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By Mozart, Wolfgang Amadeus; Townsend, Pauline D.; Mozart, Wolfgang Amadeus; Jahn, Otto; Grove, George

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Ztschr. f. , p. 42) published Calsabigi's letter (Mercure de France, Aug. 21, 1784), in which the latter, who considered himself neglected, represents his relations with Gluck. FRENCH OPERA. 20 which he had received from his poet,^^ could only partially yield to his whimsical exaggeration of declamatory music. But Calsabigi's ideas accorded with his own so far as to aid him in giving them clearness and precision. ^^ to him, and so were produced " Orfeo ed Euridice" (1762), "Alceste" (1767), and ''Paride ed Elena" (1769).

I have something in my mind, for which I pray to God daily; if it is His Divine will it will come to pass if not, I am content. I have at least done my If all goes well, and things turn out as I wish, then you must do best. your share, or the whole business will fall through I trust to your kindness to do it. Do not attempt to discover my meaning, for the immediate favour I have to beg of you is to let me keep my ideas to myself until the right time comes. ; ; He does not seem to have been very hopeful (March 29, :— 1778) I am pretty well, thank or care for anything anything.

French opera, on the contrary, in accordance with the genius of the nation, made its first principle dramatic and characteristic expression, which could only be attained by correct yet free treatment of musical forms, and by well-considered treatment of recitative. Choruses, too, which were for Gluck an important aid to climax and dramatic effect, were indispensable in French opera and since Rameau's time the orchestra had been successfully employed as a means of characteristic expression. But the ; French school had hitherto failed to combine dignity and beauty with their dramatic force and expression and here Gluck's Italian training enabled him to supply the deficiency.

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