GLUCK'S GRAVE IN VIENNA.

From a photograph.

After what has been said concerning the progress of Gluck's development, stress need hardly be laid upon the fact that, in reviewing his work, poetry no less than music must be considered. In the first place we cannot refuse the poet of "Orpheus," Raniero Calzabigi, the honor of having had a considerable share in the reform effected by our master. In view of the then prevailing indifference of the opera-lovers to the text, we cannot be surprised that the credit of the opera-reform was attributed to Gluck, whose name entirely eclipsed that of his co-laborer. That Gluck himself, however, is not accountable for this mistake, is proved by his letter sent to the "Mercure de France" in Feb., 1773, in which he says: "I should bitterly reproach myself were I to consent to having attributed to me this new kind of Italian opera, the success of which has justified the experiment. To Calzabigi, rather, belongs the special credit, and if my music proves effectual I must thank him who has put me in a position to draw freely from the well-springs of my art." Due allowance should be made for Calzabigi's own statement, as this was published after Gluck had parted from his first co-worker in the inconsiderate way already mentioned, and the latter had every reason to be incensed with him. In a letter addressed to the "Mercure" (June 25, 1784), he says, among other things, that he had convinced Gluck that musical expression should be based upon an expressive rendering of the libretto, that he had begged him to banish from his music all ornate passages, cadenzas and ritornelles, and Gluck had yielded. We may confidently assent to his closing words: "I hope you will concede from this exposé that if Gluck is the author of dramatic music he has by no means created it out of nothing. It was I who gave him the material, or, if you will, the chaos; the honor of this creation should, therefore, be shared equally between us." Finally, the following words from Gluck's preface to "Alceste" are sufficient proof that Calzabigi's claims were just. "By a lucky chance I happened upon the very libretto in which the celebrated author had developed a new plan for the musical drama," a statement which only through an inconceivable blunder could have been given the interpretation "the celebrated author of 'Alceste,' Herr von Calzabigi, carried out my plan for a lyric drama" attributed to Gluck by Anton Schmid and his numerous followers.

Let us now consider Gluck's works, beginning with "Orpheus." Even in this first opera we find the libretto as well as music at the extreme limit of his departure from the old forms. The break with the old opera is a complete one; it seems to be the opinion of successive generations by whom the "Orpheus" has been considered Gluck's most sympathetic work, that it would have been impossible to reach a greater climax. The action is of the most extreme simplicity; to the myths transmitted from Virgil and Ovid the operatic poet makes no material addition. In the first act we hear the lamentations of Orpheus and his companions at the loss of the beloved; whereupon Amor (Cupid) appears, to bring the singer the consoling word that Euridice can be restored to him provided he possesses not only courage to descend to Hades, but the moral strength to refrain from looking at his love until they shall have again reached the upper world. The second act is laid in Hades and begins with the dances and songs of the furies. To the entreaty of Orpheus to abate their wrath, they answer with a horribly inexorable "No!" At length, however, they are unable to resist his supplication and open to him the door of Hades. The scene now changes to a charming region of the Elysian Fields, enlivened by the song of the departed spirits and later of Euridice herself. The prayer of Orpheus to the shades that his wife may be restored to him is not unheeded; she is brought to him, he seizes her hand and without looking at her, leads her away. The beginning of the third act represents the tragic conflict of the lovers. Euridice, who knows nothing of Cupid's injunction, is in despair that Orpheus stubbornly refuses to regard her or to make reply to her words of soft entreaty; but finally his power of resistance fails, he turns toward his wife to embrace her, whereupon she sinks back lifeless, now apparently irrevocably lost. Once again, however, the gods have compassion, and at the moment in which Orpheus, in desperation, is about to end his life, Cupid again appears, and satisfied with the fidelity of Orpheus pardons the false step and leads the lovers to the upper world to unite them there forever.

Fac-simile autograph letter and musical manuscript by Gluck.

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