K.V. Gluck is a great opera composer who realized in the second half of the 18th century. reform of Italian opera seria and French lyric tragedy. The great mythological opera, which was experiencing an acute crisis, acquired in Gluck's work the qualities of a genuine musical tragedy, filled with strong passions, elevating the ethical ideals of fidelity, duty, and readiness for self-sacrifice. The appearance of the first reform opera "Orpheus" was preceded by long haul- the struggle for the right to become a musician, traveling, mastering various opera genres of that time. Gluck lived an amazing life, devoting himself entirely to musical theater.
Gluck was born into the family of a forester. The father considered the profession of a musician to be an unworthy occupation and in every possible way interfered with the musical hobbies of his eldest son. Therefore, while still a teenager, Gluck leaves home, wanders, dreams of getting a good education (by this time he graduated from the Jesuit college in Commotau). In 1731 Gluck entered the University of Prague. The student of the Faculty of Philosophy devoted a lot of time music lessons- took lessons from the famous Czech composer Boguslav of Montenegro, sang in the choir of the Church of St. Jacob. Wanderings in the vicinity of Prague (Gluck willingly played the violin and especially his favorite cello in traveling ensembles) helped him become more familiar with Czech folk music.
In 1735 Gluck, already established professional musician, travels to Vienna and enters service in the chapel of Count Lobkowitz. Soon, the Italian philanthropist A. Melzi offered Gluck the position of chamber musician in the court chapel in Milan. In Italy, Gluck's journey begins as opera composer; he became acquainted with the work of the greatest Italian masters and studied composition under the guidance of G. Sammartini. The preparatory stage lasted for almost 5 years; It was only in December 1741 that Gluck’s first opera, Artaxerxes (libr. P. Metastasio), was successfully staged in Milan. Gluck received numerous orders from the theaters of Venice, Turin, Milan and over the course of four years created several more opera seria (Demetrius, Poro, Demophon, Hypermnestra, etc.), which brought him fame and recognition among a fairly sophisticated and demanding Italian public.
In 1745 the composer toured London. The oratorios of G. F. Handel made a strong impression on him. This sublime, monumental, heroic art became the most important creative reference point for Gluck. A stay in England, as well as performances with the Italian opera troupe of the Mingotti brothers in major European capitals (Dresden, Vienna, Prague, Copenhagen) enriched the composer’s stock of musical impressions, helped to establish interesting creative contacts, and become better acquainted with various opera schools. Recognition of Gluck's authority in musical world he was awarded the Papal Order of the Golden Spur. “Cavalier Gluck” - this title stuck with the composer. (Let us recall the wonderful short story by T. A. Hoffmann “Cavalier Gluck.”)
A new stage in the composer’s life and work begins with his move to Vienna (1752), where Gluck soon took up the post of conductor and composer of the court opera, and in 1774 received the title of “actual imperial and royal court composer.” Continuing to compose opera seria, Gluck also turned to new genres. French comic operas (“The Island of Merlin”, “The Imaginary Slave”, “The Corrected Drunkard”, “The Fooled Cadi”, etc.), written to the texts of famous French playwrights A. Lesage, C. Favard and J. Seden, enriched the composer’s style with new intonations, compositional techniques, responded to the needs of listeners in directly vital, democratic art. Gluck's work in the ballet genre is of great interest. In collaboration with the talented Viennese choreographer G. Angiolini, the pantomime ballet “Don Giovanni” was created. The novelty of this performance - a genuine choreographic drama - is determined largely by the nature of the plot: not traditionally fairy-tale, allegorical, but deeply tragic, acutely conflicting, affecting eternal problems human existence. (The ballet script was written based on the play by J. B. Moliere.)
The most important event in the creative evolution of the composer and in the musical life of Vienna was the premiere of the first reform opera - “Orpheus” (1762), the Ancient Greek myth about the legendary singer Gluck and R. Calzabigi (author of the libr., like-minded person and constant collaborator of the composer in Vienna) interpreted in the spirit strict and sublime ancient drama. The beauty of Orpheus's art and the power of his love can overcome all obstacles - this eternal and always exciting idea lies at the heart of the opera, one of the composer's most perfect creations. In the arias of Orpheus, in the famous flute solo, also known in numerous instrumental versions under the name “Melody,” the composer’s original melodic gift was revealed; and the scene at the gates of Hades - the dramatic duel of Orpheus and the Furies - remained a remarkable example of the construction of a large operatic form in which absolute unity of musical and stage development was achieved.
“Orpheus” was followed by 2 more reform operas - “Alceste” (1767) and “Paris and Helen” (1770) (both in libr. Calzabigi). In the preface to Alceste, written on the occasion of the dedication of the opera to the Duke of Tuscany, Gluck formulated the artistic principles that guided him throughout creative activity. Without finding adequate support from the Viennese and Italian public. Gluck goes to Paris. The years spent in the capital of France (1773-79) were the time of the composer’s highest creative activity. Gluck writes and stages new reform operas at the Royal Academy of Music - “Iphigenia in Aulis” (libr. L. du Roullet based on the tragedy of J. Racine, 1774), “Armide” (libr. F. Kino based on T. Tasso’s poem “Jerusalem Liberated” ", 1777), "Iphigenia in Tauris" (libr. N. Gniar and L. du Roullet based on the drama by G. de la Touche, 1779), "Echo and Narcissus" (libr. L. Tschudi, 1779), reworks "Orpheus " and "Alceste", in accordance with the traditions of the French theater. Gluck's activities stirred up the musical life of Paris and provoked heated aesthetic discussions. On the composer’s side are French educators and encyclopedists (D. Diderot, J. Rousseau, J. D’Alembert, M. Grimm), who welcomed the birth of a truly high heroic style in opera; his opponents are adherents of the old French lyrical tragedy and opera seria. In an effort to shake Gluck's position, they invited him to Paris Italian composer N. Piccinni, who enjoyed European recognition at that time. The controversy between supporters of Gluck and Piccinni went down in the history of French opera under the name “wars of Gluckists and Piccinnistas.” The composers themselves, who treated each other with sincere sympathy, remained far from these “aesthetic battles.”
In the last years of his life in Vienna, Gluck dreamed of creating a German national opera based on the story of F. Klopstock “The Battle of Hermann”. However, serious illness and age prevented the implementation of this plan. During Glück's funeral in Vienna, his last work, “De profundls” (“From the abyss I cry...”) was performed for choir and orchestra. This unique requiem was conducted by Gluck's student A. Salieri.
A passionate admirer of his work, G. Berlioz, called Gluck “Aeschylus of Music.” The style of Gluck's musical tragedies - the sublime beauty and nobility of the images, the impeccability of taste and the unity of the whole, the monumentality of the composition based on the interaction of solo and choral forms - goes back to the traditions of ancient tragedy. Created during the heyday of the educational movement on the eve of the Great french revolution, they responded to the needs of the time for great heroic art. Thus, Diderot wrote shortly before Gluck’s arrival in Paris: “Let a genius appear who will establish true tragedy... on the lyrical stage.” Having set his goal “to expel from opera all those bad excesses against which common sense and good taste have been protesting in vain for a long time,” Gluck creates a performance in which all the components of dramaturgy are logically expedient and perform certain, necessary functions in the overall composition. “...I avoided demonstrating a heap of spectacular difficulties to the detriment of clarity,” says the dedication of “Alceste,” “and I did not attach any value to the discovery of a new technique if it did not flow naturally from the situation and was not associated with expressiveness.” Thus, the choir and ballet become full participants in the action; intonationally expressive recitatives naturally merge with arias, the melody of which is free from the excesses of a virtuoso style; the overture anticipates the emotional structure of the future action; relatively complete musical numbers are combined into large scenes, etc. Directed selection and concentration of means of musical and dramatic characterization, strict subordination of all parts of a large composition - these are Gluck’s most important discoveries, which were of great importance both for the renewal of operatic dramaturgy and for the establishment of new, symphonic thinking. (The heyday of Gluck's operatic creativity occurred at a time of intense development of large cyclic forms - symphony, sonata, concept.) An older contemporary of I. Haydn and W. A. Mozart, closely associated with the musical life and artistic atmosphere of Vienna. Glitch, and in the warehouse creative individuality, and in terms of the general direction of his searches he is adjacent precisely to the Viennese classical school. The traditions of Gluck’s “high tragedy” and the new principles of his dramaturgy were developed in opera art of the 19th century c.: in the works of L. Cherubini, L. Beethoven, G. Berlioz and R. Wagner; and in Russian music - M. Glinka, who extremely highly valued Gluck as the first among opera composers of the 18th century.
I. Okhalova
The son of a hereditary forester, with early years accompanies her father on his many moves. In 1731 he entered the University of Prague, where he studied vocal art and the game on various instruments. While in the service of Prince Melzi, he lives in Milan, takes composition lessons from Sammartini and stages a number of operas. In 1745 in London he met Handel and Arne and composed for the theater. Having become conductor of the Italian Mingotti troupe, he visits Hamburg, Dresden and other cities. In 1750 he married Marianne Pergin, the daughter of a wealthy Viennese banker; in 1754 he became conductor of the Vienna Court Opera and became part of the entourage of Count Durazzo, who managed the theater. In 1762, Gluck's opera Orpheus and Eurydice was successfully staged with a libretto by Calzabigi. In 1774, after several financial failures, he followed Marie Antoinette (to whom he was a music teacher), who became the French queen, to Paris and won the favor of the public despite the resistance of the Piccinnistas. However, upset by the failure of the opera “Echo and Narcissus” (1779), he leaves France and goes to Vienna. In 1781, the composer suffered from paralysis and stopped all activities.
The name of Gluck is identified in the history of music with the so-called reform of musical drama of the Italian type, the only one known and widespread in Europe during his time. He is considered not only a great musician, but above all the savior of the genre, distorted in the first half of the 18th century by the virtuoso embellishments of singers and the rules of conventional, machine-based librettos. Nowadays, Gluck's position no longer seems exceptional, since the composer was not the only creator of the reform, the need for which was felt by other opera composers and librettists, in particular Italian ones. In addition, the concept of the decline of musical drama cannot apply to the top works of the genre, but perhaps to low-quality works and less talented authors (it is difficult to blame such a master as Handel for the decline).
Be that as it may, prompted by the librettist Calzabigi and other members of the entourage of Count Giacomo Durazzo, manager of the Viennese imperial theaters, Gluck introduced a number of innovations into practice, which certainly led to major results in the field musical theater. Calzabigi recalled: “It was impossible for Mr. Gluck, who spoke our language [that is, Italian] poorly, to recite poetry. I read “Orpheus” to him and recited many fragments several times, emphasizing the shades of declamation, stops, slowing down, speeding up, sounds, sometimes heavy, sometimes smooth, which I wanted him to use in his composition. At the same time, I asked him to remove all the flourishes and cadences , ritornellos and everything barbaric and extravagant that has penetrated into our music.”
Christoph Willibald Gluck (German: Christoph Willibald Ritter von Gluck, July 2, 1714, Erasbach - November 15, 1787, Vienna) - Austrian composer, mainly operatic, one of the largest representatives musical classicism.
I. Chernyavsky (violin) and S. Kalinin (organ). Performing a melody from the opera Orpheus and Eurydice (3.56), Christoph Willibald Gluck (1714-1787). Kharkov House organ music, 2008.
The name of Gluck is associated with the reform of the Italian opera seria and French lyric tragedy in the second half of the 18th century, and if the works of Gluck the composer were not popular at all times, then the ideas of Gluck the reformer determined the further development opera house.
Born into the family of a forester...
Graduated from the Jesuit College...
Entered the Faculty of Philosophy at the University of Prague...
He took lessons from the Czech composer Boguslav Chernogorsky, sang in the choir of the Church of St. James, played the violin and cello in traveling ensembles...
Wrote 107 operas...
German composer. The largest opera reformer, representative of musical classicism. Author of 107 operas. Together with his like-minded poet and playwright Calzabigi (author of the libretto for a number of Gluck's most important works), Gluck attempted to update the opera seria. On this path, Gluck met fierce resistance from adherents of traditional Italian opera, led by Piccinni.
This artistic controversy entered into musical history as “the war of the Gluckists and the Piccinnists.” The main essence of the reform is the subordination of all means artistic expression dramatic concept, striving for naturalness. Gluck deepened the role of the orchestra, developed musical stages, and choirs. His achievements in the field of expressing human feelings cannot be overestimated. He abandoned the naked virtuosity of vocal parts in the name of expressiveness of the musical image.
The following operas by Gluck have the greatest reform significance: “Orpheus and Eurydice” (1762), “Alceste” (1767), “Paris and Helen” (1770, Vienna, libr. Calzabigi), “Iphigenia in Aulis” (1774), “Armide” "(1777), "Iphigenia in Tauris" (1779). Among Gluck’s comic operas, “An Unforeseen Meeting” (1764, Vienna, libr. L. Dancourt) stands out, anticipating in many ways (including in its Eastern Turkish flavor) “The Abduction from the Seraglio” by Mozart.
France played a big role in Gluck's life. It was here that a number of his main works were staged, including the 2nd ed. opera "Orpheus and Eurydice" (1774, Paris).
In Russia, the composer's work has always aroused interest. His operas have been performed on the Russian stage several times. Production of the opera "Orpheus and Eurydice" in 1868 ( Mariinsky Theater) listened to Berlioz, who gave an enthusiastic review of the performance. The production of the same opera at the Mariinsky Theater in 1911 (director Meyerhold, designer A. Golovin, conductor Napravnik, Sobinov performed the role of Orpheus) is recognized as historical. Let us also note the setting in Bolshoi Theater opera “Iphigenia in Aulis” (1983, conductor Ermler).
The discography of Gluck's operas is very extensive. The leading role in this area certainly belongs to the English conductor Gardiner, who recorded a number of the composer’s most significant works with the Lyon Opera Orchestra and the Monteverdi Chorus.
E. Tsodokov
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Biography of GLUCK Christoph Willibald (1714-87) - German composer. One of the most prominent representatives of classicism. Christoph Willibald Gluck was born into the family of a forester, was passionate about music since childhood, and since his father did not want to see his eldest son as a musician, Gluck, having graduated from the Jesuit college in Kommotau, left home as a teenager.
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Biography At the age of 14, he left his family, traveled, earning money by playing the violin and singing, then in 1731 he entered the University of Prague. During his studies (1731-34) he served as a church organist. In 1735 he moved to Vienna, then to Milan, where he studied with the composer G. B. Sammartini (c. 1700-1775), one of the largest Italian representatives of early classicism.
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In 1741, Gluck's first opera, Artaxerxes, was staged in Milan; then followed by the premieres of several more operas in different cities Italy. In 1845, Gluck received an order to compose two operas for London; in England he met G. F. Handel. In 1846-51 he worked in Hamburg, Dresden, Copenhagen, Naples, and Prague.
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In 1752 he settled in Vienna, where he took the position of accompanist, then bandmaster at the court of Prince J. Saxe-Hildburghausen. In addition, he composed French comic operas for the imperial court theater and Italian operas for palace entertainment. In 1759, Gluck received an official position in the court theater and was soon awarded a royal pension.
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Fruitful collaboration Around 1761, Gluck began collaborating with the poet R. Calzabigi and choreographer G. Angiolini (1731-1803). In their first joint work, the ballet Don Juan, they managed to achieve amazing artistic unity of all components of the performance. A year later, the opera “Orpheus and Eurydice” appeared (libretto by Calzabigi, dances choreographed by Angiolini) - the first and best of Gluck’s so-called reform operas.
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In 1764, Gluck composed the French comic opera An Unforeseen Meeting, or Pilgrims from Mecca, and a year later two more ballets. In 1767, the success of “Orpheus” was consolidated by the opera “Alceste”, also with a libretto by Calzabigi, but with dances staged by another outstanding choreographer - J.-J. Noverra (1727-1810). The third reform opera, Paris and Helena (1770), had more modest success.
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In Paris In the early 1770s, Gluck decided to apply his innovative ideas to French opera. In 1774, Iphigenia in Aulis and Orpheus, a French version of Orpheus and Eurydice, were staged in Paris. Both works received an enthusiastic reception. Gluck's series of Parisian successes was continued by the French edition of Alceste (1776) and Armide (1777).
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Last piece served as a reason for a fierce polemic between the “Gluckists” and supporters of traditional Italian and French opera, which was personified by the talented composer of the Neapolitan school N. Piccinni, who came to Paris in 1776 at the invitation of Gluck’s opponents. Gluck's victory in this controversy was marked by the triumph of his opera “Iphigenia in Tauris” (1779) (however, the opera “Echo and Narcissus” staged in the same year failed).
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In the last years of his life, Gluck carried out the German edition of Iphigenia in Tauris and composed several songs. His last work was the psalm De profundis for choir and orchestra, which was performed under the direction of A. Salieri at Gluck’s funeral.
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Gluck's contribution In total, Gluck wrote about 40 operas - Italian and French, comic and serious, traditional and innovative. It was thanks to the latter that he secured a strong place in the history of music. The principles of Gluck's reform are set out in his preface to the publication of the score of Alceste (written, probably with the participation of Calzabigi).
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Recent years On September 24, 1779, the premiere of Gluck's last opera, Echo and Narcissus, took place in Paris; however, even earlier, in July, the composer was struck by a serious illness that resulted in partial paralysis. In the autumn of the same year, Gluck returned to Vienna, which he never left. Arminius,” but these plans were not destined to come true[. Anticipating his imminent departure, around 1782 Gluck wrote “De profundis” - short essay for a four-voice choir and orchestra on the text of Psalm 129, which was performed by his student and follower Antonio Salieri at the composer’s funeral on November 17, 1787. The composer died on November 15, 1787 and was initially buried in the church cemetery of the suburb of Matzleinsdorf; later his ashes were transferred to the Vienna Central Cemetery[
Christoph Willibald Gluck
The famous 18th century composer Christoph Willibald Gluck, one of the reformers of classical opera, was born on July 2, 1714 in the city of Erasbach, located near the border of the Upper Palatinate and the Czech Republic.
The composer's father was a simple peasant who, after several years of military service, joined Count Lobkowitz as a forester. In 1717, Gluck's family moved to the Czech Republic. Years of living in this country could not but affect the work of the famous composer: in his music one can discern the motifs of Czech folklore.
The childhood of Christoph Willibald Gluck cannot be called cloudless: the family often did not have enough money, and the boy was forced to help his father in everything. However, difficulties did not break the composer; on the contrary, they contributed to the development of vital stamina and perseverance. These character qualities turned out to be indispensable for Gluck when implementing reform ideas.
In 1726, at the age of 12, Christoph Willibald began his studies at the Jesuit College of the city of Komotau. The rules for this educational institution, imbued with blind faith in the dogmas of the church, provided for unconditional submission to superiors, but young talent it was difficult to keep myself within limits.
The positive aspects of Gluck’s six-year training at the Jesuit college can be considered the development of vocal abilities, mastery of such musical instruments, like clavier, organ and cello, Greek and Latin languages, as well as a passion for ancient literature. At a time when the main theme of operatic art was Greek and Roman antiquity, such knowledge and skills were simply necessary for an opera composer.
In 1732, Gluck entered the University of Prague and moved from Komotau to the capital of the Czech Republic, where he continued his music education. With money from young man it was still tight. Sometimes, in search of income, he went to the surrounding villages and entertained local residents by playing the cello; quite often, the future musical reformer was invited to weddings and folk holidays. Almost all the money earned in this way went towards food.
Christoph Willibald Gluck's first real music teacher was outstanding composer and organist Boguslav Chernogorsky. The young man’s acquaintance with the “Czech Bach” took place in one of the Prague churches, where Gluck sang in the church choir. It was from Chernogorsky that the future reformer learned what general bass (harmony) and counterpoint were.
Many researchers of Gluck's work mark 1736 as the beginning of his professional career. musical career. Count Lobkowitz, on whose estate the young man spent his childhood, showed genuine interest in the extraordinary talent of Christoph Willibald. Soon an important event occurred in Gluck's life: he received the position of chamber musician and chief singer of the Viennese chapel of Count Lobkowitz.
Swift musical life Vienna completely absorbed the young composer. Acquaintance with the famous playwright and librettist of the 18th century Pietro Metastasio resulted in Gluck writing his first operatic works, which, however, did not receive much recognition.
The next stage in the work of the young composer was a trip to Italy, organized by the Italian philanthropist Count Melzi. For four years, from 1737 to 1741, Gluck continued his studies in Milan under the guidance of the famous Italian composer, organist and conductor Giovanni Battista Sammartini.
The result of the Italian trip was Gluck's passion for opera seria and writing musical works based on texts by P. Metastasio (“Artaxerxes”, “Demetrius”, “Hypermnestra”, etc.). None of early works Gluck has not survived to this day in full version, nevertheless, individual fragments of his works allow us to judge that even then the future reformer noticed a number of shortcomings in traditional Italian opera and tried to overcome them.
Signs of things to come opera reform manifested to the greatest extent in “Hypermnestra”: this desire to overcome external vocal virtuosity, increase the dramatic expressiveness of recitatives, the organic connection of the overture with the content of the entire opera. However, the creative immaturity of the young composer, who had not yet fully realized the need to change the principles of writing an operatic work, did not allow him to become a reformer in those years.
Nevertheless, there is no insurmountable gap between Gluck's early and later operas. In the compositions of the reformist period, the composer often introduced melodic turns of early works, and sometimes used old arias with new text.
In 1746, Christoph Willibald Gluck moved to England. He wrote the operas seria “Artamena” and “The Fall of the Giants” for high society in London. The meeting with the famous Handel, in whose works there was a tendency to go beyond the standard scheme of serious opera, became a new stage in creative life Gluck, who gradually realized the need for operatic reform.
To attract the capital's audience to his concerts, Gluck resorted to external effects. Thus, in one of the London newspapers on March 31, 1746, an announcement was given with the following content: “In big hall city of Gickford, on Tuesday, April 14, 1746, Gluck, an opera composer, will give music concert with the participation of the best opera artists. By the way, he will perform, accompanied by an orchestra, a concert for 26 glasses tuned with spring water...”
From England, Gluck went to Germany, then to Denmark and the Czech Republic, where he wrote and staged operas seria, dramatic serenades, and worked with opera singers and as a conductor.
In the mid-1750s, the composer returned to Vienna, where he received an invitation from the intendant of the court theaters, Giacomo Durazzo, to begin work in the French theater as a composer. In the period from 1758 to 1764, Gluck wrote a number of French comic operas: “The Island of Merlin” (1758), “The Corrected Drunkard” (1760), “The Fooled Cadi” (1761), “An Unexpected Meeting, or the Pilgrims of Mecca” ( 1764) etc.
Work in this direction had a significant influence on the formation of Gluck's reformist views: an appeal to the true origins of folk song and the use of new everyday subjects in classical art led to the growth of realistic elements in musical creativity composer.
Gluck's legacy includes more than just operas. In 1761, on the stage of one of Viennese theaters The pantomime ballet “Don Juan” was staged - a joint work of Christoph Willibald Gluck and famous choreographer XVIII century Gasparo Angiolini. Characteristics this ballet was a dramatization of the action and expressive music, conveying human passions.
Thus, ballet and comic operas became the next step on Gluck’s path to the dramatization of the art of opera, to the creation of musical tragedy, the crown of all the creative activity of the famous composer-reformer.
Many researchers consider the beginning reform activities Gluck's rapprochement with the Italian poet, playwright and librettist Raniero da Calzabigi, who contrasted the courtly aesthetics of Metastasio's works, subordinate to standard canons, with simplicity, naturalness and freedom compositional construction conditioned by the development of the dramatic action itself. Choosing ancient subjects for his librettos, Calzabigi filled them with high moral pathos and special civil and moral ideals.
Gluck's first reform opera, written to the text of a like-minded librettist, was Orpheus and Eurydice, staged at the Vienna Opera House on October 5, 1762. This work is known in two editions: the Viennese (in Italian) and the Parisian (in French), supplemented by ballet scenes, completing the first act with Orpheus’s aria, re-orchestration of certain places, etc.
A. Golovin. Scenery sketch for K. Gluck's opera "Orpheus and Eurydice"
The plot of the opera, borrowed from ancient literature, is as follows: the Thracian singer Orpheus, who had amazing voice, wife Eurydice died. Together with his friends, he mourns his beloved. At this time, Cupid, who unexpectedly appeared, declares the will of the gods: Orpheus must descend to the kingdom of Hades, find Eurydice there and bring her to the surface of the earth. The main condition is that Orpheus must not look at his wife until they leave the underworld, otherwise she will remain there forever.
This is the first act of the work, in which the sad choirs of shepherds and shepherdesses, together with the recitatives and arias of Orpheus mourning his wife, form a harmonious compositional number. Thanks to repetition (chorus music and aria legendary singer are performed three times) and tonal unity creates a dramatic scene with end-to-end action.
The second act, consisting of two scenes, begins with Orpheus entering the world of shadows. Here the singer’s magical voice calms the anger of the formidable furies and spirits of the underworld, and he freely passes into Elysium, the habitat of blissful shadows. Having found his beloved and without looking at her, Orpheus brings her to the surface of the earth.
In this action, the dramatic and ominous nature of the music is intertwined with a gentle, passionate melody, demonic choirs and frantic dancing of the furies give way to a light, lyrical ballet of blissful shadows, accompanied by an inspired flute solo. The orchestral part in Orpheus's aria conveys the beauty of the surrounding world, filled with harmony.
The third act takes place in a gloomy gorge, along which main character, without turning around, leads his beloved. Eurydice, not understanding her husband’s behavior, asks him to look at her at least once. Orpheus assures her of his love, but Eurydice doubts. The look Orpheus casts at his wife kills her. The singer's suffering is endless, the gods take pity on him and send Cupid to resurrect Eurydice. A happily married couple returns to the world of living people and, together with their friends, glorifies the power of love.
Frequent change musical tempo contributes to the creation of the excited character of the work. Orpheus's aria, despite its major key, is an expression of grief over the loss of a loved one, and maintaining this mood depends on the correct execution, tempo and character of the sound. In addition, Orpheus' aria appears to be a modified major reprise of the first chorus of the first act. Thus, the intonation “arch” thrown across the work preserves its integrity.
The musical and dramatic principles outlined in “Orpheus and Eurydice” were developed in the subsequent operatic works of Christoph Willibald Gluck - “Alceste” (1767), “Paris and Helen” (1770), etc. The composer’s work of the 1760s reflected the peculiarities the Viennese language that was taking shape at that time classic style, finally formed in the music of Haydn and Mozart.
In 1773 it began new stage in Gluck's life, marked by a move to Paris, the center of European opera. Vienna did not accept the composer’s reform ideas, set out in the dedication to the score of “Alceste” and providing for the transformation of the opera into a musical tragedy, imbued with noble simplicity, drama and heroism in the spirit of classicism.
Music was supposed to become only a means of emotional revelation of the souls of the heroes; arias, recitatives and choruses, while maintaining their independence, were combined into large dramatic scenes, and the recitatives conveyed the dynamics of feelings and indicated transitions from one state to another; the overture should reflect the dramatic idea of the entire work, and the use ballet scenes motivated by the course of the opera.
The introduction of civic motifs into ancient subjects contributed to the success of Gluck's works among advanced French society. In April 1774, the first production of the opera “Iphigenia in Aulis” was shown at the Royal Academy of Music in Paris, which fully reflected all of Gluck’s innovations.
A continuation of the composer’s reform activities in Paris were the productions of the operas “Orpheus” and “Alceste” in a new edition, which led to theatrical life the French capital is in great excitement. For a number of years, disputes continued between supporters of the reformist Gluck and the Italian opera composer Niccolo Piccini, who stood on the old positions.
The last reform works of Christoph Willibald Gluck were Armida, written on a medieval plot (1777), and Iphigenia in Tauris (1779). The production of Gluck's last mythological fairy tale-opera, Echo and Narcissus, was not a great success.
The last years of the life of the famous composer-reformer were spent in Vienna, where he worked on writing songs based on texts by various composers, including Klapstock. A few months before his death, Gluck began to write the heroic opera “The Battle of Arminius”, but his plan was not destined to come true.
The famous composer died in Vienna on November 15, 1787. His work influenced the development of everything musical art, including opera.
This text is an introductory fragment.Date of birth: July 2, 1714.
Date of death: November 15, 1787.
Place of birth: Erasbach, Bavaria.
Gluck Christoph Willibald- a famous composer who worked in Austria. Also Christoph Gluck known as a reformer of Italian opera.
Christophe was born in Bavaria, in the family of a forester. Since childhood, the boy was fascinated by music, but his father did not share this passion and did not allow the idea that his first-born would become a musician.
The teenager completed his studies at the Jesuit Academy and left home. By the age of seventeen he reached Prague and was able to enter the university, the Faculty of Philosophy.
To earn extra money, he was a chorister in church, played the violin as part of traveling musical groups. Nevertheless, he found time for music lessons, which were given to him by the composer B. Chernogorsky.
After completing his studies, Christophe went to Vienna, and there A. Melzi was invited to become a court musician at the chapel in Milan. Having gone there, the young man gained knowledge not only in the theory of composition, but also studied many operas by the most outstanding masters of this genre. Soon Christophe himself created the opera, and it was staged in Milan.
The premiere was a success, new orders followed and four more equally successful operas were written. Having become successful, the composer went on tour to London and then to Vienna.
Soon he decided to stay in Vienna for good and accepted the offer of Prince Saxe-Hildburghausen to become conductor of his orchestra. Every week this orchestra gave a concert at which the Sami performed various works.
Christophe, as a leader, sometimes also stood at the conductor's stand, sang, played the different instruments. Soon the composer began to direct the court opera. He became one of its reformers and popularizers of French opera.
He was able to transform the comedy genre into a dramatically directed genre. In addition, he taught music to Archduchess Marie Antoinette. When she married the French heir, she invited her teacher to move to Paris.
There he continued to stage operas and create new ones. In Paris he created his best work- “Iphigenia in Tauris.” After the premiere of the composer's last opera, he suffered a stroke.
Two years later, another one happened, which could not but affect the ability to work.
However, he created small piece, which was performed on the day of his funeral in 1787.
Achievements of Christophe Gluck:
Reformer of Italian and French opera
Created about 50 operas
Author of a number of works for orchestra
Was the inspiration of Schumann, Beethoven, Berlioz
Dates from the biography of Christoph Gluck:
1714 born
1731 settled in Prague
1736 moved to Vienna
1741 first production of the opera in Italy
1745 tour in London
1752 settled in Vienna
1756 received the Order of the Golden Spur
1779 stroke
died 1787
