Gluck

Gluck — marelibri

GLUCK, Christoph Willibald 1714-1787Biblio.com

Iphigenia in Tauris tragische Oper in vier Acten . aus dem Französischen des Guichard frei ubersetzt von I.D. Sander. Vollstandiger Klavierauszug mit deutschem und französischem Texte. Seiner Durchlaucht dem Fürsten Anton Radziwil in Ehrfurcht zugeeignet von Ludwig Hellwig. . Pr. 5 Rth. Piano-vocal score

1812ref. 41214Berlin: Schlesinger's Buch= und Musikhandlung Unter den Linden No. 34. PN 50 1812. Oblong folio. Contemporary dark brown mottled calf-backed marbled boards with oval label titled in manuscript to upper. 1f. recto title verso blank 3 "Personen" and incipits 4-123 i blank pp. Provenance Noted American harpsichordist Louis Bagger 1926-2024 Binding worn rubbed and bumped. Very occasional minor soiling to blank lower margins; occasional minor showthrough; small stains to title with small circular publisher's handstamp to inner margin. Hopkinson 46Ca. Gluck's work is a tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides's work of the same name. "Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online It was first performed in Paris at the Opéra on 18 May 1779 "with excellent singers; Rosalie Lavasseur sang Iphigénie Larrivée Oreste Legros Pylade and Moreau Thoas. . The opera had a great success immediately and even Grimm wrote of it - I do not know whether this is melody but perhaps it is something better. When I hear Iphigénie I forget I am at the opera; I seem to be listening to a Greek tragedy with music by Lekain and Mlle Clarion. It was the crowning point of Gluck's career. Guillard had provided an excellent libretto more classical than Goethe's poem less Christian and more ruthless; and Gluck had seized on the contrast between Scythians and Greeks upon the perfectly dramatic figures of Iphigenia and Orestes and had produced a work which both re-created a part of Greek tragedy and at the same time foretold a new world." Cooper: Gluck p. 258. Schlesinger's Buch= und Musikhandlung, Unter den Linden No. 34. [PN 50] unknown

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GLUCK, Christoph Willibald 1714-1787Biblio.com

Iphigenie en Tauride Tragédie en Quatre Actes Par Mr. Guillard Mise en Musique et Dédiée A La Reine . Répresentée pour le Premiere fois par l'Academie Royale de Musique le mardi 18 Mai 1779. Prix 24 tt. Full score

1783ref. 40425Paris: Des Lauriers without PN 1783. Folio. Modern quarter dark red morocco with marbled boards black leather title label to spine gilt. i recto title verso blank i "Catalogue de Musique du fond de Des Lauriers Md. de Sapier rue St. Honoréa Paris" i dedication 211 i blank pp. Engraved throughout. With a short article from Marmontel's Mémoires laid down to blank verso of title in English translation regarding the opera's reception history. Occasional staining soiling and foxing to blank margins; small stain and hole under lowermost system of p. 65; blank upper outer margin of title through p. 7 dampstained; stain and minor loss to lower margin of pp. 18-22. In very good condition overall. Third edition unrecorded variant. Hopkinson 40A e. Wotquenne 46 pp. 215-16. Lesure p. 239 different issue. BUC p. 386. RISM G2816. "Iphigénie en Tauride was given on May 18 1778 with excellent singers; Rosalie Lavasseur sang Iphigénie Larrivée Oreste Legros Pylade and Moreau Thoas . The opera had a great success immediately and even Grimm wrote of it - I do not know whether this is melody but perhaps it is something better. When I hear Iphigénie I forget I am at the opera; I seem to be listening to a Greek tragedy with music by Lekain and Mlle Clarion. It was the crowning point of Gluck's career. Guillard had provided an excellent libretto more classical than Goethe's poem less Christian and more ruthless; and Gluck had seized on the contrast between Scythians and Greeks upon the perfectly dramatic figures of Iphigenia and Orestes and had produced a work which both re-created a part of Greek tragedy and at the same time foretold a new world." Cooper: Gluck p. 258. While Marie-Antoinette is not actually mentioned on the title she was the queen to whom the work is dedicated. Des Lauriers [without PN] unknown

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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

1779ref. 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

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GLUCK, Christoph Willibald 1714-1787Biblio.com

Orphée et Euridice. Tragedie. Opera en trois Actes. Dediee A La Reine . Representée pour la premier fois par l'Academie Royale de Musique le Mardi 2. Aoust 1774. Les Parolles sont de Mr. Moline. Gravée par Madame Lobry. Prix 24 tt. Full score

1774ref. 40430Paris: Chez Mr. Lemarchand . A.P.D.R. 1774. Folio. Unbound. Sewn. 1f. recto title verso publisher's catalogue 1f. recto dedication verso "Argument" 52 pp. Engraved. Incomplete with only first act and three pages of second act present. Worn overall with occasional staining foxing and soiling throughout primarily to blank margins; title worn and heavily browned stained and soiled with paper loss to edges; corners slightly bumped and creased; signatures separated; binder's holes to blank inner margin. First Edition unrecorded variant. Wotquenne 41. Hopkinson p. 43 41A. BUC p. 386. Lesure p. 240. RISM G2582. First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Chez Mr. Lemarchand ... A.P.D.R. unknown

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GLUCK, Christoph Willibald 1714-1787Biblio.com

Orphée et Euridice Tragédie Opera en trois Actes. Dédiée A La Reine . Les Parolles sont de M. Moline. Représentée pour la premiere fois par l'Académie Royale de Musique le Mardy 2 Aoust 1774. Prix 36 tt. . Beaublé Script. Full score

1783ref. 40431Paris: Chez Des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Provaires 1783. Folio. Early full dark brown leather with double rule gilt to edges of boards spine in compartments gilt with titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto dedication verso "Argument" 217 pp. Bound with an extra title that of Hopkinson 41Ak. 1f. recto title verso blank 1f. recto blank verso "Argument" pp. Binding quite worn rubbed and bumped with loss to spine. Occasional minor soiling to blank outer margins; paper repairs to blank inner margins of approximately fifteen leaves; small binder's holes to blank inner margin of numerous leaves; occasional staining; worming to blank inner margin of final third of volume; extra title and Argument worn and soiling with worming to blank margins. Second edition of the French version. Wotquenne 41. A variant issue of Hopkinson 41Ai but with the price of 36 instead of 24 tt. Lesure p. 240. RISM G2853. First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "More successfully than any of his contemporaries Gluck translated the widespread agitation for reform of opera and theatrical dance on the part of European intellectuals into actual works for the stage first in pantomime ballets and Italian serious operas for Vienna and then in operas of various sorts for Paris." Bruce Alan Brown and Julian Rushton in Grove Music Online "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms. . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France. . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Chez Des Lauriers, Md. de Papiers, Rue St. Honoré à côté de celle des Provaires unknown

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Gluck, Themistocles (Themistokles)Biblio.com

Patienten mit Totalextirpation des Pharynx Larynx und Oesophagus denen eine künstliche Stimme durch einen automatisch arbeitenden Apparat geliefert wird pp.33-35.

1910ref. 673961910. BKW 47/ 1. - Berlin August Hirschwald 3. Januar 1910 4° 44 pp. feine Broschur. THE FIRST ELECTROLARYNX WAS DEVELOPED BY GLUCK! First Edition! Electromagnetically Driven Devices - "As the disadvantages of pneumatically driven reed-based voice sources could not be adequately remedied these devices were abandoned especially after the appearance of electrolarynx devices which produced electromagnetically driven vibrations. The first electrolarynx was developed by Gluck and was composed of an Edison phonograph connected to a telephone receiver located in the patient's mouth. The Edison cylinder contained a recording of a singer's vowel 98. A subsequent version 99 consisted of a loudspeaker built into an upper denture Figure 12. The most famous electrolarynx is the Servox speech aid Servona Troisdorf Germany; Figure 13. It consists of a cylinder with a vibrating element. The top side contains a membrane that is driven electromagnetically and thus can vibrate. By holding the membrane against the throat the patient transmits vibrations that set the air within the vocal cavities into vibration. He or she can convert these sound waves into understandable speech in a manner comparable to the conversion of the acoustic source generated by vocal fold vibrations. A major disadvantage is that the resulting voice sounds mechanical and has no means for intonation leading to an unnatural monotonous voice. An attempt to modify the device by adding manual pitch control by rotating a knob was unsuccessful because control was again far from intuitive and thus very difficult to learn. Until the introduction of the PE voice the electrolarynx was the first choice for creating an artificial voice. External electrolarynges are still used today but only by a small number of patients." G.J. Verkerke and S.L. Thomson: Sound-Producing Voice Prostheses: 150 Years of Research. Annual Review of Biomedical Engineering 16/1 2014 pp.215-245 Themistocles Gluck 1853-1942 physician and surgeon. He first invented endoprostheses from ivory in 1890 at Berlin when he performed the first documented total wrist Arthroplasty. He received the 1st State Prize of the Berlin University for his work on nerve suturing and nerve regeneration. The French surgeons Louis Léopold Ollier and Jules Péan had already recognized Gluck's importance in the 1890s. With his laryngeal surgery he achieved world renown. Nevertheless it took a long time for him to receive the academic recognition he deserved as a non-university surgeon. It was not until he was 70 years old 1922 that he was made an associate professor and even nominated for the Nobel Prize unsuccessfully because his work was considered too old at the time. unknown

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Gluck, Themistocles (Themistokles) & Zeller, ABiblio.com

Ueber Exstirpation der Harnblase und Prostata pp.916-924 3 Abb.

1882ref. 345961882. Arch. klin. Chir. 26. - Berlin Verlag von August Hirschwald 1882 8° VI 1011 pp. Holzschnitte 16 lith. Taf. Portrait von B.v.Langenbeck Halbledereinband der Zeit. First Edition! "In 1881 Foulis reported on 27 recorded cases of total laryngectomy. Half of these patients died of pneumonia and other infections within the first week after surgery. Another 25% died of tumor recurrence within ten months. In the same year Gluck recommended that in laryngectomized patients the bottom of the pharynx be completely sewn up in order to obviate the greatest hazard of laryngectomy aspiration pneumonia. By the beginning of the 20th century Gluck reported the mortality of laryngectomy being just 8.5%. This is extremely low considering the major problems that occurred in those days with anesthesia wound infection and shock. For example in 1906 the mortality rate for radical neck dissections was still 13%." "Gluck's modification of the surgical technique of laryngectomy in 1881 - closure of the pharyngostoma in order to decrease the risk of aspiration pneumonia - ruled out internal reed mechanisms. After all the trachea was completely severed from the pharynx in these patients. Accordingly a pneumatic mechanical voice source was devised by Stork in l877 following Czermak's lead. It was based on a similar yet external metal reed connected by an external tube with the patient's tracheal cannula and the sound conveyed into the mouth by another external tube. Between 1892 and 1918 this external pneumatic mechanical voice source was further refined by Hochenegg Gluck Gottstein Tapia Onodi and Stockman. Respectively their modifications consisted of a pair of bellows for a patient that was unable to exhale with sufficient strength a reed concealed in the patient's nose or upper denture an inflatable cuff for the tracheal cannula a reed connected to the tracheal cannula by way of a side butt to make non-phonatory breathing easier and a battery-powered compressor as air supply for the reed. In the 1920s MacKenty together with two scientists of the Western Electric Company Fletcher and Lane developed an external pneumatic mechanical voice source that was soon superseded by the Western Electric No° 2 type larynx. It comprised a soft-rubber tracheal pad to strap over the tracheostoma a flexible tube a slightly curved bronze reed in a silver cylinder and a mouthpiece attachable to this reed box . It was successfully marketed from 1930 to 1959 by the Western Electric Company and the Bell Telephone Laboratories: 5500 No° 2 type larynges were sold." "The first electrolarynx was devised by Gluck in 1910 and comprised an Edison type portable phonograph connected with a telephone receiver in the patient's nose or mouth. On the cylinder of the phonograph a vowel produced by a singer had been recorded. The electric current from the phonograph was converted by the telephone receiver to sound which was propagated in the buccal cavity air. There the representation of the singer's voice was given the timbre belonging to the patient's vocal tract. For demonstration purposes Gluck not only used a recorded vowel but also a phonograph containing a Waltz." Marein van der Torn : A sound-producing voice prosthesis. ACADEMISCH PROEFSCHRIFT Utrecht 2005 See - Gluck T.: Flüstersprache und Phonationsapparate. Berliner klinische Wochenschrift 36 1899 pp.215-216. Gluck T.: Patienten mit Totalextirpation des Pharynx Larynx und Oesophagus denen eine künstliche Stimme durch einen automatisch arbeitenden Apparat geliefert wird. Berliner klinische Wochenschrift 47/1 1910 pp.33-35. Gottstein G.: Pseudo-Stimme nach Totalexstirpation des Larynx. Archiv für die klinische Chirurgie 62 1900 pp.126-46. Tapia A.: Presentacion de un laringuectomizado hablando con un sencillisimo aparato artificial. Revista Espanola de Laringologia 5 1914 pp.48-55. Onodi A.: Ergebnisse der Abteilung für Hör- Sprach- und Stimmstörungen und Tracheotomierte vom Kriegsschauplatz. Monatsschrift für Ohrenheilkunde 52 1918 p. 85. Riesz R.: Description and demonstration of an artificial larynx. Journal of the Acoustical Society of America 1 pp.273-9. unknown

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Gluck

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