1 (return)
[ Ed. Fournier, Mozart Ä Paris (Revue FranÇ., 1856, II., t. 7, p. 28).]

2 (return)
[ Cf. Histoire du ThÉÄtre de l'OpÉra en France (Paris, 1753; 2nd Edit., 1757). Castil-Blaze, L'AcadÉmie Imp. de Musique de 1645 Ä 1855 (Paris, 1855,1., II.).]

3 (return)
[ Grimm, Corr. inÉd., p. 222; cf. Corr. Litt., I., p. 93. The following is not bad (Corr. Litt., II., p. 205): "M. Hasse, qui avait entendu parler de la lÉgÈretÉ et de la pÉtulance franÇaises, ne se lassait point, lorsqu'il fut en ce pays-ci, d'admirer la patience avec laquelle on Écoutait Ä l'OpÉra une musique lourde et monotone." Goldoni amusingly describes the impression made upon him by the French opera (MÉm., II., p. 182).]

4 (return)
[ Grimm, Corr. Litt., XV., p. 283; cf. IV., p. 165. GrÉtry gives more particular instances of the faults of the old style ( MÉm., I., p. 301).]

5 (return)
[ The last performance of one of Lully's operas ("ThÉsÉe ") was in 1778.]

6 (return)
[ Raguenet, ParallÈle des Italiens et FranÇois en ce qui regarde la Musique et les OpÉras (.Paris, 1702), translated into German, with notes, and the rejoinder of Freneuse de la Vieuville ( Bonnet, Histoire de la Musique, p. 425; Bourdelot, Hist, de la Mus., I., p. 291), in Mattheson's Critica Musica (Hamburg, 1712), I., p. 91, and in Marpurg's Krit. Briefen, I., pp. 65, 89, 113, 398. Freneuse, Comparaison de la Mus. Ital. et de la Mus. FranÇ. Brussels, 1705 (in Bourdelot'8 Hist, de la Mus., 1725 and 1743, II.-IV.). Raguenet, DÉfense du ParallÈle (Paris, 1705).]

7 (return)
[ La Harpe, Corresp. Litt., II., p. 302.]

8 (return)
[ When Grimm first came to Paris he wrote to Gottsched: "M. Rameau is rightly considered by all connoisseurs to be the greatest musician who has ever lived" (Danzel Gottsched, p. 349). His opinion soon changed, but the account he afterwards gives of Rameau (Corr. Litt., IV., p. 80), prejudiced as it is, recognises Rameau's merits, though without giving him the credit of them. In his Lettre sur "Omphale" (1752, Corr. Litt., XV., p. 281), Grimm gave a detailed criticism in a very moderate tone. A good account of him may be found in Ad. Adam's Derniers Souvenirs d'un Musicien, p. 39.]

9 (return)
[ Hiller, WÖch. Nachr., 1770, p. 331. Schelle, N. Ztschr. f. Mus., LVII., and LVIII., p. 119.]

10 (return)
[ According to Castil-Blaze (L'OpÉra Italien, p. 144), the operas produced by the Bouffons were, "La Serva Padrona," by Pergolese; "Ü Giocatore," by Orlandini: "Ü Maestro di Musica," by Al. Scarlatti; "La Finta Cameri'era," by Atella; "La Donna Superba," by Rinaldo da Capua; "La Scaltra Gover-natrice," by Cocchi; "Ü Cinese Rimpatriato," by Selletti; "La Zingara" by Rinaldo da Capua; "Gli Artigiani Arrichiti," by Ladlla; "II. Paratajo" by Jomelli; "Bertoldo in Corte," by Ciampi; "I Viaggiatori," by Leo.]

11 (return)
[ The Italian opera was conducted from the pianoforte only, while in the French opera time was beaten audibly with a stick. Cf. GrÉtry, MÉm., I.p. 39.]

12 (return)
[ The heads of the parties had their regular places below the box of the King and Queen.]

13 (return)
[ It was republished (Corr. Litt., XV., p. 315,) and translated into German (N. Ztschr. f. Mus., IV., p. 63, where it is wrongly ascribed to Rousseau). Grimm speaks of its extraordinary success to Gottsched, and Frau Gottsched speaks of an imitation of it directed against Weisse's operetta, "Der Teufel ist los" (Danzel Gottsched, p. 350).]

14 (return)
[ The account which he gives to Rameau's nephew of his uncle and Italian music is graphic enough (Goethe, XXIII., p. 208).]

15 (return)
[ This was in the well-known Lettre sur la Musique FranÇaise (1753), to which the Lettre d'un symphoniste de l'AcadÉmie Royale de Musique Ä ses camarades de l'orchestre (1753) was a witty after-piece.]

16 (return)
[ GrÉtry, MÉm., I., p. 279.]

17 (return)
[ Rousseau, Confessions 1., VIII. Grimm, Corr. Litt., I., p. 92. FÉtis, Curios. Hist, de la Mus., p. 107.]

18 (return)
[ Grimm, Corr. Litt., I., p. 114.]

19 (return)
[ Rousseau had apparently a natural musical talent, which was quickened by Italian music; his logical reflections sometimes led him into error, but he remained accessible to new musical impressions, even when they contradicted his expressed opinions.]

20 (return)
[ Diderot appears to have had some musical taste, but not much cultivation, and in this respect Grimm had some influence upon his opinions, as he certainly had upon Grimm's in more important matters. The article "PoÈme lyrique" in the EncyclopÉdie (publ. Corr. Litt., XV., p. 349), is a curious mixture of Italian taste, and of reflections after Diderot's manner: the views it upholds are often warped and superficial.]

21 (return)
[ Grimm, Corr. Litt., VI., p. 229. The parodies are collected in Les Parodies du Nouveau ThÉÄtre Italien ( Paris, 1738,I.-IV.). SupplÉment aux Parodies (Paris, 1763,1. III.).]

22 (return)
[ Favart, MÉm., I., p. XVII.]

23 (return)
[ Favart, MÉm., I., pp. 203, 214, 228, 233.]

24 (return)
[ [ D'Orville] Histoire de l'OpÉra Bouffon (Amst., 1760). [Footnote Desboulmiers] Histoire du ThÉÄtre de l'OpÉra-Comique (Paris, 1769, I., II.). FÉtis, Curios. Hist, de la Mus., p. 342. Castil-Blaze, Acad. Imp. de la Mus., I., p. 216.]

25 (return)
[ Grimm, Corr. Litt., VII., p. 289.]

26 (return)
[ Goldoni concedes the superiority of the opÉra-comique over the Italian huffa (MÉm., II., p. 227).]

27 (return)
[ Grimm, Corr. Litt., IV., p. 164; VII., p. 126. After 1765 he thought his style "un peu vieux et faible, mais ailleurs plein de finesse, de charme, de grace, et de vÉritÉ. C'est toujours malgrÉ sa faiblesse l'homme chez lequel nos jeunes compositeurs devraient aller Ä l'École" (Corr. Litt., IV., p. 414). He afterwards exhorts Philidor and GrÉtry to yield the field to him with honour (Corr. Litt., V.» pp. 140, 369; VI., p. 63).]

28 (return)
[ A. Adam, Derniers Souvenirs d'un Musicien, p. 107.]

29 (return)
[ Grimm, Corr. Litt., VI., p. 61.]

30 (return)
[ Grimm, Corr. Litt., III., p. 136.]

31 (return)
[ Grimm judged him so severely (Corr. inÉd., p. 219; cf. Corr. Litt., III., p. 136; VI., p. 208; IX., p. 463); that one suspects personal dislike. Madame de Genlis rightly protested against his severity (MÉm., II., p. 22).]

32 (return)
[ Grimm, even in this case, ascribed all the merit to the poet (Corr. Litt., VI., pp. 197, 206); Madame de Genlis, on the contrary, maintained that Monsigny's music caused one to overlook the improbabilities of the piece ( MÉm., II., p. 21)]

33 (return)
[ G. Allen, Life of Philidor (Philadelphia, 1863). At first Grimm thought his music no better than other French music (Corr. Litt., II., p. 346; III., p. 89); after 1764 he notes his increasing progress (III., p. 401; IV., p. 200), and praises him highly in 1768 (VI., p. 14). He was accused of stealing from Italian masters, but Grimm retorted that it required great talent to steal in such a way (V., p. 25; VI., p. 145). Later on Grimm considered that Philidor inclined too much to Gluck's manner (IX., p. 378; X., p. 358), and finally he declared that Philidor had grown feeble (XII., p. 468; XIII., p. 137).]

34 (return)
[ Tagebuch der Mannh. Schaub'., I., p. 264.]

35 (return)
[ Marmontel relates the affair more circumstantially (MÉm., IX.; Ouvr., II., p. 72).]

36 (return)
[ Grimm discusses this question after the manner of Diderot, on the production of "Le DÉserteur," the first comic opera of the kind (Corr. Litt., VI., p. 212). Madame du Deffand thought the exhibition of passion in "Le DÉserteur" of very doubtful propriety (Corr. inÉd., I., p. 175).]

37 (return)
[ Grimm condemns the "barbarous fashion" of mixing spoken dialogue and song in the comic opera, and asserts that there can be no great composers in France until real recitative is made use of (Corr. Litt., IV., p. 166; VI., pp. 120, 209).]

38 (return)
[ He has given a detailed account of his education, of the suggestions for his works and of his views on dramatic music in his MÉmoires ou Essais sur la Musique (Paris, 1789; Brussels 1829,1.-III.). The naÏvetÉ of intense vanity is apparent everywhere. His opinions show some power of observation, but are for the most part trivial and arbitrary.]

39 (return)
[ He describes his way of working to the celebrated physician Tronchin (MÉm., I., p. 21): "Je lis, je relis vingt fois les paroles que je veux peindre avec des sons; il me faut plusieurs jours pour Échauffer ma tÈte; enfin je perds l'appÉtit, mes yeux s'enflamment, l'imagination se monte, alors je fais un opÉra en trois semaines ou un mois." He maintains that this excitement is more likely to lead a composer aright than attention to rules ( I., pp. 168, 204).]

40 (return)
[ Prince Henry of Prussia paid him the most appropriate compliment in the words: "Vous avez le courage d'oublier que vous Êtes musicien pour Être poÈte" ( MÉm., I., p. 121, cf., p. 346).]

41 (return)
[ MÉm., I., p. 112.]

42 (return)
[ MÉm., I., pp. 141, 238; III., p. 144.]

43 (return)
[ MÉm., I., p. 169.]

44 (return)
[ MÉm., I., pp. 146, 170.]

45 (return)
[ MÉm., I., p. 231.]

46 (return)
[ He declared the French language to be the one best suited to music ( I., p. 400), although he does not conceal its difficulties ( I., p. 134), and demonstrates that France is destined to be pre-eminent in music.]

47 (return)
[ MÉm., I., p. 212; cf. pp. 224, 260.]

48 (return)
[ MÉm., I., p. 339; II., p. 45.]

49 (return)
[ MÉm., I., pp. 237, 375.]

50 (return)
[ MÉm., I., p. 356.]

51 (return)
[ MÉm., II., p. 10. He sometimes gave him good advice (I., p. 215) and GrÉtry embraced his views (III., p. 377).]

52 (return)
[ GrÉtry, MÉm., I., p. 270; cf. II., p. 331.]

53 (return)
[ Grimm says, after the performance of "Le Huron" (Corr. Litt., VI., p. 34): "M. GrÉtry est un jeune homme qui fait ici son coup d'essai; mais ce coup d'essai est le chef-d'ouvre d'un maÎtre, qui ÉlÈve l'auteur sans contradiction au premier rang." His praise of the "Lucile".]

54 (return)
[ Grimm, Corr. Litt., X., p. 228.]

55 (return)
[ GrÉtry, MÉm., I., p. 150.]

56 (return)
[ He himself examines the grounds on which his music has become naturalised in France, "sans me faire des partisans enthousiastes et sans exciter des ces disputes puÉriles, telles que nous en avons vu (MÉm., I., p. 169).]

57 (return)
[ It is almost comical to observe the pertinacity with which the Grand-OpÈra brought out its old pieces, to be as pertinaciously attacked by Grimm.]

58 (return)
[ A collection of Klopstock's odes, set to music by Gluck has often been published; he had the "Herrmannsschlacht" ready in his head, according to his habit, but it was never written out. For Gluck's intercourse with Klopstock in Karlsruhe. (see Strauss, Kl. Schr., p. 42. p. 122) and the "Tableau parlant" (VI., p. 251) was equally strong, and he accompanied it with a respectful and appreciative criticism.]

59 (return)
[ It is worthy of note how certain intellectual currents, running through an age, take simultaneous effect in different spheres. The tendency to individuality in art, to truth and nature, which was due to the encyclopedists, made itself manifest side by side with the principle of simple beauty which Winckelmann laid down as characteristic of ancient art.]

60 (return)
[ Planelli, Dell' Opera in Musica (Neap., 1772), p. 148, approves of Gluck's principles, and the latter praises Planelli's performance of "Alceste"; Vine. Manfredini (Regole Arm., p. 163) takes much exception to it.]

61 (return)
[ Schelle has (N. Ztschr. f. Mus., LIX., 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.]

62 (return)
[ MÉm. pour servir Ä l'Hist. de la rÉvolution opÉrÉe dans la Musique par Gluck, p. 8.]

63 (return)
[ Calsabigi retracted his opinion on the opera in the letter prefixed to his "Elfrida" in 1794. At that time he believed in Paesiello as the true philosophical composer.]

64 (return)
[ Berlioz rightly protests against Gluck's views (Voy. Mus., II., p. 269; X Travers Chants, p. 150). Cf. Hanslick, Vom Musikalisch-SchÖnen, p. 24.]

65 (return)
[ A. B. Marx, Musik des neunzehnten Jahrh., p. 82.]

66 (return)
[ Marx ibid., p. 183; he modified his opinion afterwards (Gluck u. d. Opera, II., p. 67. II.]

67 (return)
[ It failed in Naples in 1774 (Galiani, Corr. inÉd., II., p. 96).]

68 (return)
[ Count Durazzo had the score printed there; Favart tells him how highly Mondonville and Philidor thought of the opera. (Favart, MÉm., II., pp. 67, 102, 180).]

69 (return)
[ Sonnenfels, Briefe IIb. d. Wien. SchaubÜhne (Ges. Schr., V., p. 155; Hiller, WÖch. Nachr., 1768, p. 127). Riedel, Ueber die Musik des Ritter Gluck, p. IX.]

70 (return)
[ Allgem. deutsche Bibl., X., 2 p. 31. Nicolai, Reise, IV., p. 529. Reichardt relates (A. M. Z., XV., p. 612; Schletteier Reichardt, I., p. 264) that the King afterwards expressed himself in violent terms against Gluck. Cf. A. M. Z., III., p. 187.]

71 (return)
[ Agricola criticised "Alceste" in the Allgem. deutschen Bibliothek (X., 2 p. 29, XIV., 1 p. 3; also in Forkel's Musik. Krit. Bibl., I., p. 174) in a pedantic, trivial spirit, but not ill-naturedly.]

72 (return)
[ Calsabigi says that he wrote the libretti for "Semiramide" and "Iperm-nestra" on Gluck's commission, and they were afterwards taken as the foundation of Salieri's "Danaides" (Cramer, Magaz. d. Mus., I., p. 366; N. Ztschr, f. Mus. LIX., p. 42).]

73 (return)
[ This is correctly put forward by Marx ( Musik des neunzehnten Jahr-hunderts, p. 84).]

74 (return)
[ His admirable ballet music was slow in making its way in Paris; it was so confidently assumed that the French were the first masters in the world for ballet music, that a foreigner had to contend against much prejudice. La Harpe remarks that want of success in this respect was in Gluck's favour, for that his system, consistently carried out, would exclude ballet.]

75 (return)
[ Interesting details of this visit are given by Frz. M. Rudhart, Gluck in Paris (Munich, 1864).]

76 (return)
[ Burney, Reise, II., p. 253. Cf. Cramer's Magazin, 1783, p. 561.]

77 (return)
[ Madame de Genlis, MÉm., II., p. 248.]

78 (return)
[ A number of pamphlets and newspaper articles of this and following years are collected in MÉmoires pour servir Ä l'Histoire de la rÉvolution opÉrÉe dans la musique par M. le Chev. Gluck (Ä Naples et Ä Paris, 1781), partly translated by Siegmeyer: Ueber Gluck und seine Werke (Berlin, 1823). Here again the dispute is chiefly carried on by men of literary rather than musical knowledge (Madame de Genlis, MÉm., II., p. 250). The first favourable notices were at once translated by Riedel and published with an enthusiastic preface, Ueber die Musik des Ritters Gluck ( Vienna 1775). This called forth Forkel's criticism (Musik. Krit. Bibl., I., p. 53). He was incapable of appreciating Gluck's true greatness, and as partial and philistine as other Berlin critics of that day; he was spiteful besides; but some of his remarks are true enough. The personal animosity which Forkel afterwards threw into his attacks is quite repulsive.]

79 (return)
[ Grimm, Corr. Litt., VIII., p. 320.]

80 (return)
[ Grimm, Corr. Litt., VIII., p. 321; IX., pp. 34, 350.]

81 (return)
[ Grimm, Corr. Litt., VIII., pp. 321, 427; IX., p. 350.]

82 (return)
[ Grimm, Corr. Litt., VIII., p. 321. Garat, MÉm. sur M. Suard, II., p. 238. La Harpe, Corr. Litt., I., p. 86. Rudhart, Gluck in Paris, p. xo. A speaking testimony of his reverence for Gluck is the "RÉponse sur un morceau de l'OrphÉe de M. le Chev. Gluck," and the unfinished "Observations sur l'Alceste Italien de M. le Chev. Gluck," where some striking observations are made.]

83 (return)
[ Grimm, Corr. Litt., VIII., pp. 78, 322. When he remarked that Gluck influenced other composers, such as GrÉtry, he turned the full sharpness of his criticism upon them.]

84 (return)
[ Berlioz, À Travers Chants, p. 127.]

85 (return)
[ Mdlle. de l'Espinasse, in Stendsal, Vie de Rossini, p. 607. As might be expected, Grimm bestowed his highest praise upon "OrphÉe" (Corr. Litt., VIII., p. 390).]

86 (return)
[ Winterfeld, Zur G each. heil. Tonk., II., p. 308.]

87 (return)
[ Berlioz, Voy. Mus., II., p. 279; À Travers Chants, p. 142. Schelle, N. Ztschr. f. Mus., LV., p. 205. LVI., p. z.]

88 (return)
[ Galiani, Corr. inÉd., II., p. 106.]

89 (return)
[ Marmontel, MÉm. Litt., IX.; Ouvr., II., p. no.]

90 (return)
[ Grimm, Corr. Litt., IX., p. 348. Dorat describes very comically in an Irishman's letter the party-fight in the pit (Coup d'Oeil sur la LittÉr., I., p. 211). Amusing incidents were not wanting. At one concert a song by Gluck was announced; as it began the Piccinnists ostentatiously left the hall, and the Gluckists applauded noisily; it afterwards appeared that the song was by Jomelli (Grimm, Corr. Litt., X., p. 440).]

91 (return)
[ An account of the whole dispute from this side is given by Garat, MÉm. Hist, sur M. Suard, II., p. 231.]

92 (return)
[ Grimm, Corr. Litt., X., p. 34. Schelle, N. Ztschr. f. Mus., LV., p. 197.]

93 (return)
[ Grimm, Corr. Litt., IX., p. 352. Galiani, Corr. inÉd., II., p. 292.]

94 (return)
[ Marmontel, MÉm. Litt., IX.; Ouvr., II., p. 115. P. L. GinguenÉ, Not. sur Piccinni, p. 25.]

95 (return)
[ Grimm, Corr. Litt., IX., p. 352. Galiani, Corr. inÉd., II., p. 291.]

96 (return)
[ To Marie Antoinette's question as to whether his opera, "Armida," was finished, and how he liked it, Gluck is said to have answered composedly: "Madame, il est bientÖt fini, et vraiment ce sera superbe!" (Madame Campan, MÉm., 7 p. 131.)]

97 (return)
[ Grimm, Corr. Litt., IX., p. 428.]

98 (return)
[ Grimm, Corr. Litt., IX., p. 469.]

99 (return)
[ Grimm gives a minute and amusing account of all this.]

100 (return)
[ So Grimm says. His friendliness towards Piccinni is confirmed by Galiani (Corr. inÉd., II., p. 248), and Madame de Genlis (MÉm., II., p. 248). Cf. Gin-guenÉ, Not. sur Piccinni, p. 45]

101 (return)
[ Grimm, Corr. Litt., IX., p. 500; X., p. 23.]