Christoph Willibald Gluck
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Recent papers in Christoph Willibald Gluck
Ferdinand Ritter von Gluck, retired member of the Austrian military and the composer's last male descendant, died on 26 August 1878 in the Upper Austrian town of Aschach. He was a son of Gluck's nephew, the surgeon Karl von Gluck... more
Paper presented at the conference "Christoph Willibald Gluck: Mythen - Bilder - Diskurse" in Vienna in 2014. This is the spoken version; a more formal write-up will be published in the conference proceedings.
Revolution und Reform. Paradigmen der Gluck-Rezeption im 18. und 19. Jahrhundert. Vortrag auf dem Symposium "Christoph Willibald Gluck (1714-2014): Bilder, Mythen, Diskurse", Institut für Musikwissenschaft der Universität Wien, 23.-25.... more
Orpheus and Eurydice’s myth has inspired many composers and librettists since Renaissance until present times, and was at the birth of one of the first known operas, the Euridice by J. Peri and G. Caccini. In this paper the author studies... more
This article, which aims to bridge the gap between musicology and linguistics, deals with the interactions of language and music. Its starting point is the question of which phonological and especially prosodic characteristics of a... more
Gluck and Handel: The Ways of Transmission of the Tradition in the 18th Century Music The article discusses the possible contacts between the two composers during Gluck’s stay in London in the years 1745–1746 (including a joint concert... more
Brief essay about the relationship beetween the musical numbers and the recitatives in Mozart's "The Marriage of Figaro" and more generally in the post-Gluck theater reformation (second half of XVIII century).
Polysemiotische Kommunikation ist per se kein neues Phänomen. Vielmehr stellt der kombinierte Einsatz heterogener semiotischer Ressourcen in allen Bereichen der interpersonalen Kommunikation den Normalfall dar. Auch im ästhetischen... more
L’“Orfeo ed Euridice” rappresenta l’opera più celebre composta da Christoph Willibald Gluck (1714 – 1787), musicista che, al tramonto dell’epoca Barocca, formalizzò le regole per una nuova espressività drammaturgica inaugurando una nuova... more
Liner notes to the CD "Gluck Heroes", with Sonia Prina (contralto) & LaBarocca (conductor: Ruben Jais)
The surprising result of this detailed study on two Bavarian villages during the War of the Spanish Succession (1701-1714): The ancient tradition about the birth of Christoph Willibald Gluck is valid, most biographical statements in... more
“Je me figurais être Orphée,” wrote Countess Sophie Fersen after attending a performance of Gluck’s Orpheus och Euridice in Stockholm in 1777. She was writing to Prince Alexander Kurakin, with whom she had been involved in a brief and... more
A história de Alceste inspirou Eurípides a compor um drama de controversa classificação (tragédia ou drama satírico?). A peça tem como protagonista uma rainha de uma dedicação tal ao marido que renuncia à vida, substituindo-o no castigo... more
In his reform opera, Gluck paid careful attention to the classical material, very often choosing Greek myths as subject for his operas. He also professed dramatic unity, by joining text and music in harmony. Neither the Italian bel canto... more
Whilst the versions of Gluck's operatic re-telling of the tale of Orpheus and Eurydice with a male counter-tenor or tenor as the hero have been explored quite extensively in the last 25 years, the abiding image of the opera remains, at... more
This article examines one particular type of musical exoticism in Western music: representations of janissary music or mehter (Turkish military music). Representations of this music as exoticism — a way of recasting the relationship... more
In recent studies of the 19th-century reception of Christoph Gluck, Alexander Rehding and William Gibbons focus on Wagner’s writings about the composer, his adaptation of Iphigénie en Aulide, and critics’ attempts to bring Gluck’s... more
A state of the art article about the relationship between Mozart and Salieri (collaborators or enemies?) after the recent works in musicology and trying to separate again real documents from fictional treatment of the characters.
Gluck in Berlioz' Instrumentationslehre, in: Von Gluck zu Berlioz. Die französische Oper zwischen Antikenrezeption und Monumentalität, hrsg. von Thomas Betzwieser, Würzburg (Königshausen & Neumann) 2015, pp. 159-173
Biografia Pasqual Calbó i Caldés (1752 - 1817)
An eye-witness account of the first Neapolitan production of Gluck's Alceste, translated into English for the first time
Among those who witnessed early performances of Gluck’s Orfeo ed Euridice were Princess Isabelle of Parma (in Vienna), Julie de Lespinasse (in Paris), and Countess Sophie Fersen (in Stockholm). Orpheus, and the music Gluck wrote for him,... more
Arnold Jacobshagen: Der Chor in der französischen Oper des späten Ancien Régime (Perspektiven der Opernforschung, 5), Frankfurt / Bern / New York (Peter Lang) 1997, 419 pp.