Tsіkavі facts іz zhittya glitch. Biography of Christoph Willibald Gluck
Gluck Christoph Willibald (Gluck, Christoph Willibald) (1714-1787), German composer, operatic reformer, one of the most important masters of the era of classicism. Born on the 2nd lime of 1714 in Erasbach (Bavaria), in the same forester; Gluck's ancestors came from Pivnichnoy Czech Republic and lived on the lands of Prince Lobkovitsy. Gluck was three years old when he turned to the Fatherland; vin navchavsya at the schools of Kamnitsa and Albersdorf.
In 1732, I went to Prague, de, perhaps, listening to lectures at the university, earning a living by singing at church choirs and playing the violin and cello. For deakim tribute, he took lessons from the Czech composer B. Chornogorsky (1684-1742).
In 1736, Gluck arrived at Viden at the retinue of Prince Lobkowitz, and then, after the advancing fate, he crossed to the drop of the Italian prince Meltsi, and followed him to Milan. Here Gluck took up composition with the great master of chamber genres J. B. Sammartin (1698-1775), and in the cinema of 1741 in Milan the premiere of Gluck's first opera Artaserse took place.
Dali wines in life, which is great for a prosperous Italian composer, who unceasingly put together operas and pastichchos (opera appearances, in which music is composed of fragments of different operas by one or a dozen authors). In 1745, Gluck accompanied Prince Lobkowitz on his way to London; їhnіy way lying through Paris, de Gluck first felt the operas of J. F. Rameau (1683-1764) and highly appreciated them.
At London's, Gluck sang with Handel and T. Arn, putting on two of his pasticcios (one of them, The Fall of the Giants, La Caduta dei Giganti, is a p'esa on the topic of the day: go about strangling the Jacobite rebellion), giving a concert shaking harmonica of the vlasnoi construction, and overruling six trio sonatas.
In the other half of 1746, the composer was already in Gambourz, in the estate of the conductor and choirmaster of the Italian opera troupe P.Mingotti. Until 1750 Glitch rose with a dead body in different places and lands, writing and staging his own operas. In 1750, they became friends and ruled at Vidnia.
Jodna from Gluck's operas early period did not open up the whole world on the scale of yoga gifting, but all the same, until 1750, yoga was already acclaimed for singing popularism. In 1752, the Neapolitan theater "San Carlo" replaced the opera La Clemenza di Tito with the libretto of the great playwright of that era, Metastasio.
Gluck himself led, moreover, calling out as a guest of interest, so jealous of the musical musicians and taking away the praise of the venerable composer and teacher F. Durante (1684-1755). After turning at Viden in 1753, he became bandmaster at the court of the Prince of Saxe-Hildburghausen and stayed in the estate until 1760.
In 1757, Pope Benedict XIV conferred on the composer the title of person and awarded him the Order of the Golden Spur: from that hour the musician signed - "Cavalier Gluck" (Ritter von Gluck).
At the same time, the composer has been honed to the point of polishing the new Count Durazzo, cherished by the Vidensk theaters, and having richly folded like a court, like the count himself; in 1754 Glück was appointed director of the court opera. After 1758, he diligently practiced over creations in French libreto in the style of a French comic opera, as if planting an Austrian envoy near Paris , Le cadi dupe).
The dream about the “opera reform”, which was inspired by dramas, originated in Pivnichnaya Italy and Gluck’s small minds of Gluck’s co-workers, moreover, the tendencies were especially strong at the Parmsky court, and the role played by the French was great. Durazzo is like from Genoa; the fates of the creative formation of Gluck passed at Milan; two more artists from Italy came before them, but they still managed to work in the theaters of different countries, - R. Kaltsabiji sings and choreographer G. Angioli.
In such a rank, a “team” of gifted, sensible people was formed, before that, to finish the spitting ones, so that they could put all the ideas into practice. The ballet Don Juan (Don Juan, 1761) became the first fruit of this spivpratsi, then Orpheus and Euridice (Orfeo ed Euridice, 1762) and Alceste (Alceste, 1767) appeared in the world - Gluck's first reformist operas.
Before moving to Alcesti's score, Gluck formulates his operatic principles: ordering the musical beauty of dramatic truth; a diminution of incomprehensible vocal virtuosity, various inorganic inserts in musical performances; interpretation of the overture as I enter to drama.
In fact, everything was already in the modern French opera, and the remnants of the Austrian princess Marie Antoinette, who had taken lessons from Gluck in the past, became the same team of the French monarch, it is not surprising that the nevdovs Gluku sang a number of operas for Paris. The premiere of the first, Iphigenie in Aulide (Iphigenie en Aulide), took place under the author's cherubs in 1774 and became a drive for a baked battle of thoughts, a right battle between the adherents of French and Italian opera, like a trio of nearly five fates.
In the course of an hour, Gluck staged two more operas near Paris - Armide (Armide, 1777) and Iphigenie in Tauride (Iphigenie en Tauride, 1779), as well as altering Orpheus and Alceste for the French scene. Fanatics of the Italian opera specifically requested the composer N.Pichchinni (1772-1800) to Paris, who was a talented musician, but to show supernatural genius Gluck did not die. Naprikintsі 1779 fate Gluck turned to Vіdnya. Gluck died near Vidna on the 15th leaf fall, 1787.
Gluck's creativity is the greatest spectacle of aesthetics to classicism, as already for the life of the composer, it was sacrificed to romanticism, which was born. The best of Gluk's operas are worthy of their place in the operatic repertoire, and this music is supported by hearing with its gentry simplicity and deep virtuosity.
In Italy, the struggle ran directly between the opera seria (serious), which served importantly the courtiers of the stakes of the empire, that opera buffa (comic), which expressed the interests of democratic faiths.
The Italian opera seria, which was formed in Naples, like the 17th century, had little progressive significance in the early period of its history (for the work of A. Scarlatti and his closest successors). Melodic spіv scho spiravsya per turn іtalіyskoї narodnoї pіsennostі, kristalіzatsіya vocal style of bel canto ", scho LUVs one of kriterіїv visokoї vokalnoї culture, vstanovlennya zhittєstіykoї opernoї kompozitsії scho skladaєtsya of low completion arіy, duetіv, ansamblіv, ob'єdnanih peq єvropeyskogo opera Mistetstvo .
And yet, in the first half of the 18th century, the Italian opera seria entered a crisis and began to show an ideological and artistic slump. The high culture of bel canto, which was previously associated with the transfer of the soul to the hero of the opera, is now being born in the old cult of a harmonious voice, like such an independent kind of dramatic sensation. Spiv becoming clearer by the numerical sounds of virtuoso passages, coloratura and fiorities, like a small demonstration of the vocal technique of spivakiv and spivachok. The opera, in this manner, replacing the fact that it is a drama, which is played out by the means of music in an organic stage performance, turned into the magic of a master of vocal art, for which it took the name "concert in costumes". The plots of the opera seria, based on ancient mythology or ancient history, were standardized: they sounded episodes from the life of kings, generals from a tangled love affair and from obov'azkovym kіntse, scho
So the Italian opera seria of the 18th century stooped at the stage of crisis. Proteo deyakі composers tried their best to overcome the crisis with their operatic creativity. G. F. Handel, famous Italian composers (N. Iomelli, T. Traetta and others), as well as K. V. Gluck, in early operas, jumped to a tight mutual interplay between dramatic music and vocal parts. But the right reformer of the opera was judged by the article Gluck for the hour of creation of the best creations.
buffa opera
In opposition to the opera seria, the opera buffa was hung with democratic stakes, the fatherland of which is also Naples. Opera buffa was marked by contemporary themes, the folk-national basis of music, realistic tendencies and life's truthfulness in typical images.
The first classic example of this advanced genre was the opera by G. Pergolesi "Servant-lady", which played majestic historical role at the confirmed development of the Italian opera buffa.
In the world of further evolution opera buffa in the 18th century, the scale is increasing, growing in number diyovih osib, the intrigue settles down, they are so important to the dramatic development of the elements, like great ensembles and finals (fired ensemble scenes that complete the epic skin opera).
In the 60s of the 18th century, a lyrical-sentimental strum, characteristic of the European art of that period, penetrated into the Italian opera buffa. Some people have shown such operas, such as “The Good Daughter” by N. Pichchin (1728-1800), often “The Miller’s Woman” by J. Paiziello (1741-1816) and “The Barber of Seville”, written for St. Petersburg (1782) on the plot of a comedy Beaumarchais.
The composer, who completed the development of the Italian opera buffa of the 18th century, was D. Chi-marosa (1749-1801) - the author of the famous, popular opera The Secret Hat (1792).
French lyrical tragedy
Something similar, but on a different national soil, and in other forms, was an opera life in France. Here, directly operatic, evoking the relish and vimogi of the courtly-aristocratic kіl, the so-called "lyrical tragedy" was created by the great French composer J. B. Lully (1632-1687) in the 17th century. But the creativity of Lulli misplaced in her own mind a part of the people's democratic elements. Romain Rolland means that Lully's melodies were "sung not only in the most famous houses, but also in the kitchen, because of the wines of the viishov", that "yogo melodies were played on the streets, they were "sung" on the instruments, they were sung in the vovertures on specially chosen words Rich melodies changed into folk couplets (vaudevilles)... Yogo music, often held back by the people, turned back at the bottom.”1
However, after the death of Lully, the French lyrical tragedy degraded. Even though in Lully's operas the role of grave ballet is significant, then later, in the aftermath of this force, the opera transforms into a secular divertissement, and the dramaturgy falls apart; it becomes a visionary sight, let us relieve the great idea, which is united, and unity. True, in the operatic work of J. F. Rameau (1683-1764) the shorter tradition of the lyrical tragedy of Lully revives and develops further. According to Rameau, he is alive in the XVIII century, if the advanced versions of the French Suspіlstva are in the presence of encyclopedists-enlighteners - J.-J. Rousseau, D. Diderot and others "(I will become the ideologists of the third stage) saw the mysticism of the real, life, the heroes of such a place of mythological characters and gods would be simple, simple people.
The French comic opera, which originated in the fair theaters of the end of the 17th century and at the beginning of the 18th century, became the first such art, which supported the democratic life of society.
French comic opera. A staging in Paris in 1752 of Pergolese's Servants-Lady was the remainder of the post, which called to life the developments of French comic opera. The controversy that flared up during the production of the Pergolese opera was called “wars of buffoonists and anti-buffonists”2. Encyclopedists were astounded, they stood up for realistic musical and theatrical art and against the minds of the courtly aristocratic theater. In the ten years that the French bourgeois revolution of 1789 was blown up, the controversy took on many different forms. Following Pergolese's Maid-maid, one of the leaders of the French education, Jean-Jacques Rousseau, wrote a small comical opera The Strong Chacloon (1752).
The French comic opera knew its prominent representatives in particular F.A. Gretri's opera "Richard Levine Heart" (1784) played a particularly important role. Some of the operas Monsigne ("The Deserter") and Gretry ("Lucille") had the same lyrical-sentimental strum that was characteristic of the art of the middle and other half of the 18th century.
Gluck's advent to the classical musical tragedy.
However, the French comic opera with її pobutovoy themes, and some philistine ideals and tendencies that moralize, ceased to be satisfied with the adult aesthetics of the leaders of the advanced democratic kіl, it was created rather frivolously for the inspiration of the great ideas and ideas before the revolution. Here the mysticism was more heroic and monumental. And such an operatic art, which inspired the great ideals of the people, was created by Gluck. Having critically mastered everything best that arose in the modern era of opera, Gluck came to a new classical musical tragedy, which proved to be the demand of the leading part of the souspielstva. That is why Gluck's creativity with such enthusiasm was culled in Paris by the Encyclopedists and the progressive masses.
In the words of Romain Rolland, “Gluk's revolution - in which he believed his strength - became right, not less than Gluck's genius, but the right age-old development of thought. The coup d’état of preparations, sermons and ochіkuvavsya stretching twenty rokіv encyclopedists”1. One of the most prominent representatives of the French enlightenment, Denis Diderot, wrote in 1757, that may be twenty years before Gluck's arrival in Paris: “Let the brilliant person appear, as if I were going to celebrate the tragedy on the stage of the lyrical theater!” Dali Diderot declares: “I can take care of a person who is a genius in his own art; this is not the kind of person who can only string modulations and combine notes”2. As an example of a great classical tragedy, which has a musical inspiration, Diderot induces a dramatic scene from "Iphigenia in Avlidi" by the great French playwright Racine, accurately indicating the place of recitatives and aria.
This tribute to Didro appeared to be prophesied: Gluck's first opera, written for Paris in 1774, was the bula "Iphigenia in Avlid".
Life and creative way of K.V. Gluck
Gluck's children of rock
Christoph Willibald Gluck was born on July 2, 1714 in Yerasbach (Upper Palatinate) near the Czech cordon.
Batko Gluka was a peasant, in his youth he served as a soldier, and then he made his profession as a forester and worked as a forester in the Bohemian forests in the service of Count Lobkovits. In this rank, from the age of trinity (since 1717) Christoph Willibald is alive in the Czech Republic, which was marked by good fortune in yoga creativity. At the music of Gluk, the strum of the Czech folk song breaks through.
Gluck's childishness was suvorim: I was small with miserable duties, and I had to help my father with an important forester's right.
Rocky navchannya Gluck
In 1726, the priest Gluck joined the єzuїtskoї ї kolegії in the Czech city of Komotau, de vin passed six rokіv and spiw at the choir school church. Everything in the collegium was taken over by a blind faith in church dogma, and by a great bow to the authorities, which, however, could not order a young musician, a future progressive artist.
The positive side of the study was Gluck's enchantment with Greek and Latin language, ancient literature and poetry. An opera composer in that era, if the operatic art was rich in what was based on ancient themes, it was necessary.
Under the hour of training at the colleague, Gluck was also busy playing the clavier, organ, and cello. In 1732, a group of wines moved to the capital of the Czech Republic, Prague, and entered the university, simultaneously continuing their musical education. An hour for the sake of earning a Glitch of madness will deprive you of busyness and mandruvaty in the villages, de vin engraving on the cello of different dances, fantasies on folk themes.
At Prazi, Gluck sang at the church choir, a well-known composer and organist Boguslav Chornogorsky (1684-1742), nicknamed "Czech Bach". Chornogorsky and Gluck's first reference teacher, who laid the foundations for general bass (harmony) and counterpoint.
Glitch at Vіdni
In 1736, a new period began in the life of Gluck, tying with an ear of yoga creative activities that musical car'eri. Count Lobkowitz (who was in the service of Gluck's father) became infatuated with the young musician's unabashed gifts; taking Gluck from him at Viden, recognizing Yogo as a court singer at his chapel as a chamber musician. At Vidnia, de musical life was in full swing, Gluck once shattered a particularly musical atmosphere, which happened like an Italian opera, which panned like that on the Vienna opera stage. At the same time, the playwright and librettist P'etro Metastasio is alive and famous in the 18th century. Gluck wrote his first operas on the text of Metastasio.
Work done in Italy
At one of the ballroom evenings at Count Lobkowitz, if Gluck is engraved on the clavier, accompanying dances, the Italian philanthropist Count Meltsy has gained respect. Vin took Gluck with him to Italy, to Milan. There Gluck proved Chotiri Roki (1737-1741), improving his knowledge at the gallery of musical creation under the cerebration of a prominent Italian composer, organist and conductor Giovanni Battista Sammartin (4704-1774). Having become acquainted with the Italian opera at Vidnya, Gluk, sensibly, closer and closer, stumbled upon her in Italy itself. Beginning in 1741, the fate of the wines itself became the folder of operas that were celebrated in Milan and other places in Italy. The whole opera seria was written in its significant part on the texts of P. Metastasio (“Artaxerxes”, “Demetrius”, “Hypermnestra” and others). Mayzhe was not spared from Gluck's early operas; їх before us only okremi numbers were reached. In these operas, Glitch, perebuvayushche in the full minds of the traditional opera seria, jumping at the hem of the nedolіki. Related in the rіzny operating operations in Risno, Ale in the acts of them, specifically in "G_PERMRESTRI", Za'yaveniyiya Means of Maybatno and Operations Reforms of the Glitch: Tendenceia to Cleanna Sovnіshnoї Vilnia, Dramosnosti, Pragnennya Pg) Dramatical Drugs Recitalivіv, Nadatuyuri Bіlshiy Zm_stu, Organio її іz the opera itself. And yet, in the early operas of the reformer, Glyuk shche zmіg. Whom was opposed by the aesthetics of the opera seria, as well as the lack of creative maturity of Gluck himself, who still did not realize the need for the reform of the opera.
And yet, between Gluck's early operas and її reformist operas, there are no impenetrable lines for її principles of authority. About tse note, for example, the fact that Gluck played the music of early operas in the works of the reformist period, transferring in them a lot of melodic turns, and in other words, arias, but also with a new text.
Creativity robot in England
In 1746 Gluck moved from Italy to England, de continuing his work on the Italian opera. For London, he wrote the opera seria Artamen and the Fall of the Giants. In the English capital, Gluck sang with Handel; Prote Handel did not zoom in on his young brother and once said: "My cook Waltz knows counterpoint better, lower Gluck." Handel's creativity served as an incentive for Gluck to notice the need for fundamental changes in the field of opera, shards in Handel's operas Gluck, having clearly mentioned the idea of moving beyond the framework of the standard scheme of the opera seria, її dramatically truthful. Influx of Handel's operatic creativity (especially during the last period) is one of the most important officials in the preparation of Gluck's operatic reform.
Tim an hour in London for the general public to attend his concerts, caressing to sensational sights, Gluck did not shy away from the outward effects. For example, in one of the London newspapers on March 31, 1746, the following announcement was published: “At the Great Hall of Metro Gickford, at Tuesday 14 Thursday, Metro Gluck, an opera composer, will give a musical concert for the participation of the best opera artists. Mіzh іnhim vіn vykonє at the accompaniment of the orchestra a concerto for 26 cups, lashed for the help of the key water: the price of a new instrument of yogė vlahod vinohoda, on which can be vikonanі those speeches, which are on the violin or the harpsichord. Vіn spodіvaєtsya pleasing with such a rank tsіkavih and music lovers "1.
In the qiu epoch, a lot of artists were embarrassed to go into such a way of getting the public to a concert, in such a way that serious works were victorious in such numbers.
After England, Gluck saw the lowlands of other European countries (Nimechchyna, Denmark, Czech Republic). At Dresden, Hamburg, Copenhagen, Prague, I wrote and staged operas, dramatic serenades, practiced operatic performances, dirigives.
Gluck's French comic operas
The coming important period in the creative activity of Gluck is tied up from the robot at the gallery of the French comic opera for the French theater near Vidnya, where the wines arrived after a few years of rebuking from other countries. To the end of Gluck's work, he got Giacomo Durazzo, a kind of intendant of the court theaters. Durazzo, typing various scenarios of comic operas from France, pronouncing them to Gluck. In this rank, the number of low French comedic operas with the music of Gluck, written between 1758 and 1764 by the rockers: Merlin's Island (1758), Pilgrims from Mecca” (1764) and others. The deyakі zbіgayutsya z reformatorskim period in the creative activity of Gluck.
The work in the sphere of the French comic opera played an even more positive role in Gluck's creative life. Vіn becoming vіlnіshe vіlnіshe stavlіshe to pravzhnіh dzherel folk ї pіsennostі. A new type of plots and scenarios were zoomed in by the growth of realistic elements in Gluck's musical dramaturgy. Gluck's French comic operas are part of the development of this genre.
Robot in the ballet room
A number of operas Gluck worked on a ballet. In 1761, the ballet “Don Juan” was staged in the beginning of the 60s of the XVIII century in different countries, they tried to reform the ballet, turn yoga from a divertissement into a dramatic pantomime, with the help of a songful plot that develops.
The prominent French choreographer Jean-Georges Noverre (1727-1810) played a great role in dramatization of the ballet genre. At Vidnya on the cob of the 60s, the composer worked as choreographer Gasparo Angiolini (1723-1796), who created a dramatic ballet pantomime from Noverre. He wrote and staged his own best ballet "Don Juan" in full with Angiolina Gluck. Dramatic Ballet, a virgin of Muzika, Scho Perezaivі Lyudskі і і іалає вжестичний истьичисті спилить стальки, і і і і и колові колусі комотери комерить прибленили замения замовиский товиски, и и и и ило ило мольники.
The cob of reformatory activity
The beginning of Gluck's reformatory activity was marked by his collaboration with the Italian poet, playwright and librettist Raniero da Calcabigi (1714-1795), who was alive near Vidnia. Metastasis and Calcabiji were two other directions in operatic libretto poetry of the 18th century. Speaking out against the courtly-aristocratic aesthetics of Metastasio's libretto, Kaltsabiji, straying from simplicity and naturalness, to the truthful instillation of human passions, to the freedom of composition, which is dictated by dramatic action, and not by standard canons. Selecting ancient plots for his libretto, Kaltsabiji interpreting them in a high-ethical soul, the powerful advanced classicism of the XVIII century, adding to them a high moral pathos and great hromadyansky moral ideals. The very convergence of the advanced aspirations of Kalzabija and Gluck brought them closer.
Reformist operas of the Vidensky period
July 5, 1762, became a landmark date in the history of the opera house: this day, the first performances at the Vydnya were Gluck's Orpheus to the text of Kaltsabija. This is the cob of Gluck's operatic and reformatory activity. Five years after Orpheus, on December 16, 1767, the first production of Gluck's opera Alceste (also text by Kaltsabidzhi) took place there, near Vidnia. The scores of "Alcesti" Gluck wrote that he was dedicated to the Duke of Tuscany, who had laid down the main theses of his operatic reform. In "Alceste" Gluck is even more consequential, lower in "Orpheus", having developed such musical and dramatic principles in life, which were residually formed in the new at that hour. Gluck's last opera, staged at Vidnia, was an opera based on the text of Kaltsabija "Paris and Deer" (1770). For the integrity of that unity of dramatic development, the opera is given to the two in front.
Living and practicing in the 60s of the Vidnia, Gluck imitated in his creativity the peculiarity of the Vidensky classical style that develops in the whole period, residually formed in the music of Haydn and Mozart. The overture to "Alceste" can be a characteristic vision for the early period of the development of the Vidensk classical school. Aleries of Vidensk classicism are organically intertwined in Gluck's creativity with spurts of Italian and French music.
Reformist activity near Paris
The new and remaining period of Gluk's creative activity began from his journey to Paris in 1773. Although Gluck's operas were small in Vdni znachny succes, yogo reformist ideas there were rated to the end; spodіvsya yourself near the French capital - tsіy citadel of advanced culture of that hour - to know beyond the understanding of your creative ideas. Gluck's move to Paris - the largest center of operatic life in Europe at that time - was also supported by the intercession of Marie-Antoinetti, the squad of the Dauphin of France, the daughter of the Austrian Empress and the great student of Gluck.
Gluck's Parisian operas
In April 1774, the first production of Gluck’s new opera “Iphigenia in Avlidia” was performed in Paris at the “Royal Academy of Music”, the French libretto was written by Du Roullet after the tragedy of Racina of the same name. Tse buv type of opera, about what a dream of Didro may be twenty years ago. Interest, shouting by the production of "Iphigenia" near Paris, buv great. At the theater it was significant greater number publics, chim a moment to accommodate. The whole magazine and newspaper press was stoked by hostility at Gluck's new opera and the struggle of thoughts towards the first opera reform; about Gluck quarreled, said, and, naturally, when I appeared in Paris, the encyclopedists hovered. One of them, Melchior Grimm, wrote on the eve of the famous production of "Iphigenia in Avlidi": Vaughn is the subject of our super-ears, all our roses, the soul of all our evenings; daєtas to make funny - tsikavitisya chimos іnhim. On food, what is the matter of politics, you are given a phrase about harmony; on moral thought - by the motive of art; and if you try to guess about the interest, calling out to you chi other song of Racine or Voltaire, - instead, be sure to turn your respect for the orchestral effect at the miraculous recitative of Agamemnon. Why is it necessary to say after all, what is the reason for such a wandering of minds - "Iphigenia" of Gluck's cavalier? All the wanderings are more strong, that the thoughts are divided in the region, and all the parties are nevertheless stupefied with lunacy. frantsuzkoї opera, scho took an oath not viznavati іnshih bogіv, nіzh Lyullі abo Rameau prihilniki Sotho іtalіyskoї muzyky, SSMSC shanuyut lishe arії Іomellі, Pіchchіnі abo Sakkіnі, nareshtі, partіya Chevalier Gluck, yak vvazhaє scho їm znaydeno Moosic, scho naybіlshe vіdpovіdaє theater theater , the principles that are drawn from the eternal core of harmony and the inner harmony of our feelings and feelings, music, so as not to lie on the same edge of the country, but for the style of the genius of the composer, zoom in on the peculiarities of our movie.
Gluck himself ignited the most active activity in the theater for the sake of ignoring the routine there, stupid intelligence, quitting with hardened clichés and striving for dramatic truth in the production of viconan operas. Glitch intervened at the stage behavior of the actors, humming the chorus of children and life on stage. In order to maintain his principles, Gluck did not know the authority and recognition of his own names: for example, about the famous choreographer Gaston Westris, he spoke more casually: "Armidi".
The continuation of this development of Gluck's reformist activity in Paris was the staging of the opera Orpheus by the new edition in 1774, and the staging of the opera Alceste by the new edition in 1776. Offensive operas, translated by French, recognized significant changes in a hundred hundred minds of the Parisian opera house. The ballet scenes were expanded, the part of Orpheus was transferred to the tenor, just as in the first (Vidensk) edition, the bula was written for the viola and recognized for the castrato.
The performances of Gluck's operas brought the theatrical life of Paris to the great public. Gluck was supported by encyclopaedists and representatives of the advanced hromadas; on the other hand, the writers of the conservative direct line (for example, Laharpe and Marmontel). The super-girls were especially busy when the Italian opera composer Piccolo Pichchini arrived in Paris in 1776, playing a positive role in the development of the Italian opera buffa. In the field of opera seria Pichchini, saving traditional rice directly, standing on the old positions. To this, Gluk's enemies lied against the yoma Pichchini and ignited the super-nativity between them. This controversy, which thrived on the richness of the fates and subsided only after Gluck's exit from Paris, took away the name "fighting glukistiv and pichchinistiv". The struggle of the parties, formed like a skin composer, did not appear on the vіdnosinah between the composers themselves. Pichchini, who outlived Gluck, saying that he was rich in the last, and indeed, at his opera "Didona" Pichchini beat Gluck's opera principles. In this manner, the “war of glucosti and pichchinisti”, which flared up, was really a rallying point against Gluck reactionaries in the arts, as if they were reporting all their efforts to the point that they could create a supernatural world between two prominent composers.
The rest of Gluck's opera
The remaining reformist operas by Gluck, staged in Paris, are Armida (1777) and Iphigenia in Tauris (1779). "Armida" was written not in the ancient (similar to Gluck's other operas), but in the middle plot, based on the famous poem of the 16th century Italian poet Torquato Tasso "The Sound of Jerusalem". "Iphigenia in Taurida" following the plot and continuation of "Iphigenia in Avlidi" (in both operas, she herself Golovna heroine), but there is no musical cohesion between them 2.
After a few months after "Iphigenia in Tauris" there was a production in Paris of the last opera by Gluck "Echo and Narcissus", which is a mythological fairy tale. But this opera is small and weak success.
Stay rocky life creative robot the composer passed over importantly at the sphere of singing. In 1770, Gluck created a spit song on the texts of Klopstock. My idea - to write a German heroic opera "The Battle of Arminia" on the text of Klopstock - Gluck did not work. Gluck died near Vidna on the 15th leaf fall, 1787.
Principles of opera reform
The main provisions of his operatic reforms Gluck reclaimed from the dedicated score of the opera Alceste. Let us point out some of the most important positions that best characterize Gluck's musical drama.
Nasampered Glük vimagav vіd opera veracity and simplicity. Dedicated to his wines with the words: "Simplicity, truth and naturalness - the axis of the three great principles of beauty in all works of art"4. The music in the opera is to blame for the crookedness, the partiality, that experience of the heroes. I do not know; all the same, scho to know the position of powerful and serve less to please the ears of music lovers with beautiful, but superficial melodies and vocal virtuosity, only to amaze. So it is necessary to understand Gluck’s offensive words: “... I didn’t put any price on a new acceptance, as if I didn’t cry out naturally from the situation and didn’t have to do with virtuosity ... there’s no such rule, which I didn’t want to sacrifice for the sake of strength hostility" 2.
Synthesis of music and dramatic action. Gluk's head metamusical dramaturgy was used in deep, organic synthesis in opera music and dramatic action. In this case, music can be sub-ordered by drama, wonderfully resonating with all the dramatic ups and downs, pieces of music serve as a means of emotional revelation of the spiritual life of the heroes of the opera.
In one of the sheets, Gluck seems to say: “I tried to be more like a painter or a singer, less a musician. First, below I start to work, I try to be-so-be forget that I am a musician. Glitch, obviously, without forgetting what the musician is guilty of; svіdchennya tsgogo - yogo miraculous music, which has high artistic merit. Introducing the way of understanding the mind itself in such a way that the reformist operas of Gluck did not create music by itself, the posture of a dramatic action; won’t need more than the rest.
A. P. Serov wrote from this point of view: “... a thoughtful artist, creating an opera, remembers one thing: about his production, about his object, about the character of the acting features, about their dramatic zіtknennya, about the color of the skin scene , in її zagalnomu and zokrema, about the mind of the skin details, about the expression on the beholder-hearer at the skin moment; about more and more, more important for other musicians, the thoughtful artist doesn’t know anything, that’s why it’s turboti, foretelling you, that wine is a “musician”, they turned it into a yogo vіd meti, vіd zavdannya, vіd object, zrobili b a vishuvanim, oh ".
Interpretation of arias and recitatives
Head metoy, zv'yazku music and dramatic diї, Glitch subordinating all the elements of the opera performance. The aria in the new one ceases to be a daily concert number, which demonstrates the vocal mysticism of the songs: it organically enters the developments of the dramatic action and follows the highest standard, and obviously until I become sensible and experience the hero, vikonu tsyu aria. Recitatives at the traditional opera seria, perhaps relieved of musical zmistovnosti, were only a necessary link between concert numbers; moreover, diya developed itself in recitatives, and in arias it sang. In Gluck's operas, recitatives take on a musical vibrancy, approaching to an ariose melody, although they do not form into a completed aria.
In this way, between musical numbers and recitatives, the sharp line is erased, which was created earlier: arias, recitatives, choirs, saving independent functions, at the same time they unite at the great dramatic scene. Butts can be used: the first scene from "Orpheus" (behind the tomb of Eurydice), the first scene of another opera from the same opera (in the heat), a lot of sides in the operas "Alceste", "Iphigenia in Avlidia", "Iphigenia in Tauris".
Overture
The overture in Gluck's operas behind the wild scene and the character of the images instilled a dramatic idea in the creation. Before moving on to Alceste, Gluck writes: “I thought that the overture was to blame if you were ahead of the glancing characters of Dії, as if you were angry at their glances ...”1. In "Orpheus" the overture in the ideological and figurative terms is not connected with the opera itself. Ale overture from "Alcesti" and "Ifegeni in Avlidi" є symphonic elaborations of the dramatic ideas of these operas.
The uninterrupted link between the skin of these overtures and the opera Glitch swears at the one that does not give him an independent way of life, but translates it into the Persian language. In addition, the overture to "Iphigenia in Avlidi" may have a thematic connection with the opera: the aria of Agamemnon (the father of Iphigenia) is based on the music of the opening section, which the first day is inspired by.
"Ifegeniya in Tavrida" begins with a small entrance ("Quiet. Storm"), which goes straight to the first day.
Ballet
As it has already been said, Glitch in operas does not act like ballet. Navpaki, in the Parisian editions of "Orpheus" and "Alceste" (equally with the Vidensian) wines expand the ballet scenes. Alas, Gluck's ballet, as a rule, is not an interstitial divertissement, it does not fit with the action of an opera. Ballet in Gluck's operas of a lesser motivation by a break in dramatic action. As an example, you can bring on the demonic dance of the Furies from the other ballet "Orpheus" or the ballet from the naked dressing of Admet in the opera "Alceste". Just like some other operas, Gluck puts on a great divertissement after a happy rozv'yazka, which is unbearably present, but it is inevitable that the Danina is famous in that era of tradition.
Typical plots and their interpretation
The basis for the libreto of Gluck's operas was ancient and middle-aged plots. However, antiquity in Gluck's operas was not similar to that court masquerade, which is panuvav in the Italian opera seria and especially in the French lyric tragedy.
Antiquity in Gluck's operas was a manifestation of the characteristic tendencies of the classicism of the 18th century, imbued with a republican spirit and playing a role in the ideological preparation of the French bourgeois revolution, which was draped, in the words of K. Marx, "through the costume of the Roman Republic and the costume of the Roman Republic" The very same classicism, which led to the creativity of the tribune of the French Revolution - the poet Chenier, the painting of David and the composer Derzhsek. It is not unusual for such melodies from Gluck's operas, especially the chorus from the opera Armida, to sound on the streets and squares of Paris at the hour of revolutionary holy demonstrations.
Inspired by the interpretation of ancient plots, the powerful court-aristocratic opera, Gluck introduces civil motives into his opera: friendliness and readiness to sacrifice for the sake of the life of a close person (“Orpheus” and “Alceste”), to bring heroic pragnennia to oneself bіdi, scho I'm threatening you (“Iphigenіya in Avlidі”). Such a new interpretation of ancient plots can explain the success of Gluck's operas in the leading part of the French supremacy ahead of the revolution, the encyclopaedist zoncrema, like they put Gluck on the shield.
Gluck Opera Drama Society
Prote not respecting the interpretation of ancient plots by the soul of the advanced ideals of its time, it is necessary to point out the historically conditioned obmezhenistvo of Gluck's operatic dramaturgy. Vaughn is identified by the very ancient plots. Glyuk's heroes have a very abstract character: stench is not alive, people with individual characters, richly painted, rather aggravated noses of singing sensibilities and predilections.
Glitch was also completely inspired by the traditional mental forms and sounds of the operatic art of the XVIII century. Thus, successfully considering mythological plots, Gluck ends his opera with a happy rozv'azkoy. In "Orpheus" (against the myth, de Orpheus drank Eurydice forever) Glitch and Kaltsabija zmushuyut Cupid to the point of dead Euridice and awaken її to life. In "Alceste" the appearance of Hercules is unseen, as he entered the battle with the forces of the underground world, making friends in eternal separation. For the most part, the traditional operatic aesthetics of the 18th century: if you want to be a tragic star of the opera, end up prosperous.
Gluck Musical Theater
The most destructive force of Gluck's operas in the minds of the theater itself was miraculously enlightened by the composer himself, who said so to his critics: Didn't you feel good in the theater? Hi? So what's on the right? Like me, I was far away at the theater, - it means that I reached the mark, setting it like that; I swear to you, I don’t have enough turbulence, who knows me to receive at the salon and concerts. Your words are given to me by the people, yak, having climbed onto the high gallery of the dome of the Invalid, would start shouting to the artist, who should stand at the bottom: “Sir, what did you want to depict here? Hiba tse nіs? Hiba tse hand? Not similar to either one or the other!”. To the artist from his side varto would have shouted to him with a richer right: “Hey, sir, go down and marvel, go and dance!”1.
Gluck's music is rebuffed by unity with the monumental nature of vistavi zagalom. She has no such embellishments, everything is strict, simple and written in broad, great strokes. Skin aria є vіlennyam odnієї predilectі, one pochuttya. For all that, there is no melodramatic annoyance, no tearful sentimentality. A little bit of the artistic world and the nobility of the spirit did not change Gluck in any way in his reformist operas. This noble simplicity, without chimeras and effects, suggests the harmony of the forms of ancient sculpture.
Gluck's recitative
The dramatic versatility of Gluck's recitatives is a great achievement for the galley of the operatic art. If the rich arias have one stan, then the recitatives sound the dynamics of the senses, go from one stan to the next. Whom has a good monologue of Alcesti at the third di opera (believed by the brothers of Aida), de Alceste should not drink at the light of shadows, to give life to Admet, but you can’t get on at the price; the struggle of the super smart feelings from the great power is conveyed at this scene. The orchestra can also perform a different function, taking an active part in creating a wild mood. Such are the recitative scenes in Gluck's other reformist operas2.
hori
A great place in Gluck's operas is occupied by choirs, which organically join together with arias and recitatives in the dramatic fabric of the opera. Recitatives, arias and choirs in their totality satisfy the great, monumental operatic composition.
Visnovok
Gluck's musical influx expanded even for a Viden, de vin ended his days peacefully. Until the end of the 18th century, a wondrous spiritual fusion of musicians developed near Vydnya, as if it had won the name of the “Vydensky classical school”. Before her, ring out three great masters: Haydn, Mozart and Beethoven. A glitch behind the style and directing one's own creativity is also addictive here. And just like Haydn, the eldest of the classical triad, was affectionately called “that Haydn,” then Gluck was raised to the next generation: he was 42 years older than Mozart and 56 years older than Beethoven! To that vin standing apart. Others were known either in friendly vіdnosyns (Haydn and Mozart), or in teachers' and students' (Haydn and Beethoven). The classicism of the Vidensk composers in the presence of nothing in common with the dignified court art. That’s right bv classicism, enlightenment and free-thinking, reach the fight against God, and self-irony, and the spirit of tolerance. Chi is not the head of the power of їhnyoї music - badorіst and cheerfulness, based on viri in kіntsev the triumph of goodness. God does not go anywhere in the middle of music, but the center of a flock of people. The opera and the symphony close to it are becoming favorite genres; The symmetry of ideally viviren musical forms, the clarity of a regular rhythm, the vividness of unrepeated melodies and tim - a mustache for listening to the listener, all the right psychology. But how else, how in any treatise about music, you can know the words about those that are the main meta art of art - to hang out and bring people satisfaction? Tim, for an hour, recently, in the era of Bach, it was important that music is guilty of us before instilling reverence for God in people. Vidensk classics brought purely instrumental music to an unbelievable height, as before it had been respected by other rows in terms of respect to church music and stage music.
Literature:
1. Hoffman E.-T.-A. Choose to create. - M: Music, 1989.
2. Pokrovsky B. "Talk about the opera", M., Prosvitnitstvo, 1981.
3. Litsarev S. Christoph Willibald Gluck. - M: Music, 1987.
4. Collection "Opera Libreto", V.2, M., Music, 1985.
5. Tarakanov B., " Musical look around", M., Internet-REDI, 1998."
Christoph Willibald Gluck
The famous composer of the 18th century, Christoph Willibald Gluck, who was one of the reformers of the classical opera, was born on June 2, 1714, in the city of Yerasbakh, a cordon of the county of the Upper Palatinate and the Czech Republic.
The composer's father, let's just say, a villager, after many years of service in the army, having joined Count Lobkovits as a forester. In 1717 Gluck's family moved to the Czech Republic. The fates of life in this country could not but be recognized by the work of the famous composer: in yoga music you can catch the motifs of song folklore.
The childhood of Christoph Willibald Gluck cannot be called shameless: the pennies of this man often did not get away, and the boy was mad to help his father in his moustache. Prote problems did not malice the composer, but, on the contrary, the stench stole the vibrations of vitality and zealousness. The quality of the character was for Gluck indispensable during the implementation of reformist ideas.
In 1726, at the 12th century, Christoph Willibald gave his appointment to the student college of the town of Komotau. The rules of this initial pledge, pierced by a blind faith in the dogma of the church, were handed over to the authorities without guarding order, but it was important for the young gifted man to keep himself within the limits.
The positive moments of Gluck's six-fold education in the Russian collegium can include the development of vocal tributes, such musical instruments as clavier, organ and cello, Greek and Latin language, as well as hoarding of ancient literature. At that hour, if the main theme of the operatic art was Greek and Roman antiquity, similar knowledge of that vminnya was simply necessary for the opera composer.
In 1732, Gluck joined the Prague University and moved from Komotau to the capital of the Czech Republic, de continuing his musical education. The lad had a penny, like before, it was tight. Sometimes, in search of earnings, virushav from the navkolishnі village, and thundering on the cello, roaring the mystical inhabitants, often asking for the upcoming musical reformer at the fun of the people's saints. Practically all the pennies earned by such a path went to waste.
The first reference music teacher for Christoph Willibald Gluck was the prominent composer and organist Bohuslav Chornogorsky. The acquaintance of the young man with the "Czech Bach" took place in one of the most beautiful temples, de Gluck sang at the church choir. The very same Chornogorsky future reformer recognized that such a general bass (harmony) and counterpoint.
Gluck's legacy of 1736 is considered to be the beginning of a professional musical career. Count Lobkowitz, at the mother of some young man, having passed the child's fate, having shown an inexplicable interest in Christoph Willibald's incompetent talent. Unforgettably at Gluk's share, a solemn podia became important: having taken off the seat of a chamber musician, that head singer of the Vidensky chapel of Count Lobkowitz.
Strіmke musical life In the afternoon, the young composer has faded away. Familiarity with the most important playwright and librettist of the 18th century P'etro Metastasio spilled over into Gluck's writings of the first operatic works, which did not take away, in truth, a special knowledge.
The next stage in the work of the young composer became more expensive to Italy, organized by the Italian philanthropist Count Melzi. For a long time, from 1737 to 1741, Gluck was taught in Milan under the ceremonial work of the famous Italian composer, organist and conductor Giovanni Battista Sammartin.
The result of the Italian rise in price was Gluck's hoarding by the opera seria and writing musical works on the texts of P. Metastazio ("Artaxerxes", "Demetriy", "Hypermnestra" etc.). Joden from the early works of Gluck did not save the dossi in the new version, but only fragments of his works allow us to judge those that even the future reformer, having mentioned the low shortfalls in the traditional Italian opera, tried podolati їх.
The signs of the future operatic reform were most evident in Hypermnestra: the emphasis on the sound of vocal virtuosity, the promotion of the dramatic variety of recitatives, the organic link of the overture with the snaky mustache of the opera. The creative immaturity of the young composer, who had not yet recognized the need to change the principles of writing an opera work, did not allow him to become a reformer.
Prote between the early and late operas of Gluk there are no inseparable facts. In the creative period of the reforming period, the composer often introduced melodic turns of early works, and even victorious old arias with new text.
In 1746 Christoph Willibald Gluck moved to England. For the greater London society, he wrote the opera seria Artamen and the Fall of the Giants. Zustrich, praised by Handel, whose works had a tendency to go beyond the standard scheme of a serious opera, became a new stage in Gluck's creative life, step by step meeting the need for opera reform.
In order to attract the capital's public to his concerts, Gluck went in for help of the best effects. So, in one of the London newspapers for the 31st of March 1746, an offensive scam was given: “At the Great Hall of Gickford, at the second of April 14, 1746, Gluck, an opera composer, will give a musical concert for the participation of the greatest opera artists. Before the speech, wins the concert for 26 cups at the accompaniment of the orchestra, laced for the help of the key water ... ".
From England, Gluck broke to Nіmechchini, then from Denmark and Czech Republic, de occupied with writing and staging operas seria, dramatic serenades, practicing with operatic performances like a conductor.
In the 1750s, the composer turned to the Sunday, de taking off the request from the quartermaster of the court theaters, Giacomo Durazzo, to work at the French theater as a composer. In the period from 1758 to 1764, Gluck wrote a number of French comic operas: "Island of Merlin" (1758), "Reversal of the P'yanitsa" (1760), "Fools of the Kadi" (1761), "Unstopped Zustrich, or Pilgrimie from Mecca "(1764) ta іn.
The robot directly made a significant contribution to the formation of Gluck's reformist glances: turning to true turns in folk song and winning new butt storylines in classical art, zoomed in on the growth of realistic elements in the musical creativity of the composer.
The fall of Gluck has nothing more than an opera. In 1761, on the stage of one of the Vidensk theaters, the ballet-pantomime "Don Giovanni" was staged - a tvir of Christoph Willibald Gluck and the most famous choreographer of the 18th century, Gasparo Angiolini. characteristic rice which ballet appeared dramatization of diї and viraz music that conveys human passions.
In this way, ballet and comic operas became the devil's way to Gluck's path to the dramatization of operatic art, the creation of a musical tragedy, the whole creative activity of the famous composer-reformer.
Bagato doslednikіv vvazhayut on the basis of the reformist activity Gluck and his closeness to the Italian poet, playwright and librettist Raniero da Calcabigi, who contrasted the courtly aesthetics of Metastasio's works, subordinating the standard canons, simplicity, freedom, naturalness. compositional inspiration, encircled by the development of the most dramatic diy Vibirayuchy for his libretto antique plots, Kaltsabiji reminiscent of their high moral pathos and special gromadyansky and moral ideals.
Gluck's first reformist opera, written to a text by a one-minded libretist, was Orpheus and Evridika, staged on the stage of the Vidensky Opera House on July 5, 1762. Dany tvir in two editions: in the French (Italian language) and Parisian (French language), supplemented by ballet scenes, which completes the first part of Orpheus' aria, re-instrumentation of the okremih mіsts and іn.
A. Golovin. Sketch of scenery for K. Gluck's opera "Orpheus and Evridika"
The plot of the opera, based on ancient literature, is based on the offensive: at the Thracian spivak Orpheus, what a marvelous voice, the squad of Evridik died. Together with friends we mourn the kohana. At the same time, Cupid, when he appeared unexpectedly, deafened the will of the gods: Orpheus is guilty of descending into the kingdom of Hades, to know Euridice there and bring her to the surface of the earth. Golovna Umova - Orpheus is not guilty of marveling at the squad, the docks of stench cannot be seen from the underground world, otherwise it will be lost there forever.
For the first time I create, in such a summation the chori of the shepherds and the shepherd boy are satisfied at once with the recitatives and arias of Orpheus, who weeps for the squad, a stringy compositional number. Zavdyaki repetitiveness (the music of the chorus and the aria of the legendary song are chanted by trichs) and the tonal unity create a dramatic scene with a scraping action.
Another day, which is made up of two pictures, begins with the entrance of Orpheus to the world of shadows. Here the enchanting voice of the spirit calms down the anger of the wicked furies and the spirits of the underground world, and the wines pass without interruption into Elysium - the place where blessed shadows live. Knowing the Kohana, do not marvel at her, Orpheus will see her on the surface of the earth.
The dramatic and sinister nature of the music is intertwined with a lower, more passionate melody, demonic choirs and wild dances of the furies change into a light, lyrical ballet of blissful shadows, which is accompanied by a nasty flute solo. The orchestral part of the aria of Orpheus conveys the beauty of a no-nonsense light, filled with harmony.
The third day appears in a gloomy gorge, behind which head hero, do not turn around, lead your kohana. Evridika, without understanding the behavior of a person, ask Yogo I would like to marvel at her once. Orpheus sings її at his kohanna, but Evridika hesitates. Glancing, throwing a squad to Orpheus, driving in її. The suffering of the union is inexhaustible, the gods pity the new one and send Cupid for the resurrection of Eurydice. A happy couple of friends turn around in the world of living people and together with friends glorify the power of kokhanny.
Frequent changes in the musical tempo add to the creative nature of the creation. The aria of Orpheus, without respect in a major way, is a viraz of sorrow to waste your kohanoi, and save your mind to lie in the right vikonnanny, the pace of the character of the sound. In addition, the aria of Orpheus is changed by the major reprise of the first chorus of the first diy. In this rank, the intonation arch is thrown over the TV, saving its integrity.
Musical and dramatic principles, recognized in Orpheus and Eurydice, were developed in the upcoming operatic works of Christoph Willibald Gluck - Alceste (1767), Paris and Deer (1770) and in. The creativity of the composer of the 1760s is shaped by that period of the Viennese classical style, which was residually formed in the music of Haydn and Mozart.
In 1773, a new stage in Gluck's life began, which was marked by a move to Paris - the center of the operatic art of Europe. Not accepting the reformatory ideas of the composer, he dedicates his works to the score of "Alceste" and turns the reworked opera into a musical tragedy, pierced by gentry simplicity, drama and heroism to kshtalt classicism.
Music is too small for the emotional opening of the souls of heroes; arias, recitatives and choirs, saving their independence, united at the great dramatic scene, moreover, the recitatives conveyed the dynamics sensitively and signified the transition from one camp to another; in the overture, there was a trace of the dramatic idea of the whole creation, and the performance of the ballet scenes was motivated by the course of the di opera.
The introduction of civilized motifs to ancient plots brought success to Gluck's works in the midst of the advanced French society. In April 1774, at the Royal Academy of Music in Paris, the first production of the opera Iphigenia in Avlidia was shown, which portrayed all Gluck's innovations in a completely different way.
The composer's reformatory activities in Paris were continued by the performances of the operas "Orpheus" and "Alceste" by the new edition, which led to the theatrical life of the French capital in great praise. The super-girls between the reformist Gluck and the Italian opera composer Niccolo Pichchin, who stood in the old positions, did not smell the richness of the rokіv.
The remaining reformist creations of Christoph Willibald Gluck were Armida, written on the middle story (1777), and Iphia in Tauris (1779). The staging of the remaining mythological tale-opera by Gluck “The Moon and Narcissus” was not a small success.
The rest of the fates of the life of the famous composer-reformer passed at Vіdnі, de pratsyuvav over the written song on the texts of other composers, zokrem and Klapshtok. For a few months before his death, Gluck, having begun writing the heroic opera “The Battle of Arminia”, did not have a chance to think about it.
The composer died of applause at Vidna on the 15th leaf fall, 1787. Yogo creativity has plunged into the development of the entire musical art, and operatic music.
Tsey text is a cognizable fragment.Biography classical music. This composer was a great reformer of musical performances, his ideas outstripped their time and poured into the work of many other composers of the 18th and 19th centuries, including Russian ones. Zavdyaki youmu opera nabula stringy looking and dramatic completion. In addition, having worked on ballets and small musical works - sonatas and overtures, yakі so become chimaliy _interes for today's vykonavtsiv, yakі willingly include їkh urivki to concert programs.
Youth rock
Gluck's early biography is rotten at home, although a lot of scholars actively continue his childishness and juvenile fates. It is authentically evident that in 1714 he was born in the Palatinate in the same way as a forest worker and having achieved home lighting. Also, all historians may agree on the fact that already in childhood, the wines showed non-abysmal musical vibes and in the time of grace musical instruments. The father didn’t want to, so he became a musician and corrected yoga to the gymnasium.
However, the future wish to lead one's life with music and to that pishov from home. In 1731 he settled in Pras, de engraved on the violin and cello under the ceramics of the famous Czech composer and theorist B. Chornogorsky.
Italian period
Gluck's biography can be mentally subdivided into a number of stages, making the place of his life, work and active creative activity as a criterion. In the other half of the 1730s, the wines arrived to Milan. At this hour one of the leading Italian musical authors J. Sammartin. Pіd yogo vplivom Glitch pochas pisati vlasnі create. At the thought of the critics, at the time of the wines, having slandered the so-called homophonic style - musical directly, which is more characteristic of the sound of one of the main ones, which also play an additional role. Gluck's biography can be considered superbly rich, to the fact that he is rich and actively practicing and introducing rich new things to classical music.
The introduction of the homophonic style was even more important to the achievements of the composer, to that in the European music school looked at the hour panuvala polyphony. During this period of time I create a number of operas (“Demetrius”, “Por” and others), which, regardless of inheritance, bring him popularity. Until 1751, he was on tour with an Italian group, until he denied the request to move to Vidnya.
Operi reform
Christoph Gluck, the biography of such a trace is inextricably linked to the history of the formation of the operatic art, richly arranging for the reformation of the musical vistavi. In the XVII-XVIII centuries, the opera was a great musical sight from the harp music. Great respect was attached not so much to me, as to form.
In most cases, composers wrote exclusively for a specific voice, without worrying about the plot and the meaning of the idea. Gluck strongly spoke out against such an approach. In yoga operas, the music was ordered by drama and individual experiences of the characters. In his work “Orpheus and Eurydice”, the composer has nicely combined elements of ancient tragedy with choral numbers and ballet performances. Such a pidkhid was innovative for its hour, and that was not a good thing for estimating the co-workers.
Vidensky period
One of the 18th century is Christoph Willibald Gluck. The biography of this musician is important for the development of this classical school, as we know today. Until 1770, he worked at Vidnia at the court of Marie-Antoinetti. In the same period, they took shape and took away their residual expression of yogo creative principles. Prodovzhuyuchi pratsyuvati the traditional genre of comic opera, created a number of original operas, in some of them subordinating the music to the poetic sensation. Before them you can see the TV of "Alceste", creations of the tragedy of Euripides.
In this opera, the overture, like in other composers, is small in independence, may have more important meaning, has a great sense of ambition. This melody was organically woven into the main plot and set the tone for this manifestation. This principle was followed by yoga followers and musicians of the 19th century.
Paris stage
The 1770s are considered the most important in Gluck's biography. Short zmist yogo іstorії obov'yazkovo can revenge a small description of yogo participation in the super-event that flared up in the Parisian intellectual stakes just like that, which opera can be. The super girl went between the addicts of the French and Italian schools.
The first ones emphasized the need to bring drama and semantic strings into a musical performance, while others voiced those musical improvisations on vocals. Glitch obstoyuvav pershu dumku. Inheriting his creative principles, he wrote a new opera based on the motifs of Euripides' p'yesi "Iphigenia in Tauris". Tsey tvir buv vyznaniym best of the composer's creativity and zmіtsniv yoga evropeisku popularity.
infusion
In 1779, composer Christopher Gluck turned through an old ailment until Sunday. The biography of this talented musician cannot be revealed without this riddle the rest of the works. Being seriously ill, we sang a number of songs for the pianoforte. 1787 Roku Vin died. Vіn mav chimalo poslіdovnikіv. The composer himself will learn with his best, having respected A. Salieri. The traditions laid down by Gluck became the basis for the work of L. Beethoven and R. Wagner. In addition, a lot of other composers were inherited not only from the works of operas, but also from symphonies. From Russian composers M. Glinka highly appreciated Gluck's creativity.
German composer, most importantly operatic, one of the greatest representatives of musical classicism
short biography
Christoph Willibald von Gluck(Нім. Christoph Willibald Ritter von Gluck, 2 limes 1714, Yerasbakh - 15 leaf fall 1787, Sunday) - a German composer, most importantly operatic, one of the greatest representatives of musical classicism. The reform of the Italian opera series and the French lyrical tragedy in the other half of the 18th century is connected with Gluck's name, and just as the works of Gluck the composer did not always gain popularity, the ideas of Gluck the reformer marked a further development of the opera theater.
Early rock
Vіdomosti about the early rock of Christoph Willibald von Gluck is very poor, and a lot of what was put in by the composer's early biographers was slandered. It seems that having been born in Yerasbach (nine district of Berching) near the Upper Palatinate in the family of the fox Alexander Gluck and the yogo squad of Mary Walpurga, buv from the childishness of the muse of music and, maybe, having obtained home musical illumination, sound at that hour at Bohemia In 1717, the family moved in. Іmovіrno, silt the six rokiv glitch in the company єzyitskiy gіmnazії in Komotea і, osskіlki yogo Batko not Hotvant Bachti of a Holy Senior Sina Musicant, Піста заму, in 1731 Opinion in the prazі і act of an hour turned into Prazkom University, de Lukoviki, earning a life of music. Skripal and cello player, who was the most infamous vocalist, Gluk, singing at the choir of the Cathedral of St. Yakub and engraver in the orchestra under the orchestra of the greatest Czech composer and musical theorist Boguslav Chornogorsky, sometimes violating on the outskirts of Prague, de performing before the villagers and artisans.
Glück having taken upon himself the respect of Prince Pilip von Lobkowitz and in 1735 he sent requests to the yogi videnka booth as a chamber musician; maybe, at the house of Lobkovitsya, the Italian aristocrat A. Meltsі felt and asked for his private drop, - in 1736 and 1737 Gluck stumbled at Milan. In Italy, in the opera operas of the Fatherland, having taken away the opportunity to get to know the works of the greatest masters of this genre; composition with the help of the composer Giovanni Sammartin, the composer is not an opera style, but a symphony one; albeit with yogo curry, as S. Litsarev writes, Gluck sang "with a 'modest', albeit with a homophonic sheet," which, having already fully established itself in the Italian opera, the polyphonic tradition also panned in Vidnia.
At the birth of 1741 in Milan, the premiere of Gluck's first opera, the opera series "Artaxerxes" to the libreto of P'etro Metastasio, took place. In "Artaxerx", like in Gluck's early operas, Sammartin's succession, a proteo of successes, which caused a spell in different cities of Italy, was more memorable, and in the coming years, no less successful opera series were created. Demetrius”, “Por”, “Demofont”, “Hypermnestra” and others.
In the autumn of 1745, the fate of Gluck broke to London, having taken away the stars of the wines on two operas, and then, in the spring of the advancing fate, he flooded the English capital and joined as another conductor in the Italian opera troupe of the brothers Mingotti, with some kind of stretching five fates in gastronomy. In 1751, he left Mingotti at Prague for the post of Kapellmeister at the corpse of Giovanni Locatelli, and in 1752, he settled at Vidnia. Having become bandmaster of the orchestra of Prince Josip of Saxe-Hildburghausensky, Gluck performed several concerts - "academies", which played like other people's work, and power. According to his fellow students, Gluck was a prominent opera conductor and well aware of the peculiarities of ballet art.
At the jokes of musical drama
In 1754, on the proposition of a kerivnik by the Vidensk theaters of Count J. Durazzo, Gluck was appointed conductor and composer of the Court Opera. At Vidnia, step by step, roaring with the traditional Italian opera series - “opera-ariya”, in such a beauty of melody and spіvu they sounded self-sufficient character, and composers often became guarantors of the prima donnas’ tricks, - they turned back to the French comic opera (“Island”, “Merlina”, “Island of The Slave Is Clear”, “Recovered on a Friday”, “Fooling Kadi”, etc.) and lead to ballet: creations in collaboration with choreographer G. Angiolina ballet-pantomime “Don Giovanni” (for the song by J.-B. Molière ), the right choreographic drama, becoming Gluck's first inspiration for transforming the operatic scene into a dramatic one.
K. V. Gluck. Lithograph by F. E. Feller
In his quests, Gluck knew a tip from the chief intendant of the opera, Count Durazzo, and from the poet's poet and playwright, Ranieri de Calcabigi, who wrote the libreto of Don Juan. The next step for the direct musical drama was their new work - the opera "Orpheus and Eurydice", which was staged by the first edition at Vidnia on July 5, 1762. Under the pen of Kaltsabija, the old Greek myth turned into an ancient drama, at the latest appearance to the savor of that hour; however, neither in Vienna, nor in other places in Europe, opera is not a small success with the public.
The need to reform the opera series, write S. Litsarev, was dictated by the objective signs of the crisis. With whom, it was possible to add “the age-old and namingly strong tradition of the opera-view, the musical performance with the sublime function of poetry and music, which is well-established.” In addition, the opera series bula is characterized by the dramaturgy of statics; The “theory of effects” served as a primer, which conveyed to the skin behind the emotional state - sadness, joy, anger, then. bud. - singling out the songs of musical variety, established by theorists, and did not allow individualization of experience. The conversion of stereotyping to the value criterion gave rise to the first half of the 18th century, from one side, a vast number of operas, from the second - їх arcs short life on the stage, in the middle from 3 to 5 times.
A glitch in his reformist operas, writes S. Litsarev, “having mixed up the music of“ pratsyuvati ”for the drama, not in the midst of a vistavi, which was often played in modern operas, but in everything. Orchestra zasobi nabouli wildness, dark sense, began to counterpunctuate the development of the podias on the stage Gnuchka, the dynamic change of recitative, aria, ballet and choral episodes formed into a musical and plot subdivision, which draws behind itself without a middle emotional experience.
Other composers were also poking around directly, including in the genre of comic opera, Italian and French: this young genre has not yet caught the stone, and it was easier to develop this healthy trend in the middle, lower in the opera series. At the castle court, Gluck continued to write operas in the traditional style, blatantly demonstrating the superiority of the comic opera. The heroic opera "Alceste" was created in 1767 by the union of Kaltsabija in 1767. Assigning the opera of the Grand Duke of Tuscany, the future Emperor Leopold II, Gluck wrote before moving on to Alceste:
Meni Zdavalosha, Scho Muzika Mobnna Zіgriti on Vіzynnyh to a guy theater Toy Role, Yaku Vіdіdіnga Yaskravіt Farb І Vіrnіnіlenі Efeteti Svitlotіnі, FavaValnі Fіguri, not zmіnyuyuyu ї ихованів, и имюний июньки ... I am a pragnev in Muziki Svi Naumіrnostі, protesting healthy eyes and justice. I thought that the overture is guilty of visvitliti peeping and serving as an introductory glance at the sight: the instrumental part is guilty of arguing with interest and tension of the situation ... the introduction of some new priyomіv was given to me, the shards of the situation indicated the situation. I, nareshti, there is no such rule, as if I had not broken the back for reaching greater diversity. Such are my principles.
Such an important arrangement of music for a poetic text at that time was revolutionary; in order to improve the numbered structure, typical for the current opera series, Gluck not only combined the episodes of the opera at the great stage, pierced by a single dramatic rosette, tying the wines to the di opera and overture, so that at that hour the bula would sound like a concert number; in order to reach greater vibrance and drama of the wines, having promoted the role of the choir and the orchestra. Neither "Alcesta", nor the third reformist opera on the libreto of Calcabija - "Paris and Deer" (1770) did not know the accompaniment of either the Vidensian or the Italian public.
Before obov'yazkіv Gluck, as a court composer, included teaching music to the young Archduchess Marie-Antoinetti; Having become a retinue of the fall of the French throne at the end of 1770, Marie Antoinette requested that Gluck to Paris. For the composer's decision to transfer his activity to the capital of France, other furnishings were significantly more important to the world.
Glitch at Paris
In Paris, at the same time, the struggle was sharpening for a while, as it became another act in the 50s to fight between the adherents of the Italian opera (“buffonists”) and the French (“anti-buffonists”). This resistance broke the crown of the family: the French king Louis XVI, having won the victory of the Italian opera, just like the Austrian squad of Marie Antoinette supported the national French. Rozkol impressing the famous "Encyclopedia": її editor D'Alembert was one of the leaders of the "Italian party", and a lot of authors in choli with Voltaire actively supported the French. Alien Gluck's shoutering soon Becoming Parador "FRANCE", І Оскільки іtalіyski corpse in Paris Napіrtzі 1776 ROCK Creation of conformers і і і пічиніні рокиский комени ист Ційский исиский-SUSSPILI POLEKIKOVA MYZHCHY "GLUKISTAMI" ". In the struggle, which flared up in a few styles, the super-chant was really about those who could have an opera performance - only an opera, a rich sight with a great music and a great vocal, or, more importantly: the encyclopedists were looking for a new social revolutionary sound, before the revolutionary sound. In the struggle between the “glukists” and the “punchchinists”, like after 200 years, it was already a grandiose theatrical performance, like in the “war buffoons”, the controversy began, following the words of S. Litsarev, “the more cultural versions of the aristocratic and democratic art”.
On the cob of the 1970s, Gluck's reformist operas were unknown in Paris; In 1772, Francois le Blanc du Roullet, the atache of the French embassy near Vdnia, gave them the respect of the public on the sides of the Parisian magazine Mercure de France. The paths of Gluck and Kalzabіdzhі have changed: with a reorientation to Paris, becoming du Roullet as the main librettist of the reformer; In cooperation with him, for the French public, the opera Iphigenia in Avlidia was written (based on the tragedy of J. Rasin), staged in Paris on April 19, 1774. Successfully creaked, even though I called out baked super-girls, new, French edition of Orpheus and Evridiki.
Statue of K. V. Gluck at the Grand Opera
Visnannya in Paris did not lose its incomparable at Vidnia: just as Marie Antoinette waved to Gluck for "Ifegeniya" 20,000 livres and styles for "Orpheus", then Maria Theresa on July 18, 1774, in absentia, awarded Gluck with the title of "divine royal emperor". pay in 2000 guilders. Playing for the honor, Glitch after a short time of rebuking at Vidnia turned to France, and on the cob in 1775 a new edition of the comical opera “The Enchanted Tree, or the Oshukani Opikun” (written in 1759), and at the apartment, at the Royal Academy of Music – new edition of Alcesti.
The Parisian period in the history of music is considered to be the most significant in Gluck's work. The struggle between the “glukists” and the “pitchchinists”, which inevitably turned into a special super-nativity of composers (which, by the way, was not mentioned at their exchanges), went on with a change of success; until the mid-1970s, the “French Party” split on the traditional French opera (J. B. Lull and J. F. Rameau) on one side, and Gluck’s new French opera on the other. Voluntarily, Gluck himself threw a viklik to the traditionalists, victorious for his heroic opera "Armida" libreto, written by F. Kino (after T. Tasso's "Sounds of Jerusalem") for the one-men opera Lully. “Armida”, which was premiered at the Royal Academy of Music on 23 Spring 1777, probably, the flooring was differently accepted by representatives of different “parties”, that after 200 years some spoke about “great success”, and in others - about “bad luck” » ».
At the same time, the struggle ended with the defeat of Gluck, if on May 18, 1779, the Royal Academy of Music presented his opera “Iphigenia in Tauris” (to the libretto by N. Gniar and L. du Roullet after the motifs of the tragedy of Euripides), yak who appreciates the composer's best opera. Niccolo Piccinni himself recognized the "musical revolution" of Gluck. Earlier, J. A. Houdon, having created the composer’s white-breasted chest with the inscription in Latin: “Musas praeposuit sirenis” (“Give the lilacs of the muses a victory”), - in 1778, the chest of the chests was installed at the foyer of the Royal Academy of Music with Lull.
Stay rocky
On spring 24, 1779, the premiere of Gluck's last opera, The Moon and Narcissus, took place near Paris; Earlier, at the lips, the composer was struck by a stroke, which turned into a partial paralysis. In the autumn of the same fate, Gluck turned to Vіdnya, which he did not leave any more: a new attack of ailment became at the heart of 1781 fate.
During this period, the composer continued his work in 1773 on odes and songs for voice and piano on the verses of F. G. Klopstock (n.m.). Klopstock's "Battle of Arminia", but these plans were not destined to come true. Around 1782, roci Gluck wrote "De profundis" - a small verse for a chorus of voices and an orchestra on the text of the 129th psalm, like on the 17th leaf fall of 1787 at the funeral of the composer was vikonano yogo by the teacher and successor. 14th and 15th leaf fall Gluck survived three apoplexy strokes; he died on the 15th of the fall of 1787 and was buried in a pile of graves in the church tsvintary of the Matzleinsdorf frontier; In 1890, the gunpowder was transferred to the Central Tsvintar of Vydnya.
Creativity
Christoph Willibald Gluck was a composer of great opera, but the exact number of operas, like you lay down, has not been established: on the one hand, if you didn’t save your creations, on the other hand - Gluck repeatedly reworked his own powerful operas. The "Music Encyclopedia" gives the number 107, with only 46 operas being redeemed.
Monument to K. V. Gluk near Vіdnі
In 1930, E. Braudo, having regretted about those that Gluck's “true masterpieces” offended by “Iphigenia”, are now well known from the theatrical repertoire; But in the middle of the 20th century, interest in the composer’s creativity revived, the axis already richly rocked not to leave the stage and may have a great discography of his opera “Orpheus and Evridika”, “Alceste”, “Iphigenia in Avlidi”, “Iphigenia in Taurida”, even more popular there are symphonic fragments from yoga operas, which have long since formed an independent life on the concert stage. In 1987, to celebrate the birth and promotion of the composer's creativity, the International Glyukovsky Association was founded in Vidnia.
For example, Gluck said that “only foreigners Salieri” adopted a new manner of manners, “because the Germans don’t want to live”; not less than the new one knew a few successors in different lands, from such skins in their own way zastosovuvav yogo principle in the master's creativity, - krim Antonio Salieri, tse nasampered Luigi Cherubina, Gaspare Spontinі and L. van Beethoven, shektor pіlіzvіven Gluck "Eschilom of Music"; among the closest successors, the composer’s infusion is remembered for an hour and the posture of operatic creativity, like Beethoven, Berlioz and Franz Schubert. As for Gluck's creative ideas, the stench marked a further development of the opera house, in the 19th century there was no great opera composer, who in the greater world did not recognize these ideas; Before Gluck, another operatic reformer was introduced - Richard Wagner, who after a short time stumbled onto the opera stage with the same "costuming concert", against which Gluck's reform was directed. The composer's ideas appeared to be not alien to Russian opera culture - from Mikhail Glinka to Oleksandr Serov.
Gluck also has a number of works for the orchestra - symphonies or overtures (during the composer's youth, the separation between these genres was not clear enough), concerto for flute with orchestra (G-dur), 6 trio sonatas for 2 violins and general bass, written more in the 40s. Together with G. Anjolina, the crime of Don Juan, Gluck created three more ballets: Oleksandr (1765), as well as Semiramida (1765) and The Chinese Orphan - an insult to Voltaire's tragedies.
