The World's Great Men of Music

the deplorable state into which it had fallen. At that time the composers often yielded to the caprices of the singers and wrote to s

ion to words and scenes, without interrupting the action or the plot." He wrote only operas, and some of his best works keep

of Bohemia, where he was born July 2, 1714. As a little lad he early manifested a love for music, but his parents were in very straitened circumstances and could not afford to pay for music

of the poorest. But the good man passed away when the boy was quite young, and then matters

lf to play it, with no other help than an old instruction book. Determination conquered many difficulties however, and before lon

arance and condition won sympathy from a few generous souls, who not only provided a home and took care of his material needs, but gave him also the means to continue his

et out to complete his studies in Italy. Milan was his objective point. Soon after arriving there he had the good fortune to meet Padre Martini, the celebrated master of musical theory. Young Gluck at once placed him

ra." This second work had a remarkable success, and the managers arranged for the composition of another opera, which was "Demetrio," which, like the others was most favorably received. Gluck now had offers from Turin, so that the next two years were spent between that city and Milan, for which cities he wrote five or six operas. By this time the name of Gluck had

e lost, and Lord Middlesex besought the Powers to re-open the theater. After much pleading his request was finally granted. The opening opera, written on purpose to introduce Gluck to English audiences, was entitled "La Caduta del Giganti,"-"Fall of the Giants"-and did not seem to please the public. But the young composer was unda

In 1754, he was invited to Rome, where he produced several operas, among them "Antigone"; they were all successful, showing the Italians appreciated his work. He now proceeded to Florence, and whil

Orfeo"-to be written. He began to develop that purity of style which we find in "Alceste," "Iphigénie en Tauride" and others. "Alceste" was the second opera on the reformed plan which simplified the music to give more prominence to the poetry. It was produced in Vienna in 1769, with the text written by Calzabigi. The opera was ahead of "Orfeo" in simplicity and nobility, but it did not seem to please the critics. The composer himself wrote: "Pedants and critic

visit the capital, for which he was to write a new opera for a début. A French poet, Du Rollet, living in Vienna, offered to write a libretto for the new opera, and assured him there was every chance for success in a

e. He had even more trouble with the slovenly, ignorant orchestra, than he had with the French language. The orchestra declared itself agai

tisfy the composer. Larrivée was the Agamemnon, and other parts were well sung. The French were thoroughly delighted. They fêted and praised Gluck, declaring he had discovered the music of the ancient Greeks, that he was the only man in Europe who could express real feelings i

ich again aroused the greatest enthusiasm. The theater was crammed at every performance. Marie Antoinett

have hers. An Italian by birth, she could gather about her a powerful Italian faction, who were bent upon opposition to the Austrian Gluck. She had listened to his praises long enough, and the tremendous s

he press took up one side and part the other. Many pamphlets, poems and satires appeared, in which both composers were unmercifully attacked. Gluck was at the time in Germany, and Piccini had come to Paris principally to secure the tempting fee offered him. The leaders of the feud kept things well stirred up, so that a stranger could not enter a café, hotel or theater without first answering the question whether he stood for Gluck or Piccini. Many foolish lies were t

'Orlando,'" spoke up a follow

ed the abbé, "for we shall then have

opera, which was called too noisy. The composer, however, felt he had done some of his best work in "Armide"; that the music was written in such style that it would not grow old, at least not for a long time. He had taken the greatest pains in composing it, and declared that if

her part showed the deepest interest in the success of the piece, and really "became quite a slave to

er of it. He was passionately enamored of it; he told the Queen the air of France had rejuvenated his creative powers, and the sight o

ly brought out and met with a brilliant reception. Indeed its success was greater than that won by "Armide," much to the delight of the Piccinists. Of course the natu

in rehearsal. Gluck soon finished his and handed it in, but the Italian, trusting to the director's word of honor, was not troubled when he heard the news, though he determined to complete his as soon as possible. A few days later, when he went to the Opera House with his completed score, he was horrified to find the work of his rival already in rehearsal. There was a li

ease; the next night proved a comic tragedy, as the prima donna was intoxicated. After a couple of days' imprisonment she r

longer for the lyric stage. He was then nearly seventy years old, and retired to Vienna, to rest and enjoy the fruits of all his years of incessant toil. He was

purity of his music are as moving and expressive to-day as when it was written, and the "M