Gluck

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GLUCK, Christoph Willibald 1714-1787Biblio.com

Orphee et Euridice Tragédie Opera en trois Actes. Dédiée A La Reine . Representée pour la premiere fois par l'Academie Royale de Musique le Mardi 2 Aoust 1774. Les Parolles sont de Mr. Moline. Gravée par Madame Lobry Prix 48. Full score

1774ref. 29643Paris: Lemarchand 1774. Folio. 19th century quarter dark brown leather-backed marbled boards spine in decorative compartments gilt titling gilt. 1f. recto title verso publisher's catalogue 1f. recto dedication verso argument 217 pp. With an inscription signed by the Canadian conductor Wilfrid Pelletier 1896-1982 to Italian conductor Tullio Serafin 1878-1968 dated New York 1928 to front flyleaf. Bass figurings added in manuscript to pp. 10-12 Act I scene 1; final page of music signed by the publisher Lemarchand. Binding worn; edges rubbed; spine split at joints and hinges; chipped at head and tail. Slightly worn and browned; title soiled with outer edge reinforced with paper tape; some minor staining; several repairs to inner margins; occasional small holes. First Edition variant issue. Hopkinson 41Af. Wotquenne 41. Lesure p. 240. RISM G2852 not distinguishing among issues. 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. Lemarchand unknown

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GLUCK, Christoph Willibald 1714-1787Biblio.com

Alceste Eine grosse ernsthafte Oper in 3 Acten . Nach der italienischen und französichen Partitur Für's Piano Forte bearbeitet von C.D. Stegmann. Pr: 21 frs. Piano-vocal score

1815ref. 25656Bonn: N. Simrock PN 1125. 1815. Oblong folio. Contemporary marbled boards. 1f. recto title verso blank 3 cast list and table of contents 4-159 i blank pp. Engraved. Disbound. Boards quite worn; spine lacking. Slightly worn soiled foxed and stained; some corners slightly turned; minor underlining and annotations in red pencil to cast list; early repairs to inner margins of title and table of contents not affecting text; small binder's holes to inner margins. Later edition of the French version. Hopkinson 44C a. The French version of Alceste to a libretto by Marie François Louis Gand Leblanc Roullet was first performed at the Académie Royale de Musique in Paris on 23 April 1776. "Gluck's revision of Alceste for performance in Paris in 1776 amounts almost to a recomposition. His alterations were far more extensive than those he had made in his Paris adaptation of Orfeo . The French Alceste had a new text by Roullet Gluck's librettist for Iphigénie en Aulide based on Calzabigi's libretto; but alterations to the plot and the order of events led to major differences between the two. The principals at the première of the French version included Rosalie Levasseur Alcestis Joseph Legros Admetus Henri Larrivée Hercules Moreau Apollo and Nicolas Gélin High Priest. At the first Paris performances of Alceste the Act 3 denouement was substantially different from the version familiar today and closer to the Italian original. Gluck and Roullet after much criticism altered the act to incorporate a part for Hercules who has no place in the Italian original. Just as Gluck was arranging more music to enlarge the final divertissement again to please Parisian taste he heard of the death of his adopted daughter Marianne in Vienna; he left Paris and assigned the completion of the divertissement to Gossec. This revised version published in Paris in 1776 is the one that has nearly always been performed subsequently." Jeremy Hayes in Grove Music Online. N. Simrock [PN 1125.] unknown

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