ the e e h word for op ra . The re was no m lody in te n e w e e n e work ; v rything was carri e d o in r citative . T he o fA s o n e e n d the e part rmida, almo t from to oth r, was a monotonous and fatiguing shri e k 5 the musician had made his he roine a Me de a 5 he had forgotte n that she e e s Or loee the e e . was an nchantr ss, not a sorc r s In p m e lody was p e rce ptible 5 the re it was tre ate d with a supe riority which it wouldb e bad grace to d e ny 5 but e e e e e that was an xc ption ; M . Gluck app ar d to hav made it his purpose to banish song from the lyrical e e e b e e e drama, and s m d to p rsuad d, as his partisans the e the e said, that song is contrary to natur of dialogu , the e o fthe e e the ensemble o fthe to progr ss sc n s, and to ” action .

! I sa e . I will y th n to M Gluck, in conclusion, lo e e Or ée . e e e pr f r your p It has pl as d you, Sinc that

e e e e e . e tim , to writ as littl m lody as possibl You hav give n up that truly lyrical plan of a drama inte rsp e rse d e e to u s e e . with airs, which you yours lf hav xpound d ! o u e e Arm ida is e fin e hav com back to , which a v ry e e e the e o f po m and a bad op ra, to stablish r ign your m e lo m ia e s e p , sustain d by your choru s and your e I adm ire e the e e orch stra . your chorus s and r sourc s b e e ro o f your harmony . I could wish you to mor p e e e e e e digal in your m lopo ia, and that it w r mor adapt d to the Fre nch phrase ; that it we re le ss broke n and

ire s te rre s 0 De sn o . 2 , p 9 . — Lye 1 7 69 1 7 87 1 7 1

e e I e l ss noisy 5 and abov all, could wish for som arias . Fo r I like the music o n e sings and the ve rs e s o ne e carri s away . I am not unaware that this Opinion is strongly e o f e e o f e m I e Oppos d to that s v ral your fri nds, who lik

e e e e . e e and st m infinit ly But as, in ord r to lik and e e e m e e e e the e st ach oth r, it is not n c ssary to hold sam o n I e e i n o r Opinions music, hop th y will pardon my g a e e b e e e m e nc , and that th y will cont nt to r gard as a e e e e o f c an e e b e fr lanc , who, b ing good faith, n v r ’ e e e e e s ctarian , and whos h r sy is not dang rous . e the ire o f e e This criticism rous d Gluck, who r pli d with e xtraordinary bitte rn e ss in a le tte r to the 7 ournal de P aris o f 1 2 th Octobe r “ e m e n It is impossibl , sir, for to do a ything but agre e with the inte llige nt Obse rvations on my op e ra that appe ar in the numbe r Of your journal for the fifth o f I n u e this month 5 find in it nothi g, absol t ly nothing, o e tcontrav ne . “ e e e e e e e e I hav b n Simpl nough to b li v , till now, e the e r e e the e that music, lik oth arts, mbrac s whol s e e o f the e e e ph r passions, and that it cannot pl as l ss wh e n it e xpre sse s the trouble s o f a madman and the h f e cr o f e e te o . y gri f, than wh n it paints sighs lov

’ 11 e s de s e e n i de s e de x n t point rp nt mon tr O i u , ’ ui é n e ss e e au x e x. Q , par l art imit , pui plair y u

I have thought that this r ule Should hold in music e e I e e e e qually as in po try . hav p rsuad d mys lf that

’ '

ou al de lz a de litté atare 1 . rn o tz e et r . j p g , Oct 777 In s i s terre s 2 0 2 10 De n o re . . , pp 9, 1 7 2 Glueda ndtile Opera

e e the o fthe ee song, wh n it thoroughly tak s colour f ling e e b e - e it is to xpr ss, Should as various and as many sid d e e e fin e the e the in stru as f ling its lf ; in , that voic s, e the e e e the e e e m nts, ton s, v n paus s, should striv aft r — — o n e e n d e xpre ssion and the agre e me nt be twe e n the words and the song Should b e such that ne ithe r the poe m Should se e m to b e made for the music nor the the e music for po m . e e e I I How v r, this was not my only rror 5 thought had notice d that the Fre nch language was le ss rhyth the the e mical than Italian, and that [it had not sam de fin ite n e ss in the syllable s ; I was astonish e d at the ffe e e e e e the e the I di r nc b tw n sing rs Of two nations, as f the e o f the o n e e e o f ound voic s soft and pliabl , thos the othe r stronge r and more suite d for the drama 5 and so I had de cide d that Italian me lody could n o tlink

e e . e e I e its lf with Fr nch words Th n, wh n cam to e e the e o f e o ld e xamin scor s th ir op ras , I found that in e o fthe e e de e spit trills, runs, and oth r inappropriat vic s e e e e e e e e e e tso with which th y w r ov rlad n, th r w r y many ge nuine be auti e s in the m that I was prompte d to be li e ve that the Fre nch had within th e mse lve s all e e d that was r quir d to o good work . “ The s e we re my ide as be fore I had re ad your

o e . e e o u e e e bs rvations Now, how v r, y hav light n d my darkne ss 5 I am wholly asto ni s he d that in a few hours you have made more obse rvations o n my art than I e ! o u myse lf in a practical e xpe ri e nce o f forty y ars . e m e s u fli c ie n t b e e - e prov to that it is to a w ll r ad man, e n e e c o n in orde r to sp ak o v rything . Now am I vin c e d the the e e e the tru e that Italian is most xc ll nt, the e e e b e music ; that m lody, if it is to pl as , must

1 74 Gluck andtile Opera

e e e e in my orch stra but Obo s, flut s, Fr nch horns, and e A n d e e b e e e n mut d violins . th r will no mor qu stio whe nce the te xt o f the airs was tak e n ; this c an n o e e e we e e e o u r long r matt r, sinc hav alr ady tak n up position . “ The n will the part o f Armida no longe r b e a monotonous and fatiguing shri e k ; s he will n o longe r b e e e e e e e a M d a, a sorc r ss, but an nchantr ss ; I will e he r e e s o e so mak , wh n in d spair, sing an aria r gular, e the e e s o e e the p riodic, and at sam tim t nd r, that p etite m a ltresse most afflicte d with the vapours will b e able to liste n to it without the le as t damage to he r nerve s . e e e m e b e If som wick d p rson Should say to , Sir, care ful that Armida mad doe s not e x pre ss h e rse lf like ’ A rm ida ' am o ro u s e : , I will r ply Sir, I do not wish t a de La e to frighte n he e r o fM . Harp 5 I do not wish to contrave ne nature 5 I wish to e mbe llish it 5 inste ad o f a A he r e m king rmida cry out, I want to nchant ’ u he m e s he o . e t y If insists, and shows that Sophocl , in e o f e e e the A e fin st his trag di s, dar d to Show to th nians ( Edi u s t e e the e e p wi h his bloody y s, and that r citativ o r note d de clamation by which the e loque nt plaints o f the unfortunate king we re re nde re d must have e x e e the e e e w e de pr ss d d p st sorro , I will r tort that M . La Harpe doe s n o twish to he ar the cry o f a man in

s ffe . e e e s ir the e u ring Hav I not w ll grasp d, , m aning o f the doctrine laid down in your obse rvations ! I have done some of my fri e nds the ple asure to le tthe m re ad your re marks . “ ‘ ’ We b e e o n e o f e he must grat ful, said th m as d a hande d the m back to m e 5 M . e L Harpe has give n ’ — Lgfi : 1 7 69 1 7 87 17 5 yo u e xce lle nt advice ; it is his confe ssion o f faith in e e e music 5 do thou lik wis . G tall his works in poe try e e e e e e and lit ratur , and s arch out in th m v rything that e e e pl as s you through your fri ndship for him . Many p e ople maintain that criticism doe s nothing more than e the ; e e sa the e ups t artist ‘ and to prov it, th y y, po ts e e e e e t hav at no tim had mor judg s than now, and y e e e e e w r ne ve r mor m diocr than at pre se nt . B ut ge t the e e e e o u journalists h r tog th r in council, and if y ask e e e so s e th m, th y will t ll you that nothing is u ful he O n e e to t State as a journal . might Obj ct to e you, that, as a musician , you had no right to Sp ak about poe try 5 but is it not e qually astounding to s ee a e o f e e e e po t, a man l tt rs, who wants to hav d spotic opinions o n music A n d e he e e not cont nt with this, publish d soon aft r, the e e e the A e de in sam journal, an ntr aty to nonym Vau girard ( Su ard) to take up the cudge ls o n his be half e against La Harp . It se e ms that the se ge ntle m e n ( the journalists ) are happi e r whe n the y write on oth e r matte rs 5 fo r if I may judge by the we lcome the public has give n to the e e my works, said public do s not lay much stor by e th e ir phrase s and th ir opinions . B ut what think you f d o f the n e w o n e o e . e La attack which th m, M e e m e He Harp has mad on is a humorous doctor, this de La e he e M . Harp 5 sp aks about music in a way that would make all the choir-boys in Europe shrug ’ e e he he s th ir Should rs 5 says, I wish, and say , my ’ e doctrin . o is ab e Etpue ti nasum rhin o c e r th n t. — x 2 6 2 De s n o ire s te rre s . 2 1 0 2 1 1 . Mar , ii . pp . 3 39 5 , pp , 1 7 6 Gluck andMe Opera

o u sa fe w o u Will y not y a words to him, Sir, y who have alre ady d e fe nde d m e s o we ll agai nst him Ah b e e o u e e I g you , if my music has giv n y any pl asur , give m e the opportunity of proving to my frie nds in e the m e n o f e e G rmany and Italy that, among l tt rs in e e e are e e o fthe Franc , th r som who, in sp aking arts, at ” e e are l ast know what th y talking about . Su ardwas not long in publishing a re ply to La e he ffi e Harp , in which had no di culty in d monstrating ’ that write r s e ntire lack o f qualifications for the e criticism o f music . This brought o u tanoth e r l tte r La r e e the A e from Ha p , and this anoth r from nonym 5 — and the conte st be coming ge ne ral a kind o f musical — Donnybrook any o n e who had a little wit to spare e mploye d it in writing comic and se rio-comic l e tte rs

e e de La e . e e e e th and tr atis s to M . Harp Th r w r e “ f ne f de a Le tte r o o ignorant o music to M . L ” “ e de La e h Harp e 5 L tte rs to M . Harp from te ” Sie u rx Thib au do is de Gobe mouch e 5 Le tte rs from ” de e de La e Le e a S e rpe nt paroiss to M . Harp 5 tt rs ” de La e e e from a lady to M . Harp 5 V rs s by a man who love s music and e ve ry instrume nt e xce pt la ” L “ ” s o o n 1 The e e de e harpe 5 and . S rp nt paroiss e am u s in l e tte r is e sp cially g. I e e e e s Armida e e e N v rth l s, gr w in favour as tim w nt e e the e o n . It was about this tim that B rton, dir ctor f the e e e t Pic c in n i o op ra, manag d to g Gluck and e e e e e to din tog th r, and a curious an cdot is told

de P a is 1 De sn o ire s terre s ournal r . . y , Oct 777 In ,

2 1 1 2 1 2 . pp . ,

‘ De s n o ire s te rre s . 2 1 2 1 . 1 , pp 3, 4 dtt 0—2 is e Barb e e e . . I It giv n in , pp 4 4

1 7 8 Glueé andflee Opera the o r e e e re e e o n e hymn, ls writ a mo int r sting 5

e e e the le s ectre er oi p opl would not und rstand words, p fi s auva e e s e e e the g , which, b id s, scarc ly mak situation an e e e e s b e o f the y mor path tic . Your v rs also must s e e ua tre a ua tre e e r e am styl , q q ; I mys lf hav a rang d the se cond stroph e thus

Dans le s ci e ux e ts ur la terre Tout e s ts oumis a ta loi 5 ’ Tout c c q u e l E reb e e nse rre ’ A ton nom p alit de ffro i

e o u e e If th n y wish to writ a third stroph , it must go like the se cond ; and an important thing that b e e the e e e must not forgott n, is, that c r mony tak s e e e are the e plac whil th y singing, and that sam air th e he e e . t must suit c r mony I also want Thoas, high e e e the e e pri st, to nt r in a fury, in fourth sc n , singing an air o finve ctive 5 and e ve ry ve rse must b e writte n e e so b e the without r citativ , as to sung right up to e s he é e e d catastrophe . By this m an t d nou m nt woul ' b e e e e e warm th whic h rich r by a d cisiv motion and , would pe ne trate the actors and chorus with an irre

s istible e ffe . e e ct So, as far as you approv my id a , e e m e e e hast n to s nd your words 5 if not, I will k p to e the words alre ady writt n . Now we come to the gre at air that e nds the ac t e e e during the sacrific s . H r I want an air in which the words e xplain the music at the same tim e as the The e e e e the e n d Situation . s ns must t rminat at of e e e an d b e e e e e e the e ach v rs , not r p at d ith r at b ginning T o r e n dof the following ve rse s . his is an e sse ntial c ondition fo r the ve rse s ; though itmay b e disre ’ — Lge : 1 7 6 9 1 7 87 1 7 9

e the e e s o the e gard d in r citativ , and much mor happily as this mode o f division is a ce rtain me ans fo r dis tin u ishin the the e e g g lyric portion from r citativ , and e e for r lie ving the m lody . “ A tthe e e the o f sam tim , for words I ask you, I

e e o f te n e e want a v rs syllabl s, taking car to put a long and sonorous syllable whe re ve r I indicate it ; your e e b e e e last v rs must sombr and sol mn, if you wish it b to e congruous with my music . A e e e e e —o r e ft r th s four v rs s ight, if you wish, — provide d the y are all in the same m e tre will come h ‘ ’ te Con tem lez ees tris tes a rets . chorus, p pp and this

appe ars to m e to suit the situation ve ry we ll . I want h e te air he re to have pre tty ne arly the same se ns . A e the the b e e e da ca o o r ft r chorus, air will r sum d p , e lse the re will Simply b e the four ve rse s you have

e . e e e e writt n I xplain mys lf rath r confus dly, for my h e ad is e xcite d with music 5 if yo u do not unde rstand m e we e e the e , will l av thing till my arrival, and th n b e e the e we e e it will soon don 5 r st, I think, will l av as the e e e re e e it is, cutting down r citativ s h and th r , whe re ve r the y se e m to b e too long and m e re re p e titio n s n o t e the . This will damag work, which ought ”

e e ffe . I think, to hav an astonishing ct About the e n do f Nove mbe r he re turne d to Paris '

the e o f I hi enia zn Ta uris . Pic c in n i with scor p g , m e e e e e e e e e anwhil , had r c iv d rath r qu stionabl tr at e the . A his o wn m nt ccording to account, poor e e e to De vism e s e Italian had b n call d in , who ask d ’ se tI b z enia in Tauris e him to p g to music, m ntioning

— De sn o ire strre s 2 0 2 2 . e . , pp 5 5 1 80 Gluck andt/ze Opera at the same time that Gl u ck was writing an ope ra the e e upon what was practically sam po m, and giving him the assurance that his work would b e produce d

e e . e o n e b for that of Gluck R lying this assuranc , Pic c in n i e o f the had actually writt n two acts work, whe n he he ard o fthe re turn o f Gluck and the pre par ’ atio n s for the production o f the Ge rman maste r s I bl enla The e e De vis m e s p g . Italian hast n d to and e e o f e e r mind d him his promis , but in vain 5 and wh n, thinking himse lf now at all e ve nts re le ase d from his e o f s e e he Gin u en é Marm o n te l promis cr cy, told g and o fthe e e e the e circumstanc s, and Show d th m po m upon he e e e saw was which had b n working, th y that it e e utt rly foolish and worthl ss . ’ ' ' Gluck s Iplozgenz a in Tauris was produce d o n the 1 8 1 8 th May 77 . The mature hand of the maste r is se e n at once in the e o f the e e so SO e e so b ginning ov rtur , broad, fr ,

‘ firm is the The e e e e handling . first th m is p ac ful and e e e the e e the flowing, r pr s nting, as scor its lf says, calm o f the e le me nts ; afte r a fe w bars it bre aks into the - storm music ; this incre ase s in inte nsity until it e e e e culminat s in som pi rcingly high ton s, and with a de sce nt from the se the voice o f Iphige nia at once e the e e o f the e o f strik s in, without slight st br ak str am She e the music in the orche stra . implor s gods to ce ase th e ir thunde rs and b e me rciful to the m ; the o f e e e e the e e chorus pri st ss s tak s up pray r, whil all the e the e n o n the e tim storm go s rushi g in orch stra,

e fie rc e r e e e e sw lling to int nsity ; th n, wh n Iphig nia and the pri e ste sse s have again be sought the gods to b e r the e an p opitious, storm di s gradually down to

1 8 2 Gluck andfile Opera

the . At e e has upon dramatic passion of it onc , wh n the e the r - e curtain ris s, showing sto m sw pt coast and the e r- e r e e e e e e t rro strick n p i st ss s, Iphig nia b com s as tragically statue sque as in the Gre e k drama ; s he is o n e with the wind and the lightning ; the storm o f nature se e ms to burst again in dolorous passi o n from he r e d h . e e n te own br ast From b ginning to , charac e e e e e e the t rs stand in p rf ct s tting, p rf ct harmony, with e e e Sc n around th m . The te rror and outcry o f the pri e ste sse s have the e brought Thoas to spot, asking in sup rstitious “ e e r the e e A . e f ar what answ gods hav giv n las, th y ” e e e e o u r e ! e e e hav b n sil nt to pray rs r pli s Iphig nia, “ e e e and Thoas r joins, It is not t ars th y wish, but ” blood ! and he te lls o f his haun ting dre ad that the are he e e gods angry with him, and how must app as the m 5 the e arth se e ms to ope n to e ngulf him 5 in the night the thunderbolts Of the gods play about his e e e e h ad . His aria is a fin ly psychological xpr ssion ; e e e e e e e e o f e Gluck, who xc ll d in th s r pr s ntations sup r S titio u s e e e e e r t rror, n v r fails to rous f ar and hor or with e e his pri sts and oracl s . The Scythian followe rs o f Thoas call in fre nz i e d tone s for a victim ; and th e y burst o u tagain wh e n a Scythian e nte rs and te lls that two young strange rs e e e e o n e o f e e s e hav b n captur d, th m with d pair grav n

o n e e e . his count nanc , and calling pitifully for d ath e e e fo r the e Thoas bids Iphig nia pr par sacrific , and commands his pe opl e to thank the gods ; th e y bre ak

o u t e e e e into anoth r savag chorus, follow d by som e e he strangely e xpre ssive ball ts . Thoas d mands of t captive s who the y are and what th e ir mission 5 ' — Lgfle : 1 7 6 9 1 7 87 1 8 3

Pylade s answe rs that the y cannot make the mselve s h . e e m te known Thoas ord rs th to altar, and with a c r e re m O e e O e y of wild r g t fro r st s, my fri nd, it is I who bring the e to de ath and with the fi e rce shouts o fthe t the r ac t e e n d Scy hians, fi st com s to an . The se cond act Ope ns with a sce n e be twee n the e e O e e e the c o n two young Gr ks . r st s is r fusing o f P e e e f e the solations ylad s, b moaning his vil at and m ale fic e the fin e he n c e Of gods . In a aria abandons himse lf to gri e f and des pair 5 most re markable is the e e e e o f the e the e ind p nd nc part allott d to orch stra . The o fP e he e following aria ylad s, in which xhorts his e e e e e ffe fri nd to pati nc , and glori s in th ir common su r o n e o f the e e e e ing, is broad st and most uplift d m lodi s ’ - that e ve r came from Gluck s pe n ; high minde dne ss e e e e e o f and Simpl dignity br ath through v ry bar it . A n e o f the e e e e s att ndant t mpl now nt r , bidding Pylade s alon e follow him ; and the two fri e nds burst n e o f e e e i to a du t passionat d clamation, that is r ally e e e to e e o n e r citativ appli d to w voic s inst ad of to . In e o f e e P e is e spit th ir prot sts ylad s tak n away, and O e e e e e z e e the r st s, l ft alon , calls in fr n i d ton s upon gods to slay him ; th e n an appalling Sile nce Spre ads e e ve e e e c e he ov r rything, and in d p, path ti acc nts “ moans Whe re am I What cal m is this succe e ding ” the horror that h e ld m e ! and bre aks into that

e e e o f e e e mast rpi c dramatic xpr ssion, that alon would b e e nough to hand down the name of Gluck with “ e e e e honour to all tim , Now is my h art at p ac ” ’ again ! Eve ry o n e knows the story of Gluck s passionate answe r to the critic who obj e cte d to the tumult in the orch e stra as be ing contradictory o f the 1 84 Gluck andMe Opera words o fOre ste s He lie s He lie s He has be e n the murde re r o fhis mothe r Pity-moving inde e d is e e e the e o f the e this gr at aria, wh r voic tortur d man hangs painfully and with we ary complaint upon the - e e the e e long drawn not s, whil orch stra surg s and “ e e e s e a e puls s b n ath like an angry . My h art grows “ calm again moans Ore ste s 5 have my pain s at last outwe ari e d the ange r of the gods ! I s the e n dof my suffe ring at hand Shall the parricide Ore ste s bre athe again O just gods A ve nging he ave n ! e s ! my ” e ! the e e h art grows calm again and all whil , und r — n e ath the acce nts o f the singe r in the mse lve s so — we ary and SO pitiful the orch e stra pre sse s forward in e e e e the e a Slow, in xorabl march, s ming to hold voic in a grip of iron . A e e e e the e e ft r a t rribl ball t, Furi s br ak into a surg — ing and re gurgitating chorus the fine st Gluck e ve r wrote Le tus ave nge nature and the gods ; le tu s ” inve nt torme nts for him 5 he has slain his mothe r ! O n the se last words the chorus pause s e ach time in its e e the o u t e rapid mov m nt, and draws words in hush d “ ” e o n the e e o u t horror ; th n, word moth r, it sw lls A n d he again with startling e mphasis . in t pause s o f e e e the e O e e th ir h llish song is h ard pitiabl moan of r st s, e e e e e e e e driv n to madn ss by th ir hid ous sp ch and g stur s . While the torture is at its he ight Iphige nia e nte rs 5 She O e e the e e both and r st s start at sight of ach oth r . e e e e he e Iphig nia qu stions him as to wh nc com s, and what purpose had brought him to those inhospitable “ ” H e s M e . e e e c e n m e e shor s r pli , I com from y 5 wh r she e e A e upon d mands of him n ws of gam mnon . In a e e t e e he r citativ hat is constantly h ight ning in passion,

1 86 Gluck andt/ze Opera

the re -e o f e O e e all is vain 5 and on ntry Iphig nia, r st s, s e e e P e b e w aring to immolat hims lf if ylad s Slain, is e e the e P e e e acc pt d for sacrific , and ylad s ntrust d with the e e H e . e e e l tt r to El ctra d parts, vowing to r turn e e his and r scu fri end . the e is o n the o f In fourth act, Iphig nia rack irre solution ; some thing within he r forbids he r to e o f e slay this prison r . In an aria magnific nt passion o fabandonme nt she calls upon Diana to Ste e l he r he art the e e She he r at mom nt of sacrific , that may fulfil duty as he r pri e ste ss ; and the chorus Offe r up a praye r that this victim may appe ase the ange r o f the e h r he . O e e e e e t e godd ss r st s urg s to d al fatal strok , and in some of the most touching and pathe tic music in the whole Ope ra thanks he r for he r pity o f him he e The e e e pity had re ce ive d from no o n e lse . pri st ss s e e e e rais th ir voic s in a sol mn hymn to Diana, and e the e he r Iphig nia, taking sacrificial knif in hand, is ’ e O e e e e he e about to plung it into r st s h art, wh n cri s o u t the e SO die A s , at last mom nt, didst thou in uli , o h e e e e e Iphig nia, my Sist r Th n Iphig nia r cog niso s him 5 but in the midst of the ir transports a Gre e k woman e nte rs with the n e ws that Thoas is approaching to urge o n the sacrifice of Ore ste s ; the orche stral accompanime nt he re rise s to an unusual

e o f e . e e e h ight significanc Thoas app ars, r proach s e P e e e Iphig nia for allowing ylad s to scap , and com mands the guards to se i z e Ore ste s and re-conduct him to the altar In vain Iphige nia ple ads that the he r e e e z victim is broth r ; rous d to fr n y, Thoas is O e e e e he about to slay both r st s and Iphig nia, wh n P e e n e is struck down by ylad s, who has r tur d with a I QQ: 1 7 69- 1 7 87 1 87

f e e A e e e company o Gr ks . ft r a Short sc n o f te rror on the part o f the pri e ste sse s and the flight o f the guards o f e e the Thoas, Diana app ars and ord rs Scythians to re store he r image to the Gre e ks ; and Iphige nia and e e e e n e The e Or st s r turn to th ir ativ land . op ra e nds the e e o f e o n the with a chorus, th m which is bas d final chorus o f P a ris andH elen ; but in its e mploy me nt he re all the te nde r poe try and fragrance have fle df rom it .

. ’ ‘ ’ [ l n en za in Ta uris the s Such was p g , last of Gluck he e e e gre at ope ras and t fin st . H r his imagination and his te chnical craft are at the ir highe st maturity 5 he se e ms to have struck a balance be twe e n the two e e moods that w r always in him, and that found e e o n the o n e e Or o P aris and H elen xpr ssion sid in fi ,

Arm ida o n the e dlces te I lyi enia in and , oth r in and p g Au lis e e e e e e e e e in . Th r w r always two s parat t nd nci s — Gluck o n e to ne gle ct all se n suous ae sthe tic ple asure fo r the attainme nt o f dramatic inte nsity through e the e e e e his d clamation , oth r to att mpt to r alis e e e e to purpos through motional pl asur , which dra e b e matic m aning should subsidiary, though not ' e e e I bl enia z n Ta uris he i e ntir ly ali n . In p g comb n d e e e e o n e e th s two te nde n ci e s and mad th m . It is tru that nothing ne e d b e looke d for h e re that Shall b e like the P a ris a nd H e len e e e charm of , whil th r is much that be ars the s e al o fthe mood that incarnate ditse lf in

’ ’ ' A lces te and Ipl ngenza z n Aulis ; but that is be cause of r e e e the natu e of the subj e ct . Its tragic ton l nds its lf at once to that s tre nuous dramatic tre atme nt that e e the e r e the e charact ris s two latt works, whil at sam 1 88 Gluck andt/ze Opera time it make s a comple te re turn to the aromatic style o fP aris Arm ida o u to f the e and qu stion . But this S e e e e e tyl is still s n, though l ss distinctiv ly, in union with the othe r 5 and in the gre ate r harmony of colour ’ that is he re s pre ad ove r Gluck s e arlie r dramatic e e e e e e mann r, and in a c rtain as and grac and sur foote dne ss that make his style more te lling and more artistic than it had be e n in the e arly days whe n he ’ se t e e f the e I b z enia in first hims lf to r orm op ra, p g ’ Tauris e he is uniqu among Gluck s works . It has in t highe st de gre e the combination o f high dramatic e e e e A n d pow r with g nuin musical suffici ncy . his thought had be come by this time both more c o n c e n trate d e He e e e and mor continuous . giv s gr at r unity e e o n e e e to his sc n s, carrying out dramatic id a in th m from be ginning to e n d5 while at the same time e ach the — e e individual part Of music r citativ , air, chorus, — e e e e . accompanim nt, ball t is fin r and strong r How comple te ly at his c ase Gluck had n o w be come in music is most cle arly e vide nt in his orche stral acc o m anim e n ts e e e e e e e e p , which h r attain gr at r ind p nd nc and e e e e e mor ampl m aning than in any pr vious op ra . What strike s us in much o f his e arlie r work is that — his mind was in some re spe cts n o n -musical that it e o n e e e e work d oth r lin s, rath r po tical than musical, trying to infuse into music a life that was partly alie n

. e e e e to it This it was, ind d, that prompt d his utt r ance about forge tting that he was a musician 5 for Gluck was at time s undoubte dly non-mu sical in his e the o f e imagination, and shar d fallacy his c ntury that the e e the e e e e e sph r s of arts w r int rchang abl . This

e e e e e e e a t nd ncy in him, how v r, was corr ct d by that mor

1 9 0 Gluck andMe Opera

A e e ccording to his custom, Gluck trav ll d back e A e e e to Vi nna again . g now b gan to t ll upon him, an da fit o f apople xy was a warning that the e n dwas e He e e e n ar . was still willing to writ , how v r, and arrange me nts we re actually conclude d b e twe e n him the P O era n e w H erm naes tra and aris p for a work, yp , 8 e which was to b e re ady by Octobe r 1 7 2 . Th n

’ e the e e e e Les D anaides cam rath r disr putabl incid nt of , which Gluck trie d to se ll to the Opéra for e e he e e the livr s, d claring that hims lf had compos d two A r the e e e e . e first acts, r maind r b ing by Sali ri ft much e the e the e n gotiation and haggling about pric , op ra e n the 6th A 1 8 A e was r ally produce d o 2 pril 7 4 . ft r e e e e e the it had b com a succ ss, Gluck conf ss d that w e o f the e e e e e he hol op ra had b n writt n by Sali ri , having take n no furthe r part in it than advising his pupil 5 this was confirm e d by Sali e ri in a l e tte r to the

ourna l de P a ris y . T he e e e e e e e e circumstanc s, how v r, w r mad int r sting by a le tte r to the Mercure de France from C alz abigi 5 who complaine d o f having be e n pillage d in the c o n o fthe e e a struction op ra, and who, aft r m king good his e e e o n sa claim with som asp rity, w nt to y h e e e e e e e t e to I should av nd d h r , but I hav y mor b e e e o f e the unburd n d . In sp aking of music o f Les ’ ‘ D a na ides yo u s ay that it is e asy to re cognise in the e e o fthe the e g n ral spirit composition gr at, firm, rapid, and Sinc e re manne r that characte rise s the syste m o f ’ the e cr ator of dramatic music . e e is e sa o n the e H r what I hav to y subj ct .

1 8 1 8 th May, 7 4 . — Life : 1 7 69 1 7 87 1 9 1

e e e I am not a musician, but I hav giv n gr at study e e e fo r to de clamation . I am cr dit d with a tal nt e e e e e e r citing v rs s, particularly tragic v rs s, and mor n e spe cially my o w . “ e -five e the Tw nty y ars ago, I thought that only e fo r e e e the music suitabl dramatic po try, sp cially for ’ ' e the we da z z one dialogu and for airs call , was that

d e e which woul most n arly approach natural, animat d, e ne rge tic de clamation 5 that de clamation itse lf is re ally only an imp e rfe ct kind o f music ; that it could b e e we s u fli c ie n t to SO not d, if could find Signs mark e in fle xio n s s o s o many ton s, so many , many outbursts, e the e e e e many soft nings, and infinit ly vari d shad s giv n he e e e e t . e to voic in d claiming Music, th n, to any v rs s, be ing in my opin ion only a cle ve re r kind o f de c la e e e e e the mation , mor studi d, and mor nrich d by the e he e harmony of accompanim nt, I thought that r was the whole se cre t o f writing e xce lle nt music to the e e e e a drama ; that mor compact, n rg tic, passion ate the e was the e , touching, harmonious, po try , mor the e x e would music that should pr ss it thoroughly, in

e e e b e the e e accordanc with its tru d clamation, g nuin

o f e c ar excellence music that po try, musi p . “ It was in m e ditating on the se principle s that I e e e the e b li v d I had found solution Of this probl m . ’ are e e e S e cerca s e dice o f P e r o le si s Why th r airs lik , g ’ ’ Ol m iade M soro ar oletto o f Le D em oon te y p , p g o s of , and e o f e the many oth rs, which you cannot chang musical e p e e in x r ssion without b coming ridiculous ; without, e d e to the e e e e e fact, b ing riv n back xpr ssion th s gr at maste rs have give n the m A n dwhy also is the re an infinite numbe r o f othe r airs that do admit of 1 9 2 Gluck andtile Opera

e e e e c o m variations, although alr ady not d by s v ral pose rs ! “ the e Pe e Leo I think r ason is that rgol si , , and e e e e the e e e e the oth rs hav achi v d tru po tical xpr ssion, e o f e e SO e are natural d clamation th s arias, that th y spoile d by be ing change d ; and if the re are othe rs e e o f e e e o n e susc ptibl alt ration, it is b caus no has hit e e e upon th ir tru d clamatory music . “ e e 1 6 1 e e e I arriv d at Vi nna in 7 , fill d with th s A e e z z — t e . a e id as y ar aft r, Count Dura o that tim e o f the e e o f the e Dir ctor th atr Imp rial Court, and — n o w ambassador at V e nice to whom I had re cite d O eo e m e e the e e my rf , invit d to giv it at th atr . e e o n the the I cons nt d, condition that music b e e e e e He e m e Should writt n to pl as m . s nt to he e e M . Gluck, who, said, would l nd hims lf to my

ideas . “ was e e e M . Gluck not at that tim consid r d — o u r e e e wrongly no doubt among gr at st mast rs . e e o m e lli Pérés e e Hass , Buran llo, J , and oth rs occupi d NO o n e e the o f the first rank . und rstood music

e e ee d clamation, as I call it, and it would hav b n

e . o u r impossibl for M Gluck, not pronouncing lan

e e e e e e . guag w ll, to d claim many v rs s in succ ssion “ e O eo e e e e I r ad my rf to him, and d claim d s v ral o f the e s parts it to him, indicating shad I put in my

e the e the e o f the d clamation , susp nsion, slack ning

e the the o f the e—n o w tim , rapidity, sounds voic e e e e e e — e e forcibl , now f bl and unstr ss d that I d sir d him Atthe e e to e mploy in his composition . sam tim I him the e e z e be gge d to banish passag s, cad n and e e e ritorn lli, and v rything that was Gothic, barbarous,

1 94 Gluck andthe Opera t ee he e o f hat if M. Gluck has b n t cr ator dramatic h e e e o u t . fu r music, has not cr at d it of nothing I n is he d the e r—the o u him with matt chaos, if y will ;

S O the honour o fthis cre ation must b e share d by us . Connoiss e urs have bee n de lighte d with this n ew s e e e c o n tyl . From this g n ral approbation I draw a c lu sio n e e m e the e that s ms to just, that music writt n

’ illic o D ana ids b e e by M . M to my e should infinit ly s e e P up rior to that giv n at aris with my drama . “ T he o f e e he b e author this music (who v r may , fo r e n o t e the I h ar M . Gluck disavows it) has follow d e e illi o de e . M c clamation I wrot at Vi nna, whil M , e saw m e e e and wh n composing his music, v ry day, e e e e m e the e e he v n d claim d with pi c s had in hand . If I did not fe ar to occupy your pre cious time to no e e e purpos , I would s nd you my instructions, my not s o he e o f e e n t only monologu Hyp rmn stra (act iv .

e e . e e e e sc n ii ) If you should d sir it, I will s nd th m to o u y . The re is only o n e opinion as to the e xce lle nce o f f illic o e e the music o M . M 5 I hop that it will app ar e e e the some day . I dar flatt r mys lf that public will think o f it as the Elite o f the Ne apolitan and fore ign e who e the e nobility has don , h ard it at hous of Count ” m sk Raso u o w y. Evide ntly C alz ab igi re pre se nte d the most e xtre me e o f e e e - e r e e s ction ight nth c ntu y amat urs, who wish d we d e e e o f m to po try to d clamation inst ad to usic, He and to imitate antiquity in all things . ce rtainly e e e e e o n his e Oo o xagg rat s his influ nc Gluck, Shar in fi ,

9" — s trre s . De sn o ire e . , pp 35 3 35 5 f — Lge : 1 7 69 1 7 87 1 9 5 and his pre te nsions to e qual rank with Gluck as the ’ f h e cre ator o te musical drama . Gluck did much mor ’ in Orfeo than follow C alz ab igi s note s indicating the e he had s e d clamation ; if not, his mu ic would hav ’ the Millic o s alre ady gone way of . ’ s e e e e Gluck car r as an artist had alr ady clos d, and all that was le ft was for the magnifice nt physical f the die o u t e stre ngth o man to slowly . Sinc O e 1 e he e P the e he ctob r, 779, wh n l ft aris for last tim , e e e e e the A e had tak n up his r sid nc at Vi nna, in lt e o s rte the P au lan e r- e e e he e e o . Wi d n, pp kirch H r liv d e e e e e e e a lif of qui t artistic pl asur , ag rly sought aft r by the he visitors to town, from whom , in his turn , was e e o f the e e e e glad to h ar n ws outsid world, sp cially n ws

the e o f . 1 8 he a of succ ss his own works In 7 3, had e e e e visit from R ichardt, who, lik hims lf, was intimat n e o n e with Klopstock, and Gluck i sist d op ning his n o w e e e piano and Singing, in his always harsh and f bl

e e o f the Odes the H erm an nss c/ola clot voic , som and . The e e e an dthe conv rsation aft rwards ran on Franc , ’ bitte rne ss o f Gluck s re fe re nce s to the Fre nch Showe d that he ne ve r forgave the m for the slight the y had

ffe e the e e n o fEcloo e tNarcis e o r d him in r j ctio s . ' On e e Le u em en tdernz er he e e mor work, 7 g , did nt r

e the e n d e e e e upon with Sali ri , but was n ar . Thr tim s a e he e e e z e e he lr ady had b n s i d with apopl xy, and had

e e e e e e e fo r e e b n l ading a val tudinarian xist nc som tim , d the e e é e rinking wat rs and obs rving a strict r gim . He took a pathe tically broke n fare we ll o f Salie ri in ’ 1 86 the o ld e e e e e 7 , man s sp ch br aking h lpl ssly into thre e language s “ A er le i e insi, mon ch ami part domani pe r 1 9 6 Gluck andt/ze Opera

Parigi Je vous souhaite di cuore u n e Sie e e e e wo m an bon voyag g h n in in Stadt, die fre mde n K u n stle r s c hatz t e le i fara onore z we ifle e ich nicht Ci scriva, mais bi n ” e souv nt . n d e e e 1 8 n he 1 The e cam in Nov mb r 7 7 . O t 5 th o f that month he was e nte rtaining two fri e nds from P the e e o f e e aris 5 during abs nc his wif , who had gon e e the e e he e to pr par carriag for his daily driv , insist d e e e e on drinking liqu urs that had b n forbidd n him, and within half an hour o f that time he was se iz e d with a e e e fourth attack, and di d without r cov ring conscious - e the a e o f e e e e . On the 1 he n ss, at g s v nty thr 7th e e the e e e o f z e was int rr d in c m t ry Mat l insdorf, in a e e e e 1 8 plain and humbl grav , that was discov r d in 44, h arin the e e e e e e g , simpl inscription H r li s an hon st e G rman, a good Christian , and a faithful husband, e e e e the o f Christoph r, Ch vali r Gluck, mast r in art music ; die d 1 5 th Nove mbe r By his side his widow was afte rwards laid ; he r e pitaph is curi o u sly in contrast with the bre vity o fhis “ e e e the e o f he r e H r li s, by sid husband, Mari A e vo n n ée P e r in She . d nna Eld Gluck, g was a goo the e e e the L Christian and s cr t fri nd of poor . ove d

e e e he r s he e e he r and appr ciat d by all who kn w , nd d e the a e o f e e -o n e lif at g s v nty , not without having

e e e e e e e . She e g n rously r ward d thos who m rit d it di d, 1 8 e 1 2 th March 00 . This monum nt to he r has be e n e e e he r e e e e r ct d by grat ful n ph w, Charl s von Gluck, in ” e o f r e n e t stimony his p ofound v ration . Evide ntly ’ Frau Gluck s re putation for charity e clipse d that o f he r husband 5 his will runs I le ave to the I n stitu

1 9 8 Gluck andthe Opera

e e e r e posal, how v r, aft much discussion, cam to

’ Gluck s pe rsonal characte r shows itse lf both in his e T h he music and in his physical structur . o te last the e e e was hardy, viril p asant, train d to rough and f e e b e e ee sturdy habits o lif . In his fac can cl arly s n those qualitie s that appear again in his music and in his corre sponde nce 5 the he ad is thrown back pro u dly andconfide ntly ; the large and mobile mouth has an air of quick inte llige nce ; and the e ye s look o u t s e e he e He traight and f arl ssly upon t b ehold r . was a man whose native stre ngth ofte n Showe d itse lf um

An int e re s ting light on the re lative e s timat e s in which Gluck an d Pic c in n i wer e h e ld by the lovers o f ’ Italian music is to b e hadin Grimm s re mark s o n thi s e o fPi c in n i On e se the e e was the l e tt r c . phra in l tt r to e ffe ct that the lyrical th e atre owe s to thi s gre at compose r ” h e s e e s e e On s what te Fr nch tag ow to Corn ill . thi “ Grimm remark s I f the re volution e ffe cte d by the e e s e if the e o f Ch vali r Gluck on our lyrical tag , charact r his e s the s e o f his d s the s g niu , a p rity pro uction , ublimity o f his de s the e e e the i we s a i a , incoh r nc , triv ality, may y, o f e se e s ffe s s o f e s e e e e e th at tim , o r trong point r mblanc b tw n an dthe f e o f the e e e is e ss him ath r Fr nch th atr , it not l true that the op era owe s to Pic c in ni what the Fre nch S e e s the e e tag ow to inimitabl Racin ; that purity, that n e e d e e e o f s e e x s e s e s u int rrupt l ganc tyl , that qui it n ibility s o e s o f the o fP oem we do charact ri tic author , which not fin de e in the e e e an d ith r Gluck or in gr at Corn ill , which s e s the o f the s s o f Pic c in n i as con titut charm compo ition , it will e te rnally cons titute the charm o f the ve rses o f ” ’ ' ” s Me i s a e . m o re 1 8 1 1 2 0 R cin (Grimm , 3, vol . iv . pp . — LQQ: 1 7 6 9 1 7 87 1 99 9

'

e e e e o s wh. pl asantly, as in his fr qu ntly harsh r lati n it othe r m e n 5 but this native uncompromising strength was absolute ly ne ce ssary to the man who Shoulde ffe ct

the e o fthe e . ffe e e e s , r form Op ra Di r nt from Wagn r, l s e v e e e - he e t n r ously constitut d, l ss s lf conscious, y did a b e e to work which, though it cannot compar d ’ e e e o f e e t r Wagn r s in r al d pth importanc , y ma ks him e e o f e Ho w out far abov any musical figur his tim . close ly he share d the ide als and the fallaci e s o f his age will b e Shown in the following analysis o f his e m thod . P A R T I I

GLUCK ’S R ELATI ONS TO TH E

INTELLECTUAL LI FE OF H I S EP OCH

CH A PTE R I

’ GLU CK S care e r b e gan at an e poch whe n the ope ra had alre ady run a comparative ly le ngthy cours e 5 at the time o f his de ath it had be e n in e xiste nce in e e e e e Europ for n arly two hundr d y ars . In that tim e e e n e w e many chang s had com ov r it, many impuls s had e e e sprung up within it, and it had b n modifi d from without by many s ocial and inte lle ctual force s ; e e e in l ss than a c ntury, in fact, aft r its birth in e e e e d so e e Flor nc , it had alt r compl t ly that it would e e m e t e e scarc ly hav with r cognition from its found rs .

The - e e e e 1 . art form that was subs qu ntly to d v lop into the mode rn ope ra had sp rung up in Italy among s e to f e e e the e a r fin d scholars, imbu d with all antiqu e o f the e e e d ve rudition R naissanc , who wish to gi to music some thing o f the living dignity it was thought 74 to have posse sse d in conne ction with the G re e k drama ! Antiquarians are n o w agree d that it was towards the

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how de e ply the musical world was sti rre d by the n e w style may b e se e n from the controve rsial lite rature that ’ at once s prang up about it P e ri s avowe d purpose in the n e w dramatic monodi e s which he wrote was

e the e f e Euridice e e e . stat d in pr ac to , publish d at V nic The re he te lls us how he was le dto the discove ry of the n e w e He and vital styl in music . says that in studying the drama of the anci e nts he fe lt convince d that the y had adopte d a tone of e xpre ssion othe r than e e e e e e that of v ryday sp ch, which, though n v r rising

was e e e e e . into song, n v rth l ss musically colour d This induce d him to obse rve care fully the various manne rs e e an dte e he e e e Of sp aking in daily lif , [ h s nd avour d to re produce l n music as faithfully as he could! Soft and e e e e he e e e d - e - g ntl sp ch int rpr t by half spok n, half sung tone s o n a sustaine d instrume ntal base 5 fe elings o f a dee pe r e motional kind by a m e lody with gre ate r e e e the in s tru int rvals and a liv ly t mpo, accompanying e e m ntal harmonie s changing more fre que ntly . Som

” “ e he e e 1 tim s mploy d dissonance . From thi s time the Op e ra advance d with almost e e e e e incr dibl rapidity, owing, p rhaps, mor to Mont e ve rde than to any othe r man since Jacopo P ri . e e e e e e the e Mont v rd , b sid s incr asing dramatic scop of the e e e n e w e the e an d r citativ , gav lif to orch stra, . e e e n e w e ffe the trem olo an d introduc d s v ral cts, such as h iz z ica to the Or eo te p in strings . His f contains k 1 the first musical dramatic due t . Cavalli ( 5 9 9

“ S e e s o f s s transla Naumann, Hi tory Mu ic (Engli h 2 1 tion) , vol . i . p . 5 .

“ 1 . 2 . Naumann, i 5 4 T/ze Opera in I ta ly 2 0 3

“ e e e e - e e a pupil of Mont v rd , introduc d word r p tition — into his ari e ttas a proce e ding hithe rto disapprove d o f ” the e e by Flor ntin school . It is e vide nt from this rapid ske tch that the ope ra the e e the e e from v ry b ginning, and by v ry natur of its e e e b ginning, was a form of art d stin d to many and e pe culiar vicissitude s . It was strain d and artificial from the start 5 it owe d its origin to no conte mporary e e e str ss of f ling, but was Simply a conscious and de libe rate atte m ptZO cast the R e naissance thought an e motion into the mould o f the antique} How much r the so ha m, in midst Of much good, was actually

the e e e e e . wrought by R naissanc , it is not asy to stimat e the e e e o f e e e It is c rtain that viril art and lit ratur Gr c , bursting as the y did upon the we ake r m sthe tic s e nse the e o f e e e e e of Europ that day, t nd d to som xt nt to impe de the growth o f the ve ry spirit the y the mse lve s ’ e Itas he f he e had rous d . ; w t adoration o t antiqu that was the le ast Satisfactory pa1 t of the Italian R e naissance} and it was o f this adoration that the ope ra was born . ’ It was not an art Spri n g1n g from the de sire to e xpre ss n e w m o o f the e e e o ds in a form born moods th ms lv s, e o n the o f fe w but a calm att mpt part a scholars , e the e e e e e e saturat d with antiqu , to r viv what th y w r ” the he e o f e e o f t e . pl as d to call music “ y Gr ks Study the Gre e k dramatists and scholiasts had convince d e e o r e e th m that music, in som form oth r, was an int gral the o f IEsc h lus e r part of dramas y , Sophocl s, and Eu i pide s ; and as the se works re pre se nte d to the m the e e e e o f e high st achi v m nts dramatic art, no att mpt to re suscitate the drama i n the ir o wn day could b e thoroughly succe ssful without a re suscitation at the 2 0 4 Gluck andt/ze Opera

same time of that music which had bee n so inse parable the e The e e the from drama at Ath ns . m mb rs of Flore ntine A cade my n eve r paus e d to consid e r wh e the r the dramatic work o f the Europe o f the Sixte e nth ce ntury had anything in common with the Gre e k drama ; whe the r the music of mode rn Europe was music at all in the se nse which that word bore for an A e e e e e f e B. C O the . th nian fifth c ntury 5 wh th r, th r e the e e e e the e o f for , r lation b tw n po try and music A the ns was anything like the re lation be twe e n the e the o f e o wn po try and music th ir day ; and finally, whe th e r anything could b e re ally kn own o f the music o fthe e e e e e Gr ks . Th s consid rations did not occur to e e e e e an d e th m 5 th y w r l ss artists than scholars, th ir sole aim was to bring upon the stage o f the sixte e nth ce ntury a form of union o f poe try and music which the y be lie ve d to have be e n the form o f union be twe e n * A n d the s e arts in the drama o f the Gre e ks . this

' P e in his e f e Euridz ce s s the e ri , pr ac to , ay that obj ct o fthe Flore ntin e r e forme rs was to try the powe r o fthi s s e e s o f e d e e d b e s as was p ci m lo y, which th y imagin to uch us e dby the anci e nt Gre e k s an dRomans throughout the ir ” ’ ’ d s An d d i the e d o f . e e s Dell rama Gui ott , itor Cavali r — anima e del corpo anoth e r o fthe work s in the n e w s tyl e s s s s s o f S an dn e w s s s ay it con i t ingular mu ical compo ition , m ade in i m itation o f that s tyl e with which the anci e nt Gre e k s an dRomans are s uppos e dto have produc e dsuch ” e e ffe s e d e e se s e gr at ct by th ir ramatic r pr ntation . (S e “ f ” e s o s . e the Burn y, Hi tory Mu ic, iv Ev n in e ight e e nth c e ntury the que stion was Still laboriously dis cuss e dwh e the r the anci e nt or the m odern music create d e ff the gre at e r e ct .

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e e e e the d corations and sc n ry, to aton for lack of ” e e e the e s nsuous xcit me nt in story its lf. e e e the e e fr the Th n, in proc ss of tim , op ra pass d om Courts to the public 5 inste ad of be ing a spe ctacle use d e e the e e e e e m r ly on occasion of princ ly f stiviti s, it b cam the e e the e e - e A n d amus m nt of ordinary th atr go r . at this point of its de ve lopme nt it unde rwe nt a change e s e e s that was of vital importanc in its sub qu nt hi tory . e we e e e o f It b gan, as hav s n, as a form art in which a o f e e instru kind musical d clamation , with a simpl e e e e the m ntal accompanim nt, was sup rimpos d upon s the Hadthe e word of play . le arne d th orists Of the Flore ntin e Acade my be e n le ss inte nt upon the music the e e e e e e the of Gr ks, th y might hav s n among country pe ople around the m a form of union be twe e n e e e po try and music that was much mor natural, mor e e e the ear the e mod rn , and mor pl asing to than car fully re asone d syste m o f de clamation o f Jacopo P e ri

e . e e e e the e o f and his f llows Th r , if anywh r , was g rm

e e e m odern a g nuin musical drama, that Should tak poe tical fe eling and m odern musical fee ling and e e e c o - t chniqu , and by a spontan ous ordination of the m Should give birth to an art that would b e re late d as naturally to mode rn dramatic ide as as the

S e e Al aro tti e s e e die Arc hite c tu r t e c . g , V r uch ub r , , Th P 2 2 e de corations o f cours e foundth e ir wa! into the e the fi s e f the s e an dwe e h op ra in r t plac rom ma qu , r te s f ine vitabl e amu ement o an idl e Court in a re lative ly lo w s e o f e the fi e e o f tag cultur . On magni c nc the di splay in ’ “ ” the e O e s s e e e s D o f s arly p ra Grov ictionary Mu ic , art . “ ” ’ “ Op era 5 an do n the masque s s e e Burckhardt s Civili sa ” fthe e ss — o e . 1 1 8 . tion R nai anc in Italy, pp 4 5 4 T/ze Opera in I ta ly 2 0 7

e e e e e e e Gr k dramatic form was r lat d to Gr k id as . It was re ally no more consiste nt o f the Italian scholars to atte mpt to force upon mode rn e motions the forms o f o f the e antiquity, than it was English univ rsity scholars o f the same e poch to atte mpt to crush o u r growing English tongue into the fe tte rs o fthe antiqu e The e e e e prosodial rule s . sam dang r that had b s t Italy e e to o he e e be se t England also . H r t R naissanc thre ate n e d for a time to make lite rature de rivative and imitative in quality rathe r than native and spon tan e o u s 5 but from various cause s England e scape d the e o f v T he dang r a sla ish admiration Of antiquity . e o f the e e fo r stud nt Shak sp arian drama knows how, a e the e e e o f the e e tim , fin st int ll cts nation Sp nt th m se lve s in e nde avouring to mould English trage dy in the o fthe e s as fashion antiqu 5 and how critici m, such ” o f P e e e e o f P e e that Sir hilip Sidn y in his D f nc o si , e qually looke d upon Gre e k and Latin dramas as the e b e e e e e the only mod ls worthy to follow d, and r gr tt d signs of an unruly te nde ncy in English dramatists to The se tthe classical rule s at nought . growing ro man tic is m o f e e e e e f ling in England, how v r, mad it finally impossible for conte mporary art to re strict itse lf within the o f e the e o f formulas antiquity ; whil wav classical imitation that England struggle d through and rose e e e the e e o f triumphant from, ntir ly swamp d w ak r Spirit ! e t to the o f the e he Italy . though shaping Op ra at t comm ence me nt th e re we nt only the fastidious pre fe r e n c e s o f e- e h the antiqu soul d scholars, and t ough union of poe try and music that was alre ady among the p e ople was e d e ffe e e pass by in cont mptuous indi r nc , it was — — this form of union o r rath e r the Spirit o f itthat 2 0 8 Glued andt/ze Opera

e e e T he e e e e he ultimat ly pr vail d . N m sis cam wh n t e e the the Op ra pass d from courts to public at large . the e e the e e o f i From v ry natur of cas , this syst m ar d d e clamation co u ld only hop e for le ngth of days among scholars who wouldb e conte nt to fore go the s e nsuous e o f s s e o fthe e e d lights mu ic, in con id ration gr at r satis faction th e y fe lt atthe id e a of having re suscitate d the ” - e long lost music o fth Gre e ks . the e e e - e e B ut g n ral th atrical public, Gallio lik , car d n e e e e e e ffe for on of th s things . Th y w r indi re nt to e e e e o fA e Euripid s and S n ca, and kn w nothing ristotl e e e e u e and Longinus . Th y d mand d simply pl as r from the e e e e e th atr , and as th ir h althy instincts b gan to e e e e the e e e e ass rt th ms lv s, Flor ntin d clamation gav way to a form o f union be twe e n music and poe try more e e e the e e lik that which had always xist d among p opl , e e the o f e who did not br ath musty air librari s, and to whom the Gre e k drama was a thing uncare d-for and At e e unknown. a lat r tim this naturalistic Spirit actually came to play a conside rable part in shaping — o ne of the most de lightful spe ci e s o f musical art the ' opera bufla 5 for this was in re ality the musical analogue ’ o fthe Comm edia dell Arte o f e , a form rural com dy that ex1ste d e e the e e had from tim imm morial among p opl , and that had be e n absolutely untou ch e d by the n e w d o f the e e . A n e the e e spirit R naissanc wh n, in s v n te e n th e the e e e the e c ntury, op ra was s ttl d upon th a tric al e e e the o ld e de stag , it was in vitabl that id al of b e clamation should partly put away, and that both compose rs and audie nce should take de light in n e w h T me lodic fre e dom and armonic richne ss . o this e e The e o f anothe r circumstanc contribut d . dir ctor a

2 1 0 Gluck andthe Opera was re ally containe d in the plan o f the founde rs o f the — o p e ra the truth that Some provision must b e made for an e xce ptional kind o f union be twe e n poe try and s e e e e the e music in tho cas s wh r words do not d mand, o r e e e s e o f e ind d sugg st, a copiou n ss lyrical f rvour ; e e e e se that is, som oth r musical form, int r sting in it lf, would have to b e de vis e d for carryi n g o n the main e the e e ee n the o e en busin ss of op ra b tw s li, du ts and s em bles e e was . The gre at de fe ct of the lyrical mov m nt that it be came too e xclus ive ly and too facile ly lyrical 5 itcare d fo r se nsuous pleasure and for little more 5 and e e r citative be came in conse que nce unutte rably de grad d . e e o f e we ve e e the e a in H r , cours , ha to s k xplan tion the he social and political circumstance s o f t time . T he Italy o f that and late r days was utte rly incapable o f such an inte re st in life as would have le dto the e f The e e cr ation o a ge nuine hum anistic drama . l tt rs from Italy o f the P reside n tde Brosse s show all to o e the e e e o f the e cl arly flaccid int ll ctual lif tim , and c onvince us that in such an e nvi ronme nt it was im possibl e for the ope ra to b e more than a fashionable * e o r h he e e fo r loung f te idle public . T d sir a musical drama that Should b e poe tically inte re sting throughout would have implie d an audi e nce capable o f taking a continuous dramatic inte re s t in the play 5 and such an a e e e e udi nc did not the n xist in Italy . To tak an inte lle ctual inte re st in ope ra would have b e e n an a lmost unhe ard-o f thing fo r e ith e r compos e rs o r

’ S e e De ss e s : L I talie e e tFam iliere Bro Galant , ' asszm an dthe e s o f Al aro tti o cit 2 6 1 p t timony g , p . . pp . , 2 6 7 . Tne Opera in Germa ny 2 1 1 audie nce 5 the y aske d fo r nothing more than passive e e s n suous e njoym nt .

the e o f he 2 . In G e rmany cours t ope ra had be e n fo r the m s e o t part Similar to its cours in Italy. It e e e e e e e the quickly b cam popular th r , mor sp cially at

' In the fore going bri e f rés ume Of the cours e o f the e the u e -s de o f the de e e has op ra in Italy, cult r i v lopm nt The e de w s e s s alone b e e n look e dat . r a r who i h to uppl e ment thi s with a Vi ew o f the formal e volution o f music er so d s e an d the e s f m the p uring thi poch, chang ro m d e s e s e the s e fi m de e a rigal qu tyl to p ci cally o rn mann r, ’ “ s r P s e x e e n his ArtOf may con ult D . arry c ll t account in ” s an o f the d s e s o f the O e AS Mu ic, or y goo hi tori p ra . b e aring on the que s tion o f the sudde n lyrical orgasm that s e eme d to com e upon Italy in the e arly ye ars o f the s e e e e e an dthe s s e e de e m e o f v nt nth c ntury, ub qu nt v lop nt the ff f m s o f e is e e an s bu o or op ra, it notic abl that analogou s ociological s ituation hadcome about at an e arli e r e poch ' ’ — in the C omm edza dell Arte the anci e nt come dy o f the e e the e - o f s e b e e s p opl , r al antiquity which can carc ly ti

’ e d I tis e the e o f mat . c rtain that gr at vogue the C omm edza ’ dell A rte the s x e e s e e e e an d e e e in i t nth, v nt nth, ight nth c e nturi e s was du e to its affording the down-trodde n Italian e e f e f e an d s s s populac a r ug rom th ir political ocial orrow . The y playe dat gai e ty in orde r n o tto re ali s e that th e y db e s ad T s the s e d e f Shoul . hu in con quart r o the six te e n th c e ntury we have o n e o f the players an d writ ers o f the e d o f s s—A e Ec o lc o s e d Com y Ma k ng lo , urnam Ruz z ant e - giving his re as ons fo r adopting thi s rude form “ o f d The d is e ramatic re pre se ntation . worl no long r was he e s T e is e r . e S what it , w it h r nothing but laught r an dfam ine 5 in the fie lds th ere is no longer any s oundo f laughte r an ds inging ; the young p e opl e no longe r mak e 2 1 2 Gluck andt/ze Opera

Courts ; and it was o ne Sign o fthe inte lle ctual we akne ss o fGe rmany at this time that the ope ra took root the re * A e o f the n e e . in Italian, inst ad in ativ tongu rtistic prince s and dile ttante barons thought the ir poss e ssions e - Th incomple t without an Italian ope ra troupe . e pe r fo rm an c e s e e e e the e an d w r g n rally in Italian, sing rs conductors were for the most part Italians 5 the poe ts

love an dmarry ; we s e em chok e dby the plague in our throats 5 the ve ry nightingal e no longe r sings as in forme r d s are the de d e de d Le tu ay 5 happy a qui t un rgroun . s ” e e f e s e we f e e s e th r or , inc cannot cry r ly, laugh in our mi ry . ’ “ (Quote d in Ve rnon Le e s Studi e s o f the Eighte enth ” e the s s d . e o f C ntury in Italy, p On ociological i ’ the d f s s e e s d s ramatic orm in Italy, al o Burckhar t “ ” f h ss e 1 — s o te e . 2 1 Civili ation R nai anc in Italy, pp 3 5 3 5 an do n the condition o f the Italian p e opl e in the s e ve n ’ te e n th e r s e e e e ss e e Le e s c ntu y, an loqu nt pa ag in V rnon 2 1 2 The e o fthe i n o f . 2 . s book , pp 4 , 4 gr at growth f orm the se e e e e an d the d s e o f the in v nt nth c ntury, rapi ri m e d s e e e e e e e e d the lo ic tyl , w r ph nom na intimat ly r lat to social life o f the time 5 an dthi s popular e l eme nt in music c e rtainly didmore fo r op e ra than the e fforts afte r the he o f the e e de s antique on t part Flor ntin aca mician . On the e e e ss o f the ou o de se e Al aro tti gr at r naturaln f or r, g , 2 1 2 2 pp . 5 , 5 . In 1 6 2 7 the drama o f Dafne was trans late dfrom the s e t s li z an d e f m e d D e sde Italian, to mu ic by Sch t , p r or at r n . The firs t G e rman p erformanc e o f op era on a public stage ’ was 1 6 8 e T e e s A dam andEve was e in 7 , wh n h il giv n at e the m s the G e . Hamburg in rman languag For o t part, e e the e e s e e e e an dthe how v r, r citativ alon w r in G rman, s w e e e d as the e aria , hich w r look upon r ally important

s o f an O e e e s in . Se e e p art p ra, w r ung Italian Burn y,

s o f s . . Hi tory Mu ic , iii 5 77

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e e e e e lit ratur cam a simultan ous awak ning in music, and a Similar n ote o f humanistic culture is he ard in ’ o f e O n e e o f he e War both th m . r sult tThirty Y ars had be en to throw the Ge rman mind more thoroughly e ee e o f upon its lf 5 a d ply motional nation, in its hours e e n e e e o f e d pr ssio , d v lops an int rnal world m lancholy an d e e e the e e fo r pious r signation . H nc lit ratur was a long time inte nse ly re ligious and the philosophy wholly mystical 5 and the Spirit that blossome d into the hymnals o f the se ve nte e nth ce ntury live d o n into the e e e e the o f ight nth, and culminat d in work John He ee e e a . S basti n Bach , ind d, was dominat d almost e e e ntir ly by this mysticism, which gav to his music e o f e e m e throughout a charact r int nsiv , lancholy long e e e he the ing . B yond all oth r compos rs is psycho lo gis to f the soul in its mome nts o f placid claustral e e re o f e e e s clusion . Hand l, with mo virility t mp ram nt, and a mind stre ngthe ne d and brace d by constant inte r e the e e to e e cours with world, h lp d mak music mor He e o fthe e thoroughly humanistic . is l ss cloist r than Bach 5 he has the stre ngth that come s from the buffe t

o f e e e e n e o u ings natur ; th r is a t nsio , a fibr of pp g e the o f nancy in his music, that is abs nt from work the e l e o d n . e c o m qui t Ca tor Hand l, though his fin st e e e to e e t e positions w r writt n r ligious words, y giv s to all his music a broade r and more ge nuin e ly humanistic e e the o f charact r than app ars in work Bach . In H e o wn e e e e e b e and l, although his op ras w r d stin d to he ld in little more account than the curre nt Ope ra o f e e o u tso e writing his day, music r ach s sup rbly to fe e e e human li , and giv s such strong and vibrant utt ranc the ee e e was e e the e to d p r motions, that it r c iving b st T/ze Opera in Germany 2 1 5

possible pre paration for its late r task o f dramatic * e e A n d e xpr ssion . what was r ligious mysticism in e e e e Bach, and r ligious humanism in Hand l, b cam in ’ Gluck the broade st s e cular humanism his artist s e ye e e o n m e n m e n o n was turn d sol ly as , human passion

s ole ly as human passion . e the e o f the Ev n in dark tim s Italian domination, e e e e e e e the G rmany had not b n lying idl 5 v n th n firm, e e e e o fthe e e Sinc r , musical s ns nation had b n groping e e e o f the aft r a san r id al than that south . It was n o f e e e atural, cours , that Fr nch and Italian m thods Should unde rli e most o f the Ge rman ope ra-work of e e e that day ; but in s v ral plac s, notably at Hamburg, various m en s e tthe mse lve s the task of making Ge rman

e e e e e . e the e n d op ra mor compl t ly G rman Kuss r, at o f the e e e e e s v nt nth c ntury, did good work at Ham his e e in in te n burg, although styl was mainly for ign tion 5 and he m ust have gre atly influe nce d K e ise r ( 1 6 73 who made more fo r e arne stn e ss in ope ra e e e e than any Ge rman b for G luck . K is r share d his ’ c o u n tr m e n s the t y passion for oratorio and can ata, and the se riousne ss of purpose and o f e xe cution re quire d by the se forms o f art importe d itse lf also into his

It is curious to what a Slight e xte nt Hande l influe nc e d has h f s o f s . As A . f e te late r orm mu ic Mr . . J Bal our w ll “ e x e ss e d his s f as e e e pr it, work orm, it w r , a monum nt, s and s s s ed the e n d o f s e d olitary colo al , rai at om blin v ave nue from which the true path o f adanc e has alre ady e d e w s e an ds e dd branch ; a monum nt hich, tat ly pl n i though b e is the ve s e w has sse d it , not tibul through hich art pa to ” ds e an de x o f n w e s o f e the i cov ry ploration e r gion b auty . ” ss s an dAdde sse s E ay r , p . 2 1 6 Gluch andthe Opera

He e e o n the dramatic work . bas d his airs l ss Italian f o n the e lied the e e orm than G rman , at sam tim giving gre ate r care to the re citative 5 and as he wrote Ope ras e he the e e to G rman words, had all mor opportuniti s to give a characte ristically German e xpre ssion to his He e e e e music . pond r d much ov r his art, som what in the e o f e e his e mann r Gluck, and xpound d vi ws in a pre face to a colle ction o f airs from his Almira and Octavia e in L e , publish d at Hamburg ik u he se t e the e o f Gl ck, his fac against abus contrapuntal de e e a e his e e e e vic s in op r , and avow d d sir to d liv r “ G e rman music from the influe nce o f the protz ige n ” e e r e e ran z o e n e Itali n und prahl risch n F s . Charact r “ i stic all e is his y, G rman dictum that nicht durch ” e c an the e Kunst, wohl ab r durch Erfahrung, compos r e hO e alon p to do e nduring work . e e e e e r e e 1 68 1 K is r, how v r, and his succ sso T l mann ( we re gre atly hinde re d by the s ce nic display o f

the e e a e op ra, which in G rm ny, as in Franc and Italy, we nt to such proportions as almost to e clipse the work o f e the e o f the e both po t and musician, tru lords op ra fe e n e the e the r qu tly b ing d corator and machinist . The e e e e e gravity and naturaln ss of K is r w r , in fact,

o the lied the nly importations from and oratorio, and we re powe rle ss for good in face o fthe incre asing po pu rito f e A e ff la y Italian music . Italians lik gostino St ani

The e f e is e s e e d pr ac not actually by K i r, but by F in . ’ The de s e e are e se s the s e the i a , how v r, K i r , in am way that ’ ide the e f e Alces te are s e x e as in pr ac to Gluck . For an c l ’ e o o f the e e s e e Re issm an n s l nt acc unt op ra in G rmany, Illus rirte e s e de r de s e s t G chicht ut ch n Mu ik .

2 1 8 Gluch a ndthe Opera e e a e the the nt rt inm nt, particularly at Courts 5 and e e e o u o f Fr nch op ra had r ally sprung up t this . A S e as 1 8 1 o n the the e o f arly 5 , occasion of marriag the de e e e de e Duc Joy us with Mdll . Vaud mont, a

o f e e e Le ba lletcomi ue work this kind was giv n, ntitl d q de la ra ne rem li de diverses devises m ascarades y , p , , cha ns on d i s e m us qu e eta u tres gen tillesses 5 the words e e Baltaz arin i the e e w r by , music by B auli u and The e he . e t Salomon first Fr nch op ra, in ordinary

e e o fthe La as tora le the s ns word, was p words o f e e the A é P e the which w r by bb rrin, and music by Cambe rt ; and so succe ssful doe s this app e ar to have be e n that it was quickly followe d by othe rs by the e e e e e sam compos r . Som imp tus was giv n to dramatic 3 ’ e the e e Of 1 668 composition in Franc by king s l tt r , giving P e rrin the e xclusive right o f the se pe rform an c e s e e e e the fi e - e was ; thr y ars aft r, rst Op ra hous P e e P om ona the built in aris, and op n d with a pastoral, , words again be ing by Pe rrin and the music by e A n e w e e r Camb rt . craftsman, how v , had by this time appe are d upon the sce ne 5 o n e who was de stine d to give so forward an impulse to the Fre nch Ope ra as to have his name e rron e ously couple d with it as its e the e e s aw the found r . In sam y ar that production o f P om ona P e de e e e e to L , rrin l gat d his privil g ully, an e e e Italian by birth , but a Fr nchman in f lings and e He e e e the e e Les id as . Op n d his r ign at th atr with ’ tes de l Am our etde Bacchu s the e fi , words b ing a

the e . e pasticcio from ball ts Of Quinault Th n, in 1 6 e the e e the c o n 73, cam first r al st p towards o f the e the o f Cadm us solidation op ra, in production , — ' a tragédz e lyriqu e in five acts ; the poe try by The Opera in Fra nce 2 1 9

the e - L . c o e e Quinault, music by ully Th y op rat d in se v e ral oth e r works : Alces te Theseus Carnava l Atys I sis P ers ee

P haeton Am adis R oland

Arm ida &c e e e . 5 whil for som tim L e e e ully work d with Thomas Corn ill , producing P syche and Bellerophon From the be ginning Fre nch ope ra was pe culiarly e e e e hamp r d both in form and in xpr ssion . Its courtly origin impose d some strange ly rigid ne ce ssitie s Its e e e upon it . subj cts it of cours dr w from classical o r m the e o f mythology fro romanc s chivalry, follow ing the fashion o f the time ; and though the ope ra was e ve rywhe re e mploye d as a me dium for flatte ry Of e e n e s so pot ntat s, in Fra c thi adulation was gross, and e the e so e e dominat d op ra compl t ly, that it may almost * he b e said that e ve rything was sacrifice d to this . T mode o f working followe d by Lully is an indication o f the pre vailing taste in ope ra in the Paris o f the e e e e e the e e e e s v nt nth c ntury, and at sam tim a r v lation o fthe diffi culti e s with which Fre nch ope ra had always e e e the ee o r to cont nd . In s l cting story from Gr k e e o f e b e Roman mythology, sp cial car cours had to tak e n that e ve rything Should b e favourable to flatte ry o f the To e n d e e e e e monarch . this , s v ral subj cts w r submitte d to the judgme nt o f Louis 5 the o n e se le cte d

On the influenc e o f Lou1s prote ction upon the e e e o f the e the e de s Fr nch int ll ct tim , r a r may con ult ’ “ ” i e e s f s vl a x . s o o . . Buckl Hi tory Civili ation, , i ch p Buckl is his torically right in his condemnation o f the prot e ctive S his s s is o f se e pirit, though ociological conclu ion cour op n s to que tion . 2 2 0 Gluch andthe Opera

e e o n L e by him was th n pass d to ully, whos first busine ss was to plan o u tthe de corations an d the ’

n e . e e the e e da c s It n xt cam into po t s hand, and aft r his portion of the work had be e n approve d by the A e L s e t e e cad my, ully it to music, making, how v r, e any chang that sugge ste d itse lf to him . Thus music was re ally quite a se condary thing in the e arly Fre nch e e e e op ra . Dance s and de corations play d a v ry larg e we e the e o f e part in it, and wh n consid r ton Fr nch e e fe e the social and int ll ctual li at that tim , and high conte mporary de ve lopme nt o f the spe cialise d art o f e is e to e e ho w the e s u b po try, it asy conc iv v rbal stratum came to bulk more large ly in importance the e e e e o f the than music . Th r was in Franc non s e nsuous lyrical outpouring that had s o strange ly and so a r pidly transforme d the Italian ope ra . In his e e L e e to r citativ , ully r duc d music almost a minimum . He n o t e to e e e e did att mpt dominat it, ith r in tim , in o r e e fe e rhythm, in int rvals, by sp cifically musical ling 5 he characte rise d it inste ad by a me thod that consiste d in acce ntuating the me trical and prosodial e le m e nts o f the e e e -is e - e words th ms lv s . It a w ll known p culi arity o fmusic that it make s light o fthe re lationship o f words and syllable s and acce nts as the se occur in e e o r e ordinary sp ch in po try, claiming to do this by the fact o f its addre ssing a highe r rhythmical and acce ntual se nse than is appe ale d to in poe try o r in e e e e e e pros 5 and this music do s v n in usual r citativ , wh e re at l e ast some pre te nce is made to give a musical ple asure ove r and above the me re inte lle ctual Sign ifi e f the e e e e o f canc o words . Th r is v ry littl this in Lully ; what he doe s in re citative is to follow close ly

2 2 2 Gluch andthe Opera

against the combine d influe nce s o f a soci e ty that was e e - e e ss ntially anti musical in cultur , and a pow rful and - ” we ll de ve lope d poe tical drama . ! e tsome thing of the same ine vitable change which e Fo r e we notice d in Italy took place h re also . som e e e e e e e L e tim r citativ r main d wh r ully had l ft it, and the ope ra was o n the whole conducte d o n the line s

laid down by him . It was in this Spirit that his sons L e L e e ouis and J an ouis work d, as w ll as his pupil e 1 6 0—1 1 8 e he Colass . But Marais ( 5 7 ) improv d t aria e e l e e e slightly, giving it a gr at r lyrica xpansiv n ss and a close r dramatic cohe re nce 5 and a similar tende ncy was appare nt in the othe r m e n who took up the ope ra at e— e e e e e that tim D smar ts, Campra, D stouch s and oth rs . In proce ss o f time the Fre nch aria be gan to assume the e e Italian styl , and from such dang rs to dramatic e xpre ssion as lay in this assimilation the Fre nch aria — was de live re d by Rame au ( 1 683 1 who com m e n c e d e e e the a e fift-o n e his op ratic car r at g of y . Rame au as a musician was in e ve ry way supe rior to

L . He e e e S e the e e ully gav gr at r ignificanc to r citativ , and brought the aria round from its se ductive Italian the e e e e so m form to old r Fr nch styl , only r taining uch o f the Italian me thod as was ne ce ssary to give a fine r h e he fre e dom to te m lody . That consciously strove to produce a more truly national aria is shown by his

For a brilliant Study o fthe int e ll e ctual world o f the ’

e o fL s ! IV. s e e T e s e o n e his tim oui , ain articl Racin in “ ” “ ” e x ss s . s o f s Nouv au E ai Naumann ( Hi tory Mu ic, i . ’ 8 s s e s La s e s an dde fe s e 59 7, 5 9 ) ummari lly qualiti ct v ry e f s e e e e the in te lle c w ll , but ail utt rly to corr lat th m with

tual conditions o fhis time . The Opera in France 2 2 3 u se o f the phrase dir ita lien whe ne ve r he use s the e e A e e Italian form in its ntir ty . dd d to this, his orch s tratio n e e e , his count rpoint, his rhythm, and his tr atm nt o f the chorus all showe d an advance o n Lully ; and it was probably the dramatic nature of his rhyth m that attracte d the atte ntion o f Gluck during his Parisian visit o f 1 745 . The pe rformance s o f the Italian Bouffons in P aris in 1 75 2 re ve ale d to the astonishe d e ars o f the Fre nch a kind of music o f the possibiliti e s o f which th e y had e e pre viously had littl conc ption . ' A s we e e e the o era bu a hav s n , Italian p f was in many re spe cts a he althie r and more natural growth ' than the op era s erza 5 it was more cognate with the re al fe e lings o f that portion o f the Italian pe ople that had e scape d the impulse o f classical imitation during the R e n aissance ; and it ste e re d cle ar o f much of the e e the e u e sol mn and inflat d absurdity of s rio s op ra . e e e the o f P e e A e What r comm nd d work rgol si , t lla, Jo m e lli and the ir fe llows to the Fre nch p u blic o f 1 2 e e e e e e e e e 75 , how v r, was th ir fr , xpansiv and s ductiv e the e e e e e the m lody, and g nial atmosph r that p rvad d - whole music 5 it must have be e n fe lt as a de ar bought re li e f from the turgid de clamation or the monotonous - o f the e T he plain song o f many nativ compositions . e e the ff lit rary war that sprang up ov r Bou ons, as, at a e e e the o f n lat r tim , ov r music Gluck, was an indicatio o f how de e ply the se nse of the Fre nch the atrical public was Stirre d ; and the n e w impulse communi c ate dby the visit o fthe Italians undoubte dly influe nce d e The e e e e Fr nch music for good . Fr nch w r alr ady posse sse d o f an opera comique with many ple asing 2 2 4 Gluch andthe Opera

the e e re e points, and warm r styl and mo spontan ous handling o f the Italians we re now communicate d to the Mo nsi n e it ; work of Duni , g y, and Gr try would e e e e hadthe c rtainly not hav b n so charming as it was, war o fthe Bu ffo n ists and anti-Bu ffo n ists ne ve r take n * e A n dthe e e e e plac . h althi r and mor spontan ous Spirit that thus gave life to the comic genre found its way the e e o f e e e also into d partm nt s rious op ra, influ ncing fo r e o n the e was ho . w it good Fr nch music whol , e e the e o f the e e e e v r, in latt r half ight nth c ntury, a e o f fo r e e subj ct scorn all Europ , which was th n fas “ h e The e r in a c in ate dby te Italian Styl . long and p t cion s attachme nt to the style o fLulli and his imitators ” e e the e in vocal compositions, writ s B urn y, to xclu sion of those improve me nts which we re making in the art in othe r parts o fE urope during the first fifty ye ars f e e te e e e o this c ntury, hav doub l ss mor imp d d its pro gre ss than want o f ge nius in this active and live ly e e o r e e e e e p opl , d f cts in th ir languag , to which Rouss au and Othe rs have ascribe d the impe rfe ctions o f the ir ” d e h . A n te e the music again Wh n Fr nch, during e r e e SO e e the o f last c ntu y, w r cont nt d with music L e o f e e ully, it was n arly as good as that oth r countri s, and b e tte r patronise d and supporte d by the most

e n e e . Bu t so fre spl ndid pri c in Europ this nation, que ntly accuse d o f more volatility and caprice than

The war b e twe e n the Italian an dthe Fre nch s chool s was e de 1 2 f e s e f r ally much Ol r than 7 5 . Fi ty y ar b ore that “ time th ere hadapp e are da Parallel e de S Itali e ns e tde S ’ ” s e n c c ui e de s e e tl O éra the Francai q r gar la Mu iqu p , by A é Ra u e n e t was s we e df s e e se bb g , which an r uriou ly by Fr n u . ” s f s 6 S e e e o . 0 8 Burn y, Hi tory Mu ic, iv .

2 2 6 G/uch andthe Opera

e e e e e compos rs, that it was almost v rywh r a byword - to the e e o f e and laughing stock wis , an Obj ct cont mpt fo r e e e e an thos who w r not musical by natur , and e e h e * Obj ct of re gre t for thos w o we r .

In the Revue des deux Mondes fo r 1 5 th July o f this ’ e e e is e e é Do um ic o n L O éra y ar th r an articl by M . R n p ” e t T éde au xviim e e e d ro os o f e e la rag i Si cl , p p a r c ntly ’ publish e dvolume on the Hi s toire de l Opéra e n Europe e t d L . . avant ully Scarlatti , by M Romain Rollan M . ’ Do um ic s e is e x e e s d f the articl an c ll nt tu y, rom non s S de o fthe e e e e the e an dthe mu ical i , conn ction b tw n op ra d the s e e e e H e e s the fi rama in v nt nth c e ntury . not arti cial ’ ' nature o fthe op era-cult o fthe time : Le gout de l op era ’ e s tau xviim e s e e u n e f e de e de l e xo tism e i cl orm la mani . ‘ ’ ’ I1 e s le s s s de l é o u e U n e ralli tou nob p q . cour e le de é é le s fe e s e tle s s s galant , mon l gant, mm marqui , tou ‘ le s d e e x e tle s e és e x ui efe e le ouc r u njou , c u q pr r nt vain ’ s au x ss e s de l e s rite x ui n e de de plai ir joui anc p , c u q man nt ’ a u e de le s s e e s s e x ui s e é e l art q amu r, t l ont c u pour q pr par ’ e tau ré de ui s e f e le d e sse e de e g q aconn iv rti m nt l op ra . ’ ’ ” l in fl n H C e s t le triomph e de u e c e mondaine . e Shows that the op e ra e ve n infe ct e dthe poe tical trage dy o f the e an dle d e s o n the o f e e an d tim , to ab rration part Corn ill e an d e s e de e o f the u n s c ho Racin , quot Grimm in vi nc p y “ logical nature o fop e ra an dits inferiority to trage dy : Le ” “ ’ e e e x s e s s n au rait-il as m rv ill u vi ibl , ay Grimm, p banni in térétde s e e e ! U n de e é e tout la c n lyriqu i u p ut tonn r, ’ - il p e ut parai tre grand e tre doutabl e 5 mai s p e ut il intére sse r ! Son caractere de divinité n e rompt-il p as ” toute e spec e de liai son e tde rapport e ntre lui e tmoi ! ’ “ e s D de s e f e A an dAlb an iu s (Compar al o ry n pr ac to lbion , an da surprisingly goods tateme nt o f the we akne ss o f the ’ e arly op era on the p sychological s ide in Rouss e au s “ ” d s D e e u e . ictionnair la Mu iq , art Saint The Opera in France 2 2 7

“ Evre m o n d al s o had fe ars fo r the drama : C e q ui m e ’ ’ ’ ’ fa e le s de l e n téte m e n to il l o n e s t e e s ch plu pour l op ra, c t ’ va i e éde ui e s t s e e s e u e qu il ru n r la trag i , q la plu b ll cho q ’ s s s e aé e e a e e t s e nou ayon , la plu propr l v r l m la plu capabl ’ d D e s s e e ss e f e l e s rit . orm r p . M oumi grow om what p i m s e the f e e e s o f the e an dis i tic ov r utur ncroachm nt Op ra, incline dto lay to its charge some faults o f the modern ’ s e e e an do f s d s tag in g n ral Victor Hugo rama in particular . d se s f e e s the M . Rollan promi a urth r volum , howing influenc e o f the op e ra on the trage dy o f the e ighte e nth e c ntury . CHA PTER I I

A s we e ee the o n e hav s n, musician who had it within him to re form the ope ra spe nt almost half a c e ntury o f his life be fore he moulde d into e nduring concre te form the ide as that had be e n so gradually t e o f e e aking shap in his brain . It is, cours , impossibl to say with any ce rtainty whe n the se ide as first be came de finite 5 in all probability th e y we re o f qui e t an d i e e e imp e rce ptible growth . It s ss ntial to b ar in mind the o f e his e physical constitution Gluck, as w ll as int l e u we e e l ct al surroundings, if would arriv at an und r f we o f s tanding o his work . From all know him e the e fe his birth, his anc stry, arly conditions Of his li , — his late r re lations with m e n itis cle ar that much o f his forthright spirit o finnovation was simply the inte l e e e o f e e e e l ctual xpr ssion a h althy, vigorous, ind p nd nt, e e e e o f unsophisticat d natur , forcing its lf, in spit all o f e e e the opposition and v ry s duction , into way that was most natural to it 5 Gluck was m ere ly following

the e e e e . e e the lin of l ast r sistanc If his syst m , to tak e e the e the e most id alistic vi w of cas , was outcom of e e e e the was his r fl ction, this r fl ction, for most part, in turn simply the formulate d and conscious e xpre ssion f the e o f e o impuls s his physical natur . It was as impossible for a man o f his te mpe rament to take up finally with anything but an hone st and natural dramatic

2 30 Gluch andthe Opera a n e he d o f . e t utmost catholicity cultur Music, b ing art e e e e e e that minist rs most xclusiv ly to s nsuous pl asur , found gre ate r difli c u ltythan the othe r arts in throwing o ffthe burde n o f commonplace conve ntion that was , he i mpose d upon it by its prote ctors . In t philosophy o fthe e the e e e the e e u tim , t nd ncy was to br ak int ll ct al ~ fe tte rs that he ld m en in subj e ction to constitute d a e e e e uthority, and to r stor to human natur som thing o fthe dignity that was thought to b e its natural c o n o f e e e dition . B ut this spirit int ll ctual r volt found s carce ly an answe ring e cho in the world o f music . The ge ne rally de grading syste m o f aristocratic e e e e patronag , that almost in vitably s ts up fals and e the e tawdry id als in artist and his public, and is a dir ct e e e e the inc ntiv to s rvility, was in full forc in musical the e ee e the world Of ight nth c ntury, holding artist d e e him own, narrowing and d grading his id al, making more care ful to write in accordance with the taste of his patron than with re gard to his dutie s to himse lf as a n him the e o f c o nve n artist, and forcing into groov tio n alit e e e e e n y and facil artific . It has alr ady b pointe d o u tho w this syste m Of patronage le ft its mark o n the e o f the e e e e ho w compos rs i ght nth c ntury, and the e e e e lo fact that Gluck gradually ros abov it, b ars e e e e e e q u nt te stimony to his innat ind p nd nc and virility . U e e r e e e he e e e nd r a happi syst m, wh r by would hav b n le ss de p e nde nt for his daily bre ad upon the ple as ure o f a he e the patron, would in all probability hav outgrown follie s o fthe curre nt ope ra at a much e arlie r date ; he e e e e he e er that v r manag d to outgrow th m, that v le arne d to Strike a chord o f since rity in that world o f h e e e e o fs e ollow artific , mak s his figur bulk lik that om The Opera andits Critics 2 31 so litary giant above the dwarfish forms o f his conte m o rarie p s .

H e e o f e e e o fthe was not alon , cours , in his p rc ption absurditie s and the shortcomings o f the ope ra o f the e e m e n e e e e tim . Oth r b for him had call d att ntion to e e e e e e th s , som with satirical cont mpt, lik Marc llo, e e Al aro tti A e e oth rs, lik g and ddison, with a g nuin de sire to base the musical drama o n be tte r principl e s . ’ e e Il Teatro alla m oda e Marc llo s brilliant satir , , is w ll known 5 it is an unme rciful e xposure o fthe imbe cility o f the e o f e e the e op ra his day, down v n to minut st e e o n e e o fthe m ot the d tails . Ev ry , again, has h ard of e e to o b e Fr nch wit, that wh n anything was silly to ’ e e o f A e said, th y sang it ; and som ddison s happi st irony is dire cte d against the folli e s that strutte d the ’ La e . D Ale m b e rt boards in such bombastic prid , e e e e the e o f Bruy r , and Boil au had laugh d at absurditi s the e P e e e op ra, and anard had thrown th m all tog th r “ e e e e e into xquisit ly humorous v rs in his po m, What I s aw at the which fo r de licacy o f satire -E r d o f h s e A . ve m o n e te urpass s ddison Saint , sp aking e o u to e Op ra, had said If y wish know what an op ra is I an swe r e o f e , that it is a strang production po try and m e e the e andthe e e usic, wh r po t musician, ach bor d by the e e the e e e oth r, tak utmost possibl troubl to produc a e A e e o f e e e worthle ss pe rformanc . pi c nons ns pack d e e e with music, danc s, machin s, and d corations, is ” m e e e e e the e . agnific nt nons ns , but nons ns all sam Dryde n had stigmatise d it in a couple t whe re in

3“ ’ “ ds e se c C ré e t Le s e e s For Panar po m p , Po t Fran ” ais e s 1 g , vol . iii . p . 9 5 . 2 32 Gluch andthe Opera the ope ra is made to stand as the type o f foolish work For what a s ong or sense l e ss Ope ra I s the vi o f to li ng labour a play, ’ W s db e Or hat a play to Virgil work woul , s Such is a Singl e pi e c e to hi tory .

La F o n tain e also satirise d the sce nic display o f the e the e o f op ra, and occasionally ludicrous miscarriag s the e e the e o fP machin ry, som what in styl anard

Souve nt au plus b e au char le contre poids rési s te 5 U n di e u p e ndala corde e tcri e au machini s te 5 U n e s e de f e de e e d s m e r r t or t m ur an la , ’ ’ e a d fe Ou la moiti de ci e l u mili e u e l en r .

The e e o n the e e e most r markabl book op ra, how v r, “ was that o f A lgaro tti; which de se rve s de taile d c o n side ration be cause o f its te mpe rate e xposure o f the e e e o f the e o f l e r w akn ss s op ra, its anticipation many at ’ the Orie s o n e o r o f e the , including two Wagn r s, and great Similarity be twee n the re forms propose d by him e e ffe e e e and thos actually ct d by Gluck, and d tail d by h e The te compos r in his various pape rs and le tte rs . b ook is conse que ntly o f some importance in a c o m arative o fth e e o fthe e p study e ae sth tic id as tim . A fte r re vi e wing the history o f the ope ra from its to o wn A l aro tti e e origin his day, g consid rs in d tail all the e o f the e —the e the compon nt parts op ra libr tto, the o f o f e e the e music, art Singing and r citativ , ball t and the de corations ; offe ring sugge stions in e ach

“ ’ ” 6 d e s a L v 1 . Saggio all Op ra in Mu ic , i orno, 7 3 It w 68 as r s e d s 1 6 an d in 1 . t an lat into Engli h in 7 7, again 7

2 34 Gluch andthe Opera arise from the drama that follows 5 it must conse que ntly e e the e e the e o f hav a form suit d to whol , lik b ginning ’ o e e A tthe e e e e a g od orator s sp ch . pr s nt day, how v r, the symphony is look e d upon as some thing absolute ly — unconne cte d with the drama a m e re pie ce fo r e e e the e o f the e e trump ts and drums, wh r by ars audi nc ” may b e te mporarily capture d and stunne d . A e e e e e e e b tt r r citativ was want d, tog th r with a e e obbli to e e e gr at r cultivation Of ga r citativ . It app ars as if o u r com pose rs thought the re citative not worth e e e e e e e e any troubl 5 it giv s littl pl asur , and can th r for ” e xpe ct little honour 5 Tthe n he give s an account o f the care ful manne r in which Jacopo Pe ri wrote his e e e e e r citativ . It was manifold and vari d, and mod ll d e o n h No w e e its lf te words . it was as rapid as sp ch e e o u t its lf, now it w nt slowly, bringing significantly the in flexio n s and acce nts that Spring from the might o f e e e e e e passion . It was list n d to with pl asur , b caus it was writte n with such dilige nce ; and fre que ntly some trait in the re citative affe cte d the h e are r more powe rfully than any aria o f o u r o wn time has be e n e do e - e e e he abl to . Ev n to day it pl as s wh n it is in t obbli a to e the e g form, accompani d by orch stra ; and it b e e e e e e e e e would b tt r if it w r mor fr qu ntly so writt n . I!: L e he e e the e ik Gluck, wish d to minimis gr at disparity “ be twe e n the aria and the re citative Anothe r good e ffe ct would re sult from the m ore usual e mployme nt i o f the obbl ga to form ; the marke d contrast be twe e n the e e an dthe b e e e e r citativ arias would l ss n d , and a fine r agre e ment be twe e n the various parts o fthe ope ra

2 0 . . 2 0 . . 2 2 . P . 4 T P 4 I P 4 The Opera andits Critics 2 35 would Trills and orn ame nts we re in c o m e e e the e patibl with dramatic xpr ssion in historical op ra, whe re actual passions we re suppose d to b e re pre se nte d o n the s ta e ' ' he e o u t A g 5 l and point d , as ddison had e the o f the e don , i absurdity pausing in music wh n

adre o r lio e e to e such a word as p fig occurr d, in ord r giv e e e e e e e e e e a t nd r xpr ssion to th s words, quit irr sp ctiv o fthe e e e o fthe e e e e e g n ral t nor music . Th s g ntl m n fancy by such me ans to give to th e se words the ir

e s entim ent the e e prop r , and at sam tim to import a e e e e e e sa pl asing vari ty into th ir music . I tak l av to y,

e e dissonance o ex ression e how v r, that this is a f p , unb ar

’ able to any rational be ing ; that the compose r must n o te e the e e o f e the e e o f xpr ss s ns singl words, but s ns the e e the e he ro whol passag . In sam way p te ste d against the to o fre que nt u se o f the da capo and the re pe tition o f words : A n dhow long-winde d and unbe arable are those e te rnal re pe titions and that unin te lli en t -u o f fo r the e e o f g piling p words, simply pl asur ! the music Th e se words should only b e re pe ate d whe re the y are re quire d by the circumstance s o f a e e the e e e o f the is p ssion, and wh r whol s ns aria at an e n d T he . first part o f the aria should se ldom b e re e is a e e ” e introduc d 5 this mod rn discov ry, and quit to the e o f e e a contrary natural cours sp ch and p ssion, which ne ve r re turn o n the mse lve s ; and whe n o nce

. 2 2 1 P 43. i P . 3 . “ S e e The S e ctator 1 the a . 8 : s o f I p , No Hi tory Itali n ” e Op ra. P 8 “ . 2 2 . S e e s Du Bo s : Re e x : § p 4 , 49 al o fl ion e s s ur d és e e ts ur e e m e c . Critiqu la Po i la P intur , 5 ,

1 . . 2 . 747, vol i p . 45 2 36 ' Gluch andthe Opera the e n d e e the fire e is is r ach d, and is at its h ight, it di fficult to maintain this if what has gone be fore is ” e e e r p at d . “ The e are to o e e e ritorn lli long, and g n rally sup r n e fo r e 1t18 m the fluo s . In a passionat aria, instanc , highe st de gre e improbable that the actor should stand e a the e to with his arms cross d, w iting for ritorn llo e com to an e ndbe fo re he c an give his passion play . A n d e e the has e furth r, wh n vocal part actually b gun, u se are the the e what four violins in accompanim nt,

“ e xce pt to drown it and make it uninte lligible 1 e e e ee e e m n o t B tt r orch stration is n d d, and r sort ust b e had to a too pe dantic te chnique 5 counte rpoint is o f ’ n o value whe n the compose r s purpose is the e xpre ssion o f e passion, though it has its us s in church music . I “ A thorough re form is wante d in the aria : S e ldom doe s any o n e trouble himse lf to make his airs n atural in me thod and conformable to the se ntime nt o f the words and the many variations that are use d to turn an dwind about in the m are rare ly re late d to a common o f The o f o ur c o m point unity . first thought all pose rs at the pre se nt time is to flatte r and de light the T c ar b e . o in any way, and to constantly surprising it e the e e e the fire— mov h art, to k p imagination on what care the y about this Finally A ll the se irre gu laritie s e e d e e e the e will n v r isapp ar, how v r, until tim whe n compose rs and Singe rs Shall no longe r ignore the e o f e the e e the v ry foundation music ; wh n r citativ , e e o f the r e b e s o most ss ntial part d ama, shall no long r

‘ 2 1 P . 44. 2 6 2 P . p 4 , 47 .

CHA PTER III

’ WE are now in a position to look at Gluck s o wn e fe o ide as as se tforth by him se lf. His gr at mani st was the e e e e e to Alces te as c l brat d pr fac , which ran follows “ Whe n I unde rtook to s e tthe ope ra of Alces te to the e e o e music, obj ct I had in vi w was to avoid all th s abuse s which the misappli e d van ity o fsinge rs and the e xce ssive complaisance o f compose rs had introduce d the e e e o n e into Italian op ra, and which had conv rt d Of the fine st and most imposing o fspe ctacle s into o n e o f e e the most w arisom and most ridiculous . I sought to e e to e un o f r duc music its tru f ction, that supporting the e e e e the e e o f po try, in ord r to str ngth n xpr ssion the e e s the e e s o f the s n s ntim nt and int r t ituatio s, without inte rrupting the action o r disfiguring it with e sup e rfluous ornament . I imagin d that the music s hould b e to the poe try just what the vivacity o f colour and the happy combination o f light and s hade - are e an d e se e e to a corr ct w ll compo d d sign, s rving to e the e e e animat figur s without alt ring th ir contours . So I have avoide d inte rrupting an actor in the o fd e e i fo r a we aris o m warmth ialogu , to mak him wa t e

’ rito rn e llo o r him the o f e , stopping in midst his discours , in orde r that o n s ome suitable vo we l he may e xhibit the o f fin e e n a e o r agility his voic in a lo g p ssag , that ’ ‘ Gluchs Manyes to 2 39

the o e m a ve e e e rch stra y gi him tim to tak br ath agai n . I have not thought it my duty to haste n through the se cond part o fan air whe n this se cond part was the

e the o e r to most passionat and m st important, in ord re pe at the words o f the firs t part four time s 5 nor to “ the e the e n e is n o t e e finish aria wh n s s compl t , in orde r to give the Singe r the opportunity o fshowing in h ho w e c an e . many ways vary a passag In a word, I have sought to banish from mus ic all the abuse s against which good s e n se an dgo od taste have so long

pro te ste d in vain . “ I have thought that the ove rture should pre pare the e fo r the e o f the sp ctators charact r coming action, and give the m an indication o f its subj e ct ; that the instrume nts should only b e e mploye d in proportion to the e e e o f n e e o f e d gr i t r st and passion involv d, and that the re Should not b e too gre at a disparity be twe e n the

the e e e n o tto the flo w o f air and r citativ , in ord r spoil the e e the e e e p riod, to int rrupt mov m nt inopportun ly, he o fthe e e o r to dissipate t warmth sc n . “ e I hav thought, again , that my main task should b e to e e e e e s k a nobl simplicity, and I hav avoid d he e e parading di ffi culti e s at t xpe ns o f cl e arne ss ; the discove ry o f any nove lty has se e me d to m e pre cious only in so far as it was n atu rallvcalle d forth by the ihe e e Situation, and in harmony with xpr ssion 5 lastly, the re is no rule I have not thought it my duty to e e e e o f e ffe sacrific willingly in ord r to mak sur an ct .

Gluck hims e lf has committe dan e qual absurdity to s the P aris andHelen he fi s e s thi in aria in , in which ni h a e e -s e do n the s e ds e de e n d thr yllabl wor con yllabl , in or r to S 0 1 s se e e . e e . 1 the mu ical phra th r p . 2 40 Gluch andthe Opera

The se are the principle s by which I have bee n e the e e e guid d 5 happily, po m l nt its lf admirably to my

e the e e e o f Alces te d sign ; c l brat d author , Signor Cal z ab i i e e n e w the g , having conc iv d a plan for lyrical the e o f e e e e drama, in plac flow ry d scriptions, us l ss an d e e z comparisons, and cold s nt ntious morali ing, had e e e the substitut d strong passion, int r sting Situations, l e the e e e anguag of h art, and a continually vari d Sp c

e . e e e the e tacl Succ ss has justifi d my vi ws, and univ rsal approbation o f a city lik e Vi e nna has convince d m e that simplicity and truth are the only principle s o f e o f b auty in works art . A tthe e e the o n e sam tim , I know all risks runs in combating prejudice s that are de e ply and strongly

The pre face to P a ris a ndH elen has alre ady be e n e e as e o n e quot d, as w ll various obs rvations his art mad e e z e by Gluck in conv rsations with Coranc and oth rs, e e the e and in l tt rs to Fr nch journals . It will b e Obse rve d how distinctly the state me nt in the le tte r to the 7 ournal de P aris ( 1 2 th Octobe r the e o f e e as to quality po try and music, clash s the e e e e b e the with abov th ory, that music should m r ly

e . e La e handmaid to po try In his argum nt with Harp , Gluck had said that music and poe try should stand in e o f e e e so e e a r lation quality to ach oth r, that n ith r e r e the e e should app a to dominat oth r . Marx notic s ’ “ W the e e awa . l e contradiction, and tri s to xplain it y

x 0— 2 De sn o ire s te rre s 6 66 Mar , i . 44 44 5 , pp . 5 , 5 Bar

b e de tte . . , pp 74, 7 5 “ “ — x 11 2 0 S e e s 0 l Mar . 4 . al o i . 447 45 .

2 4 2 Gluch andthe Opera th e ory o fthe subordination o fmusic to poe try was du e the e e o f the historically, as in p rsonal cas Gluck , to r elative ly impe rfe ct stage o f deve lopment to which e ee music had the n attaine d . To und rstand compl t ly ’ the g e n e sis and the working o f Gluck s ide as we shall have to go ve ry far afie ld into the ae sthe tic lite rature

‘ o f he i m e e we are m e h t t . In d aling with him twit the ff e e he e e e di iculty that, unlik Wagn r, wrot v ry littl in a syste matic manne r upon his art ; and though with a little analysis we can discove r in his mu sic the m e ntal characte ristics and the ae sthe tic the ori e s that e e e e is h lp d to giv it its distinctiv quality, this both more diffi cu lt and more unsafe than the de ductions we could mak e from a re ason e d syste m argue d o u tin e e n e e the e e . e e pros N v rth l ss, by bringi g tog th r id as that unde rlay the ordinary writings o n music in the e e e e we b e e e e ight nth c ntury, shall abl to r cognis in ’ the se the the ori e s that controlle d Gluck s syste m o f e e e e e e composition . Rar ly has th r b n an poch in which such m sthe tic unanimity has pre vaile d as in the e e e e e e ight nth c ntury . Italy, Franc , G rmany, and Englandt urne d o u talmost pre cise ly the sam e ide as upon the function o fmusic and its re lations to poe try ; and by re ducing the s e to some thing like fundame ntal p rinciple s and comparing the m with what we know o f ’ e -e e e e we b e Gluck s v rbally xpr ss d id as, Shall in almost as good a position to apply the m to his principle s o f musical composition as if he had e xpre sse d himse lf o volumin usly upon his art .

the e e Alces te the Starting from pr fac to , as first e u e o fthe e we r vol tionary manif sto compos r, find that e e e e this re solv s its lf into two main factors . Th r is ’ Glacé s Ma nifes to 2 43 o n the ‘ o n e e the e artific ialit the sid r volt against y, e e to the e o f the e e e r solv curb pow r Sing rs, to d nud music o f the foolish and supe rfluous orname nts by e e e e the e e to e which it had b n d fac d, d sir r turn to e b e e e e — we natur , to Sim pl and sinc r what, in fact, may de signate the de structive and pole mical part o f ’ k n he e e e e the de Gluc s faith . O t oth r Sid th r is clara tion of what he he ld to b e the true ae sth e tic fu nction o f e e the e music, its r lation to po try, to oth r arts, and ll e e e to e . A ee natur his writings, ind d, group th ms lv s e e On the o n e round th s two main points . hand he wars with the abuse s o f the conve ntional ope ra ; o n the othe r he re ve als his o wn vie ws upon the ae e o f Le t the e e sth tic music . us look at int ll ctual and the social ge ne sis o f the se two factors in his

work . In the pre ce ding chapte r we have see n that fo r ’ e e e s e f e many y ars b for Gluck r orm, various writ rs had be e n calling atte ntion to the absurditi e s and failings o f the e h ope ra . This r volt against the folly o f te music o fthe tim e was part of a wide r fe e ling o fdissatisfaction the artific ialitie o f e e at s both art and lif . In Franc the re was a Strong fe e ling against the c o n ve n tlo n ality he o f t e to e e e . stag , which voic was giv n by Did rot In Italy the se rious ope ra had de ge ne rate d into a me re e e e e e e e loung , wh r any amus m nt was p rmitt d, and whe re the last thing that was thought o fwas to liste n the e e A l aro ti e e e e to p rformanc . g tr pr s nts a num rous body o fwrite rs to whom this flac c idity was be comin g e e e O h the . te e mor and mor distast ful n oth r hand, n e w inte lle ctual life that was springin g up in Ge rmany was accompani e d by a prote st against me re formality 2 44 Gluch andthe Opera

e e and imitation, and a d sir to conduct both philosophy and art upon original line s . Th u s while the abuse s o fthe curre nt op e ra and the artific ialitie s o f conte mporary li fe accounte d for the ’ e o f e the e e r volutionary portion Gluck s id as, sam abus s and the same artific ialitie s would in turn partly account “ “ for the c ry o fa re turn to nature and imitation o f ” e e so the natur , which was h ard plainly throughout e th e musical controv rsi e s of e tim . But with this doctrine o fthe imitation o f nature we ste p upon the o f ae e e e e e the ground sth tic th ory, and hav to xamin intelle ctual world of the e ighte e nth ce ntury upon that side o f it that de alt with the re lations o f nature and art . The the ory that art imitate s nature had be e n take n ’ ove r in its crude st form from Aristotle s P oetics 5 and happe ning to coincide with a stron g conte mporary e e e e e o f e d sir for gr at r Simplicity and naturaln ss lif , the the ory was carri e d to the grosse st e xce ss not only the e o f the e the in po try and painting tim , but also in u T e e e o r e o f m sic . h r was, in fact, littl non that dis crimination be twe e n the sph e re s an d me dia o f the various arts that underli e s all o u r modern syste ms o f m he tic he o n e the st . Not only was t faculty of mind suppos e d to look at all the arts from the same stand e e e the e e point, and to appr ciat th m all for sam qualiti s, but this faculty itse lf was thought to b e more rational e the e e e - e than imaginativ . To ight nth c ntury mind, e e the e e e e e e ind d, world s m d to unfold its lf in p rf ct e Th e the e e . e e cl arn ss d structiv work of c ntury , in the ology was mainly base d o n the ide a of a primary e o fthe n e e d lusion huma rac through pri stcraft, and in

2 46 Gluch a ndthe Opera anothe r mode o f pre se ntation o f those ide as which e e r o f form d th i basis satisfaction in philosophy . That ’ art ffe e e o f n e springs from a di r nt Sid ma s natur , and is e e ffe e e n d e e e e e dir ct d towards a di r nt , n v r sugg st d its lf u o he to the m . Its f nction was tcast upon t working the e e of mind , through concr t forms, that light which was cast through abstract forms by philosophy ; and the e e o f the s nsuous m dium art, through which it s ea e o f e e e e p ks, inst ad b ing r cognis d as som thing that he lpe d to de te rmine the utte rance and de fine the scope the e se t e e o f Of id a, had its claims asid in favour sol ly he e e e art e f e t . o id a its lf Thus th ir , inst ad b ing a e e o f e e e o f s ri s pr s ntations, through varying m dia, — varying impre s sions o f life and natu re the variation s be ing de te rmine d by the re spe ctive scope s o fthe arts was a se rie s o fre pre se ntations of the same impre ssion ffe e e — e e through di r nt m dia variations, as it w r , upon th e e e same th me . It did not occur to th m that a e e e e are po tical id a, a pictorial id a, a musical id a,

e s e e e e e o f c an b e s ntially div rs things, n ith r which

u e he The prope rly e xpre sse d in the lang ag Of t othe rs . e - e e e e the e e e bord r lin s b tw n arts, and b tw n thought e e e o u to r e e e and imagination , w r not mark d v n suppos d e e u o f ae e e to e xist ; h nce th ir conf sion sth tic purpos s . The e e to the po t was suppos d paint in words, musician in sounds ; the painte r re pre se nte d poe ms o n his canvas ; Miche l A nge lo was a gre at poe t and Shake e A e A e spe are a gre at paint r . distort d ristot lianism e ms the tic e e the invad d criticism, and incr as d confusion e The e o f~ that e that alre ady e xiste d the r . Fr nch tim e P e e e e as approach d o try, as th y approach d R ligion, e r e the e the the th y app oach d Stat , with conviction that A rtandNature 2 47 organ o funde rstanding was able to produce inte ntionally and consciously what in re ality has always be e n the product o fothe r human faculti e s acting almost u n c o n s c io u sly ; th e y be li e ve d in inve ntors o f re ligion as in e e e l inv ntors of constitutions . H nc a confusion of a l the e he Pe e e e e activiti s o f t human mind . opl b li v d that the Fine A rts could se rve to explain abstract is e t thought, which all gory, and again that words migh he e e e e P e . T paint Obj cts, which produc d d scriptiv o try

e e u s simpl xplanation that words, so nds, forms and colour are diffe re nt language s for diffe re nt orde rs o f me ntal e e e e o f e e e activity had b n ntir ly lost Sight . Exp ri nc taught that non e o fth e s e m e ntal faculti e s could work e e d the o f the e the wh n isolat , without aid oth rs 5 infe re nce was drawn that e ach might do the work o f the e P e e e e e oth rs . opl want d to xpr ss in forms and the e the e A t colours, that is, in languag Of Fin rts, wha c an only b e e xpre sse d in words 5 an dthe y wante d to e e b e e e e xpr ss in words what can only xpr ss d in sounds, i e . . , Music T h e re was along with this rational te nd e ncy in art a slight fe e ling h e re and the r e that the imagination had a more important function than was usually ascribe d to

the e e e e the e . it, but Obj ctiv t nd ncy was much strong r e r e e - e e e With all th i d p r aching int r st in art, and an was e e e e the analysis that oft n acut and p n trating, m e n o fthe e ighte e nth ce ntury for the most part misse d — the true ce ntre of artistic cre ation its pure synthe sis o f T he e o f e e e o n the imagination . r marks v ry writ r e —Al aro tti Ro u s se au Dide ro t subj ct of music g , Gluck , , ,

' e d tie s e T . Le c u . Hill bran , on G rman hought, p 94 2 48 Gluch andthe Opera

e e e the e e s Du Bos, Harris, B atti , as w ll as l ss r journalist — indicate a comple te inability to construct a musical

o n the e o f er s o . cosmos lin s music p In part, of c e we e s the e lo w ours , may attribut thi to comparativ ly s tage of e volution to which music as an inde pe nde nt e e The e art had th n attain d . subordinat position which G luck assigne d to music in comparison with poe try is p aralle le d almost e ve rywhe re in the writings of the fi e e - e the e e rst thr quart rs of c ntury, and was fundam ntal i n the - e e o f the e art th ori s tim . It was only natural that while the pure ly imaginative qualiti e s o f poe try e e e e e e the e w r comparativ ly n gl ct d, imaginativ q uality o fthe still more inte nsive art o f music s hould h e e e e e e The av fall n into v n gr at r disre gard . imagina the ae e tion , as such , had small rights in sth tic of that

! e e e e e e e poch , b ing imp rf ctly und rstood and imp rf ctly d e fine d from the re ason ; and Baumgarte n e xpre sse d the opinions of his time whe n he h e ld that the faculty that appre h e nd e d be auty was just a lowe r phase of e re ason its lf. While music thus suffe re d from an impe rfe ct se nse o f the e o f the tru functions artistic imagination, it s uffe re d Still more from the th e ori e s that atte mpte d to e e e e mak it, lik po try and li k painting, an imitation Of e The e e e o n the e natur . r turn to natur its lf was whol e the itwas a the e h althy sign in art of tim , though e e e e e e e fr qu ntly carri d to xc ss, and though it r act d “ the r e to harmfully upon a ts . How can you l arn ” d e e the e Essai s ur la raw, cri s Did rot to stud nt in his P ein ture e so e r , by paying a poor d vil many francs p hour to imitate the action o f drawing wate r Go to the e the o f w ll, and watch man who has no thought

2 5 0 Gluch andthe Opera

h c e o f e to e e e T is do trin a r turn natur , comm ndabl in e e e d e e e e its lf wh n not push to an xtr m , wrought infinit harm through an imperfe ct unde rstanding o fthe me an f f ing o the word and o fthe re lations o nature and art . I n the musical history o f the e ighte e nth ce ntury we have particularly to note how music was place d in the

e an d the s e e e e aes e an d natur , contra t b tw n th ir th tic ’ s m a b e de s e d f D de s our , y inci ntally illu trat rom i rot “ ” P d xe s u r le éde the e s s o f ara o Com i n, th i which, to e x e ss e an d s e de is S pr it bri fly om what cru ly, that trong e an d e e f he is the e he is re re motion, a b li that charact r p s e e b ad e the d has nting, will mak a actor, whil goo actor d e an d s e f- ss e s s s e s ju gm nt l po ion, but no n ibility . Falling into line with the ge ne ral pre c e pt to imitate nature as S he is the e m e o f the e e e e , mor pri itiv opinion ight nth c ntury was that the b e s t actor o f any part would b e he who had the a ffi e s T s e -A e most n tural a niti with it . hu Saint lbin , who may b e s aidto have originat e dthe di scuss ion on the “ ” o f his e ss Le éde in 1 e d art acting by ay Com i n, 747 , h l what we m ay c all the nature -th e ory in its mos t outrage ou s f e e are s e o f his s s e de e orm . H r om propo ition in vi nc “ 1 a e is s e e e ss e d s s e ( ) G i ty ab olut ly n c ary to com ian , who “ busine s s is to e xcit e our laught e r ; ( 2 ) NO o n e but a ” m an o f e l e vat e d s oul c an re pre s e nt a h e ro we ll ; ( 3) “ Only those who are born o f an amorous t e mp e rame nt ” db e e d h s f e s e d Shoul allow to play te part o lov r . (Quot ’ “ ” in A s s ! e s e . Mr . William rch r Mask or Fac p Diderot him s e lf l e ane d at o n e time to the e xtre me e motionali s t pos ition ; but about 1 770 he app e ars to have e e the O s e an d the P d xe gon ov r to ppo it camp , in ara o was e 1 (which probably writt n about 77 3, though not publi sh e d until 1 8 30 ) he maintains that the e sse ntial e e qualification o fthe goodactor is lack o fs e ns ibility . H r we e e x e ss in e the o f hav him pr ing, r lation to art acting, A rtandNature 2 5 I

e e the e e d sam cat gory as oth r arts, having for its suppos f The e the o e . e purpos imitation natur musician, tru ’ to Gluc k s dictum that the music was to b e to the e e e po m what colour is to a pictur , had to illustrat a subj e ct give n to him by a poe t 5 the o n e furnishe d the e the e e the the d sign, oth r add d colour 5 and music was just what we are now accus tome dto s ay in the oth e r arts “ ” a h f e the ffe H e e s s to te plac e o natur in total e ct . argu that on the e motionali st th e ory a drunk e n man s houldgive the e s re e se o fd e e ss an d e e the b t pr ntation runk nn , an athl t es e e se o f d o n the e d b t r pr ntation a gla iator 5 oth r han , that the goodactor is always maste r o f hims e l f5 that his tone s an dge s ture s in the m ome nts o f gre ate s t passion are n e ve r pre ci s e ly what th e y wouldb e in a s imilar Situation in e fe are s e f e d an d d e d r al li , but alway car ully tim mo ulat th is n o t by the re ason 5 that the function o f e th e atre to S s as e are e the o f how thing th y in natur , but that truth the e e se e s in the f m o f the s r pr ntation li con or ity action , the s e e e s the e x e ss the e s the e e s p ch , pr ion, voic , mov m nt , the e s e s de de e d the e g tur , with an i al mo l imagin by po t, ” a f x e e d the The d e n d re que ntly e agg rat by playe r . a vanc “ in aes th e tic that is re pre se nte d by the Parado xe m ay ’ b e s e e n by com paring it with any Of Diderot s e arli e r ” e s e fo r e x e the s e in pan gyric on natur 5 ampl , with pas ag the P és e d e he e ds fo r s e o i ramatiqu , in which cont n clo r o f fe an d e s the e ffe o f e imitation actual li , imagin ct a r al ” s w s an ds o o n he dxe e e e de sse . t c n , ith r al r , In Para o his viril e inte ll e ct was re ally anticipating the late r the ori e s o faes e the d e e e o f e se f the e th tic . For iv rg nc th rom th ory ’ o fthe e xc e ll e nc e o fnature -imitations e e Goe the s remark s ’ “ ” D de P e has s s s . As on i rot E ay on ainting Mr . Morl y “ ’ s d the d f o f e e s e is in f the ai , ri t Go th cont ntion , act, ’ ‘ ’ ” th e si s o f Dide rot s Paradox on the Come dian ( S e e “ ” h - d 2 - is D d a . . . e . 1 n i rot, vol . i . pp 33 347 , vol ii pp 7 77) 2 5 2 Gluch andthe Opera

b e e A S e o f he to a pictur in sounds . this attitud t musician towards nature was the most important e e e the ae e o f the l m nt in musical sth tic day, and as it e o n the e o f b e has vital b arings th ory Gluck, it will a e e itls till e dvisabl to illustrat furth r, by quotations from e cont mporary lite rature . o n I st1 0 e e e e the Writing March , 77 , in r f r nc to e Silvain Marm o n te l e op ra , by and Gr try, Grimm ’ attribute s the we akne ss o f the forme r s libre tto to his “ “~ small dramatic tale nt ; fo r it is much e asi e r to b e outrage ou s than to b e simple 5 to im agin e rom an tic m anners a nde ven ts than to findtru e even ts a ndpa in t m an ners as the are e e y , in an int r sting fashion a the ory that would quickly place o u to f court all im a in ative e e A 1 80 he e s g art and lit ratur . gain, in 7 Sp ak — o f a gre at succe ss at the Tuile rie s the Carm e n Se c u lare o f e s e t Philido r— Horac , to music by and praise s the care ful manne r in which the musician follows and illustrate s the succe ssive picture s o f the e the e o f the e e e po t, as if sol function compos r w r to supply the utte rance s of the poe t with an illustration in d e to the e the e ar soun , app aling r ason through , just as a re pre se ntation o f the sce ne s on canvas wouldappe al the e the to r ason through the e ye . Throughout o fthe e ee e we the writings ight nth c ntury, again , find claims o f me lody constantly thrust forward be fore e e e e e the e e e e d v rything ls , for in m lody id a was xpr ss , while harmony to the m was nothing more than the e o r o fthe e The A é acc ntuation support id a . bb Du BOS is ve ry anxious to cre dit the Lo w Countrie s with

’ s e s d é 1 8 1 11 1 1 e e . Grimm Corr pon anc litt rair , 3, . 9

2 5 4 Gluch a ndthe Opera

e e e e o r Op ra, which int rpr ts a charact r a situation not a e o n the e e e e e e the e lon sk l ton lin s pr s nt d by po t, but with a h e ight and bre adth and de pth Of intuition e e e e the e s u b which , whil n c ssarily link d to v rbal e t e e e o f stratum, is y born of a s parat ord r imagination 5 the final e xpre ssion be ing a joint product o fthe poe tical

u e o n e o r he and musical intuitions f s d into . F t musi c ian to turn his thoughts inward and e volve an organism e e e e e e whos articulation should hav b n wholly sot ric, would have be e n an unh e ard-o fabe rration in the France e e e e e e e the o fth ight nth c ntury . H nc outcry against e e e thos pur ly instrum ntal compositions which , having e te e f e e the no v rbal basis, and h r or no app al to rational ” f e e b e aculti s and no similarity with natur , must judge d by an e sote ric imagination whose synthe sis is n o tle ss comple x and not le ss cohe re nt than the syn e o f the e e e th sis und rstanding, though l ss palpabl and e e e e e e e the le ss communicabl . Sinc th s x rcis s of pure musical imagination had no conn e ction with any ’ e e m e the e e e Obj ctiv for outsid musician s mind, th y w r e e o f e o f d stitut utility, and fit only for a rac barbarians 5 this was the fram e o f mind that saw barbarism in “ e e A e Gothic archit ctur . noth r thing, which is not le ss contrary than the multiplication o fparts to the rule e e e the e o r e the I hav just stablish d, is abus , rath r u se o f e s e e e , fugu , imitations, doubl d signs, and oth r "E a rbitra r and urel conven tional bea uties e y p y , which hav e e e dff e scarc ly any m rit b yond that of i i culty vanquish d,

AS if a e s e the s e f the s bl nk v r , or onn t orm, or imula o f d de s o n s the tion roun bo i a flat canva , or pictorial de ve a e s the s o f ds e e e s ic th t giv illu ion i tanc , w r not al o A rta ndNatur e 2 5 5

and which have all be e n inve nte din the e arly periods o f e e e e e art in ord r to mak sci nc pass for g nius . I do not say it is quite impossible to pre se rve the unity o f e e e e the e m lody in a fugu , by cl v rly conducting att ntion from o n e part to anothe r in pursuit of the subj e ct ; fe w e e but this toil is so painful that can succ d in it, and so ungrate ful that e ve n succe ss c an hardly c o m e f All p e nsate for the fatigu o such a work . that which e e its e e e the e e only s ks purpos in nois , as w ll as gr at r

e o fo u r - d e e e u n numb r much a mir d chorus s, is qually worthy Ofoccupying the pe n o fa man o fge nius or the e o f e A s e - e att ntion a man of tast . for count r fugu s, e e e e e s e ffi doubl fugu s, inv rt d fugu , and oth r di cult foole ri e s which n e ithe r the ear c an suffe r n o r the re ason e e are e e e o f justify, th s vid ntly r lics barbarism and bad e e e the e o f tast , which only xist, lik portico s our Gothic e the e o f e the e e church s, for sham thos who had pati nc ” to e e mak th m . ’ s e u e e e e e the Rou s a s whol argum nt, ind d, go s upon assumption that the aim o f the musician is to e mbody in sound a cre ation intrinsically the same as that e e the e o r the e mbodi d by po t in words, by paint r in he e . the o f lin s and colours It is function music, e e the e e impli s, to plac h ar r in communication with e e e e the e thos xt rnal facts which giv birth to id a, by re pre se nting this ide a in proce ss e s corre sponding to

’ an d e e sse s e arbitrary pur ly conv ntional . Rou au th ory s its fo r is arb itrar in the s e se cut own throat, all art y n that it e mploys c e rtain e xtra-natural de vic e s to obtain c e rtain ffe s e ct . “ Le e . ttr , p 44. 2 5 6 Gluch a ndthe Opera

A e e those o f the oth e r arts . music which should n gl ct e e e to do this, and should choos inst ad to occupy its lf “ e e e o f e b e with matt rs ntir ly its own conc rn , would e e e a ndits im a es denuded languishing and xpr ssionl ss, g ,

rce a nden er wou ld a in tew ob ects in a rea t offi gy, p f j g m a n n otes e e s the e o f y , lik thos Gothic writing , lin s which , e e e e e fill d with figur d l tt rs and charact rs, contain only o r e e e e e e e two thr words , and nclos v ry littl m aning in ” e the e e a gre at space . Sinc int ll ctual application of the e e e e the the Op ra com s ntir ly from words, to which e e o f music suppli s an acc ntuation and a kind imitation, the musician must not de part from e ithe r the ve rbal

se nse o r the ve rbal rhythm . Thus acco rding to Rous e the e b e the s au, b st music would that in which proso dial and rhythmic form o f the ve rse s e xactly coincide s ’ the e Of the m e lo d r e e with tim and rhythm y. H nc

“ 1 6 th f Le e . . e e e the e d ttr , p In pr ac to Encyclop ia, ’ D Ale m b e rtfe ds ss e an d , a t r i cu ing po try, painting archi e e as s o f s s o f s m s t ctur art imitation, ay mu ic Finally u ic , which addre ss e s its e lf at the same time to the imagination an d the s e s e s e s the d s in de o f to n , occupi thir po ition or r imitation ; not that its imitation is l e ss p erfe ct in those e s se s e e se e se se e s Obj ct which it propo to r pr nt, but b cau it m limite din thi s re sp e ct to a small numb e r o f images ; which we s houldattribute not s o much to the nature o f the art as to the want o f inve ntion an dre s ourc e in the s ultivate it All s gre ate r numb e r o ftho e who c . mu ic d e s s e is m e e s e an d e e that o not paint om thing r ly noi , w r fo r s u n n ature s e e d e it not cu tom, that v rything, woul giv s carc e ly m ore pl e asure than a succ e ssion o f harmonious ” dd f d n d e an d s s ds de e o e a . onorou wor , nu or r conn ction “ ’ ” d at . D s s s u r l En c c lo édie e . . N . ( i cour y p , Bibl pp 43,

” 1 l b . . 1 0 . pp 9 ,

2 5 8 Gluch andthe Opera

he also faintly copy some o f the ir motions . In t n c an e e huma kind, it also imitat som motions and s o f e e e are ounds 5 and sounds thos most p rf ctly, which e xpre ssive o f gri e f and The doctrine o f the exce llence of nature-imitation could n o tfurthe r go

than this . He sums up the case as be twe e n painting and music “ in the e e e e s nt nc , that musical imitation is gr atly e o f e b low that painting, and that at b st it is but an ” ’ impe rfe ct thing 5 r while o f poe try and music he “ e r marks that, inasmuch as musical imitations, though e e the e e natural, aspir not to rais sam id as, but only e e e id as similar and analogous ; whil po tic imitation, t e e the e e hough artificial, rais s id as v ry sam , inasmuch as the de finite and ce rtain is e ve r pre fe rable to the e e e e e e ind finit and unc rtain, and that mor sp cially in i e e the e e mitations, wh r principal d light is in r cognising — the thing imitate d itwill follow from he nce that e e e the e e v n in subj cts b st adapt d to musical imitation , ” the e b e e e x e lle n t imitation of po try will Still mor c . I He re the charact e ristic note o fthe e ighte e nth ce ntury e e is cl arly h ard . The l S e e e e palm finally giv n to po try, b caus it can e e e e imitat mor important things, and imitat th m “ e e P e e e e o n the e b tt r o try is th r for , whol , much sup erior to e ithe r of the oth e r mim e tic arts 5 it having be e n shown to be e qually e xce llent in the accuracy o fits e e imitation 5 and to imitat subj cts, which far surpass,

’ A D s s e &c . s s s 180 1 i cour , , in Harri Work , , 0 vo l. i . p . 4 . “ b b 1 l . l . . . 8 1 . p 4 1 pp 47 , 4 . Mus ic a ndthe Other Arts 2 5 9 as we ll in utility as in A n dwe se e m to be liste ning to Gluck himse lf wh e n we h e ar that the value o f music is that it raise s the same mood as that o f the e so e e the e ffe o f the po try, and str ngth ns ct e s e e e e to b e e e the e latt r . Harri , ind d, s ms n ar r mod rn msthe tic o f music wh e n he de pre cate s to o strong an e e o n the e e e o f the insist nc m r ly imitativ function art, “ and s ays that the powe r o f music consists n o tin the e the imitations, and raising id as, but in raising ffe e a ctions, to which id as may But that in this also he is the true Offspring o f his ce ntury is e e e u e the b e s n in his n xt arg m nt, that music must Still the the e e e handmaid Of po try, and that its chi f valu is the aid it give s the mind in the compre he nsion o fthe “ e e A n d e e e e n o t po tical id a . h r ind d, in imitation, o e e e O n ought it tb chi fly cultivat d . this account ha e e e e e A n d also it s b n call d a pow rful ally to po try . e the e o f e the furth r, it is by h lp this r asoning that e e e the Obj ction is solv d, which is rais d against singing o f e e the po try (as in op ras, oratorios, from want T o f e e e e . o o n e probability and r s mblanc to natur , e e s c ar h e ind d, who has no mu ical , t is obj ction may

e e . e e e e e o f hav w ight It may v n p rpl x a lov r music, e to e his o f ffe e e if it happ n surpris him in hours indi r nc . But whe n he is fe eling the charm o f poe try so e le t b e he c an accompani d, him angry (if ), with that which se rve s only to inte re st him more fe e lingly in the e e e subj ct, and support him in a strong r and mor e e e e e the arn st att ntion ; which nforc s, by its aid, e e e o f the e e e to s v ral id as po m, and giv s th m his

-x u ’ “ ” D s s A e &c . m s s s 1 80 1 i cour , , Harri Work , , “ M 8 . vol . i . p . 5 5 . 1 . p . 5 2 6 0 Gluch andthe Opera imagination with unusual stre ngth and the re be ing appare ntly no pe rce ption o f the value o f the music fo r its o wn sake in this apology fo r its union

with poe try . A n donce more we h e ar the note o f the e ighte e nth ’ ce ntury in Harris s dictum that instrume ntal music is e e e the e the low r than vocal music, b caus in form r mind has no concre te sugge stions from poe try to carry “ e e e e it along . From what has b n said it is vid nt e e e e b e s o e that th s two arts can n v r pow rful singly, as

e e are e e . Fo r e e wh n th y prop rly unit d po try, wh n e b e e e e e o f alon , must n c ssarily forc d to wast many its e e the e e o f ffe e rich st id as, in m r raising a ctions, wh n, e e e e e e e to hav b n prop rly r lish d, it Should hav found e A n e ffe s e e e . d thos a ction in th ir high st n rgy music, e e c an e ffe s wh n alon , only rais a ctions which oon e e fe d the languish and d cay, if not maintain d and by e e o f e ! e t b e e nutritiv imag s po try . must it r me m

e e e e e e the re b r d, in this union, that po try v r hav p c e de n c e as e e far ; its utility, w ll as dignity, b ing by ” n ide rable i e e the more c o s . Thus Harris p rp trate s the o f e e e e common fallacy his poch , and fails to p rc iv that e are ffe e e e music and po try arts occupying di r nt Sph r s, e ffe e e e ffe e mploying di r nt m dia, and app aling to di r nt

“ ’ “ A D s se &c . in s s s 1 80 1 i cour , , Harri Work , ,

‘ 6 s I f 1 l b . . 0 . e e : pp 59, Compar al o W bb painting is e ss e e s as e s l mim tic than po try, mu ic , a mim tic art, mu t rank be low painting; s inc e it cannot Sp e cify the subj e cts o fits s m o ve m e n ts its m o fthe ss s m s variou , i itation pa ion u t n d de fi e e x e the b e e x e e e a . tr m ly unc rtain in nit For ampl , e de e e s c an de e d e x e ss e s t n r, m lting ton that in pr lov , uit

2 6 2 Gluch andthe Opera

e o f e e e are the a surprising pow r moving us, b caus th y o f e e m signs passions, institut d by natur , from who ” e e e e e e e L e he e th y r c iv th ir n rgy . ik Harris, argu s h e . te e e the that music is a mim tic art In n xt plac , rhythm give s a n e w ‘vraisemblance to the imitation in e e a musical composition, b caus it adds to that imita tion o f the progre ssion and move me nt o f natural sounds and noise s which has alre ady be e n achi e ve d by the e the e e e m lody and harmony . Music th r for forms the e o f e an d its imitations by h lp m lody, harmony rhythm 5 just as painting make s its imitations by ” e f o e . m ans lin s, chiaroscuro, and local colours He e ve n manage s to say a good word for in s tru m e o n the e e ntal music, ground that it is r ally mim tic . “ o f e r e Though this kind music is pur ly inst um ntal, e tit e The y contains a tru imitation Of nature . truth o f the imitation in a symphony/ consists in its re se mblance to the sound which it is inte nde d to e e in e imitate . Th r is truth a symphony compos d to e e e e the e an d imitat a t mp st, wh n m lody, harmony rhythm conve y to o u r e ar a sound like the noise of the the the o f the e d wind in air, and roaring wav s ashing e e o r e n e A n against ach oth r br aking o th rocks . d he sums up boldly thus The first principle s th e re fore o f music are the same as those o f poe try and o f e the e two painting . Music, lik oth r arts, is an imita tion 5 and it cannot b e o fany value unle ss it conforms to the ge ne ral rule s o f the se two arts as to the choice ” o f e e e its subj cts, its probability, and oth r matt rs ; which is the e ightee nth-ce ntury the ory in its most ! e t n e e . Bo s who ak d and unasham d form Du ,

cit . . se c . . Op. . vol i 45 Mus ic andthe Other A rts 2 6 3

e e to thought acut ly about his subj ct, and whom Le e o u to n e o r ssing was und r obligations, throws two good hints to the compose r about imitating the ge ne ral se ntime nt of a passage rathe r than a par the tic u lar word 5 and answe ring the obj e ction against o f the e the e probability op ra, rightly says that sam obj e ction holds against the u se o f Ale xandrine s in trage dy 5 and that the Want o f probability in ope ra is He atone d fo r by the ple asure the music give s us . the e e to o e e so has p n tration, , to obs rv what many o f e e e e e his cont mporari s and succ ssors had ov rlook d, n o t e e that all po try is suitabl for music, and that the kind most e asily allie d with it is that which de als with se ntime nts rathe r than with image s and de scriptions . It is e vide nt from what has be e n said that music in the e ightee nth ce ntury stood o n a lowe r plane re la l h tive y to te othe r arts than 1tdoe s in our own day . e e e e e e B ing comparativ ly und v lop d, it occupi d much the same re lation to the po e try o f the time s as did the h ee music in te Gr k world to the conte mporary poe try . “ ” A ristotle h e ld that music was the most imitative o f all the arts 5 although with him its imitative func tion lay rathe r in the domain o f fe e lings and e thical e the e the qualiti s than in world of natural obj cts, as in o f the e e e e e e e writings ight nth c ntury . Its d p nd nt ’ position in Gre e k culture is shown in Plato s Obj e ction to instrume ntal music Wh e n the re are no words it is di fficult to re cognise the me aning o f harmony o r to se e e e rhythm, or that any worthy obj ct is imitat d “ by the m 5 a se nte nce which might have come from

ws . 6 L 6 . a , ii 9 E 2 64 Gluch andthe Opera s e m sthe i ia o f the e ee e wa om tc n ight nth c ntury . It s nothing le ss than ine vitable that in the time o f Gluck music Should be looke d upon Simply as a pigme nt for The e the adornme nt o f the poe try . pur ly se nsuous S e o f e an d e o f o f id art was in no cas , l ast all in that e e its ul The o f music, appr ciat d at f l analogy e the e e e r as Gluck, that music b ars sam r lation to po t y the o f e e the e colour a pictur b ars to d sign, finds its c ounte rpart in the wide ly he ld conte mporary the ory that it was i n the form that be auty re ally found its e e the was e xpr ssion, and that colour at b st an addi tio n al e e e e the e ffe o f the ornam nt, s rving to h ight n ct

Madame de Stae l may b e tak e n as e xpre ssing the m ore mode rn ide as on the que s tion o fwords an dmusic in “ ’ “ the following passage from he r De l Alle m agne The fin e arts re quire ins tinct rather than re fl e ction ; the Ge rman compose rs follow too close ly the se ns e o f the w ds T s is e is e the e e s o . e f or hi a gr at m rit, it tru , in y thos e who lik e the words more than the music ; an d o f course it is indi sputabl e that a di sagre eme nt b e twe e n the s e ns e o fthe o n e an dthe e xpre ss ion o fthe oth e r wouldb e e s the a s are the e s s unpl a ant ; but Itali n , who tru mu ician o f e e the s f the ds e e natur , mak air con orm to wor in a g n ral d de v e s e e . I n e s an e e e mann r only romanc vau ill , wh r th r is s o n e c an s the ds the not much mu ic, ubmit to wor 5 but gre at e ffe cts o fme lody mus t go s traight to the soul by an e d e s e s T se e a re imm iat n ation . ho who hav not much pp c iatio n o fpainting in its e l f attach gre at importanc e to the subj e cts o fpicture s ; the y want to ge tfrom th em the same ss s is impre ions that are produc e dby dramatic sc e ne . So i s e o n e is e s s e e it w th mu ic . Wh n not gr atly u c ptibl to it, o n e e xacts a faithful conformity to the s lighte s t s hade s o f m e aning in the words 5 but whe n it move s us to the

2 66 Gluch andthe Opera se rving to animate the figure s without alte ring their ” contours . “ I had to se e k truth o f colouring [ in P a ris a nd H elen ! in the diffe re nt nature s o f the Spartans and the P the e e e hrygians, by contrasting rud n ss and savag ry o fthe forme r with the de licacy and e ffe minacy o f the ” e latt r . the the e Holding, as I do, opinion that m lody in

e e e a ' s u b stitu te e my op ras is m r ly for d clamation, it was ne ce ssary at time s to imitate the native rude ne ss o f my he roe s ; and I have thought that in orde r to m e the n o tbe aintain this charact r in music, it would e h a fault to d sce nd occasionally into te trivial . “ The imitation o f nature is the e n dwhich both poe t and compose r should se tbe fore the mse lve s 5 that is the e e e goal aft r which I hav striv n . My music te nds only to gre ate r e xpre ssive ne ss and to the e n ” f e e fthe f h e orc m nt o de clamation o te po try . “ I have trie d [ in Arm ida ! to be p ainter andp oet ” ra ther th u ici n a n m s a . “ I have discove re d the me ans o f making e ach c ha rac te r e xpre ss himse lf in such a manne r that yo u c an e e e the e o fe e r cognis at onc , from styl xpr ssion who it

is e A o r con da n te &c is that sp aking, rmida a fi , . to e In composing, I try forg t that I am a musi 37

I might p e rhaps have writte n some thing more e o f e e b autiful from a musical point vi w, and vari d it so as to ple ase your e ars ; but in that case I would e e e e ee u n only hav b n a musician, and would hav b n

e to e e e . tru natur , which I must n v r abandon Eve rywhe re the re was this te nde ncy to re strict the Mus ic andthe Other A rts 2 67

e e o f e e e to sph r music as an ind p nd nt art, clip its wings and pre ve nt its soaring above the Siste r arts o f poe try Men e e e e e and painting . s m d to hav a n rvous horror o f e e e fo r o wn e e pur ly musical pl asur its sak , and f lt a di fficulty in moving about among the Shadowy cre a e e e e tions o fabsolute music . Th y w r almost strang rs to the e sote ric de light that future ge ne rations we re to “ e -e Ho e the fe e l in music as a s lf xiste nt art . w do s ” ffe e musician obtain his grand e cts ! writ s Rousse au . o f e e Is it by dint contrasting mov m nts, multiplying h e e I S e e armoni s, not s and parts it by h aping d sign o n e e o n n e ! All d sign , instrum nt i strum nt this hurly e to e fo r the burly, which is only a clumsy att mpt aton o f e e the e e o f lack g nius, would strangl m lody inst ad e the e e animating it, and would d stroy int r st by dis tracting the atte ntion . Whate ve r harmony may b e e e e e e e e produc d by s v ral parts b ing w ll sung tog th r, the whole e ffe ct o fth e se be autiful me lodie s vanishe s as e are e e the e ffe soon as th y all h ard at onc , and only ct re o f e o f e maining is that a succ ssion harmoni s, which , e e o n e sa e e n what v r may y, is always cold wh n not live ne d by a m e lody ; so that the more o ne clum sily e e e the e e e e is h aps up m lodi s, l ss agr abl and flowing the e e e the e ar e e music, b caus it is impossibl for to nt r e e m e lOdie s the e e e e tain s v ral at sam tim , and b caus from the e fface me nt of o n e impre ssion by anothe r e e e th r re sults nothing but confusion and nois . If b e e e to e to the music is to int r sting, if it is b ar soul the e e e e b e e e e e e s ntim nts int nd d to rous d th r , v ry part must concur in fortifying the e xpre ssion o f the su b je c t; the harmony must only se rve to re nde r the subj e ct more e ne rge tic ; the accompan ime nt must e m 2 68 Gluch andthe Opera

he llish e e o r it, without ith r obscuring disfiguring it ; the e e bass, by a uniform and simpl progr ssion, must in s e e e the e the b e are r om mann r guid both sing r and , without e ithe r o f the m be ing conscious o f it ; in a the e e ffe e e e to word, whol ct must at ach mom nt b ar the c ar o n e e to the o n e but m lody, and mind but The the ory that the me lody conducte d the e e e o fthe the int ll ctual curr nt music, and that harmony e e e was simply an agr abl colouring to it, is an indica o fthe e o f tion backward stat music as an art, and falls into line with the argume nt o f Baumgarte n and o f e e to the o the Winck lmann, as appli d pict rial arts, that e the e o f e lie the e b auty and m aning a pictur in d sign, he e to which t colour is wholly subordinat . Rousse au proce e ds with a re mark that throws some light o n the many unison passage s we me e t with in ’ o f e e o Gluck s music . This unity m lody app ars t m e e e o n e n o te an indisputabl rul , and l ss important in music than u nity o f action in a trage dy : for it is founde d o n the same principle and dire cte d towards the e e er the e e sam obj ct . Furth , all gr at Italian compos rs Obse rve it with a care that some time s de ge ne rate s into affe ctation ; and to any o n e who re fle cts it is e vide nt that from the ir obse rvance o f this rule the ir music e e e e e draws its gr at st ffe ct . It is in this gr at rul that we must se e k the e xplanation o f those fre que nt unison e we e accompanim nts which r mark in Italian music, e e the e o f the e at and which, str ngth ning id a m lody, the e e e de e e e e e sam tim r n r its ton s mor g ntl , mor e e the A n d e dulc t, and l ss fatiguing for sinc

“ “ “ — ‘ Le e 6 . 1 Le e ° 6 ° ttr , pa ss 3 ttr , PP 3 37

Gluch andthe Opera

ersons s ea hin nor withthe educa tion we m a s u ose p p g, , y pp ” them to ossess A n d e e e the e e p . th r for only saf rul is to follow the primordial principle o f the u nity of — me lody to make the parts o f the due t follow e ach e r e e e e o r oth and thus constitut a singl m lodic id a 5 , if is e e e the e it absolut ly n c ssary for parts to combin , e e e e e th y Should proc d by Simpl int rvals, such as thirds o r sixths ! it be ing pre sumably not inde ce nt and not inconsiste nt with the dignity o f the he roe s and the e we e e e ducation may suppos th m to poss ss, to sing in e e b e Simpl int rvals, though it might to sing in any d e a e e e . A n e e oth rs what v r disson nc , Rouss au go s o n the are e , occurs to imply that actors mom ntarily transporte d by the ir passion be yond the bounds o f “ e e e n fo r r ason, must not last mor than a mom t 5 e the to o wh n agitation is strong it cannot last, and whate ve r is be yond nature no longe r touche s In the tre atme nt o f the overture the S ame de sire for

“ “ is d s Le e 8 s e e s h D . e e ttr , p . 4 5 al o ict Mu iqu , “ ” u o Th La b e e e m D . e H e art . brilliant arp , it will r m e e dwas s S s de The e e b r , al o truck with thi i a . mor primitiv opinion o f the Fre nch littérateurs was that the op e ra as a e is d -Evre m o n dhad whol not accor ing to nature . Saint “ b e e n s hock e dthat in the op era th e y sang throughout the whol e pi e ce ; as if the p e rs ons re pre se nte d hadmade a ridiculous agre e me nt to tre at in music both o f the com e s an dthe s ff s o f a mon t mo t important a air li fe . C n any o n e e s e his e an d sin in his imagin a ma t r calling val t, g g ” de s ! an dS O Au duc de or r to him on . Buckingham O - “ ’ s ur le s eras . S e e s z e De l O éra e n p Ca til Bla , p e s 1 8 2 0 Franc , Pari , , vol . i . p . 97 .

“ “ ” 1 Le e . . ttr , p 49 Mus ic a ndthe Other Arts 2 7 I

e e e e e e e pictorial tr atm nt b cam vid nt, as witn ss Rous ’ se a e to the e e Alces te u s sugg stion Gluck for ov rtur to . T o re me dy all this I would have sugge ste d that the ove rture should b e compose d o f two parts o f diffe re nt e e e an charact r, but both tr at d in a sonorous and conson t the e the e ee an d harmony ; first, b aring to h art a sw t e e e e e re e e the e o f t nd r gai ty, would hav r p s nt d f licity the re ign o f A dme tus and the charms o f the conjugal the e e e union ; s cond, with a mor brok n rhythm, and by more agitate d move me nts and more inte rrupte d e e e e e the e o fthe e e phras s, would hav xpr ss d anxi ty p opl the o f A e e e as to malady dm tus, and would hav form d ’ a ve ry natural introduction to the he rald s announce ” e o fthe m e nt at the b ginning work . The e ff o f e ball t, again, a ords an illustration th ir “ ” e o f e T he e passion fo r th imitation natur . obj ct o f e e to e e e e th ir art b ing stimulat id as rath r than motions, this function could to a ce rtain e xte nt b e pe rform e d by the e o f e ball t, which was a kind musical comm ntary The e e e e o n a the atrical situation . ight nth c ntury ee e b e e to thinh the e mind s m d to abl in ball t, to e e e as the e e the arrang mov m nts, po t arrang s words, the e so as musician sounds, paint r forms and colours, “ e s to xhibit a microco m of thought and action . Je an — Ge orge N o ve rre ( 1 72 7 1 8 1 0 ) in his Lettres s ur la D anse etsur les Ballets 1 60 e e , in 7 , strov for a r forma tion in the balle t o n the same principle s which Gluck e the e He e e e e e mploy d for op ra . cond mn d st r otype d f o f se t e e e the orms danc s, and d mand d a plot for e e e b e the o f the e ball t ; xpr ssion Should task danc r,

“ vr s 1 ix. . 8 sse CEu e . Rou au, , 79 3, vol p 5 7. 2 7 2 ' Gluch andthe Opera

e fo r e the e - e with natur his mod l, and ball t mast r should b e both poe t and The se we re practically the conditions which Gluck tri e d to re alise in his balle ts . ’ Thus the ide as e xhibite d in Gluck s pre face s and in hi e e the e e o f the e s music w r almost univ rsal id as tim . From the fore going quotations it has be e n abundantly s he wn that the whole o fthe e ighte e nth-ce nt u ry m s the tic o fmusic was base d upon a fe w fundame ntal principle s that we re inwove n with the ve ry te xture o f the ir A e e . e e e e cultur lmost without xc ption, v ry writ r upon the e e e arts h ld that music, lik po try and painting, is a e is e e mim tic art, and that its function to imitat natur 5 that simplicity should b e the m m o f the compose r ; that musi c Should b e subordinate dto poe try 5 that the e e e e the e e the e m lody xpr ss d id a, whil harmony add d a little agre e able colouring 5 that music without poe try was ine ffe ctual be cause it lacke d the concre te and d e finite ide as which poe try afforde d ; all confuse d art with nature 5 all we re lacking in the most characte ristic e e o f o u r e m s the tic the e o f f atur mod rn , appr ciation musical be auty and musical de light for th e ir o wn e e e f e . e e e e o sak s Som h ld all th s id as, oth rs h ld part the m 5 but the re is an unmistakable similarity be twe e n

“ f 1 L e o f z 1 2 1 . e s Otto Jahn, i Mo art, . Compar al o “ Al aro tti : The d e s b e o f e g anc mu t an imitation natur , painting the passions an daffe ctions o fthe mindby me ans ’ e d s s e o f s o fth bo y motion to an accompanim nt mu ic . It e the e e s an d ffe e e The s s . mu t p ak to y , o r th m a pictur d e e e s e its e x s t its e e anc , mor ov r, mu t hav po i ion, ntangl ’ e an dits denouem ent; s b e the e sse m nt, it mu t quint ntial ” “ s o f s e e e . e e &c . . r pr ntation an action ( V r uch , , p

2 74 Gluch andthe Opera

the e e e e e e we music in ight nth c ntury, look wh r will, e e he was ss ntially t same .

“ e e s the e s o f Tw fi e s Burn y notic r mark ining, who con n s s he s e s an d de s m u ical imitation to t rai ing motion i a . n h f e the ss s T e e A dI think te orme r will includ pa ion . h r are me re instrumental move me nt s which awak e n ideas o f de s &c T s far s e e s e . joy, orrow, t n rn , m lancholy, hu it b e e dthe e 6 may allow titl e o f an imitativ art (pp . 3 4 “ ” Of course thi s is re ally not imitation at all in ! the s e ns e which that wordcurrently bore in the e ight e e n th e s s e s as o f T and c ntury . Such pa ag th e s e wining Burne y Show the difli c u lty fe lt e ven at that time in s Off the e e o f A s e T e e e haking influ nc ri totl . h y w r con

' s s a s is e e e tfe ciou th t mu ic not r ally a mim tic art, y lt bound s ome how or oth er to s quare th e ir ide as with the “ ” ds s e d A s e his e s the 1 8 1 2 wor u by ri totl in Po tic . In e d o f his T s f s e ition book , wining him e l call att ntion to “ ” the f s e e d th s e con u ion cr at by calling all e art imitativ .

S e e e e n do fthe not at book . CHA PTE R IV

WE are now in a position to look at the practical ’ e A o wn working of Gluck s the ori s . ccording to his e he e the e e o f e conf ssion tri d, in gr at r part his lat r e e e to e e Op ratic car r, subordinat music to po try 5 and “ ” e e e the e a this t nd ncy, as w ll as att mpt to p int in The e e e e . music, is p rf ctly disc rnibl in his work e e b e e e e e le d d sir to pictorial, ind d, fr qu ntly him and his conte mporari e s into the pe rpe tration o fabsurditie s . A lthough Gluck had too much se nse o fartistic fitne ss to he e the e e e fo r e e think could giv h ar r a pictur , xampl , o f the s e a e e o f ac c o m an i , by writing a rolling sp ci s p e e e e do he e t m nt, as som musicians hav tri d to , y aim e d fre que ntly at impre ssing the e ar le ss with e fe e e the e r r nc to imagination, by calling up motional re minisce nce s o fsce ne s similar to those he wish e d to e re e e e e e e sugg st, than with f r nc to pur ly xt rnal e o f the e e ee ffe the charact rs sc n , that might ind d a ct e e e e e e e o f e y , but w r ss ntially incapabl any imaginativ e the e o f he r We sa sugg stion through m dium t c a . w ho w in an e arly work he had aime d at a kind of pictorial re pre se ntation in the aria 5 and in his Six gre at ope ras the re are many instance s o f the same

e e . All o f e a o f the t nd ncy this, cours , was simply p rt e e the e e o f natur d lusion, and of cons qu nt confusion m sthe tic ide ology and the lack o f re cognition o f the 2 7 6 Gluch a ndthe Opera boundari e s be twee n the arts ; it was thought that since the obj e ct e xiste d in nature it could b e re pre se e e as e nt d by art, and by music as w ll by any oth r e the e o fArmida e e art . Ev n in cas , wh r Gluck, pro bably with a re minisce nce o fthe warmth o fthe music he e e e e e the had writt n , tri d to formulat , in his l tt r to ourna l de P aris e o f e c o - e n y , a th ory qual op ratio e e e e he e e b tw n po try and music, had also d clar d that his me thod was more that o f the painte r and the poe t f h The e o f than o te musician . r sult this was that he atte mpte d to de fine his characte rs by giving e ach o f e o f ffe e e ffe e e e th m music a di r nt ord r, this di r nc b ing e e the tem i the . e e manif st d in p and rhythms But th s ,

b e e r e are the h sical SO to it will obs v d, most p y , and, s e the e e o f the e e o f p ak , most xt rnal vari ti s which music is capable ; ye tGluck would have found it “ impossible to paint characte r in the way he e e e e e e e e int nd d xc pt by th s pur ly physical m ans . Fo r o f e e e ffe music, as an art sot ric motion, a cts us in e e n e e the c o m int nsion rath r tha in xt nsion ; that is, pose r trusts to the playing upon o u r e motional e x e rie n c e the the evo c atio n p by music, and s by sympathy o f the he e e e e to the mood wish s us to f l, rath r than e the the e ar o f the proj ction upon mind, through , image s of those e xte rnal shape s which a picture would e e e xhibit to the e ye . Gluck hims lf com s to grie f e e e ffe e ove r his the ory . Wh r his boast d di r ntiation o f characte r re ve als itse lf in Arm ida is mainly in the e o f P e e e e e e e b e charact rs h nic and Sidoni , and th r n d no he sitation in saying that he re the diffe re ntiation is e On e c an e the utte rly pu e ru . only Smil at almost childish trust o f the compose r in this clumsy way

2 7 8 Gluch andthe Opera

. e e e music If th r is anything in your th ory, you o u ght to b e able n o tonly to distinguish in your music e e o n e e a passionat charact r from that is not passionat , o n e e o f the e e but also vari ty sam passion from anoth r . No doubt by writing pompous and me asure d strains e for a soldi r, and gay and tripping music for a country e the ffe e e e e e n e girl, you could sugg st di r nc b tw th m in e e the e w le tu s som such mann r as paint r ould . But e A - Ho e e e e . w tak Rinaldo and rmida in th ir lov sc n s , e o u ve e by your m thod, will y gi us to und rstand which o f the two is singing at any time ! In no way c an o u The e o f y do this . natural languag passion is the same in Rinaldo as in A rmida 5 the re is no me lody and e n o n o e r n o no harmony, no tim and rhythm, int vals and are e e the modulations, that mor appropriat to man than to the woman ; and e ve n in your o wn music the y e the e e e e sp ak sam tongu . Your th ory is inapplicabl to music in its highe r forms ; and whe re it partially e e e e e succ ds is in thos pur ly physical charact ristics that, the e e the by association, bring music for tim b ing to ” e e lowe r l ve l o fth pictorial arts . the a e e Thus nalogy with painting, wh n push d e the e e e e e e e e b yond m r st xt rnaliti s, br aks down ntir ly 5 ’ and as a matte r of fact Gluck s the ory is he re again e e he fe e contradict d by his practic , for has r qu ntly, in e e e e o n e e his lat r op ras, mploy d in conn ction music that had primarily be e n writte n ye ars be fore in quite e e ! e t o wn anoth r conn ction . on his pictorial prin i le e m c p s this Should b e impossibl . It would follow fro his the ory that the musical re pre se ntation o fa situation o r a characte r Should re pre se nt that situation o r that e e e b e as im charact r, and non oth r ; and it should ’ Gluchs Theory andPra ctice 2 7 9

e the o f e e e e possibl , if imitation natur had b n succ ss e e e the e e e e fully p rform d, to mploy r pr s ntation in quit othe r circumstance s as it would b e in a paralle l case in ’ e painting . It was not Gluck s practic that was wrong, but his th e ory ; he did right in taking an e motional e xpre ssion from o n e work and applying it to anothe r 5 but he was wrong in not se e ing how his proce du re e e e o f fail d to squar with his th ory . Had his analysis the e o f e e he e re natur music gon furth r, would hav e the e e o u r o wn cognis d truth that is so vid nt in day, o f e e e e e that music is an art g n ralis d xpr ssion, in which the o n e inward e motion may b e e qually applicable to a s e e e e thou and concr t Situations, and that it is us l ss to atte mpt to give to music the de fin ite n e ss that be longs e o r The the to po try painting . analogy with pictorial e e the arts, us d as Gluck us d it, is most glaring of e as e the e fallaci s . It w not his e rror alon 5 it was rror o f his ce ntury to re gard the sphe re s o f the arts as e e e the int rchang abl , and to look upon music mainly as colour that fille d and b e au tifie dthe o u tline give n by the e e s as he words . This t nd ncy to re gard mu ic t e o f e we e e e e e e inf rior po try, which m t with v rywh r in the o fthe re - e e writings p Romanticists, is, it n d hardly b e e e said, wholly at varianc with Romantic th ory and e T he e e practic . Fr nch o f the e ighte e nth c ntury had n o conce ption o f that fluidity of mind that is so e s o u r o wn e e charact ri tic of day, wh n music xists in e e o f o wn the c o m an int ll ctual world its , in which e c an e e e e pos r liv and mov and hav his b ing, and e e e e e e the cr at compl t and coh r nt forms, without

e e T o e slight st aid from po try . Rouss au and Harris, D u Bo s Al aro tti e e e a to and g , to B atti and M t stasio, 2 80 Gluch a ndthe Opera

e the e a e W po try was mor import nt factor in Op ra . e have s e e n how both C alz ab igi and Gluck plunge d — h e adlong into an arid the ory o fde clamation a th e ory f the e e e o f e rom cons qu nc s which Gluck was sav d, in e e e e e practic , by his mor ss ntially musical natur . B ut e o f e this fact, tak n in conjunction with a host oth rs, indicate s that the first im pulse to musical composition e e e e e the cam from a d finit po tical id a, to which musician consciously and de libe rate ly trie d to add a o f e e kind colour d comm ntary . Critics and historians have re marke d in a ge ne ral ’ e o f e o fae e way upon this p culiarity Gluck s syst m sth tic, an dupon its inconsiste ncy n o tonly with o u r musical e e o f e m thods but with thos Gluck hims lf, without, e e the e e its how v r, tracing matt r sci ntifically to his to ri al e e the o f c caus s . In this cat gory falls criticism e z e o f B rlio , which is worth quoting, in spit its hap z e e e the ha ard charact r, as a stat m nt of antagonism be twe e n the musical msthe tic o f the e ight e enth e o f the e e e o f the in c ntury and that nin t nth , and ’ te rnal inconsiste nci e s be twe e n Gluck s the ory and e his practic . A e the e e Alceste e z ro ft r quoting pr fac to , B rlio p c e e ds as follows “ e e e we e e r S tting asid som which shall sp cify lat , the se principle s are SO e xce lle nt that th e y have be e n fo r the most part followe d by the majority o f the gre at e o f compos rs all nations . Now in promulgating this e the e e o f to e e e th ory, n c ssity which ought hav b n appare nt to any o n e with the smalle st artistic fe e ling o r e e the e e e n o t u e v n simpl st common s ns , has Gl ck rath r e xagge rate d the conse que nce s of it he re an d the re !

2 8 2 Gluch andthe Opera

! e he the e e it is Gluck . t commits sam rror in almost We ex e all his works . do not find ampl s of it in e the e e e e mod rn music, and compos rs who succ d d e e e e a he Gluck hav b n le ss lax in this r spe ct th n . No w wh e n he says that the music o f a lyrical drama has no othe r function than that o f adding to the o e the e p try just what colour adds to a d sign, I e e e b e e e The a b li v him to fundam ntally mistak n . t sk o f the e e e e m e o f compos r in an op ra, it s ms to , is e e e quit anoth r importanc . His work contains both e to e the o f d sign and colour, and, continu comparison

the are the sub ecto f the e Gluck, words j pictur , and e e e i he e o f littl mor . Expr ssion s not t sol aim dra matic music ; it would b e as maladroit as pe dantic to disdain the pure ly se nsuous ple asure which we find in e e ffe o f e o r in stru c rtain cts m lody, harmony, rhythm e e e e o f e r e the m ntation, ind p nd ntly th i conn ction with the e e the painting of s ntim nts and passions of drama . A n d e e e e e e e e e the furth r, v n if it w r d sir d to d priv e e o f e o f e e h ar r this sourc d light, and not to p rmit him to re -animate his att e ntion by turning it away for a e its n e we b e mom nt from pri cipal obj ct, would Still able to cite a goodly numbe r o f case s whe re the compose r is calle d upon to sustain alone the inte re st o f the the danses de cara ctere fo r lyrical work . In , e e the e the e e e xampl , in pantomim , in march s, in v ry e e s the e e pi c , in hort, in which instrum ntal music tak s the e o f the e u e whol work upon its lf, and which co s e e e e o f the qu ntly hav no words, what b com s import ance o f the poe t ! In the se case s the music must

ne ce ssarily contain both de sign and colour . e e e o f the e e H r again (in his th ory ov rtur ) , in ’ Gluchs Theory andPra ctice 2 8 3

e e e has e e the xagg rating a just id a, Gluck gon b yond e e e the e o f r al facts ; not, this tim , to r strict pow r o n the e e music, but contrary to attribut to it a virtu which it will n e ve r posse ss ; it is whe n he says that e e e he s ub ecto f the e e th ov rture ought to indicat t j pi c . Musical e xpre ssion cannot go so far as that 5 it c an e e e e it c rtainly d pict joy, sorrow, gravity, Sportiv n ss 5 c an mark a de cide d diffe re nce be twe e n the joy o f a e e o f o f pastoral p opl and that a nation warriors, be twe e n the sorrow o f a que e n and that o f a simple e e e e e e villag girl, b tw n a calm and s rious m ditation and the arde nt re ve ri e s that pre ce de an outburst of passion . A ffe e the gain, borrowing from di r nt nations musical e is e e c an a e styl that prop r to th m, it m k a distinction be twe e n the ser e nade o f a brigand o f the A bruz z i o f e e o r e e e e the and that a Tyrol s Scotch hunt r, b tw n e e o f v ning march pilgrims, sunk in mysticism, and that o f a troop o f cattle -de ale rs re turning from the c an e e e the fair ; it contrast xtr m brutality, triviality, f e e e c an do u r grot squ , with ang lic purity, nobility and But if it trie s to ove rste p the bounds o f this imm e nse e o f e e h e e u e circl , music must n c ssity av r co rs to words — e e o r e — the e the sung, r cit d r ad to fill up gaps l ft by pure ly musical e xpre ssion in a work addre ssing itse lf at the e e to the e sam tim inte lle ct and to th imagination .

B erlioz is o f cours e ove r-s tating the cas e fo r music ’ e e the ve o f a s s ve h r , in ry act arguing ag in t Gluck o r s e e e s n tat m nt . No pur ly in trume ntal pi e c e c a paint m arche s in such a way as to acquaint the h e are r with the fact that it is a band o f pilgrims or a crowd o f cattl e d e s is S e e his o wn f e s rov r that marching. ollowing r mark the Alceste e e on ov rtur . 2 84 Gluch andthe Opera

Thus the ove rture to Alces te will announce sce ne s o f de o f e e r e solation and t nd n ss, but it cannot inform us e ithe r of the obj e ct o f the te nde rn e ss o r the caus e o f h te de solation ; it will ne ve r te ll the spe ctator that the husband o f A lce sti s is a king o f The ssaly c onde mne d by the gods to die unle ss some o n e give s his life for him ; ye tthis is the s ubjecto f the e e pi c . The truth o f what B e rlioz has thus crude ly e x pre sse d may b e see n by comparing the m s the tic o f the e ighte e nth ce ntury at any point with that o f the n e e e he in t nth . In music t contrast is particularly T e b e . o e Striking stat it bri fly, it may said that while Gl u ck and his conte mporarie s re garde d music as the e o f e o f the we inf rior po try in any union arts, in e the e The e this day r gard it as sup rior. fundam ntal e rror o f the last ce ntury was in imagining that music f e could amalgamate with any kind o po try . It may b e that with the re lative ly impe rfe ct de ve lopme nt o f e was difli c ult e to music at that tim , it for th m conce ive it as anything more than just a n e w ’ o n the e T he e e colour po t s pale tte . futur volution o f e e e e e e music has d monstrat d th ir rror . What v r may have bee n the conne ction be twe e n the two e e e arts in th ir infancy, both po try and music hav n o e e e the w l arn d to stand alon . Thus by far e e o f e e e o f gr at r quantity po try is in no n d music, and a gre at quantity o f music is in no nee d o f the are e o n e e e words . If two arts to combin in xpr s h e e e e b e o n te e . sion, it must bord rland b tw n th m

A s — e z e s . 1 1 B rlio , trav r chant , pp 54 5 7 .

2 86 Gluch a ndthe Opera “ . e e e e music in his analysis H rd r, how v r, who had a e e o f u e good knowl dg m sic, look d forward to a combina tion o fthe arts in which the maximum o f e xpre ssion would b e achi e ve d with the minimum o f cont e st be twe e n the individual idiosyncracie s o fe ach 5 it was b e e e e e new e new to an id al union, b tw n a po try and a he saw the e music ; that is, rror of Gluck and his fe llows in supposing that mus ic could b e artistically ’ o fe e e c o m unite d to words ve ry kind . In H rde r s id al e e the e bination, ach art was to adapt its lf to oth r ;

‘ “ e y the e po tr , in fact, was to stand truly in middl , ” “ e e A e b e b e tw n painting and music . po m must — what the inscription is to a picture or a statue a n

ex lana tion a uide to leadthe s tream o m usic b m ea ns p , g f y ds i ters ersedin its cur s tb he d o wor n ren t. Itm u e a r f p , notread; the words m us tonly brea the life in to the

em otional ra m e o the m usic a ndthis m us ts ea ha nd f f , p

a ctwarh on the em otions a nd u tter the thou htonl , , g , y

” ‘ he s ir ta nd er l ide o the oet1 following t p i gen a a f p .

’ It app e ars to have b e e n Le ss ing s inte ntion to di scuss “ ” m s the s e d o f the L an dhe has u ic in con part aokoon, ’ s s e s the S e e Phillim o r l e ft a few po thumou not on art . ( e s ’ th f d . 2 8 Le ss s e s o f e e ition, pp 3 For ing vi w unction f s e e e the s o f e d an dthe e e o mu ic b tw n act a trag y, arli r s o f e e e s e o n Opinion Sch ib , a G rman mu ician who wrot d s m s f music an d the rama o e twe nty ye ar b e ore Gluck the e f o f the e s e e the Hambur is che b e gan r ormation op ra, g 6 2 No s 2 . a atur ie . Dr m g , , 7 ’ ’ “ 6 . Th de . e ss S e e s e . e 1 Haym H r r, I ii 47 pa ag s e e se e de in 1 occur in a l tt r nt by H r r to Gluck 774, along ’ “ tus . e s L f the f e s d Bru . e o f with orm r rama, Mr N vi on ( i ” 8 8 s e s s e de se d the e de . 1 H r r, p ) ugg t that H r r minimi Mus ic a ndPoetry 2 87

That is the practical wisdom of the whole the ory o f e an d musical and po tical combination ; , curiously e e e e to h e e nough , Rouss au s ms av had a for shadowing “ o f it whe n he wrote : It is a de e p an dimportant e e e how a r we ca n tra nsm ute lan ua e probl m to r solv , f g g

i to eech On a true s olu tion into s on a nd m usic n s . g, p of this ques tion dep ends the whole theory of drama tic ” m usic w as e e e . But this not d stin d to com - within the scope o f the pre Ro m an t1c 1sts 5 and it ’ “ is a far c ry e ve n from this to Gluck s I sought to e e to e o f r duc music its tru function, that supporting the poe try I imagine d that the music should b e to the poe try just what the vivacity o f colour and the happy combination o f light and s hade are to a ’ e e - e e e e corr ct and w ll compos d d sign Gluck s d finit , e e e e almost concr t imagination, imp ll d him away from the e e u e the e synth sis both of pur s bj ctivity, as in lat r o fthe e e o f e so te ri symphony, and modifi d subj ctivity cally de finite musical thought pe rme ate d with exo te ri e e e as the e e cally d finit po tical thought, in mod rn op ra 5 e e e e d e e his int ll ctual world was d finit ly in icativ po try, e e o u t an e n e e o f T h h lp d by ind fi it sugg stion music . e e e e e no t outsid world impr ss d its lf upon him, , as with e e b e e in lat r musicians, as som thing to imaginativ ly filtrate d the e e e re -e e e in r constructiv soul, and th n xpr ss d e n o t the e e e e o f e e in t rms of pur r pr s ntation xt rnality,

claims o fpoe try in orde r to ingratiate him s e lfwith Gluck ; e s de s e e e e de e o f s e but b i th r b ing no vi nc uch an int ntion , ’ it is cl e ar that He rder s l e tt e r re ve al e da syste m o faes th e tic e e f he se quit at varianc with that o t compo r . ” ( Euvre s ix 8 , . 57 . 2 88 Gluch andthe Opera

o f the e o f e e but imaginativ transformation xt rnality, but rathe r as some thing whos e outward life for the e the e e o n re ason and inward lif for imagination w r e . the e o n e the ex In Romantic art impr ssion is thing, - pre ssion anoth e r ; with Gluck and the pre Ro m an ti cists ge n e rally the y we re thought to b e o n e and in divi

e e e are e o f sibl . Romantic art knows th r multitud s e e o f e e e e things not susc ptibl imaginativ r pr s ntation, the e e e e the and in things it do s r pr s nt, final form is le ss an image of the se the mse lve s than o f some thing rich an drare into which the y have bee n transmute d h the e e . is by inn r consciousn ss Gluck, with admira “ ” fo r e b e tion natur , saw nothing that could not e ese e e e e e e r pr nt d in art, and, in his att mpt d r pr s ntation, faile d to pe rce ive the part that should b e playe d by the e e e imagination . Thus his art in vitably t nd d to such o f fe e a re pre se ntation li as is giv n in painting . His e the e e e e u n c o n cont mporary, bulli nt Micha l K lly, s c io u sly hit upon the psychological truth whe n he “ wrote : Fo r de scribing the Stronge st passions in e ffe music, and proving grand dramatic ct, in my opinion no man e ve r e qualle d Gluck 5 he was a g re at painte r o f e the e e is - e e music ; p rhaps xpr ssion far f tch d, and b e e e o wn e e may not allowabl , but I sp ak from my f l the e e e ings, and s nsation his d scriptiv music has always ” n m e e produce d o e . It was this xt rnality o fpurpose and conce ption that made the e ighte e nth ce ntury ” de spise Gothic art as barbarous ; and Marm o n te l thought to de al a de cisive blow of disparage me nt at

“ e s e e s o f e e 1 8 2 6 R mini c nc Micha l K lly, , vol . i .

2 9 0 Gluch a ndthe Opera

i e the e o f r e e e e o f ntroduc d into lif Eu op , an l m nt v e e o f e o f e agu unr st, boundl ss longing, ov rwrought ne rve s and of pe ssimistic philosophi e s o f life ; and it e the e ex an was in music alon , most n rvous and most p s e o f the n e w iv all arts, that this spirit could find its ” e e e e e the e e ad quat xpr ssion . Simultan ously with g n ral e e e e e e e int nsifying of n rvous lif , th r cam an xtra ordinary de ve lopme nt o f what may b e calle d the v o f e the e ocabulary music, and wh n lat r romantic s e e u e to chool cam to its op ratic work, it fo nd r ady its hand the most varie d and the most e xpre ssive language t e e hat art has e v r bre ath d through . The re sult was that music and poe try be gan to c e e e n the m e e hang plac s, and that from b i g r hand o f e e to b e the e an d maid po try, music cam by far rich r

The corre lation b e twe e n the change s in lite rature or artf a e a e an dthe s e s m dfi s o f rom g to g , imultan ou o i cation the e s s s e has e te e ve d the e n rvou y t m, not y r c i all att ntion de se e s The e s is o f s e o n e fo r it rv . qu tion cour primarily m e d s e e an din the e s e s e o f s We c l c c , t t c t c i a i n pr n at rti i i m s e e as e s e e s . A e can only p culat to th corr lation any rat , ’ S O s w s long a e admit that the individual m ental worldis e d his s e an d s o f fe e e se e colour by phy iqu habit li , th r ms e s d e o no r a on fo r e nying that a ge ne ral typ f ne rvous s s e e d e e e an d th y t m may pr ominat in a c rtain poch, that e curre nt art or literature may b e the e xpre ssion o f thi s

e . S e e fo r e x m e e ss e x e D typ , a pl , a valuabl pa ag in Ma im u ’ ’ ” s e s litte raire s in he e s th Camp Souv nir , which attribut e d e morbi lit rature o fhis e arly days to the de pl e te dvascular “ s s e s e e e s o e e f e y t m that w r th n pr val nt . O t n I s d have a k e myse lf wh e th e r thi s de pre ssion m ay not have Mus ic a ndPoetry 2 9 1 the e e e o mor motional art . It is impossibl tdiscuss in this place the deve lopme nt of the ope ra Since the time o f Gluck 5 but it may suffice to point o u thow c o m ple te ly his ae sthe tic is contradicte d by the practice o f o u r o n We e o ffo llo wm w day . hav no thought now g with faithful humility the concre te m e anings o f the words 5 we aim rathe r at ge ne ralising as far as possible the e e e o fthe e n motional xpr ssion music, only mployi g the words as so many points o f crystalli z ation and e e e e e e support . To tak an xtr m cas in ord r to Show the dive rge nce be twe e n the m usic of Gluck and that o f the e e e re are e e we are mod rn op ra, th tim s wh n so indiffe re nt to what the characte rs are actually saying that the words might almost b e dispe nse d with ; the

e e the se s The b n outcome o f phys iological cau . nation was e x s e d the s o f the e e an dthe d hau t by war mpir , chil ’ e n had e ss e s de s the r e e d e f e s e . B inh rit th ir ath r w akn i , s ys t em Of me dicine an d hygi e n e th e n pr e val e nt was ds s s Bro uss ais was the e de o f an d i a trou . l a r thought, d s d Ats e octor we nt e verywh ere lanc e t in han . chool th y e du s fo r e d e e had dfe e was bl a h a ach . Wh n I typhoi v r I e d e e m e s o n e e e s x e e e s e e e d bl thr ti in w k , i ty l ch w r appli , an d e The I could only have re cove re d by a miracl . ’ doctrine s preache dby Moli ere s Diafo iru s e s hadlaste don da an d e s e d the ae s s o to our y, r ult in an mic con titution f e e m e t e o f d e d r qu ntly with . Pov rty bloo combin with the ne rvous te mp e rame nt mak e s a man me l ancholy an d ” ” de e sse d e s En s i the pr Souv nir , g. tran . . , On e e Dr e es s e e e s e s e e ss . g n ral qu tion a v ry ugg tiv ay by V rity, “ Change s produc e d in the N e rvous Syste m by Civili ” s s e din 1 8 ation, publi h 37 . 2 9 2 Gluch andthe Opera

music o f itse lf is compe te nt to e xpre ss all that the e h e Situation r quire s . T e passionat due t at the e n do f Carm en might b e sung to me re vowe ls and would b e just as passionate ; for whe n music is at its gre ate st he ight the le ss ne rvous art o f poe try c an add no n ew e o f e o r f e o f i sugg stion b auty o m aning . This course s e e e e the an xtr m illustration, and is only m ant to Show e xiste nce in mode rn music o f e le me nts Gluck ne ve r e e o f he e e f i dr am d . In t v ry natur o things it is m po s sible fo r music e ve r again to hold that subordinate re lation to poe try which it he ld at time s in the ope ra e o fthe e ighte e nth c ntury . A n d e t e e e e y , wh n all has b n said that comparativ c an e we e e u e his criticism say, wh n hav r d c d Gluck to prop e r place among the thinke rs and artists of his o wn e an d e e e e o f e si tim , d spoil d his th ori s any absolut g n ific an c e for the musical drama Of the pre se nt o r the e o n e to to the e n dthe futur , finds it hard maintain

e o f e e e e . attitud sob r, unmov d sci nc towards him It is ’ difli c u ltto hold back the impuls e to lécher l adm ira ble in spe aking o f the giant who did s o much that was hone st and since re in an age o f de gradation and c o n n tio n alit e are e e d the ve y. Though his id as parall l in o f e m en o f e e e t writings oth r his day, his s rvic to art is y incomparably gre ate r than anything that was done by e e ve n the gre ate st o fhis conte mporari s . It was o n e thing to say the re form o fthe ope ra was n e ce s sary 5 it was anothe r and more admirable thing to achi e ve the e P e e re form in r ality . hilosoph rs and th orists and i satirists might have writte n for e ve r without the e e ffe o n e slight st ct music its lf, had not Gluck found

2 94 Gluch andthe Opera this was n o small labour fo r the life o fo n e man in a e such an g . n h The A d e has had his re ward . musician spe aks a language that is in its ve ry e sse nce more im e e the e e o f e P p rman nt than sp ch any oth r art . aint e e e e n o e ing, sculptur , archit ctur and po try know oth r fo e e e e e e e than xt rnal natur , which may ind d d stroy e e o u tthe e o f the th ir cr ations and blot m mory artist . ’ the n e e e r But musicia s mat rial is such that, how v e e b e the e e o f p rman nt may writt n r cord his work, it de pe nds n o tupon this but u pon the pe rman e ncy in te m en o f the e o h r spirit that gav his music birth, e e e the o f e e e wh th r it shall liv in minds futur g n rations . Ye ar afte r ye ar the language o f the art grows riche r e e e and mor compl x, and work aft r work Sinks into e ve r-de e pe ning oblivion 5 until music that once thrille d m e n with de lirious e cstasy be come s a de ad thing which he re and the re a stude nt looks back upon in a e mood o f scarce ly tol ran t antiquarianism . In the te mple o f the art a hundre d statue s o f the gods are ove rthrown 5 and a hundre d othe rs stan d with arre ste d e e e o f lips and inarticulat tongu s, pal symbols a m n n o e o n vanishe d dominion which e long r w . ! e t he re and the re through the gho stly twilight co me s the sound o f some cle ar voice that has de fi e d the course s o f the ye ars and the mutations o f taste 5 and we h e ar the s e o f e rich canorou ton s Gluck, not p rhaps with the the e e all vigour and passion that onc was th irs, but with the me llowe d sple ndour give n by the touch A e e s he e o u r o f time . lon among his f llow sp aks e e the e e o f the mod rn tongu , and chants t rnal passions ’ Clachs Pla ce in A rt 2 9 5

e . He was ee e A e rac ind d, as Sophi rnould call d him, “ the musician o f the soul ; an dif we have adde d n e w o u r e f e e strings to lyr , and wrung rom th m a mor poignant e loque nce than e ve r stirre d within the he art o f e the e do we e e e Gluck, non l ss p rc iv that music such as his come s to u s from the days whe n the re e e h w r giants in te land .

TO G S 2 2 NOTE PA E 73, 74 .

The e T is as S ds s e m is not on wining , it tan , om what ’ e d I t d e f T s l a ing. woul app ar rom it that wining opinions o n the imitative function o f music hadalte re dbe twe e n the date o f the first e dition o f his book an dthat o f the se d e d AS e o f f con ition a matt r act, Twining always prote ste dagains t a too slavish inte rpre ta ’ o f Ar s e s ds e fe e e m s an d e d tion i totl wor in r r nc to u ic, h l “ ” the e e the s e se ed that t rm imitativ , in n that it appli to e e s was e e o fthe s Gr k mu ic, quit inapplicabl to much mu ic o f de e s The e the e e s was mo rn tim . rror in not in qu tion due to m y b e ing mi sl e dby the note on Twining in Sir ’ “ i e f h Robert Phill m o re s dition o te Laokoon . H e ’ appare ntly hadonly se e n the 1 8 1 2 e dition o f Twin in g s “ A s e T as e s d e s e d s ri totl . wining, I hav ai , prot t again t “ the e his 1 8 e d sse s s imitation th ory in 7 9 ition . Not po in g thi s e di tion at the time the passage in the te xt was ’ e was le d s e Phillim o re s writt n, I a tray by Sir Rob rt quotation from the e dition o f 1 8 1 2 5 but a copy having m e m ds the e saw 1twas co into y han in int rval , I that wrong to attribut e to Twining any de sire to mak e out m s b e e f s s d e e e u ic to an imitativ art, rom a lavi h a h r nc to ’ s e T s s b e s e e f the Ari totl . wining po ition may n rom 2 9 6 Gluch andthe Opera following passage The ide as an dthe language o f the e the e anci ents o n this s ubj e ct were diffe re nt . Wh n y Sp ak o f s as e e e e s e mu ic imitativ , th y app ar to hav ol ly, or

e e its e e the ffe s . chi fly, in vi w, pow r ov r a ction By imita e e s we ds s tion th y m an, in hort, what commonly i tingui h f an d se de the e e e rom imitation, oppo to it, un r g n ral t rm o fe x s pre s ion (p . e in ss e Phillim o re I may m ntion, pa ing, that Sir Rob rt e rrs wh e n he write s that It was e arly in the nine te e nth c e T e e e d ntury that Mr . wining b cam acquaint , through a ‘ ’ e s the D e o f Le ss Fr nch tran lation, with ramaturgi ing, an d his o wn d e s n o f an ddsse , in a mirabl tran latio , i rtation ’ A s e s e I T e ar s the upon, ri totl po try ( ) wining r m k upon ‘ ’ ’ many e xc e lle ntan duncommon things which Le ss ing s work containe d The note in que stion occurs in f the 1 789 e dition o Twining.

2 9 8 I ndex

D 6 2 1 ancourt, 43, 9 Graun, 7 D e e 1 1 1 1 8 1 2 1 G rétr 2 2 auv rgn , 3, , y. 5 3. 4 De ss e s 2 10 Abb e 2 0 71 Bro , 5 3, Grillo, , 5 De s e s 2 2 2 m 1 1 1 8 1 8n mar t , Grim , 3, 57 , 9, 9 , De s e s 2 2 2 2 2 6n 2 2 touch , , 5 D de n 1 2 2 d i rot, 4 , 3, 43, 47, Gua agni, 5 5

2 8 2 o n d 2 0 n . , 5 , Q 4 Gui otti 4 D e sd f 8 d 1 n 1 itt r or , 35 , 3 , 39 Guillar , 5 7 , 77 Do u m ic e é 2 2 6n e d d n , R n , Gurn y, E mun , 4 Du Bo s 1 2 n 2 8 2 2 , 3, 35 , 4 , 5 , 2 6 1—2 6 D L 2 2 2 2 6 2 8 2 1 3 HAN E , , 3, , , 4, Du x m e 2 0n 2 1 Camp, Ma i , 9 5 — D 0 1 2 2 s 1 2 8 2 2 6 1 . uni , 4 , 4 , 4 Harri , , 3, 4 , 57 D z z 6 0 1 sse 2 0 2 1 ura o, 35 , 3 , 39, 4 , 4 , Ha , 9 , 3 , 7 6 —2 d 9 7 Hay n, 47. 49 Du e 2 1 1 1 2 1 e de 1 2 1 2 86 2 8 Roull t, 7 , 3, , H r r, 3, 3, , 7 1 1 d 1 49 , 5 7 Hou on, 5 7 D de a z 6u 2 1 2 2 n ry n, , 3 Hugo, Victor, 7

U P 8 1 2 1 2 M OF U 1 1 D S , 1 , 2 , 3, , E RI I E , 5 I ITATION NAT RE — 4 2 7 2 LL FARINE I, 39 0 1 6 —1 OMELLI 2 2 2 Favart, 4 , 4 , 9 7 J , 5 , 3 Pér s l n 1 i , 4 , 44 e e se 2 2 n 1 2 1 2 6 Fr n u , 4 KANT, 3, 3, 5 P ux 1 e se 2 1 2 1 6 , 9 K i r, 5 , e e 2 2 8 8 K lly, Micha l , 3, B L 2 0 1 s 1 1 0 1 6 1 GA RIE I , Klop tock , , 4 , 9 5 e P fe ss n 2 6 n Gabri lli , 35 Knight, ro or, 4 , 5 e 2 0 1 ss e 2 1 Galil i , Ku r, 5 Galuppi , 4 5

. S e e e LA U ! E 2 1 Gluck ( analytical tabl BR RE, 3

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