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Summary Christoph Willibald Gluck
Christopher Willebald Gluck
1714-1787
Gluck entered the history of musical culture as a great reformer, who for many decades determined the ways of the development of the opera. His demands for dramatic truth, simplicity and naturalness corresponded to the advanced trends of the era. In place of court-aristocratic ceremonial performances with conventional plot and virtuosic roulades of singers came the art of great moral problems and strong passions. Music became an obedient sister of poetry, deepened its emotional subtext, revealed dramatic content.
Christoph Willibald Gluck was born July 2, 1714 in the Bavarian village of Weidenwang, in the family of a forester. Educated at the Jesuit College in Komotau, there he began to learn to play the clavier and organ. Entering the University of Prague, the future composer became a member of the vagrant orchestras, where he performed his first improvisations on the cello. At the age of twenty-two, Gluck received a permanent
In 1741 the first Gluck opera appeared, which saw the scene, “Artaxerxes”, followed by six more. The productivity of the young master is very high, but many of the early opuses are not preserved, others were used in parts in later writings.
Gluck performs in London, Hamburg, Dresden, Copenhagen; in 1754 he received the seat of a court composer in Vienna. There he creates comic operas of French type, ballet-pantomime. In them, the realistic tendencies of these genres matured, which prepared the reform of Gluck. In 1762, together with the poet Calzabidji, the composer wrote the first pioneering opera Orpheus, and five years later, in the preface to Alzeste, theoretically substantiates his reform. However, the aristocratic Vienna reacted coldly to these works. Gluck moved to Paris, where he consistently carried out the reform of the opera in his later works: “Iphigenia in Aulis” (1774), “Armida” (1777), “Iphigenia in Tauris” (1779).
Gluck died on November 15, 1787 in Vienna, reaching the heights of glory.
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