Christoph Willibald Gluck
The house in Erasbach stands today with a plaque reading "Here was born on 7/2/1714 the composer Christoph Willibald Gluck." This building, constructed by his father Alexander in 1713, remains unbroken in ownership from that time to the present. Alexander Gluck served as a forester and hunter for the monastery Seligenporten and Plankstetten Abbey after settling outside Berching in 1711. His wife Maria Walburga grew up in the same area and was named after Saint Walburga, sister of Saint Willibald. The family name likely derives from the Czech word for boy, appearing repeatedly in records from Rokycany. In 1727 or 1728, when Gluck was thirteen or fourteen years old, he traveled to Prague. He sang and played violin, cello, and organ at Týn Church during this period. Some accounts claim he fled home to Vienna, but most scholars now believe his destination was Prague. He matriculated in logic and mathematics at the University of Prague in 1731 according to Hans Joachim Moser's 1940 findings. No documents support this claim, yet memories of his family suggest he arrived in Vienna around 1734. There he worked for the Lobkowitz family at their palace on Minoritenplatz.
Gluck arrived in Milan in 1737 and met Giovanni Battista Sammartini, who taught him practical knowledge of all instruments. His first opera Artaserse opened the Milanese Carnival of 1742 on December 26th. The public would not accept his style until he inserted an aria in the lighter Milanese manner for contrast. He composed an opera for each of the next four Carnivals in Milan with castrato Giovanni Carestini appearing in many performances. Ipermestra was performed in November 1744 at the Teatro San Giovanni Crisostomo in Venice. Nearly all operas from this period were set to Metastasio's texts despite the poet's dislike for Gluck's composition style. In 1750 he married Maria Anna Bergin, the eighteen-year-old daughter of a Viennese merchant on September 15th. For Caffarelli, the famous Neapolitan castrato, Gluck composed the notoriously difficult aria Se mai senti spirarti sul volto. This piece provoked admiration and vituperation in equally large measures. Francesco Durante claimed other composers should have been proud to conceive such work while declining comment on its adherence to accepted rules.
Gluck accepted an invitation from Lord Middlesex to become house composer at London's King's Theatre in 1745. The timing proved unfortunate as the Jacobite Rebellion caused panic and closed the theater for most of the year. Six trio sonatas emerged immediately from his time there. His two London operas La caduta de' giganti and Artamene appeared in 1746 borrowing heavily from earlier works. He performed works by Galuppi and Lampugnani who had both worked in London. A long-term benefit was exposure to Handel's music which he later credited as a great influence. On March 25th shortly after Artamene's production, Handel and Gluck gave a concert in Haymarket Theatre featuring works by Gluck and an organ concerto by Handel played by the composer himself. On April 14th Gluck played glassharmonica in Hickford's Rooms located in Brewer Street Soho. Charles Burney reported Handel saying Gluck knew no more counterpoint than his cook Waltz. The years 1747 and 1748 brought prestigious engagements including Le nozze d'Ercole e d'Ebe performed by Pietro Mingotti's troupe.
Gluck settled in Vienna where he became Kapellmeister invited by Prince Joseph of Saxe-Hildburghausen. He wrote Le cinesi for a festival in 1754 and La danza for the eighth birthday of future Emperor Leopold II. In February 1756 Antigono was performed in Rome earning him Knight of the Golden Spur title from Pope Benedict XIV. From that time forward he used Ritter von Gluck or Chevalier de Gluck. In Spring 1774 Marie Antoinette took Gluck under her patronage introducing him to Paris public. She asked him to compose Iphigénie en Aulide setting libretto in French due to Querelle des Bouffons controversy. Rosalie Levasseur and Sophie Arnould assisted achieving goals while Gluck demanded strict adherence from cast during rehearsals. On the 5th of October 1762 Orfeo ed Euridice received first performance on Calzabigi libretto set to music by Gluck. The dances were arranged by Angiolini with Guadagni taking title role as catalytic force in reform. His idea made drama more important than star singers performing it while doing away with dry recitative breaking up action.
Gluck began focusing on France after operas failed appreciation by Frederick II of Prussia. Under Marie Antoinette's patronage who married Louis XVI in 1770, he signed contract for six stage works with Paris Opéra management. Premiere on the 19th of April 1774 sparked huge controversy unseen since Querelle des Bouffons. Opponents brought Niccolò Piccinni to demonstrate superiority of Neapolitan opera creating whole town argument between Gluckists and Piccinnists. When Piccinni asked to set Roland libretto Gluck destroyed everything written for that opera up to that point. On the 2nd of August 1774 French version of Orfeo ed Euridice performed with title role transposed from castrato to tenor voice. This time work better received by Parisian public though later Echo et Narcisse ran only twelve performances before failure. Since opera itself was failure running for just twelve performances Gluck decided return to Vienna within two weeks. Die unvermuthete Zusammenkunft or Pilgrims of Mecca had been performed fifty-one times in German version.
In Vienna Gluck wrote few more minor works spending summer with wife in Perchtoldsdorf. He suffered melancholy and high blood pressure throughout these final years. In 1781 he produced German version of Iphigénie en Tauride dominating season proceedings with thirty-two performances. On the 23rd of March 1783 he attended concert by Mozart playing KV 455 variations on La Rencontre imprévue. Lunching with friends on the 15th of November 1787 Gluck suffered heart arrhythmia dying hours later at age seventy-three. Usually mentioned having several strokes becoming paralyzed right side though Robl family doctor doubted this since still able play clavichord piano in 1783. At formal commemoration the 8th of April 1788 friend pupil successor Salieri conducted De profundis Requiem by Niccolò Jommelli. His death opened way for Mozart court according to H.C. Robbins Landon. Buried Matzleinsdorfer Friedhof until the 29th of September 1890 when remains transferred Zentralfriedhof containing original plaque erected tomb.
Only half work survived after fire in 1809 yet legacy includes approximately thirty-five complete full-length operas plus dozen shorter works. Reforms influenced Mozart particularly Idomeneo opera from 1781. Left flourishing school disciples Paris who dominated French stage Revolutionary Napoleonic period including Sacchini Cherubini Méhul Spontini. Greatest French admirer Hector Berlioz whose epic Les Troyens seen as culmination Gluckian tradition. Though wrote no operas German example influenced German school Carl Maria von Weber Richard Wagner concept music drama not far removed from own. Antonio Salieri became musical heir bringing him to Paris bequeathing libretto Les Danaïdes collaboration announced between two composers. After overwhelming success premiere the 26th of April 1784 Gluck revealed prestigious Journal de Paris work wholly Salieri's. His reforms shaped trajectory modern opera through practical dramaturgical practices intellectuals campaigned decades before his arrival at Habsburg court Vienna.
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Common questions
When and where was Christoph Willibald Gluck born?
Christoph Willibald Gluck was born on the 7th of February 1714 in Erasbach. The house where he was born remains unbroken in ownership from 1713 to the present day.
What were the early musical activities of Christoph Willibald Gluck before his career began?
Christoph Willibald Gluck sang and played violin, cello, and organ at Týn Church in Prague during 1727 or 1728. He matriculated in logic and mathematics at the University of Prague in 1731 according to Hans Joachim Moser's findings.
How did Christoph Willibald Gluck influence the development of opera reform?
Christoph Willibald Gluck made drama more important than star singers performing it while doing away with dry recitative breaking up action. His reforms influenced Mozart particularly Idomeneo opera from 1781 and shaped the trajectory of modern opera through practical dramaturgical practices.
When did Christoph Willibald Gluck die and what caused his death?
Christoph Willibald Gluck died hours later after suffering heart arrhythmia on the 15th of November 1787 at age seventy-three. He had suffered melancholy and high blood pressure throughout these final years and was usually mentioned having several strokes becoming paralyzed right side though Robl family doctor doubted this since still able play clavichord piano in 1783.
What major operas did Christoph Willibald Gluck compose for Parisian audiences?
Christoph Willibald Gluck composed Iphigénie en Aulide setting libretto in French due to Querelle des Bouffons controversy under Marie Antoinette patronage. The French version of Orfeo ed Euridice performed on the 2nd of August 1774 received better reception by Parisian public though Echo et Narcisse ran only twelve performances before failure.
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18 references cited across the entry
- 11inlineWien Geschichte Wiki on Gluck.