o whirlwinds of excitement at small provocation; a gourmand devoted to the pleasure of the table, sometimes indeed gratifying his appetite in no seemly fashion, resembl

vention, the trappings of time and circumstance, he attained a place in musical creation, solitary and unique. His genius found expression in forms large and austere, disdaining th

ved in the oratorio was that of giving such dramatic force to the music, in which he clothed the sacred texts, as to be able to dispense with all scenic and stage effects. One of the finest operatic composers of the time, the rival of Bach as an instrumental composer, and performer on the harpsichord or organ, the unanimous verdict of the mu

"he might breathe his last on Good Friday, in hope," he said, "of meeting his good God, his

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rsonal character. As the predecessor of Wagner and Meyerbeer, who among the composers of this century have given opera its largest and noble

y, their conscious peer, and never prostituted his art to gain personal advancement or to curry favor with the great ones of the earth. He possessed a majesty of n

talized by being his enemies. Like Milton and Bacon, who put on record their knowledge that they had written for all time, Gluck had a magnificent consciousness of himself. "I have written," he says, "the music o

ountenance and figure express the repose of a powerful and passionate nature schooled into balance and symmetry: altogether the presentment of a great man, who felt that he could move the world and had found the pou sto. Of a large and robust type of physical beauty, Natu

id Handel; "he knows no more of counterpoint then mein cook." Handel did not see with prophetic eyes. He never met Gluck afterward, and we do not know his later opinion of the composer of "Orpheus and Eurydice" and "Iphigenia in Tauris." But Glu

o get his living by devoting his musical talents to the Church. The Prague public recognized in him a musician of fair talent, but he found but little encouragement to stay at the Bohemian capital. So he decided to finish his musical education at Vienna, where more distinguished masters could be had. Prince Lobkowitz, who remembered his gamekeeper's son, introduced the young man to the Italian Prince Melzi, who induced him to accompany him to Milan. As the

tion, Handel's great music must have had a powerful effect in stimulating his unconscious progress. His last production in England, "Pyramus and Thisbe," was a pasticcio opera, in which he embodied the best b