Christoph Willibald Gluck, one of the most eminent of German operatic composers, was born at Weidenwang in the Upper Palatinate, July 2, 1714. He began his musical studies in a Bohemian Jesuits' School at the age of twelve. In his eighteenth year he went to Prague, where he continued his education with Czernhorsky. Four years later he was fortunate enough to secure Prince Melzi for a patron, who sent him to Milan, where he completed his studies with Sammartini. From 1741 to 1745 he produced numerous operas, which were well received, and in the latter year visited London, where he brought out several works, among them "La Caduta de' Giganti." His English experience was far from satisfactory, and he soon returned to Germany, stopping at Paris on the way, where Rameau's operas had a strong influence upon him. From 1746 to 1762 he wrote a large number of operas, with varying success so far as performance was concerned, but with great and lasting benefit to his style and fame, as was shown when his "Orpheus" was first produced, Oct. 5, 1762. Its success determined him at once to acquaint the musical world with his purpose to reform the opera by making it dramatically musical instead of purely lyric, thus paving the way for the great innovator of Baireuth. "Alceste," produced in 1767, was the first embodiment of these ideas. Strong criticism greeted it, to which he replied with "Iphigénie en Aulide," written in 1772, and performed for the first time in Paris two years later, under the auspices of Marie Antoinette, who had once been his pupil. It was followed by "Orpheus and Eurydice," adapted from his earlier work of the same name, which met with brilliant success. In 1777 he brought out "Armide." It aroused an unprecedented excitement. Piccini was at that time in Paris. He was the representative of the old Italian school. His partisans gathered about him, and a furious war was waged between the Gluckists and Piccinists for three or four years; the combatants displaying a bitterness of criticism and invective even worse than that which Wagner brought down upon his devoted head. When Gluck brought out his great work, "Iphigénie en Tauride," in 1779, however, the Piccinists quitted the field and acknowledged the reformer's superiority. "Echo et Narcisse" was written in the same year, but "Iphigénie en Tauride" was his last great work. He retired shortly afterwards to Vienna, where he died Nov. 15, 1787.
ORPHEUS.
"Orpheus," the libretto by the Italian poet Calzabigi, was first produced at Vienna, Oct. 5, 1762, and for the first time outlined the new ideas which Gluck had advanced for the reform of the lyric stage. Twelve years later the composer revised the work. Several new numbers were added, its acts were extended to three, and the principal rôle was rewritten for a high tenor in place of the alto, to whom it had been originally assigned. In this form it was brought out at the Paris Académie, Aug. 2, 1774. In 1859 it was revived in Paris, for which occasion Berlioz restored the original alto part for Mme. Viardot-Garcia. With its performances in this country by the American Opera Troupe during the season of 1885-86, under the direction of Mr. Theodore Thomas, our readers are already familiar. The three soloists during that season were Helene Hastreiter, Emma Juch, and Minnie Dilthey.
The story, except in its denouement, closely follows the antique legend. After performing the funeral rites of Eurydice, Orpheus resolves to seek for her in the world of Shades, having received permission from Zeus upon condition that he will not look upon her until they have safely returned. Orpheus descends to Hades; and though his way is barred by phantoms, his pleading appeals and the tender tones of his harp induce them to make way for him. He finds Eurydice in the Elysian fields, and taking her by the hand leads her on to the upper world. In a fatal moment he yields to her desire to see him, and she sinks back lifeless. Love, however, comes to the rescue, and full of compassion restores her. Thus the happy lovers are reunited; and the opera closes without the tragic denouement of the old myth. In the American performances the opera was divided into four acts, which is the order we shall follow.
The short overture is characterized by a grandeur and solemnity that well befit the pathetic story. The curtain rises upon a grotto containing the tomb of Eurydice, against which Orpheus mournfully leans, while upon its steps youths and maidens are strewing flowers as they chant the sombre song, "Ah! in our still and mournful Meadow." The sad wail of Orpheus upon the single word "Eurydice" is heard through its strains, which continually increase in solemnity. At last, as if too much to bear, Orpheus interrupts their threnody with the words, "The Sounds of your Lament increase my bitter Anguish." The chorus in reply resumes its melancholy tribute to Eurydice and then retires, leaving Orpheus alone, who in a monologue full of pathos and sorrow ("My Eurydice! my Eurydice! lost forever"), sings his grief and implores the gods to restore his loved one. In answer to his prayer, Amor, god of love, appears and announces that the gods have been moved to compassion; and if his song and lyre can appease the phantoms, death shall give back Eurydice upon the conditions already named. The act closes with the joyful song of Orpheus: "Will pitying Heaven with wondrous Favor restore mine own?"
The second act opens in the abysses of the underworld. Flames shoot up amid great masses of rock and from yawning caverns, throwing their lurid glare upon the phantoms, who writhing in furious indignation demand in wild and threatening chorus, as the tones of Orpheus's lyre are heard, "Who through this awful Place, thinking alive to pass, rashly dares venture here?" Madly they call upon Cerberus "to kill thy new Prey here." The barking of the triple-headed monster is heard in the tones of the orchestra. They surround Orpheus as he approaches, and with renewed clamor continue this thrilling chorus. In the midst of its cruel intensity is heard the appealing voice of Orpheus ("In Pity be moved by my Grief"). With overwhelming wrath comes the reiterated monosyllable, "No," from the Furies,—one of the most daring and powerful effects ever made in dramatic music,—followed by another appalling chorus, as they announce to him, "These are the Depths of Hell, where the Avengers dwell." At last they are touched by the charm of his music and the sorrow of his story; and as their fury dies away, the song of Orpheus grows more exultant as he contemplates the reunion with Eurydice.
The gates of the lower world are opened, and in the third act Orpheus enters Elysium. The scene begins with a tender, lovely song by Eurydice and her companions ("In this tranquil and lovely Abode of the Blest"), the melody taken by the flute with string accompaniment. All is bright and cheerful and in striking contrast with the gloom and terror of the Stygian scene we have just left. After a short recitative ("How mild a Day, without a Noon"), Orpheus seeks her. She is brought to him by a crowd of shadows; and breaking out in joyful song he takes her by the hand and turns his face to the upper world.
The fourth act is almost entirely an impassioned duet between Orpheus and Eurydice. He releases her hand for fear that he may turn and look upon her. Eurydice chides him ("Am I changed or grown old that thou wilt not behold me?"). In vain he urges her to follow him. She upbraids him for his coldness, and demands one glance as a test of his love. He still refuses, and then she sorrowfully bids him farewell. At last, overcome with weariness and sorrow, he gazes upon her; and at that instant she falls lifeless. Then Orpheus breaks out in that immortal song, the Che faro senza Eurydice ("I have lost my Eurydice"), the beauty and pathos of which neither time nor change of musical custom can ever mar. He is about to take his life with his sword; but Amor suddenly appears upon the scene, stays his hand, and tells him the gods are moved by his sufferings. He restores Eurydice to life, and the opera closes with a beautiful terzetto in Love's temple. The denouement is followed by ballet music.
GOETZ.
Hermann Goetz, to whose life attaches a mournful interest, was born at Koenigsberg, Dec. 17, 1840. He had no regular instruction in music until his seventeenth year. At that period he began his studies with Köhler, and then passed successively under the tuition of Stern, Ulrich, and Von Bülow. At the age of twenty-three he obtained a position as organist at Winterthur, and also taught at Zurich. It was during this time that he composed his opera, "The Taming of the Shrew," meanwhile supporting himself as he best could, sometimes struggling with actual poverty. For years he attempted to secure a hearing for his opera; but it was not until 1874 that its great merit was recognized, for in that year it was produced at Mannheim with instant success. Its fame travelled all over Germany. It was performed in Vienna in 1875, and the same year in Leipsic and Berlin, and reached London in 1878. It was not heard in this country until the season of 1885-86, when it was produced by the American Opera Company. The composer did not live long enough, however, to enjoy the fruits of his work, as he died in 1876. He also left behind him an unfinished score of a second opera, "Francesca di Rimini," which was completed by his friend Franke at his request, but proved a failure. His other works include a symphony in F, a suite for orchestra, and many chamber compositions.