Note 30 — PROGRAMME MUSIC

It is significant that even the sturdy, independent Gluck too fell a victim to princely patronage in the very middle of his career. After striking out for himself in Telemacco (1749) and La Clemenza di Tito (1750), and apparently being well on the way to the reform of the opera, he became, in 1754, Kapellmeister at Vienna. From that date to 1762, when Orfeo was produced, he wrote, not like Gluck, but like a court servant. See a pithy paragraph on the subject in Mr. Hadow's book, The Viennese Period (vol. v. of the Oxford History of Music), p. 90.