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Updated: May 14, 2025
It was just at the close of the day, and, when Gluck sat down at the window, he saw the rocks of the mountain tops, all crimson and purple with the sunset; and there were bright tongues of fiery cloud burning and quivering about them; and the river, brighter than all, fell, in a waving column of pure gold, from precipice to precipice, with the double arch of a broad purple rainbow stretched across it, flushing and fading alternately in the wreaths of spray.
"If the latest news made a column when it was first set up before the accident, how can it make less now?" He dashed up to Gluck's office in a hansom and put the conundrum to him. "You see we had no time to distribute the 'pie, and we had no more type of that kind, so we had to reset it smaller," answered Gluck glibly. His eyes were blood-shot, his face was haggard.
"Who's that?" said Schwartz, catching up a rolling-pin, and turning to Gluck with a fierce frown. "I don't know, indeed, brother," said Gluck, in great terror. "How did he get in?" roared Schwartz. "My dear brother," said Gluck, deprecatingly, "he was so very wet!"
Also, she was cursed with poverty and burdened with a husband who was a lazy, erratic ne'er-do-well. Young Emil Gluck was not wanted, and Ann Bartell could be trusted to impress this fact sufficiently upon him. As an illustration of the treatment he received in that early, formative period, the following instance is given.
"Yes, dearest, yes," replied Gluck, folding her in his arms, "never have I so prized and loved you as in these later days of strife and struggle. Well do I feel what a blessing to man is a noble woman! Often during our rehearsals, when I have encountered the supercilious glances of performers and orchestra, the thought of your dear self has given me strength to confront and defy their scorn.
Mme. Saint Huberti had not only a superb voice, but was also a great actress. Her good fate ordained that she should sing the operas of Piccini, Sacchini and Gluck, and all this music, so beautiful, so expressive, exactly suited her talent, which was full of significance, of sincerity and of nobility. She was not good-looking, but her face was entrancing because of its soulfulness.
It may truly be said that Monteverde was the great operatic reformer, the Wagner, of the seventeenth century, as Gluck was of the eighteenth. An epoch-making event in opera history was the opening, in 1637, of the first public opera house in commercial Venice whose wealth afforded her citizens leisure to cultivate art. Soon popular demand led to the erection of many Italian opera-houses.
Vestris deeply regretted that the opera was not terminated by a piece they called a chaconne, in which he displayed all his power. He complained to Gluck about it. Gluck, who treated his art with all the dignity it merits, replied that in so interesting a subject dancing would be misplaced. Being pressed another time by Vestris on the same subject, "A chaconne!
When he touched it, the little voice said, "Pour me out, I say!" And Gluck took the handle and began to pour the gold out. First came out a tiny pair of yellow legs; then a pair of yellow coat-tails; then a strange little yellow body, and, last, a wee yellow face, with long curls of gold hair.
Moreover, we are inspired with the desire to be like Gluck, and to curb any inclination to become like his two dark brothers. What we wish to do, however, in this brief study, is to try to find some other points less noticeable, perhaps, but equally interesting, in which this story excels many others. Now, one of these points is the remarkably brilliant way in which things are described by Mr.
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