51:
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1897:(1934), p. 260: "Mon père, nous disoit-il, étoit maître des eaux et forêts à N... en Bohème; il m'avoit destiné à le remplacer un jour dans son poste. Dans mon pays tout le monde est musicien; on enseigne la musique dans les écoles et dans les moindres villages les paysans chantent et jouent des différens instrumens pendant la grand-messe dans leurs églises. Comme j'étois passionné pour cet art, je fis des progrès rapides. Je jouois de plusieurs instrumens, et le maître, en me distinguant des autres écoliers, me donna des leçons chez lui dans ses moments de loisir.
1420:
830:
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232:
452:. A childhood flight from home to Vienna is included in several contemporary accounts of Gluck's life, including Mannlich's, but some scholars have cast doubt on Gluck's picturesque tales of earning food and shelter by his singing as he travelled. Most now feel it is more likely that the object of Gluck's travels was not Vienna but Prague. Gluck's German biographer Hans Joachim Moser claimed in 1940 to have found documents showing Gluck matriculated in logic and mathematics at the
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of augmenting the interest of the fable; without interrupting the action, or chilling it with useless and superfluous ornaments; for the office of music, when joined to poetry, seemed to me, to resemble that of colouring in a correct and well disposed design, where the lights and shades only seem to animate the figures, without altering the out-line." On 11 September Burney went to see Gluck to say goodbye; Gluck was still in bed, as he used to work in the night.
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530:, wrote that Gluck grew up in a German-speaking area, and that Gluck learned to speak Czech, but did not need it in Prague and in his later life. Heartz writes: "More devious manoeuvres have been attempted by Gluck's German biographers of this century, while the French ones have, without exception, taken Salieri at his word. His German biographer Max Arend objected that not a single letter written in Czech can be found, to which
3987:
374:. He obtained additional employment in the vicinity of Weidenwang in 1715 as a forester in the service of Seligenporten Monastery, and after 1715, also with Plankstetten Abbey. In 1716 Alexander Gluck was cited for poor performance and warned he might be terminated. He sold his house in August 1717 and voluntarily left Erasbach near the end of September to take up employment as head forester in
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561:, taught Gluck "practical knowledge of all the instruments". Apparently, this relationship lasted for several years. Sammartini was not, primarily, a composer of opera, his main output being of sacred music and symphonies, but Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the
495:(1735). It is likely that the Lobkowitz family introduced Gluck to the Milanese nobleman Prince Antonio Maria Melzi, who engaged Gluck to become a player in his orchestra in Milan. The 65-year-old prince married the 16-year-old Maria Renata, Countess of Harrach, on 3 January 1737, and not long after returned with Gluck to Milan.
1041:, the singers were effectively absolute masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody. Gluck wanted to return opera to its origins, focusing on human drama and passions and making words and music of equal importance.
472:
Gluck eventually left Prague without taking a degree, and vanishes from the historical record until 1737. Nevertheless, the memories of his family and indirect references to this period in later documents give good grounds for believing Gluck arrived in Vienna in 1734, where he likely was employed by
1881:
relates that this assertion has been the subject of much debate. Gluck himself does not appear in the list of students, although one of his younger brothers does. All instruction was in Latin, and Gluck's failure to learn Latin, which he had to study later in life, argues against it (Heartz 1988, p.
443:
My father was forest master at N... in
Bohemia and he planned that eventually I should succeed him. In my homeland everyone is musical; music is taught in the schools, and in the tiniest villages the peasants sing and play different instruments during High Mass in their churches. As I was passionate
350:
that at that time also included
Erasbach. Gluck himself never used the name Willibald. The church in Weidenwang was consecrated to Saint Willibald (as was the entire Eichstätt diocese to which it belonged), and the name Willibald is frequently found in the baptismal register, often as a second name.
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visited Gluck, living in Sankt Marx. Burney thought Gluck's preface, in which Gluck gives his “reasons for deviating from the beaten track”, important enough to give it almost in its entirety: "It was my intention to confine music to its true dramatic province, of assisting poetical expression, and
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was also performed in the same year. The other major event of Gluck's stay in Prague was, on 15 September 1750, his marriage to Maria Anna Bergin, aged 18 years old, the daughter of a rich (but long-dead) Viennese merchant. Gluck seems to have spent most of 1751 commuting between Prague and Vienna.
1841:
During the
Lauenburg war of succession (1690–1693) the Habsburg emperor banned Anna Maria Franziska of Saxe-Lauenburg and her sister to Reichstadt and forced them to marry one of his generals in order to pay his debts to them. Franziska refused to marry Eugene of Savoy, accepted the next candidate
286:
Gluck's father, Alexander, was born in
Neustadt an der Waldnaab on 28 October 1683, one of four sons of Hans Adam Gluck who became foresters or gamekeepers. Alexander served in a contingent of about 50 soldiers under Philipp Hyazinth von Lobkowitz, the son of Ferdinand August von Lobkowitz, during
1759:
Croll & Croll 2014, p. 15. The record of ownership from the time it was built to the present is unbroken, and, although the house has been remodeled and modernized, it is believed to retain much of its original appearance. There is a plaque on the side of the house which reads: "Hier wurde am
538:
in
Hungarian were known either, but does this make him a German?" Hans Joachim Moser wanted a lyric work in Czech as proof. In fact, the music theorist Laurent Garcin, writing in 1770 (published 1772) before Gluck arrived in Paris, included Gluck in a list of several composers of Czech
1336:-like, with the title role transposed from the castrato to the tenor voice. This time Gluck's work was better received by the Parisian public. In the same year, Gluck returned to Vienna, where he was appointed composer to the imperial court (18 October 1774) after 20 years serving as
1773:
Croll & Croll 2014, p. 15. In the cited document he is named as "Jäger
Alexander Gluck zu Erasbach". According to Croll & Croll, a different house, located in Weidenwang, also designated by many as Gluck's birthplace is well documented and was built about ten years after his
212:(1779) was a great success and is often considered to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera, Gluck's mastery of the Parisian operatic scene was never absolute, and after the poor reception of his
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Although only half of his work survived after a fire in 1809, Gluck's musical legacy includes approximately 35 complete full-length operas plus around a dozen shorter operas and operatic introductions, as well as numerous ballets and instrumental works. His reforms influenced
351:
No documents contemporary with Gluck's life use the name
Willibald. Only in the 19th century did scholars begin using it to distinguish the composer from his father's brother Johann Christoph, born in 1700, whose baptism had earlier been confused with that of the composer.
740:
music", probably explains why Gluck did not remain long in Vienna despite the work's enormous popular success (it was performed 27 times to great acclaim). For the remainder of 1748 and 1749 Gluck travelled with
Mingotti's troupe, contracting a venereal disease from the
444:
about the art, I made rapid progress. I played several instruments and the schoolmaster, singling me out from the other pupils, gave me lessons at his house when he was off duty. I no longer thought and dreamt of anything but music; the art of forestry was neglected.
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to change his ways. The soprano
Arnould was replaced. He insisted that the chorus, too, had to act and become a part of the drama – that they could no longer just stand there posing stiffly and without expression while singing their lines. Gluck was assisted by
460:
and Renate Croll find this astonishing, and other biographers have been unable to find any documents supporting Moser's claim. At the time the
University of Prague boasted a flourishing musical scene that included performances of both Italian opera and
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took the role of Sextus. For Caffarelli Gluck composed the famous, but notoriously difficult, aria "Se mai senti spirarti sul volto", which provoked admiration and vituperation in equally large measures. Gluck later reworked this aria for his
341:
Although there is no documentary record with Gluck's birthdate at the time of his birth, he himself gave it as 2 July 1714 on an official document requested by Paris that he signed in 1785 in Vienna in the presence of the French ambassador
519:, expressed himself in German only with effort, and still more so in French and Italian." Salieri also mentions that Gluck mixed several languages when speaking: German, Italian and French, like Salieri himself. Gluck's first biographer,
820:
claimed that his fellow composers "should have been proud to have conceived and written ". Durante simultaneously declined to comment whether or not it was within the boundaries of the accepted compositional rules of the time.
1113:, which has never left the standard repertory, showed the beginnings of Gluck's reforms. His idea was to make the drama of the work more important than the star singers who performed it, and to do away with dry
1462:
and died a few hours later, at the age of 73. Usually, it is mentioned Gluck had several strokes and became paralyzed on his right side. Robl, a family doctor, had doubts as Gluck was still able to play his
157:
court at Vienna. There he brought about the practical reform of opera's dramaturgical practices for which many intellectuals had been campaigning. With a series of radical new works in the 1760s, among them
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had to return to basics and that all the various elements—music (both instrumental and vocal), ballet, and staging—must be subservient to the overriding drama. Several composers of the period, including
1783:
Croll & Croll 2010, p. 12. Other sources giving this date include Einstein 1936, p. 3; Brown & Rushton 2001. The authenticity of the 1785 document has been disputed by Robl 2015, pp. 141–147.
1637:; Heartz 1988, pp. 517–526. Sources differ concerning Gluck's nationality: Kuhn 2000, p. 272, and Croll 1991, p. 308, said he was German, while Brown & Rushton 2001 and Howard 2003 (p. xi) gave
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or "beautiful simplicity". The dances were arranged by Angiolini and the title role was taken by Guadagni, a catalytic force in Gluck's reform, renowned for his unorthodox acting and singing style.
1319:, and the "whole town" engaged in an argument between "Gluckists" and "Piccinnists". The composers themselves took no part in the polemics, but when Piccinni was asked to set the libretto to
718:, borrowed heavily from earlier works, and even from Gluck's teacher Sammartini. The success of this work brought Gluck to the attention of the Viennese court, and, ahead of such a figure as
545:(although such a work by Gluck has yet to be documented). A presentation by Irene Brandenburg classifying Gluck as a Bohemian composer was considered controversial by her German colleagues.
1512:(1781). He left behind a flourishing school of disciples in Paris, who would dominate the French stage throughout the Revolutionary and Napoleonic period. As well as Salieri, they included
633:, probably travelling to England via Frankfurt and in the company of the violinist Ferdinand Philipp Joseph von Lobkowitz, the son of Phillip Hyacinth. The timing was unfortunate, as the
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in September 1779, Gluck became dangerously ill. Since the opera itself was a failure, running for only 12 performances, Gluck decided to return to Vienna within two weeks. In that city
1391:, who had been Gluck's protégé since he arrived in Vienna in 1767, and later had made friends with Gluck. Gluck brought Salieri to Paris with him and bequeathed him the libretto for
949:. She sang during the family's evening gatherings, as she had a beautiful voice. All her brothers and sisters were involved in playing Gluck's music; on 24 January 1765 her brother
1405:. The opera was announced as a collaboration between the two composers; however, after the overwhelming success of its premiere on 26 April 1784, Gluck revealed to the prestigious
1842:
Gian Gastone, who came to the conclusion Reichstadt was a boring place to live. She refused to follow him to Florence, being more interested in horses and hunting than in him.
637:
had caused much panic in London, and for most of the year, the King's Theatre was closed. Six trio sonatas were the immediate fruits of his time. Gluck's two London operas (
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was likely to have been reasonably favorable. He also wrote operas for other cities of Northern Italy in between Carnival seasons, including Turin and Venice, where his
962:
In Spring 1774, she took under her patronage her former music teacher and introduced him to the Paris public. For that purpose, she asked him to compose a new opera,
1538:
may be seen as the culmination of the Gluckian tradition. Though Gluck wrote no operas in German, his example influenced the German school of opera, particularly
1988:: "Gluck, dessen Muttersprache die böhmisch war, drückte sich in der deutschen, und noch mehr in der französischen und italienischen, nur mit Mühe aus... ."
481:, is thought to have been Gluck's employer in Vienna from 1735 to 1736. Two operas with texts Gluck himself was later to set were performed during this period:
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Gluck's earliest known ancestor is his great-grandfather, Simon Gluckh von Rockenzahn, whose name is recorded in the marriage contract (1672) of his son, the
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between adherents of Italian and French opera, she asked the composer to set the libretto in French." To get to her goals she was assisted by the singers
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1340:. Over the next few years, the now internationally famous composer would travel back and forth between Paris and Vienna. He became friends with the poet
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About Gluck's mother, Maria Walburga, almost nothing is known, including her surname, but she probably grew up in the same area as she was named after
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had long lost its original freshness. Its jokes were threadbare and the repetition of the same characters made them seem no more than stereotypes. In
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took the title role. On this occasion Gluck's music was completely original, but the displeasure of the court poet, Metastasio, who called the opera "
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1603:
102:
772:. The main effect of this was that Gluck returned to Prague on a more consistent basis. For the Prague Carnival of 1750 Gluck composed a new opera,
1174:
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1761:
1641:; Hayes et al. 1992, p. 453, Bohemian-Austrian; and Harewood & Peattie 1997, p. 261, Austrian; G. Banat, p. 144 recognized him as Bavarian.
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577:, the opera opened the Milanese Carnival of 1742. According to one anecdote, the public would not accept Gluck's style until he inserted an
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346:. This has long been the commonly accepted date. He was baptized Christophorus Willibaldus on 4 July 1714 in the village of Weidenwang, a
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1951:
Howard 1995, p. 6; Heartz 1988, p. 522, citing Arnošt Mahler "Glucks Schulzeit. Zweifel und Widerspruche in den biographischen Daten,"
338:. The couple probably married around 1711. In 1713 Alexander built a house in Erasbach and by 12 September had taken possession of it.
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2.7.1714 der Komponist Christoph Willibald Gluck geboren" ("Here was born on 7/2/1714 the composer Christoph Willibald Gluck"); see a
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Gluck the Reformer. William Christie & John Eliot Gardiner feature in this documentary on the operas of Christoph Willibald Gluck
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Gluck had long pondered the fundamental problem of form and content in opera. He thought both of the main Italian operatic genres,
609:. Nearly all of his operas in this period were set to Metastasio's texts, despite the poet's dislike for his style of composition.
2124:
Banat, Gabriel (2006). The Chevalier de Saint-Georges : virtuoso of the sword and the bow. Hillsdale, N.Y.: Pendragon Press.
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control. Gluck's father had to reapply to retain his position and received no salary until after 1715, when he began receiving 20
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Auf den Spuren der Familie Gluck in den Dörfern Weidenwang und Erasbach Fallstricke und Lösungen der regionalen Gluck-Forschung
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424:) to take his final post, head forester to Prince Philipp Hyazinth von Lobkowitz. It is not sure if Christoph was sent to the
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764:: Maria Amalia (Apollo), Maria Elisabeth (Melpomene), Maria Josepha (Euterpe), Maria Karolina (Erato), Leopold (Harpsichord)
50:
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1325:, on which Gluck was also known to be working, Gluck destroyed everything he had written for that opera up to that point.
1307:. The premiere on 19 April 1774 sparked a huge controversy, almost a war, such as had not been seen in the city since the
698:
The years 1747 and 1748 brought Gluck two highly prestigious engagements. First came a commission to produce an opera for
507:, there has been considerable controversy concerning Gluck's native language. Gluck's protégé in Vienna, the Italian-born
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1443:. Gluck dominated the season's proceedings with 32 performances. On 23 March 1783 he seems to have attended a concert by
280:
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1144:
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relates in his memoirs, published in 1810, that Gluck told him about his early life in 1774. He quotes Gluck as saying:
291:, and, according to Gluck family tradition, rose to the level of gunbearer to the great general of the imperial forces,
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or piano in 1783. At a formal commemoration on 8 April 1788, his friend, pupil and successor Salieri conducted Gluck's
1071:, the head of the court theatre, and one of the primary instigators of operatic reform in Vienna ; the librettist
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by Christoph Willibald Gluck (music) and Pietro Metastasio (libretto). Performed on 24 January 1765 by the children of
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consisting of works by Gluck and an organ concerto by Handel, played by the composer. On 14 April Gluck played on a
1891:
Quoted and translated by Heartz 1988, p. 521, who cites and provides the French original: "Gluck à Paris en 1774",
343:
2537:
1297:, Gluck began to focus on France. Under the patronage of Marie Antoinette, who had married the future French King
477:. Philipp Hyazinth Lobkowitz, Gluck's father's employer, died on 21 December 1734, and his successor, his brother
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768:
In 1750 he abandoned Mingotti's group for another company established by a former member of the Mingotti troupe,
708:
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1630:
950:
876:
606:
263:). In its various spellings, it is repeatedly found in the records of Rokycany. Around 1675 Hans Adam moved to
2141:
980:. Gluck had gruff ways, demanding strict adherence from the cast when rehearsing. Gluck told the bass-bariton
4071:
3268:
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2007:
531:
487:
436:
259:). The family name Gluck (also spelled Gluckh, Klugh, Kluch, etc.) likely comes from the Czech word for boy (
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3222:
2184:
1698:
Prod'homme 1948 (1985), p. 17;Heartz 1988, p. 518; Brown & Rushton 2001; Croll2 & Croll 2014, p. 13.
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and the French (with rich chorus) into a unique synthesis, Gluck wrote eight operas for the Parisian stage.
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Gluck's Methods of Composition in his French Operas "Iphigénie en Aulide", "Orphée", "Iphigénie en Tauride"
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in 1770, Gluck signed a contract for six stage works with the management of the Paris Opéra. He began with
706:'s troupe, to celebrate a royal double wedding that would unite the ruling families of Bavaria and Saxony.
652:
554:
453:
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1915:
Howard 1995, pp. 2–3, provides commentary and an English translation of the entire excerpt from Mannlich.
1177:, an expert on music and mythology, pushing their innovations even further. Calzabigi wrote a preface to
1037:, the singing was devoted to superficial effects and the content was uninteresting and fossilised. As in
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Johann (Hans) Adam Gluck (c. 1649–1722) and grandfather of Christoph. 'Rockenzahn' is believed to be
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2020:
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659:– whom he later credited as a great influence on his style – and the naturalistic acting style of
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1985:
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647:), eventually performed in 1746, borrowed much from his earlier works. Gluck performed works by
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was delighted with Gluck melodic style. Marie Antoinette received a large share of the credit.
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The year 1752 brought another major commission to Gluck, when he was asked to set Metastasio's
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218:(1779), he left Paris in disgust and returned to Vienna to live out the remainder of his life.
31:
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1075:, who wanted to attack the dominance of Metastasian opera seria; the innovative choreographer
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Historische Drucke mit URN (Verbundkatalog mit Lokalbestand) / Briefe über die wienerische...
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397:, where Kinsky had increased his domains. The family moved to the forester's house in nearby
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17:
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851:, Metastasio gives a lesson on the different forms of theatre: pastoral, comedy and tragedy.
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2042:
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2797:, "From Garrick to Gluck: the Reform of Theatre and Opera in the Mid-Eighteenth Century",
8:
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796:(the specific libretto was the composer's choice) for the name day celebrations of King
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reflects cultural overlap between the Austrian court and the distant Chinese court. In
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655:, who both had worked in London. A more long-term benefit was exposure to the music of
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300:
2419:, edited by L. Macy (accessed 11 November 2007), grovemusic.com (subscription access).
2355:"Zur Überlieferung der Werke Christoph Willibald Glucks in Böhmen, Mähren und Sachsen"
891:. From that time on, Gluck used the title "Ritter von Gluck" or "Chevalier de Gluck".
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a more predominantly syllabic setting of the text to make the words more intelligible
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had enjoyed for much of the century. Gluck introduced more drama by using orchestral
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2580:(1988). "Coming of Age in Bohemia: The Musical Apprenticeships of Benda and Gluck",
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In Vienna Gluck wrote a few more minor works, spending the summer with his wife in
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for the court at Copenhagen, where he repeated his concert on the glassharmonica.
322:, constructed in 1713 by Gluck's father, where many believe the composer was born.
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was involved for the first time? The climax of Gluck's opéra comique writing was
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Prod'homme 1948 (1985), p. 20; Howard 1995, p. 1; Croll & Croll 2014, p. 18.
1729:; Prod'hommme 1948 (1985), p. 18; Heartz 1988, p. 518; Brown & Rushton 2001.
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2083:"The Glass Armonica, Benjamin Franklin's Magical Musical Invention: C.W. Gluck"
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663:, an English theatrical reformer. On 25 March, shortly after the production of
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Christoph Willibald Ritter von Gluck. Dessen Leben und tonkünstlerishes Wirken
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Heartz 1988, p. 522; Brown & Rushton, 2001; Croll & Croll 2014, p. 24.
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Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-siècle Paris
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729:
680:
660:
504:
457:
389:
On 1 April 1722 Alexander Gluck took a position as forest-master under Count
203:
188:
3038:
1351:
778:(again set to one of Metastasio's works, with the manuscript located at the
466:
276:
4015:
3991:
3822:
3715:
3710:
3553:
3506:
3142:
2750:
2553:
1602:
For a complete list of Gluck's works in order of Wq. catalogue number, see
1576:
1221:
and aria, declamatory and lyrical passages, with altogether less recitative
1186:
1134:
1118:
774:
688:
398:
195:
184:
2699:
2518:
1051:(1755) proved to be an inspiration for Gluck's reforms. He advocated that
335:
3760:
3725:
3605:
3580:
2789:
2666:
1547:
1534:
1316:
1025:
1019:
942:
895:
840:
535:
175:
2775:
2695:
2659:
Christoph Willibald Gluck : die Leistung, der Mann, das Vermächtnis
2556:(1992). "Gluck, Christoph Willibald", vol. 2, pp. 453–64, in
1064:, attempted to put these ideals into practice (and added more ballets).
299:
as a forester and hunter in the service of the monastery Seligenporten,
3884:
3827:
3538:
2835:
2379:
2185:"Position Papers: Seminar 1. Music: universal, national, nationalistic"
2045:; reproduced by Heartz 1988, p. 527; cited by Brown & Rushton 2001.
1218:
1148:
Set design for the première of the revised, French-language version of
1114:
574:
404:
180:
171:
133:; 2 July 1714 – 15 November 1787) was a composer of Italian and French
2648:
Ueber das Leben und die Werke des Anton Salieri, K.k. Hofkapellmeister
2589:
1481:
was given. His death opened the way for Mozart at court, according to
1067:
In Vienna, Gluck met like-minded figures in the operatic world: Count
3832:
3158:
1659:
1657:
1655:
1653:
1651:
1649:
1647:
1469:
1464:
1439:
and high blood pressure. In 1781, he brought out a German version of
1341:
1105:
by Calzabigi, set to music by Gluck. Gluck tried to achieve a noble,
865:
835:
683:, Soho. Handel's own experience of Gluck pleased that composer less:
311:
in 1711 or 1712 (his predecessor had been found shot in the forest).
268:
1275:
375:
3442:
2993:"Opera at the Crossroads of Tradition and Reform in Gluck's Vienna"
2988:, Essays Presented to Egon Wellesz" (Oxford, 1966), pp. 114–29
1591:
and the Orchestra & Coro Del Teatro Dell'Opera Di Roma in 1958
1508:
1432:
1237:
1196:
1181:, which Gluck signed, setting out the principles of their reforms:
1138:
1102:
1095:, but a more important work was soon to follow. On 5 October 1762,
1080:
805:
699:
589:
462:
429:
319:
308:
296:
244:
240:
74:
1644:
1089:
The first result of the new thinking was Gluck's reformist ballet
256:
2526:
1638:
1474:
1203:
648:
272:
146:
2674:
Collected correspondence and papers of Christoph Willibald Gluck
1423:
Gluck lived and died in the Wiedner Hauptstraße Nr. 32 in Vienna
584:
Nevertheless, Gluck composed an opera for each of the next four
465:. Gluck sang and played violin and cello, and also the organ at
420:
In 1727 Alexander moved with his family to Eisenberg (Jezeří in
3246:
2275:
Otto Mitchner (1970) Das alte Burgtheater als Opernbühne, p. 99
1444:
1360:
1333:
449:
347:
252:
115:
2601:
Gluck: An Eighteenth-Century Portrait in Letters and Documents
2425:(1991). "Gluck, Christoph", vol. 5, pp. 308–10, in
2954:
Rushton, J., "'Royal Agamemnon': The Two Versions of Gluck's
1458:
On 15 November 1787, lunching with friends, Gluck suffered a
1256:
946:
902:. In 1761 Gluck produced the groundbreaking ballet-pantomime
199:
134:
3986:
2690:. Paris: Société de'Éditions Françaises et Internationales.
2309:
1489:. On 29 September 1890, his remains were transferred to the
922:(1764). By that time, Gluck created musical drama, based on
2975:
Aspects of Gluckian Operatic Thought and Practice in France
1212:
938:
578:
412:
2716:
Christoph Willibald Gluck wurde doch in Weidenwang geboren
1984:
Quoted and translated by Heartz 1988, pp. 524–525, citing
595:
appearing in many of the performances, so the reaction to
2145:
1311:. Gluck's opponents brought the leading Italian composer
883:
was performed in Rome in February 1756, Gluck was made a
2142:
Encyclopédie Larousse en ligne – Melchior baron de Grimm
2063:
1860:
Croll & Croll 2014, p. 18; Brown & Rushton 2001.
1707:
Prod'homme 1948 (1985), p. 17; Brown & Rushton 2001.
937:
developed into a good musician. She learned to play the
2498:, English translation by Eric Blom, 1964. McGraw-Hill.
2980:
Sternfeld, F. W., "Expression and Revision in Gluck's
2541:. New York: G. P. Putnam's Sons. London: Ebury Press.
2335:"Gluck, Christoph Willibald Ritter von", at Wikisource
2216:
Charles Burney on Gluck's Reform of Opera Seria (1773)
1344:
in Karlsruhe. On 23 April 1776, the French version of
553:
In 1737 Gluck arrived in Milan, and was introduced to
498:
3963:
2194:
Faculty of Arts and Humanities, King's College London
1493:; a tomb was erected containing the original plaque.
1240:
that is linked by theme or mood to the ensuing action
926:, with more compassion, influencing the latest style
448:
In 1727 or 1728, when Gluck was 13 or 14, he went to
187:. His later operas have half the length of a typical
2672:
Mueller von Asov, Hedwig and E. H., editors (1963).
2032:
Moser 1940, pp. 20–21, cited by Heartz 1988, p. 525.
1975:
Howard 1995, pp. 8–9; Croll & Croll 2014, p. 27.
687:
reports Handel as saying that "he knows no more of
2253:
2251:
2055:
Mitteilungen der Internationalen Gluck-Gesellschaft
1814:
Croll & Croll 2014, p. 16; Heartz 1988, p. 518.
1689:
Heartz 1988, p. 517; Croll & Croll 2014, p. 13.
621:
Bust of Gluck, whose face was noticeably pockmarked
2864:Howard, P., "Gluck"s Two Alcestes: a Comparison",
2618:, Second Edition. New York and London: Routledge.
816:According to one account, the Neapolitan composer
667:, Handel and Gluck together gave a concert in the
511:, wrote in his memoirs (translated into German by
2962:, ed. M. Boyd (Cambridge, 1992), pp. 15–36.
2702:. 1985 revision by Marie Fauquet: Paris: Fayard.
2584:, vol. 6, no. 4 (Autumn, 1988), pp. 510–27.
2234:
2232:
1604:List of compositions by Christoph Willibald Gluck
855:Gluck finally settled in Vienna, where he became
839:(1973). The work is very much in the vein of the
4023:
2552:Hayes, Jeremy; Brown, Bruce Alan; Loppert, Max;
2248:
569:was performed on 26 December 1741, dedicated to
2899:. New York, 1956, 2/1989. Revised 1989 edition
2878:Howard, P., "Armide: a Forgotten Masterpiece",
2085:, at glassarmonica.com. Retrieved 8 June 2019 .
1247:praised Gluck's tremendous imagination and the
800:. The opera was performed on 4 November at the
2616:Christoph Willibald Gluck. A Guide to Research
2229:
2100:
1716:Brown & Rushton 2001; Heartz 1988, p. 518.
1676:
1674:
1672:
378:, serving the Duchess of Tuscany, the wealthy
267:in the service of Prince Ferdinand August von
3458:
3068:
3054:
581:in the lighter Milanese manner for contrast.
2799:Proceedings of the Royal Musical Association
2461:(2nd edition, in German). Kassel; New York:
2446:(in German). Kassel; New York: Bärenreiter.
997:attended the first performance on 19 April;
473:the Lobkowitz family at their palace in the
30:"Gluck" redirects here. For other uses, see
1669:
1611:List of operas by Christoph Willibald Gluck
1387:His musical heir in Paris was the composer
1315:to Paris to demonstrate the superiority of
307:. He took the vacant position of hunter in
226:
202:in November 1773. Fusing the traditions of
3465:
3451:
3061:
3047:
2914:. Dissertation, University of Oxford, 1979
2077:
2075:
1737:
1735:
625:In 1745 Gluck accepted an invitation from
271:, who possessed extensive landholdings in
49:
3023:International Music Score Library Project
2306:ANNO, Neue Freie Presse, 1890-09-29, p. 2
1957:, vol. 27 (1974), pp. 457–460.
1550:was not so far removed from Gluck's own.
247:, located in the central part of western
3019:Free scores by Christoph Willibald Gluck
3009:Free scores by Christoph Willibald Gluck
2413:"Gluck, Christoph Willibald, Ritter von"
2239:Opera – From the “reform” to grand opera
1418:
1350:
1274:
1255:. In 1769 Gluck performed his operas in
1175:João Carlos de Bragança (Duke de Lafões)
1143:
1008:
908:in collaboration with the choreographer
828:
751:
616:
515:), that "Gluck, whose native tongue was
411:
403:
382:, since 1708 separated from her husband
313:
230:
2816:. University of Rochester Press, 2013.
2072:
1732:
1665:"1. Ancestry, early life and training."
1635:"1. Ancestry, early life and training."
1609:For a detailed list of his operas, see
1528:. His greatest French admirer would be
1399:François-Louis Gand Le Bland Du Roullet
1328:On 2 August 1774 the French version of
1117:(recitativo secco, accompanied only by
14:
4092:Burials at the Vienna Central Cemetery
4024:
2457:Croll, Gerhard; Croll, Renate (2014).
2442:Croll, Gerhard; Croll, Renate (2010).
2390:Gluck and the French Theatre in Vienna
1293:As his operas were not appreciated by
1217:a blurring of the distinction between
1211:far less repetition of text within an
1101:was given its first performance, on a
953:directed one of Gluck's compositions,
875:for the eighth birthday of the future
722:, he was selected to set Metastasio's
605:was given during November 1744 at the
571:Otto Ferdinand von Abensberg und Traun
534:countered that "no letters written by
380:Anna Maria Franziska of Saxe-Lauenburg
3446:
3042:
2924:: the Operas of Gluck and Piccinni",
1121:) that broke up the action. In 1765,
1013:Title-page of the first printed score
629:to become house composer at London's
612:
128:
3472:
1411:that the work was wholly Salieri's.
879:the following year. After his opera
861:Prince Joseph of Saxe-Hildburghausen
295:. In 1711 Alexander settled outside
3311:(1765, unperformed in his lifetime)
2940:Rushton, J., "The Musician Gluck",
2828:Gluck and the Birth of Modern Opera
2801:, xciv (1967–68), pp. 111–27.
2535:; Peattie, Antony, editors (1997).
2374:. Berlin: Schuster & Loeffler.
1233:simpler, more flowing melodic lines
1004:
499:Question of Gluck's native language
55:Gluck playing his clavichord (1775)
24:
2977:(diss., Columbia University, 1970)
2757:
2654:at Bavarian State Library website.
2513:. Paris: Chez Vallat-la-Chapelle.
1199:displays of vocal agility or power
354:In the year of Gluck's birth, the
221:
25:
4103:
3002:
2944:, cxxvi (1987), pp. 615–18.
2854:, cviii (1967), pp. 892–94.
2676:, translated by Stewart Thomson (
2559:The New Grove Dictionary of Opera
2206:, sammlungen.ulb.uni-muenster.de.
2019:Heartz 1988, p. 525; Arend 1920,
1251:after attending a performance of
1129:, an influential article for the
894:Gluck turned his back on Italian
503:According to the music historian
170:, he broke the stranglehold that
27:German opera composer (1714–1787)
4052:18th-century classical composers
4009:
3997:
3985:
3973:
3947:
3938:
3937:
3425:
3424:
3360:
3267:
2930:, liii (1972), pp. 411–30.
2745:. Leipzig: Friedrich Fleischer.
2266:The Mozart Compendium, p. ?
1762:picture of the plaque at Commons
1566:
1173:(1770), dedicated to his friend
479:Johann Georg Christian Lobkowicz
344:Emmanuel Marie Louis de Noailles
130:[ˈkʁɪstɔfˈvɪlɪbaltˈɡlʊk]
4047:People from Neumarkt (district)
3483:List of Classical-era composers
2960:Music and the French Revolution
2868:, cxv (1974), pp. 642–93.
2680:. New York: St. Martin's Press.
2428:The New Encyclopædia Britannica
2344:
2328:
2315:
2299:
2290:
2278:
2269:
2260:
2220:
2209:
2197:
2178:
2169:
2160:
2151:
2135:
2118:
2109:
2088:
2048:
2035:
2026:
2013:
2010:; cited by Heartz 1988, p. 525.
2000:
1991:
1978:
1969:
1960:
1945:
1936:
1927:
1918:
1909:
1900:
1885:
1872:
1863:
1854:
1845:
1835:
1826:
1817:
1808:
1795:
1786:
1777:
1767:
1753:
1744:
1384:, had been performed 51 times.
251:(about 70 km southwest of
149:, both at the time part of the
2459:Gluck. Sein Leben, seine Musik
2444:Gluck. Sein Leben, seine Musik
2339:Allgemeine Deutsche Biographie
2243:Encyclopædia Britannica online
1942:Croll & Croll 2014, p. 25.
1832:Croll & Croll 2014, p. 17.
1823:Croll & Croll 2014, p. 16.
1792:Croll & Croll 2014, p. 12.
1750:Croll & Croll 2014, p. 14.
1719:
1710:
1701:
1692:
1683:
1680:Croll & Croll 2014, p. 13.
1623:
1374:Die unvermuthete Zusammenkunft
951:Leopold II, Holy Roman Emperor
607:Teatro San Giovanni Crisostomo
153:, he gained prominence at the
13:
1:
4062:Composers awarded knighthoods
2095:Wien Geschichte Wiki on Gluck
2023:; Prod'homme 1948, chapter 1.
1414:
1157:Gluck and Calzabigi followed
933:Under the teaching of Gluck,
437:Johann Christian von Mannlich
416:The Jesuit church in Chomutov
334:, the first bishop of nearby
235:Statue of Gluck in Weidenwang
183:and cutting the usually long
3013:Choral Public Domain Library
2784:(in German) (Leipzig, 1965)
2657:Moser, Hans Joachim (1940).
2284:H. C. Robbins Landon (1990)
1380:(1772), a German version of
555:Giovanni Battista Sammartini
386:, the last duke of Tuscany.
198:encouraged Gluck to move to
7:
4082:18th-century male musicians
2991:Youell, Amber Lynne (2012)
2770:(in German) (Munich, 1959)
2684:Prod'homme, Jacques-Gabriel
2630:Baker's Dictionary of Opera
2603:. Oxford: Clarendon Press.
2323:"7. Final years in Vienna."
869:for a festival in 1754 and
770:Giovanni Battista Locatelli
366:and brought Erasbach under
10:
4108:
4067:Classical-period composers
3135:La Semiramide riconosciuta
2538:The New Kobbé's Opera Book
2364:
2321:Brown & Rushton 2001,
1663:Brown & Rushton 2001,
1629:Brown & Rushton 2001,
1608:
1601:
1485:. Gluck was buried in the
1366:During the rehearsals for
995:Chevalier de Saint-Georges
725:La Semiramide riconosciuta
532:Jacques-Gabriel Prod'homme
29:
4032:Christoph Willibald Gluck
3917:
3872:
3851:
3815:
3794:
3489:
3480:
3420:
3397:
3379:
3127:Le nozze d'Ercole e d'Ebe
3094:
3076:
3070:Christoph Willibald Gluck
3029:Digital catalogue raisoné
2782:Christoph Willibald Gluck
2768:Christoph Willibald Gluck
2678:copy at Internet Archive)
2650:. Vienna: Wallishausser.
2614:Howard, Patricia (2003).
2599:Howard, Patricia (1995).
2582:The Journal of Musicology
2506:(1972 paperback edition).
2431:, 15th edition. Chicago.
2310:http://www.anno.onb.ac.at
2069:Brown & Rushton 2001.
1565:
1560:
1506:, particularly his opera
1496:
1191:no opportunity for vocal
1079:; and the London-trained
885:Knight of the Golden Spur
824:
709:Le nozze d'Ercole e d'Ebe
391:Philipp Joseph von Kinsky
364:War of Spanish Succession
305:Neumarkt in der Oberpfalz
289:War of Spanish Succession
283:in the Upper Palatinate.
275:as well as the county of
98:
82:
60:
48:
43:Christoph Willibald Gluck
41:
3175:L'innocenza giustificata
2509:Garcin, Laurent (1772).
2476:Cronin, Vincent (1989).
2190:18 November 2018 at the
2166:Heyer (ed.) 2009, p. 248
2081:William Zeitler (2009),
1616:
1553:
1487:Matzleinsdorfer Friedhof
1477:by the Italian composer
1355:Gluck in Paris 1777, by
1270:
843:so popular in its time.
745:and composing the opera
565:. There his first opera
548:
432:, 20 km southwest.
265:Neustadt an der Waldnaab
227:Ancestry and early years
194:The strong influence of
1435:). Gluck suffered from
1431:, famous for its wine (
1295:Frederick II of Prussia
804:, and the world-famous
756:Johann Franz Greipel –
573:. Set to a libretto by
384:Gian Gastone de' Medici
255:and 16 km east of
4077:18th-century composers
3880:Common practice period
2882:, xxx (1982), 572–76.
2686:(1948; revised 1985).
2644:Mosel, Ignaz Franz von
2632:. New York: Schirmer.
2372:Gluck, eine Biographie
2226:Mueller von Asow 1962.
2146:http://www.larousse.fr
1801:See also Schmid 1854,
1424:
1378:Die Pilgrime von Mekka
1363:
1290:
1154:
1014:
987:François-Joseph Gossec
852:
765:
622:
446:
417:
409:
323:
236:
32:Gluck (disambiguation)
3843:Turkish music (style)
3497:First Viennese School
3284:La rencontre imprévue
3119:La caduta de' giganti
2722:Robl, Werner (2015).
2713:Robl, Werner (2013).
2566:. London: Macmillan.
2533:Harewood, The Earl of
2286:The Mozart Compendium
2144:, Éditions Larousse,
1453:La Rencontre imprévue
1422:
1382:La rencontre imprévue
1354:
1309:Querelle des Bouffons
1278:
1245:Joseph von Sonnenfels
1147:
1073:Ranieri de' Calzabigi
1012:
999:Jean-Jacques Rousseau
970:Querelle des Bouffons
919:La rencontre imprévue
832:
814:Iphigénie en Tauride.
798:Charles VII of Naples
755:
640:La caduta de' giganti
620:
441:
435:The Alsatian painter
415:
407:
317:
234:
4072:Male opera composers
3890:Age of Enlightenment
3356:Iphigénie en Tauride
3276:Il trionfo di Clelia
3086:List of compositions
2995:, PhD dissertation,
2922:Iphigénie en Tauride
2661:. Stuttgart: Cotta.
2628:Kuhn, Laura (2000).
2511:Traité du mélo-drame
2478:Louis and Antoinette
2296:Robl 2013, pp. 50–54
2175:Lippman 2009, p. 171
2157:Thomas, 1995, p. 148
1906:Heartz 1988, p. 521.
1540:Carl Maria von Weber
1483:H. C. Robbins Landon
1441:Iphigénie en Tauride
1332:was performed, more
1262:On 2 September 1771
914:Jean-Georges Noverre
679:, a concert hall in
557:, who, according to
454:University of Prague
303:, and the mayors of
209:Iphigénie en Tauride
103:List of compositions
3802:Classical orchestra
3340:Iphigénie en Aulide
3207:La Cythère assiégée
3151:La clemenza di Tito
2997:Columbia University
2956:Iphigénie en Aulide
2927:Music & Letters
2732:Schmid, Anton Franz
2407:Brown, Bruce Alan;
2370:Arend, Max (1920).
2341:, 1879 (in German).
2115:Cronin 1989, p. 46.
2106:Cronin 1989, p. 45.
1546:, whose concept of
1455:by Gluck (Wq. 32).
1451:455, variations on
1304:Iphigénie en Aulide
1045:Francesco Algarotti
965:Iphigénie en Aulide
912:; the more radical
898:and began to write
802:Teatro di San Carlo
793:La clemenza di Tito
747:La contesa de' numi
720:Johann Adolph Hasse
563:Teatro Regio Ducale
488:La clemenza di Tito
111:Christoph Willibald
4087:Glass harp players
3292:Il Parnaso confuso
3223:Le diable à quatre
2480:. Collins Harvill
2417:Grove Music Online
1997:Mosel 1827, p. 93.
1966:Howard 1995, p. 6.
1954:Die Musikforschung
1933:Moser 1940, p. 24.
1869:Howard 1995, p. 1.
1425:
1364:
1291:
1155:
1049:Essay on the Opera
1015:
989:, director of the
968:. "Mindful of the
956:Il Parnaso confuso
877:Emperor Leopold II
853:
766:
758:Il Parnaso confuso
635:Jacobite Rebellion
623:
613:Travels: 1745–1752
593:Giovanni Carestini
586:Carnivals at Milan
521:Anton Franz Schmid
418:
410:
324:
301:Plankstetten Abbey
237:
77:, Upper Palatinate
3961:
3960:
3440:
3439:
3324:Le feste d'Apollo
3263:Orfeo ed Euridice
3239:L'ivrogne corrigé
3199:La fausse esclave
2968:978-0-521-08187-0
2942:The Musical Times
2905:978-0-520-06274-0
2866:The Musical Times
2851:The Musical Times
2708:978-2-213-01575-0
2638:978-0-02-865349-5
2624:978-0-415-94072-6
2609:978-0-19-816385-5
2592:. Also available
2572:978-1-56159-228-9
2504:978-0-07-019530-1
2486:978-0-00-272021-2
2471:978-3-7618-2378-1
2452:978-3-7618-2166-4
2437:978-0-85229-553-3
2402:978-0-19-316415-4
2386:Brown, Bruce Alan
2257:Robl 2013, p. 48.
2057:Nr. 2, July 1997
1986:Mosel 1827, p. 93
1894:La Revue musicale
1600:
1599:
1573:Orfeo ed Euridice
1330:Orfeo ed Euridice
1281:Zéphirin Belliard
1098:Orfeo ed Euridice
1077:Gasparo Angiolini
991:Concert Spirituel
974:Rosalie Levasseur
910:Gasparo Angiolini
889:Pope Benedict XIV
833:Carmen Lavani in
818:Francesco Durante
669:Haymarket Theatre
356:Treaty of Rastatt
161:Orfeo ed Euridice
151:Holy Roman Empire
108:
107:
16:(Redirected from
4099:
4057:Ballet composers
4014:
4013:
4012:
4002:
4001:
4000:
3990:
3989:
3978:
3977:
3976:
3969:
3951:
3941:
3940:
3474:Classical period
3467:
3460:
3453:
3444:
3443:
3428:
3427:
3405:Alfred Wotquenne
3369:Écho et Narcisse
3364:
3271:
3231:L'arbre enchanté
3063:
3056:
3049:
3040:
3039:
2973:Saloman, O. F.,
2740:
2492:Einstein, Alfred
2358:
2351:Daniela Philippi
2348:
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2332:
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2017:
2011:
2004:
1998:
1995:
1989:
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1976:
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1627:
1570:
1569:
1558:
1557:
1479:Niccolò Jommelli
1460:heart arrhythmia
1408:Journal de Paris
1403:baron de Tschudi
1369:Echo et Narcisse
1317:Neapolitan opera
1313:Niccolò Piccinni
1289:
1229:secco recitative
1084:Gaetano Guadagni
1058:Niccolò Jommelli
1005:Operatic reforms
935:Marie Antoinette
780:Lobkowicz Palace
677:Hickford's Rooms
588:, with renowned
559:Giuseppe Carpani
529:
395:Böhmisch Kamnitz
330:, the sister of
215:Echo et Narcisse
143:Upper Palatinate
139:classical period
132:
127:
89:
86:15 November 1787
70:
68:
53:
39:
38:
21:
4107:
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4098:
4097:
4096:
4022:
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4020:
4010:
4008:
3998:
3996:
3984:
3980:Classical music
3974:
3972:
3964:
3962:
3957:
3934:
3926:
3913:
3868:
3864:Galant Schemata
3847:
3838:Sensitive style
3811:
3795:Instrumentation
3790:
3524:Mannheim school
3485:
3476:
3471:
3441:
3436:
3416:
3393:
3375:
3332:Paride ed Elena
3215:L'île de Merlin
3090:
3072:
3067:
3005:
2830:. London, 1963
2760:
2758:Further reading
2734:
2409:Rushton, Julian
2394:Clarendon Press
2367:
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2198:
2192:Wayback Machine
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2018:
2014:
2005:
2001:
1996:
1992:
1983:
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1965:
1961:
1950:
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1614:
1607:
1581:Lisa Della Casa
1575:" performed by
1567:
1556:
1499:
1491:Zentralfriedhof
1417:
1389:Antonio Salieri
1283:
1273:
1170:Paride ed Elena
1127:"Poème lyrique"
1069:Giacomo Durazzo
1062:Tommaso Traetta
1007:
928:Sturm und Drang
827:
704:Pietro Mingotti
702:, performed by
615:
551:
542:opéras-comiques
523:
513:Ignaz von Mosel
509:Antonio Salieri
501:
483:Antonio Caldara
360:Treaty of Baden
332:Saint Willibald
293:Eugene of Savoy
229:
224:
222:Life and career
125:
94:
91:
87:
78:
72:
66:
64:
56:
44:
35:
28:
23:
22:
15:
12:
11:
5:
4105:
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4034:
4019:
4018:
4006:
3994:
3982:
3959:
3958:
3956:
3955:
3945:
3930:Romantic music
3927:
3919:
3918:
3915:
3914:
3912:
3911:
3910:
3909:
3908:
3907:
3902:
3897:
3882:
3876:
3874:
3870:
3869:
3867:
3866:
3861:
3859:Notes inégales
3855:
3853:
3849:
3848:
3846:
3845:
3840:
3835:
3830:
3825:
3819:
3817:
3813:
3812:
3810:
3809:
3807:String quartet
3804:
3798:
3796:
3792:
3791:
3789:
3788:
3783:
3778:
3773:
3768:
3763:
3758:
3753:
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3733:
3728:
3723:
3718:
3713:
3708:
3703:
3698:
3693:
3688:
3683:
3678:
3676:Martín y Soler
3673:
3668:
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3658:
3653:
3648:
3643:
3638:
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3628:
3623:
3618:
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3556:
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3531:
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3447:
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3434:
3421:
3418:
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3401:
3399:
3395:
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3392:
3391:
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3374:
3373:
3365:
3352:
3344:
3336:
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3320:
3312:
3304:
3296:
3288:
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3272:
3259:
3251:
3243:
3235:
3227:
3219:
3211:
3203:
3195:
3187:
3179:
3171:
3163:
3155:
3147:
3139:
3131:
3123:
3115:
3107:
3098:
3096:
3092:
3091:
3089:
3088:
3083:
3081:List of operas
3077:
3074:
3073:
3066:
3065:
3058:
3051:
3043:
3037:
3036:
3031:
3026:
3016:
3004:
3003:External links
3001:
3000:
2999:
2989:
2978:
2971:
2952:
2938:
2915:
2908:
2897:Opera as Drama
2893:Kerman, Joseph
2890:
2876:
2862:
2838:
2824:
2810:
2792:
2778:
2759:
2756:
2755:
2754:
2729:
2720:
2711:
2681:
2670:
2655:
2641:
2626:
2612:
2597:
2578:Heartz, Daniel
2575:
2550:
2530:
2507:
2489:
2474:
2455:
2440:
2423:Croll, Gerhard
2420:
2405:
2383:
2366:
2363:
2360:
2359:
2343:
2327:
2314:
2298:
2289:
2277:
2268:
2259:
2247:
2228:
2219:
2208:
2196:
2177:
2168:
2159:
2150:
2134:
2132:., p. 146-150.
2117:
2108:
2099:
2087:
2071:
2062:
2047:
2034:
2025:
2012:
1999:
1990:
1977:
1968:
1959:
1944:
1935:
1926:
1917:
1908:
1899:
1884:
1871:
1862:
1853:
1844:
1834:
1825:
1816:
1807:
1794:
1785:
1776:
1766:
1752:
1743:
1731:
1718:
1709:
1700:
1691:
1682:
1668:
1643:
1621:
1620:
1618:
1615:
1598:
1597:
1594:on Archive.org
1589:Pierre Monteux
1585:Roberta Peters
1563:
1562:
1561:External audio
1555:
1552:
1544:Richard Wagner
1530:Hector Berlioz
1498:
1495:
1429:Perchtoldsdorf
1416:
1413:
1272:
1269:
1264:Charles Burney
1242:
1241:
1234:
1231:
1222:
1215:
1209:
1206:
1200:
1189:
1123:Melchior Grimm
1006:
1003:
982:Henri Larrivée
978:Sophie Arnould
900:opéra comiques
826:
823:
762:Maria Theresia
715:festa teatrale
691:, as my cook,
685:Charles Burney
673:glassharmonica
631:King's Theatre
627:Lord Middlesex
614:
611:
550:
547:
500:
497:
475:Minoritenplatz
426:Jesuit college
328:Saint Walburga
228:
225:
223:
220:
145:and raised in
141:. Born in the
106:
105:
100:
96:
95:
92:
90:(aged 73)
84:
80:
79:
73:
62:
58:
57:
54:
46:
45:
42:
26:
9:
6:
4:
3:
2:
4104:
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4017:
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3993:
3988:
3983:
3981:
3971:
3970:
3967:
3954:
3950:
3946:
3944:
3936:
3935:
3932:
3931:
3925:
3924:
3923:Baroque music
3916:
3906:
3903:
3901:
3898:
3896:
3893:
3892:
3891:
3888:
3887:
3886:
3883:
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3821:
3820:
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3808:
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3800:
3799:
3797:
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3787:
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3782:
3779:
3777:
3774:
3772:
3769:
3767:
3764:
3762:
3759:
3757:
3754:
3752:
3749:
3747:
3744:
3742:
3741:Saint-Georges
3739:
3737:
3734:
3732:
3729:
3727:
3724:
3722:
3719:
3717:
3714:
3712:
3709:
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3699:
3697:
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3639:
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3619:
3617:
3614:
3612:
3609:
3607:
3604:
3602:
3599:
3597:
3594:
3592:
3589:
3587:
3584:
3582:
3579:
3577:
3574:
3572:
3571:C. P. E. Bach
3569:
3567:
3564:
3560:
3557:
3555:
3552:
3550:
3547:
3545:
3542:
3540:
3537:
3535:
3532:
3530:
3527:
3526:
3525:
3522:
3518:
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3513:
3510:
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3500:
3499:
3498:
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3488:
3484:
3479:
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3461:
3456:
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3449:
3448:
3445:
3433:
3432:
3423:
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3419:
3413:
3412:
3408:
3406:
3403:
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3396:
3390:
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3337:
3334:
3333:
3329:
3326:
3325:
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3313:
3310:
3309:
3305:
3302:
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3297:
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3270:
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3240:
3236:
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3228:
3225:
3224:
3220:
3217:
3216:
3212:
3209:
3208:
3204:
3201:
3200:
3196:
3193:
3192:
3191:Il re pastore
3188:
3185:
3184:
3180:
3177:
3176:
3172:
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2877:
2875:
2871:
2867:
2863:
2861:
2857:
2853:
2852:
2847:
2843:
2840:Howard, P., "
2839:
2837:
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2800:
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2598:
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2591:
2587:
2583:
2579:
2576:
2573:
2569:
2565:
2564:Stanley Sadie
2561:
2560:
2555:
2551:
2548:
2547:0-09-181410-3
2544:
2540:
2539:
2534:
2531:
2528:
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2516:
2512:
2508:
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2240:
2235:
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2200:
2193:
2189:
2186:
2181:
2172:
2163:
2154:
2147:
2143:
2138:
2131:
2130:1-57647-109-8
2127:
2121:
2112:
2103:
2096:
2091:
2084:
2078:
2076:
2066:
2056:
2051:
2044:
2041:Garcin 1772,
2038:
2029:
2022:
2016:
2009:
2006:Schmid 1854,
2003:
1994:
1987:
1981:
1972:
1963:
1956:
1955:
1948:
1939:
1930:
1921:
1912:
1903:
1896:
1895:
1888:
1880:
1879:Daniel Heartz
1875:
1866:
1857:
1848:
1838:
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1811:
1804:
1798:
1789:
1780:
1770:
1763:
1756:
1747:
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1736:
1728:
1725:Schmid 1854,
1722:
1713:
1704:
1695:
1686:
1677:
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1660:
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1586:
1582:
1578:
1574:
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1551:
1549:
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1537:
1536:
1532:, whose epic
1531:
1527:
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1515:
1511:
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1396:
1395:
1390:
1385:
1383:
1379:
1375:
1371:
1370:
1362:
1358:
1357:Étienne Aubry
1353:
1349:
1347:
1343:
1339:
1338:Kapellmeister
1335:
1331:
1326:
1324:
1323:
1318:
1314:
1310:
1306:
1305:
1300:
1296:
1287:
1282:
1277:
1268:
1265:
1260:
1258:
1254:
1250:
1246:
1239:
1235:
1232:
1230:
1226:
1223:
1220:
1216:
1214:
1210:
1207:
1205:
1201:
1198:
1194:
1193:improvisation
1190:
1188:
1187:da capo arias
1184:
1183:
1182:
1180:
1176:
1172:
1171:
1166:
1165:
1160:
1153:
1152:
1146:
1142:
1140:
1136:
1132:
1128:
1124:
1120:
1116:
1112:
1108:
1107:Neo-Classical
1104:
1100:
1099:
1094:
1093:
1087:
1085:
1082:
1078:
1074:
1070:
1065:
1063:
1059:
1054:
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1046:
1042:
1040:
1036:
1032:
1028:
1027:
1022:
1021:
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1000:
996:
992:
988:
983:
979:
975:
971:
967:
966:
960:
958:
957:
952:
948:
944:
940:
936:
931:
929:
925:
924:Greek tragedy
921:
920:
915:
911:
907:
906:
901:
897:
892:
890:
886:
882:
878:
874:
873:
868:
867:
862:
858:
857:Kapellmeister
850:
846:
842:
838:
837:
831:
822:
819:
815:
810:
807:
803:
799:
795:
794:
788:
785:
781:
777:
776:
771:
763:
759:
754:
750:
748:
744:
739:
738:archvandalian
735:
734:Vittoria Tesi
732:'s birthday.
731:
730:Maria Theresa
728:to celebrate
727:
726:
721:
717:
716:
711:
710:
705:
701:
696:
694:
690:
686:
682:
681:Brewer Street
678:
674:
670:
666:
662:
661:David Garrick
658:
654:
650:
646:
642:
641:
636:
632:
628:
619:
610:
608:
604:
603:
598:
594:
591:
587:
582:
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572:
568:
564:
560:
556:
546:
544:
543:
537:
533:
527:
522:
518:
514:
510:
506:
505:Daniel Heartz
496:
494:
490:
489:
484:
480:
476:
470:
468:
464:
459:
455:
451:
445:
440:
438:
433:
431:
427:
423:
422:Horní Jiřetín
414:
408:Jezeří Castle
406:
402:
400:
396:
392:
387:
385:
381:
377:
373:
369:
365:
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352:
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329:
321:
316:
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284:
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270:
266:
262:
258:
254:
250:
246:
242:
233:
219:
217:
216:
211:
210:
205:
204:Italian opera
201:
197:
192:
190:
189:baroque opera
186:
182:
178:
177:
173:
169:
168:
163:
162:
156:
152:
148:
144:
140:
137:in the early
136:
131:
123:
119:
117:
112:
104:
101:
97:
85:
81:
76:
63:
59:
52:
47:
40:
37:
33:
19:
3928:
3921:
3823:Galant music
3620:
3429:
3409:
3386:
3367:
3354:
3346:
3338:
3330:
3322:
3314:
3306:
3298:
3290:
3282:
3274:
3261:
3255:Le cadi dupé
3253:
3245:
3237:
3229:
3221:
3213:
3205:
3197:
3189:
3181:
3173:
3165:
3157:
3149:
3141:
3133:
3125:
3117:
3109:
3101:
3069:
3015:(ChoralWiki)
2985:
2981:
2974:
2959:
2955:
2941:
2925:
2921:
2911:
2910:Noiray, M.,
2896:
2879:
2865:
2849:
2845:
2841:
2827:
2826:Howard, P.,
2813:
2812:Gibbons, W.
2798:
2781:
2767:
2764:Abert, A. A.
2751:Google Books
2742:
2724:
2718:(in German).
2715:
2687:
2673:
2658:
2647:
2629:
2615:
2600:
2581:
2562:, edited by
2557:
2554:Dean, Winton
2536:
2510:
2495:
2477:
2458:
2443:
2426:
2389:
2371:
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2222:
2211:
2199:
2180:
2171:
2162:
2153:
2137:
2120:
2111:
2102:
2090:
2065:
2050:
2037:
2028:
2015:
2002:
1993:
1980:
1971:
1962:
1952:
1947:
1938:
1929:
1920:
1911:
1902:
1892:
1887:
1874:
1865:
1856:
1847:
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1819:
1810:
1797:
1788:
1779:
1769:
1755:
1746:
1721:
1712:
1703:
1694:
1685:
1631:Introduction
1625:
1593:
1577:Rise Stevens
1533:
1507:
1500:
1470:De profundis
1468:
1457:
1452:
1440:
1426:
1406:
1394:Les Danaïdes
1392:
1386:
1381:
1377:
1373:
1367:
1365:
1345:
1329:
1327:
1320:
1302:
1292:
1261:
1252:
1243:
1227:rather than
1178:
1168:
1162:
1158:
1156:
1149:
1131:Encyclopédie
1126:
1110:
1096:
1090:
1088:
1066:
1052:
1048:
1043:
1038:
1034:
1030:
1024:
1018:
1016:
963:
961:
954:
932:
917:
903:
893:
880:
870:
864:
854:
848:
844:
834:
813:
791:
789:
783:
773:
767:
757:
746:
742:
737:
723:
713:
707:
697:
664:
644:
638:
624:
600:
596:
583:
566:
552:
540:
502:
492:
486:
471:
447:
442:
434:
419:
399:Oberkreibitz
388:
353:
340:
325:
285:
260:
238:
213:
207:
196:French opera
193:
185:da capo aria
174:
165:
159:
121:
114:
110:
109:
88:(1787-11-15)
36:
4042:1787 deaths
4037:1714 births
3641:Hoffmeister
3611:Dittersdorf
2918:Rushton, J.
2780:Felix, W.,
2735: [
2728:. Berching.
2463:Bärenreiter
2059:(in German)
2008:pp. 389–390
1548:music drama
1535:Les Troyens
1447:who played
1348:was given.
1284: [
1225:accompanied
1167:(1767) and
1053:opera seria
1039:opera buffa
1035:opera seria
1031:Opera buffa
1026:opera seria
1020:opera buffa
943:harpsichord
896:opera seria
863:. He wrote
859:invited by
841:chinoiserie
743:prima donna
689:contrapunto
524: [
491:(1734) and
176:opera seria
172:Metastasian
71:2 July 1714
4026:Categories
3885:Classicism
3873:Background
3852:Techniques
3828:Intermezzo
3786:Zingarelli
3691:Mysliveček
3586:Boccherini
3576:J. C. Bach
3559:J. Stamitz
3554:C. Stamitz
3111:Ipermestra
3103:Demofoonte
2795:Heartz, D.
2392:. Oxford:
2380:HathiTrust
1741:Robl 2015.
1437:melancholy
1415:Last years
1219:recitative
1137:and opera
1125:published
1115:recitative
809:Caffarelli
784:Ipermestra
653:Lampugnani
602:Ipermestra
575:Metastasio
467:Týn Church
376:Reichstadt
362:ended the
277:Störnstein
181:recitative
67:1714-07-02
4004:Biography
3900:Economics
3833:Pastorale
3781:Wranitzky
3701:Paisiello
3686:L. Mozart
3591:Cherubini
3534:Cannabich
3502:Beethoven
3490:Composers
3308:La corona
3159:Le cinesi
2950:0027-4666
2936:0027-4224
2888:0030-3526
2874:0027-4666
2860:0027-4666
2822:1071-9989
2807:0080-4452
2700:692250253
2519:764008429
1571:Gluck's "
1518:Cherubini
1465:clavicord
1342:Klopstock
1299:Louis XVI
1279:Gluck by
1197:virtuosic
1139:librettos
866:Le cinesi
849:Le cinesi
845:Le cinesi
836:Le cinesi
597:Artaserse
567:Artaserse
493:Le cinesi
456:in 1731.
336:Eichstätt
318:House in
269:Lobkowitz
3943:Category
3920: ←
3736:Sacchini
3706:Piccinni
3661:Kreutzer
3656:Koželuch
3636:M. Haydn
3631:Gyrowetz
3601:Clementi
3596:Cimarosa
3581:G. Benda
3517:Schubert
3431:Category
3411:Chaconne
3388:Don Juan
3300:Telemaco
3183:Antigono
3167:La danza
2790:16770241
2741:(1854).
2667:10663283
2646:(1827).
2494:(1936).
2411:(2001).
2388:(1991).
2357:, p. 75.
2353:(2012),
2188:Archived
1639:Bohemian
1526:Spontini
1514:Sacchini
1509:Idomeneo
1473:, and a
1433:Heuriger
1238:overture
1204:melismas
1202:no long
1119:continuo
1103:libretto
1092:Don Juan
1081:castrato
945:and the
905:Don Juan
881:Antigono
872:La danza
806:castrato
700:Pillnitz
665:Artamene
645:Artamene
590:castrato
463:oratorio
430:Chomutov
368:Bavarian
358:and the
320:Erasbach
309:Erasbach
297:Berching
281:Neustadt
245:Rokycany
241:forester
155:Habsburg
75:Erasbach
3966:Portals
3933:→
3905:Physics
3766:Traetta
3746:Salieri
3731:Rosetti
3666:Krommer
3549:Richter
3398:Related
3359:(1779)
3316:Alceste
3266:(1762)
3025:(IMSLP)
3021:at the
3011:in the
2986:Alceste
2776:5996991
2696:5652892
2527:Gallica
2365:Sources
1475:Requiem
1346:Alceste
1253:Alceste
1249:setting
1179:Alceste
1164:Alceste
1151:Alceste
782:). His
649:Galuppi
458:Gerhard
273:Bohemia
249:Bohemia
167:Alceste
147:Bohemia
126:German:
3953:Portal
3816:Genres
3776:Wanhal
3771:Viotti
3716:Reicha
3711:Pleyel
3696:Neruda
3671:Kuhlau
3646:Hummel
3626:Gossec
3616:Dussek
3606:Czerny
3544:Fränzl
3512:Mozart
3380:Ballet
3372:(1779)
3351:(1777)
3348:Armide
3343:(1774)
3335:(1770)
3327:(1769)
3319:(1767)
3303:(1765)
3295:(1765)
3287:(1764)
3279:(1763)
3258:(1761)
3250:(1760)
3247:Tetide
3242:(1760)
3234:(1759)
3226:(1759)
3218:(1758)
3210:(1759)
3202:(1758)
3194:(1756)
3186:(1756)
3178:(1755)
3170:(1755)
3162:(1754)
3154:(1752)
3146:(1750)
3138:(1748)
3130:(1747)
3122:(1746)
3114:(1744)
3106:(1743)
3095:Operas
2966:
2948:
2934:
2903:
2886:
2872:
2858:
2846:Orphée
2836:699685
2834:
2820:
2805:
2788:
2774:
2706:
2694:
2665:
2636:
2622:
2607:
2590:763744
2588:
2570:
2545:
2517:
2502:
2484:
2469:
2450:
2435:
2400:
2128:
2043:p. 115
1774:birth.
1504:Mozart
1497:Legacy
1445:Mozart
1361:Louvre
1334:Rameau
1322:Roland
993:. The
941:, the
825:Vienna
657:Handel
450:Prague
372:gulden
348:parish
257:Pilsen
253:Prague
116:Ritter
93:Vienna
4016:Music
3992:Opera
3761:Spohr
3756:Soler
3751:Sarti
3681:Méhul
3651:Kraus
3621:Gluck
3507:Haydn
2982:Orfeo
2880:Opera
2842:Orfeo
2739:]
2688:Gluck
2586:JSTOR
2496:Gluck
2337:from
2021:p. 20
1882:520).
1803:p. 11
1727:p. 11
1617:Notes
1554:Works
1522:Méhul
1288:]
1271:Paris
1257:Parma
1161:with
1159:Orfeo
1135:lyric
1111:Orfeo
947:flute
693:Waltz
549:Italy
536:Liszt
528:]
517:Czech
200:Paris
135:opera
122:Gluck
99:Works
18:Gluck
3726:Rode
3721:Ries
3566:Abel
3539:Fils
3529:Beck
3143:Ezio
2984:and
2964:ISBN
2946:ISSN
2932:ISSN
2901:ISBN
2884:ISSN
2870:ISSN
2856:ISSN
2844:and
2832:OCLC
2818:ISSN
2803:ISSN
2786:OCLC
2772:OCLC
2747:Copy
2704:ISBN
2692:OCLC
2663:OCLC
2652:Copy
2634:ISBN
2620:ISBN
2605:ISBN
2594:here
2568:ISBN
2543:ISBN
2523:Copy
2515:OCLC
2500:ISBN
2482:ISBN
2467:ISBN
2448:ISBN
2433:ISBN
2398:ISBN
2376:Copy
2126:ISBN
1633:and
1542:and
1524:and
1401:and
1213:aria
1060:and
1023:and
976:and
939:harp
775:Ezio
712:, a
651:and
643:and
579:aria
287:the
261:kluk
164:and
83:Died
61:Born
3895:Art
2958:",
2920:, "
2848:",
2749:at
2525:at
2378:at
1397:by
1376:or
1236:an
1195:or
1185:no
1133:on
1047:'s
887:by
695:".
675:in
485:'s
428:in
393:in
118:von
4028::
2895:,
2766:,
2737:de
2698:,
2521:.
2465:.
2415:,
2396:.
2308:,
2250:^
2241:.
2231:^
2074:^
1734:^
1671:^
1646:^
1587:;
1583:;
1579:;
1520:,
1516:,
1449:KV
1359:,
1286:fr
1259:.
1141:.
1086:.
959:.
930:.
526:de
469:.
401:.
191:.
120:)
3968::
3466:e
3459:t
3452:v
3062:e
3055:t
3048:v
2970:.
2907:.
2809:.
2753:.
2710:.
2669:.
2640:.
2611:.
2596:.
2574:.
2549:.
2529:.
2488:.
2473:.
2454:.
2439:.
2404:.
2382:.
2325:.
2312:.
2245:.
2148:.
2097:.
1805:.
1764:.
1613:.
1606:.
279:-
124:(
113:(
69:)
65:(
34:.
20:)
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