We know, or, rather we used to know–for we are beginning to forget that there is an admirable edition of Gluck"s principal works. This edition was due to the interest of an unusual woman, Mlle. Fanny Pelletan, who devoted a part of her fortune to this real monument and to fulfill a wish Berlioz expressed in one of his works. Mlle. Pelletan was an unusually intelligent woman and an accomplished Mp3 Musician, but she needed some one to help her in this large and formidable task. She was unassuming and distrusted her own powers, so that she secured as a collaborator a German Mp3 Musician, named Damcke, who had lived in Paris a long time and who was highly esteemed. He gave her the moral support she needed and some bad advice as well, which she felt obliged to follow. This collaboration accounts for the change of the contralto parts to counter-tenors. It also accounts for the fact that in every instance the parts for the clarinets are indicated in C, in this way attributing to the author a formal intention he never had. Gluck wrote the parts for the clarinets without bothering whether the player–to whom he left a freedom of choice and the work of transposition–would use his instrument in C, B, or A. This method was not peculiar to Gluck. Other composers used it as well, and traces of it are found even in Auber"s works.