ndel assisted at the production
of these two operas, and is reported to have said that the author knew
no more of counterpoint than a pig. Naumann thinks that Gluck learned
much from hearing Haendel's oratorios in England, and that his
subsequent deeper and nobler dramatic style was formed upon these
great models. The two operas produced in London made but a moderate
success, and Gluck was commissioned to write a "_pasticcio_" or medley
of styles. He did so, imitating all styles according to the best of
his ability, but it made no better effect than the works before it.
This was the turning point in his career. The failure mortified him
deeply, and led him to reflect concerning the nature of dramatic
music. On his way back to Vienna he passed through Paris, where he
heard certain operas of Rameau, which also influenced his style later.
The declamation and the dramatic treatment of the recitative were the
points upon which his attention principally dwelt. Upon reaching
Vienna he wrote a number of instrumental pieces, bearing the name of
symphonies, pieces which in no way differed from the conventional
music of the day. The Haydn symphony had not yet been invented, and
the form was wholly indeterminate. There was an opera in this year;
also a love affair. Gluck was deeply in love with the beautiful and
charming daughter of a rich merchant, who upon no account would
consent to her marriage with a musician. So Gluck went back to Italy,
and there he wrote another opera, rather better in quality than his
previous ones. Early in 1750 the inexorable parent died, and late in
the year Gluck married the woman of his choice, who made him a model
wife, being educated above the average of her times, and entering into
his ideals and aspirations with ever ready sympathy. Her wealth also
placed the composer in an easy position as regarded the world, and
permitted him to devote himself to study. For nearly ten years
following Gluck produced occasionally an opera, but as yet the _man_
had not arrived; all these were early and apprentice works. At length
in 1762 was produced his first master work, "Orpheus and Eurydice,"
the libretto having been written by the imperial councillor Calzabigi.
The novelty of this great work was not above the appreciation of the
Viennese public of the day. "Orpheus" made a decided success. Its
principal innovations consisted in its more powerful instrumentation,
the introduction of a chorus having an integral p