Gluck

Gluck — marelibri

GLUCK, Christoph Willibald 1714-1787Biblio.com

Echo et Narcisse Drame Lyrique en trois Actes avec un Prologue . Mis en Musique . Représenté pour la premiere fois par l'Académie Royale de Musique le Mardy 21 Septembre 1779 Prix 40. Full score

1779Best.-Nr. 40424Paris: Chez des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Prouvaires Ou trouve aussi toutes sortes de papiers réglés pour copier la Musique 1779. Folio. Contemporary quarter dark brown calf with marbled boards spine in decorative compartments gilt with titling gilt to spine. 1f. recto title verso blank 256 pp. With blank overpaste to title obscuring the words "Par M. Le Baron de T." Signature "L. Wessén" in ink to front pastedown and "A. Benzinger" to free front endpaper. Binding worn rubbed and bumped; lower portion of upper joint partially split. Occasional small stains foxing browning tears and light dampstaining; minor loss to blank outer margin of pp. 139 and 149; several small holes to p. 237. Quite a good copy overall on quality paper. First Edition variant issue. Hopkinson p. 63 with attributes of 47Ac except here there is no plate number and the price "40" appears in manuscript and 47Ae as "Royale" has been erased here in pencil. Wotquenne 47. BUC p. 386. RISM G2739 First performed in Paris at the Opéra on 24 September 1779. "Echo et Narcisse was a failure at its early performances largely because the audiences and critics expected high drama along the lines of Alceste Armide and Iphigénie en Tauride. But Echo et Narcisse is a different type of work; it belongs to the pastoral tradition still popular at this date and a genre to which Gluck frequently returned. Comparisons were and are still made with Gluck's more popular dramas because Echo et Narcisse contains numbers and scenes similar to those that had made greater impressions before. It is not a weak opera and there is much fine music in it ." Jeremy Hayes in Grove Music Online Gluck was a "Bohemian-Austrian composer of Italian and French opera a leading figure in opera of the second half of the 18th century and the person chiefly credited with the 'reform' of opera after the age of Metastasian opera seria. . Force of circumstance may have led Gluck to Paris to complete his operatic career but in artistic terms Paris can be seen as his inevitable final destination. His years of grounding in opéra comique and the ballet and via Traetta his response to the French tragédie lyrique tradition had already provided the impetus for his overhaul of the opera seria; now it was time to confront that tradition on its own territory. On more than one occasion indeed Gluck explicitly owned the French influence and its particular effect on his preparation for Paris. Between them the eight operas that he produced for the Académie Royale de Musique in Paris - the two Iphigénie operas; the radical revisions for Paris of the Vienna 'reform' operas Orfeo and Alceste; the similar revisions of the Vienna opéras comiques Cythère assiégée and L'arbre enchanté; Armide a new opera on a libretto that Quinault had written for Lully more than 90 years earlier; and the last opera Echo et Narcisse - are all different attempts at the confrontation and revival of that lyric tradition." Jeremy Hayes Bruce Alan Brown Max Loppert and Winton Dean in Grove Music Online. Chez des Lauriers Md. de Papiers, Rue St. Honoré à côté de celle des Prouvaires Ou trouve aussi toutes sortes de papiers ré unknown

J & J Lubrano Music Antiquarians LLC · Vereinigte Staaten2.070,00 $≈ 1.845,74 €

GLUCK, Christoph Willibald 1714-1787ABAA

Echo et Narcisse Drame Lyrique en trois Actes avec un Prologue . Mis en Musique . Représenté pour la premiere fois par l'Académie Royale de Musique le Mardy 21 Septembre 1779 Prix 40. Full score

J & J Lubrano Music Antiquarians LLC · Vereinigte Staaten2.070,00 $≈ 1.845,74 €

GLUCK (Michal).Livre Rare Book

Pnlope. La Main narrative. Bernard Alligand.

2023Best.-Nr. 54004Paris Editions d'Art FMA 2023 Deux leporelli in-4 maroufls et contrecolls en regard, (8 feuillets pour le texte, 4 feuillets pour la suite), assembls dans une chemise en velours bleu nuit. Etui (reliure de l'diteur).Inspir de lOdysse d'Homre, rcit fondateur de la culture occidentale, le rcit-pome indit de Michal Glck enlumin des ?uvres originales de Bernard Alligand nous transporte dans une toile arachnenne immersive, lumineuse et envotante. Les ?uvres parcourent lensemble du livre. Elles nous invitent suivre la main narrative de Pnlope par lillusion du tissage faisant cho au rcit-pome de lauteur. Le choix des matires (diffrentes textures de papier et gravures), rsine, poudres dor et dargent, le tumulte des effets marins (bleu/mer), la succession de bandes (tissage), la figuration suggestive (geste de Pnlope) ou symbolique des personnages (or/Dieux), crent une intensit particulire l?uvre-livre (extrait de la prsentation de l'diteur). Edition originale, illustre par Bernard Alligand de somptueuses compositions en couleurs qui ornent presque toutes les pages du livre et qui ont ncessit prs de 9.000 interventions manuelles (hors essais), selon de multiples techniques appliques soit sur un papier imprim offset bleu et recouvert dune acrylique blanche, soit sur un papier mtallis: photographies de compositions originales, impressions numriques, colorations avec de la rsine, enduits et incrustations de poudres argent et or. La mise en pages des lments dcoratifs a t ralise par des dcoupes, des assemblages et des collages. Certaines pages ont t rehausses d'empreintes froid obtenues par l'utilisation de plaques graves en carborundum avec des apports de matire et des passages sous presse sec bande/bande. Tirage limit 31 exemplaires numrots sur papier Moulin du Gu, signs par l'auteur et l'artiste. Un des 18 premiers exemplaires, seuls comporter une suite de 7 ?uvres originales en couleurs runies sous la forme d'un leporello sign par Bernard Alligand et mont en regard du livre. Cet ouvrage est une relle russite, tant par la qualit du texte et des illustrations, que par la typographie utilise et la mise en pages. Chacune des illustrations entirement ralises la main, est unique.

Librairie Blaizot & Pinault · Paris, Frankreich2.000,00 €

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

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

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