Tag Archives: Christoph Willibald Gluck

Discovery of eight new arias by Gluck

A new discovery is on its way to boost the Gluck Complete Edition, headed by the Mainz Academy of Sciences and Literature, as the editing project nears its completion. Project manager Tanja Gölz authenticated eleven vocal pieces from Gluck’s opera Poro found in a Berlin antiquarian bookshop and originating from an anonymous private collection. These include eight arias that had previously been considered lost and were therefore completely unknown to Gluck researchers. Composed in 1744 for the Teatro Regio in Turin, Poro is one of Gluck’s early opere serie, of which only individual numbers have survived in the form of copies, subsequently created parts, or isolated selections.

On this basis, the historical-critical edition of the fragmentary opere serie is presented in two parts of the Gluck Complete Edition published by Bärenreiter, thus making another facet of the hitherto almost unknown early work of the opera reformer available to scholars and performers. As a result of the newly found short score and canto e basso copies, which were likely made for rehearsals and thus within the immediate context of the world premiere, the proportion of Poro’s musical text has increased to a total of 14 complete numbers (including the sinfonia), which is almost 50 percent of the original, full-length work.

Learn more in the news section of MGG Online.

The image above features È prezzo leggiero, Gandarte’s entrance aria from Gluck’s opera Poro (Turin 1744). Listen below to pieces from Gluck’s Alceste, including the work of U.S. soprano Jessye Norman.

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Filed under Europe, Opera, Opera

Gluck and Winckelmann

Laocoön

“Sculpture, music, text: Winckelmann, Herder, and Gluck’s Iphigénie en Tauride” by Simon Richter (Goethe yearbook VIII [1996] pp. 157–71) considers Gluck’s opera in the context of Johann Joachim Winckelmann’s writings on the statue known as Laocoön, widely regarded as the measure for classical beauty in the second half of the 18th century, and Johann Gottfried Herder‘s writings on the human voice as a common origin for both music and language.

According to Richter, Gluck’s Iphigénie enacts a musical version of Winckelmann’s classical aesthetics, which in turn may have consequences for the way in which Iphigénie is performed, staged, and interpreted. Gluck is in every respect staging the allegorical triumph of his opera reform as the musical counterpart of Winckelmann’s classical aesthetics.

This year we celebrate the 250th anniversary of the publication of Winckelmann’s Geschichte der Kunst des Althertums (Dresden, 1764)! Winckelmann revolutionized the understanding of stylistic changes in Greco-Roman art and deeply influenced archaeological studies. His concept of edle Einfalt und stille Grösse (noble simplicity and quiet grandeur) put the excessive complexities of Baroque aesthetics to rest, influencing Gluck and others.

Above, the sculpture in question (click to enlarge); below, Véronique Gens as Iphigénie.

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Filed under Visual art

Schubert deltiography

Schubert deltiography, a database produced by The Schubert Institute as part of its Schubert ographies website, is an open-access online resource for postcards bearing images relevant to Schubert—portraits, buildings, and so on. In addition to reproductions of both sides of the cards, entries include detailed annotations for deltiologists and other interested parties.

Above, a postcard depicting Schubert playing the “trout” quintet (piano quintet in A Major, D. 667) with Mozart, Haydn, Bach, and Gluck in Heaven (click to enlarge). The audience includes Beethoven and Wagner; leave a comment if you can identify others!

Below, a terrestrial performance of the work’s first movement by members of the Amadeus Quartet with Clifford Curzon.

Related article: Postcards

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Filed under Iconography, Reception, Resources, Romantic era