Publisher's Synopsis
Excerpt from The Language of Richard Wagner's Ring Des Nibelungen
Several years before his demise came the noted reform by Gluck. There is no evidence that Gluck wrote a single German Opera, but this was chiefly the fault of existing conditions. What could a man of his stamp do with such libretti as those that have just been referred to? He held the stringent views upon the relation of text and music which the Florentine Camar ata had promulgated before him, hence it was natural that he should look about for the very best texts. Of these he found none worthy of consideration at the beginning of his career, and in later life, in a foreign country and engaged with foreign pro ductions, he felt the impossibility of writing a German opera. Though be seriously thought of putting Klopstock's Hermans schlacht to music, he was never fortunate enough to have a close acquaintance with the great literary men Of his time and country, though these were in sympathy with his reform. Wie land1 writes: At last we have lived to see the time when the mighty genius of Gluck has undertaken the great task of musical reform. The success of his 'orpheus' would justify the greatest hopes were there no insurmountable difficulties to defeat his best intentions even in those European cities where the fine arts own the foremost temples. It is a great and courageous undertaking to elevate these arts to their original dignity and honor, which the rabble is wont to look upon as a means for sensuality, and to establish nature upon that throne which for so long a time has been usurped by the capricious power of custom, luxury and wanton sensuality.
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