n do so much harm. It was
time this was stopped. Not only had he corrected imaginary faults here
and there, but he had also inserted things of his own invention. He had
even gone so far as to re-orchestrate the ballet music, in the naive
belief that he was bringing out the author's real meaning better than he
had done himself. It took an enormous amount of time to undo this
mischief, for I distrusted somewhat my own lights and Mlle. Pelletan had
too high an opinion of Damcke's work and did not dare to override his
judgment.

That excellent woman did not live to see the end of her work. She began
the preparation of Orphee, but she died almost at once. So I was left to
finish the score alone without that valuable experience and masterly
insight by which she solved the most difficult problems. And there were
real enigmas to be solved at every step. The old engraved scores of
Gluck's works reproduced his manuscripts faithfully enough, but they
bore evidence of carelessness and amazing inaccuracy. They are mere
sketches instead of complete scores. Many details are vague and
vagueness is not permissible in a serious edition. It follows that the
different editions of Gluck's works published in the Nineteenth Century,
however sumptuous or careful they may be, are worthless. The Pelletan
edition alone can be consulted with confidence, because we were the only
ones to have all extant and authentic documents in the library at the
Opera to set us right. We had scores copied for actual performances on
the stage and portions of orchestral parts of incalculable value. In
addition, we had no aim or preoccupation in elaborating this material
other than to reconstitute as closely as possible the thought of the
author.

* * * * *

Switzerland is a country where artistic productions are not unusual.
Every year we have reports of some grandiose performance in which the
people take part themselves. They come from every direction to help,
even from a considerable distance, thanks to the many means of
communication in that delightful land. It is not surprising, therefore,
to learn that a theatre has been built in the pretty town of Mezieres,
near Lusanne, for the performance of the works of a young poet, named
Morax. These works are dramas with choruses, and the surrounding country
furnishes the singers. The work given in 1911 was Allenor--the music by
Gustave Doret--and it was a great success.

Gustave Dore