Gluck composer Biography Brief

And in fact, for the first time throughout the centuries -old history of the opera Theater, the idea of ​​drama was embodied in music with such fullness and artistic perfection. The amazing simplicity, which determined the appearance of every glow expressed by a glitch, was also incompatible with old aesthetic criteria. Far beyond the limits of this school, in opera and instrumental music of different countries of Europe, aesthetic ideals, dramatic principles, forms of musical expression developed by a glitch were introduced.

Outside of the Glukovsky reform, not only the opera, but also the chamber-symphonic work of the late Mozart, but to a certain extent, is also the oratorial art of the late Haydn, would not ripen. Between Gluck and Beethoven, continuity is so natural, so obvious that it seems that the older -generation musician bequeathed to the great symphony to continue the work he had begun.

Christoph Willibald Gluck was born on July 2 G. Gluck's father was a peasant, in his youth he served as a soldier, and then made a forestry with his profession and worked as a forestry in the Bohemian forests in the service of Count Lobkovitz. Thus, from the age of three, Christophe Willibald lived in the Czech Republic, which later affected his work.

In Gluck music, a stream of Czech folk song breaks through. In Gluck, he entered the Jesuit College in the Czech city of Komotau, where he studied for six years and sang in the choir of the school church. At times, for the sake of earnings, the glitch was forced to leave classes and wander around the surrounding villages, where he played cells of various dances, fantasies on folk themes.

In Prague, Gluck sang in the church choir, led by an outstanding composer and organist Boguslav Chernogorsk. Chernogorsky and was the first real teacher of Gluck to teach him the foundations of General Basa of Harmony and counterpoint. Gluck became a home musician in the palace of the princes Lobkovitz in Vienna. The first stay of Gluck in Vienna turned out to be short: at one of the evenings, the Italian aristocrat and philanthropist A.

fascinated by the art of Gluck met in the salon of the princes Lobkovitz with a young musician, he invited him to his home chapel in Milan. Gluck entered his new position in the Meltsi house. For four years, who lived in Italy, he became close to the largest Milan composer and organist Giovanni Battista Sammartini, becoming his student, and later - a close friend. The leadership of the Italian maestro helped Gluck to complete its musical education.

Then he led a life usual for a successful Italian composer, that is, he continuously composed opera and pastry opera performances, in which the music is composed of fragments of various operas of one or more authors. Gluck accompanied Prince Lobkovitz on his journey to London; Their path lay through Paris, where Gluck first heard the operas of J. Ramo - gg. In London, the glitch met with Handel and T.

Arn, put his two pastes of one of them, “The fall of giants”, La Caduta Dei Giganti, a play on the anger of the day: we are talking about suppressing the Jacobitian uprising, gave a concert in which he played on glass harmonics of his own structure, and printed six tri-sizes. In the second half of the city, Gluck traveled with this troupe to different cities and countries, composing and putting his operas.

Gluck first met his future life partner in the city, despite the significant difference in age, a sincere deep feeling arose between the summer glitch and the summer girl. Inherited by Marianna from his father, a solid state made Gluck a financially independent and allowed him to completely devote himself to creativity. Having finally settled in Vienna, he leaves it only for the presence of his operas in other cities of Europe on numerous premieres.

In all trips, the composer invariably accompanies the spouse, surrounding him with attention and care. None of the operas of the early period of the early period revealed to the fullest of the scale of its talent, but nevertheless his name to the city of Calzabiji, a meeting of opera reform. Her forerunners were “dance dramas”, created by Gluck in the Commonwealth with Kalzabiji and Baletmeister G.

Angzholini in the production of “Theater Action” Azione Teatrale “Orpheus and Eurydice” G. However, fulfilling the orders of the courtyard, Gluck wrote the traditional opera “Triumph of Clelia”, G. After the unsuccessful production of the opera Paris and Elena in Vienna G. Gluck, he took several trips to Paris, where he set a number of reform operator opera - “Iphigenia in Avlida” G.

All the productions, except for the last opera of Gluck Echo and Narcissus, were a great success.

Gluck spent the last years of his life in Vienna, where the composer died on November 15 G. Gluck, first buried in one of the surrounding cemeteries, was subsequently transferred to the central city cemetery, where all outstanding representatives of Vienna's musical culture rest. Musical heritage: operas: "Artaxerxes" Libretto P. Metastasio, Goldoni based on the play by F.

Silvani, "Virtue triumphs over love and hatred", G. Silvani, with arias on the texts of P. Maccari, J. Lapunyani, L. Vinci, Libretto F.Silvani, Metastasio “Alexander in India”, Corio, staged by G. Vanneski, G. Witturi in the processing of F. Ansom and Marcuville, the city of Ansom according to the plot of A. Seden, G. Favar, according to the plot of Long “Daphnis and Chloe”, Molin, Ansoma, Milivakka, Lemonier, G.

Lemonier, G. Kalzabiji, G. Molina according to the text of R. Danticus, according to the plot of A. Kapeche in the processing of M. Koltellini, G. Frogoni and R. Rasin and the Euripides, G. Kino by the poem by T. Tasso “Liberated Jerusalem”, G. Guiiar and L. Chudi, G. Balty: “Don Juan” G. Angzholini, under the play of Moliere, G. Kalzabiji on the tragedy of Voltaire, choreography of G.

Angzholini, G. works for choir and orchestra: de Protundis for a 4-headed choir and orchestra near the city of the orchestra: 17 Symphony or Overtures 7 D-Dur, 3 F-Dur, 3 G-Dur, C-aur, A-Dur, E-Dur and E-Dur and Dur, E-Dur and ES-DUR; Of these, 3-D-dur, G-dur, ES-DUR, perhaps do not belong to the glitch of the work for one tool with the orchestra: a concert for the G-DUR flute; Works for several tools: 6 Trio-Sonat for 2 violin and Bas General-Bas are published by G.

Work for voice and piano: 7 OD and songs for the words of F. Klopshtok, recorded by hearing I. Reikhardt, G.