Gluck's energetic determination, however, overcame these difficulties. As a director, he could rank with Handel in force, energy and insight. His contemporary, the contrabass Kämppfer, describes him as "a veritable tyrant who becomes enraged at the slightest failure and yields to vehement expressions of anger. Twenty, thirty repetitions do not suffice for the practised musicians of the chapel, among whom are certain virtuosos; they must produce the _ensemble_ effect. He is so brusque that they often refuse to obey, and only by the persuasion of the Emperor, 'You know it is his way, he means it not unkindly,' are they induced to play under him. They always require double pay; those who have been accustomed to receive one ducat, when _Gluck_ directs receive two. No fortissimo can be strong enough and no pianissimo weak enough for him at certain times. Yet it is quite curious how every emotion, the wild, the gentle and the sad is expressed in look and gesture." It is natural that even the most indolent was unable to resist the inspiring influence of such a leader, and even the bearer of the title-rôle, the male alto singer, Guadagni, willingly submitted to the master, and after each rehearsal was more disposed to agree with his ideas. The final success of the work was therefore established and actually after the fifth representation the last remnant of opposition disappeared and applause was unanimous. After the triumph gained by this first effort in the new direction, retraction for Gluck would naturally be supposed to be impossible. Yet he allowed five years to elapse which he filled with works of lesser worth, among others an opera by Metastasio, "Ezio," brought out in 1763, before he again appeared upon the battle-ground. This time he was armed with the opera "Alceste," given for the first time Dec. 16, 1767, in Vienna. In writing this work, after years of reserve, the master, in whose character prudence and extreme deliberation were marvellously balanced by courage and self-confidence, followed the French motto, "Reculer pour mieux sauter" ("look before you leap"); with a mighty bound he cleared the chasm between the old opera and that which agreed with his ideal, and that all doubt regarding his intention might be dispelled, his "Alceste" appeared with a preface which may be regarded as Gluck's confession of faith, and as such deserves special mention. This was addressed to the Grand Duke of Tuscany and the most important parts are as follows:--"In setting the opera of 'Alceste' to music I have resolved to avoid all those abuses which have crept into Italian opera through the mistaken vanity of singers and the unwise compliance of composers, and which have rendered it wearisome and ridiculous, instead of being, as it once was, the grandest and most imposing stage of modern times. I have endeavored to reduce music to its proper function, that of seconding poetry by enforcing the expression of sentiment and the