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.
After Damcke's death Mlle.

Pelletan got me to help her in this work.

I wanted to change the method, but the edition would have lost its unity and she would not consent.