Gluck

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CW von Gluck; Dudley Buck [Contributor] C WBiblio.com

O Saviour Hear Me! offertory for soprano or tenor in F with violin. Piano or organ duet

[GLUCK, Christoph Willibald 1714-1787]Biblio.com

Original portrait painting after the well known painting by Étienne Aubry 1745-1781 held at the Louvre in Paris. Oil on board. Unsigned

40422Paris 19th century. 61 x 47.3 cms with frame 69.5 x 56 cms. The composer is depicted bust-length turned 3/4 left facing forward wearing a red jacket blue waistcoat white collared blouse with lace and wig. For a fine full-page color illustration of the original held at the Louvre see MGG Vol. 5 plate 15. "Gluck was recognized as an extraordinary phenomenon in his lifetime as is evident from Burney's deferential treatment of the composer during his visit to Vienna in 1772. Shortly afterwards the controversy stirred in French journals resonated well beyond the capital to other countries. The daily cultural discourse of Paris concerned Gluck's 'musical revolution' a catch-phrase taken up by Gluck's opponents such as Jean-François Marmontel as well as by his defenders; in 1781 the 'revolution worked in music by M. le Chevalier Gluck' later dubbed the 'German Orpheus' was used as the title of a collection of pamphlets for and against Gluck with a heavy editorial bias in favour Lesure c1984. Although operas by Piccinni Salieri and especially Sacchini as well as French contemporaries such as Grétry continued alongside Gluck in the French repertoire beyond the Revolution and Empire revivals of Gluck constituted the principal touchstone of dramatic music into the 1820s when the last routine revivals were acclaimed by Berlioz. Opera composers including Salieri Lemoyne and Vogel in Paris were presented or presented themselves as his legitimate successors; elsewhere Mozart especially in Idomeneo and J.M. Kraus were strongly affected by Gluck's example in constructing scenes applying a dramatically motivated admixture of lyricism and more direct and declamatory vocal expression and sometimes in modelling as when the statue in Don Giovanni adopts the tone of the oracle in Alceste. After his death his direct effect can still be heard in Die Zauberflöte and in several French operas including those of Méhul Cherubini and Spontini. Among the Romantics he continued to inspire respect and from Berlioz and Wagner emulation. Berlioz supervised productions of Orphée and Alceste in Paris 1859 and 1866. In Orphée Berlioz created the basis for the version most used over the next century at least by restoring the Italian key-scheme in several scenes to accomodate the tessitura of the title role to a female singer; Pauline Viardot was the first in a line to include Giulia Ravoli Kathleen Ferrier Janet Baker and others although the French version with tenor retained some currency. Musicians close to Berlioz began to realize his ideal of a complete critical edition although only a handful of 'reform' operas were published. Wagner wrote about Gluck in Oper und Drama having learned much from deep study of Iphigénie en Aulide of which he made a modernized performing version Dresden 1847. In 1890 for Weimar Richard Strauss similarly adapted Iphigénie en Tauride. Such orchestrational revision and the melding of recitative and aria to blur Gluck's structure of closed forms represented a style of musical archaeology from which Handel and Mozart also suffered or in terms of public exposure benefited. The later 20th century witnessed not only numerous revivals of the reform operas some in musically authentic form and including the Vienna Orfeo but also a less one-sided critical view of Gluck became possible with the publication of a new critical edition and a revival of interest in works in other genres especially opéra comique and with Don Juan ballet. Winton Dean has observed that Gluck's compromise between the demands of words and music 'was one of the most satisfying and successful of all and has placed his greatest works beyond the reach of time' Grove6. None of Gluck's operas except Orfeo/Orphée is likely to become a staple work in the repertory; however to the extent that every production has the aspect of a revival continued interest in his achievement and consequently revival of an increasing proportion of his output is guaranteed so long as opera continues to occupy a central place in Western musical culture." Julian Rushton in Grove Music Online. unknown

J & J Lubrano Music Antiquarians LLC · États-Unis2 875,00 $US≈ 2 432,54 €

GLUCK, Christoph Willibald 1714-1787Biblio.com

Orphee et Euridice Tragédie Opera en trois Actes. Dédiée A La Reine . Representée pour la premiere fois par l'Academie Royale de Musique le Mardi 2 Aoust 1774. Les Parolles sont de Mr. Moline. Gravée par Madame Lobry Prix 48. Full score

177429643Paris: Lemarchand 1774. Folio. 19th century quarter dark brown leather-backed marbled boards spine in decorative compartments gilt titling gilt. 1f. recto title verso publisher's catalogue 1f. recto dedication verso argument 217 pp. With an inscription signed by the Canadian conductor Wilfrid Pelletier 1896-1982 to Italian conductor Tullio Serafin 1878-1968 dated New York 1928 to front flyleaf. Bass figurings added in manuscript to pp. 10-12 Act I scene 1; final page of music signed by the publisher Lemarchand. Binding worn; edges rubbed; spine split at joints and hinges; chipped at head and tail. Slightly worn and browned; title soiled with outer edge reinforced with paper tape; some minor staining; several repairs to inner margins; occasional small holes. First Edition variant issue. Hopkinson 41Af. Wotquenne 41. Lesure p. 240. RISM G2852 not distinguishing among issues. First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Lemarchand unknown

J & J Lubrano Music Antiquarians LLC · États-Unis1 668,00 $US≈ 1 411,29 €