Gluck Christoph Willibald - biography. The highest expression of the aesthetics of classicism Facts about the composer k in glitch
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Biography, life story of Gluck Christoph Willibald
GLUCK (Gluck) Christoph Willibald (1714-1787), German composer. Worked in Milan, Vienna, Paris. Gluck's opera reform, carried out in line with the aesthetics of classicism (noble simplicity, heroism), reflected new trends in the art of the Enlightenment. The idea of subordinating music to the laws of poetry and drama greatly influenced musical theater in the 19th and 20th centuries. Operas (over 40): “Orpheus and Eurydice” (1762), “Alceste” (1767), “Paris and Helen” (1770), “Iphigenia in Aulis” (1774), “Armida” (1777), “Iphigenia in Tauride" (1779).
GLUCK (Gluck) Christoph Willibald (Cavalier Gluck, Ritter von Gluck) (July 2, 1714, Erasbach, Bavaria - November 15, 1787, Vienna), German composer.
Becoming
Born into the family of a forester. Gluck's native language was Czech. At the age of 14 he left his family, wandered, earning money by playing the violin and singing, then in 1731 he entered the University of Prague. During his studies (1731-34) he served as a church organist. In 1735 he moved to Vienna, then to Milan, where he studied with the composer G. B. Sammartini (c. 1700-1775), one of the largest Italian representatives of early classicism.
In 1741, Gluck's first opera, Artaxerxes, was staged in Milan; this was followed by the premieres of several more operas in different cities of Italy. In 1845, Gluck received an order to compose two operas for London; in England he met G. F. Handel. In 1846-51 he worked in Hamburg, Dresden, Copenhagen, Naples, and Prague. In 1752 he settled in Vienna, where he took the position of concertmaster, then bandmaster at the court of Prince J. Saxe-Hildburghausen. In addition, he composed French comic operas for the imperial court theater and Italian operas for palace entertainment. In 1759, Gluck received an official position in the court theater and was soon awarded a royal pension.
Fruitful collaboration
Around 1761, Gluck began collaborating with the poet R. Calzabigi and choreographer G. Angiolini (1731-1803). In their first joint work, the ballet Don Juan, they managed to achieve amazing artistic unity of all components of the performance. A year later, the opera “Orpheus and Eurydice” appeared (libretto by Calzabigi, dances choreographed by Angiolini) - the first and best of Gluck’s so-called reform operas. In 1764, Gluck composed the French comic opera An Unexpected Meeting, or Pilgrims from Mecca, and a year later two more ballets. In 1767, the success of “Orpheus” was consolidated by the opera “Alceste”, also with a libretto by Calzabigi, but with dances staged by another outstanding choreographer - J.-J. Noverra (1727-1810). The third reform opera, Paris and Helena (1770), had more modest success.
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In Paris
In the early 1770s, Gluck decided to apply his innovative ideas to French opera. In 1774, Iphigenia in Aulis and Orpheus, a French version of Orpheus and Eurydice, were staged in Paris. Both works received an enthusiastic reception. Gluck's series of Parisian successes was continued by the French edition of Alceste (1776) and Armide (1777). The last work gave rise to a fierce controversy between the “Gluckists” and supporters of traditional Italian and French opera, which was personified by the talented composer of the Neapolitan school N. Piccinni, who came to Paris in 1776 at the invitation of Gluck’s opponents. Gluck's victory in this controversy was marked by the triumph of his opera “Iphigenia in Tauris” (1779) (however, the opera “Echo and Narcissus” staged in the same year failed). In the last years of his life, Gluck carried out the German edition of Iphigenia in Tauris and composed several songs. His last work was the psalm De profundis for choir and orchestra, which was performed under the direction of A. Salieri at Gluck’s funeral.
Gluck's contribution
In total, Gluck wrote about 40 operas - Italian and French, comic and serious, traditional and innovative. It was thanks to the latter that he secured a strong place in the history of music. The principles of Gluck's reform are set out in his preface to the publication of the score of Alceste (written, probably with the participation of Calzabigi). They boil down to the following: music should express the content of the poetic text; orchestral ritornellos and, especially, vocal embellishments, which only distract attention from the development of the drama, should be avoided; the overture should anticipate the content of the drama, and the orchestral accompaniment of the vocal parts should correspond to the nature of the text; in recitatives the vocal-declamatory beginning should be emphasized, that is, the contrast between the recitative and the aria should not be excessive. Most of these principles are embodied in the opera "Orpheus", where recitatives with orchestral accompaniment, arioso and arias are not separated from each other by sharp boundaries, and individual episodes, including dances and choruses, are combined into large scenes with end-to-end dramatic development. Unlike the plots of opera seria with their intricate intrigues, disguises and sidelines, the plot of "Orpheus" appeals to simple human feelings. In terms of skill, Gluck was noticeably inferior to his contemporaries such as C. F. E. Bach and J. Haydn, but his technique, for all its limitations, fully met his goals. His music combines simplicity and monumentality, unstoppable energy (as in the “Dance of the Furies” from Orpheus), pathos and sublime lyrics.
GLITCH (Gluck) Christoph Willibald (1714-1787), German composer. Worked in Milan, Vienna, Paris. Gluck's opera reform, carried out in line with the aesthetics of classicism (noble simplicity, heroism), reflected new trends in the art of the Enlightenment. The idea of subordinating music to the laws of poetry and drama greatly influenced musical theater in the 19th and 20th centuries. Operas (over 40): "Orpheus and Eurydice" (1762), "Alceste" (1767), "Paris and Helen" (1770), "Iphigenia in Aulis" (1774), "Armide" (1777), "Iphigenia in Taurida" (1779).
GLITCH(Gluck) Christoph Willibald (Cavalier Gluck, Ritter von Gluck) (July 2, 1714, Erasbach, Bavaria - November 15, 1787, Vienna), German composer.
Becoming
Born into the family of a forester. Gluck's native language was Czech. At the age of 14 he left his family, wandered, earning money by playing the violin and singing, then in 1731 he entered the University of Prague. During his studies (1731-34) he served as a church organist. In 1735 he moved to Vienna, then to Milan, where he studied with the composer G. B. Sammartini (c. 1700-1775), one of the largest Italian representatives of early classicism.
In 1741, Gluck's first opera, Artaxerxes, was staged in Milan; this was followed by the premieres of several more operas in different cities of Italy. In 1845, Gluck received an order to compose two operas for London; in England he met G.F. In 1846-51 he worked in Hamburg, Dresden, Copenhagen, Naples, and Prague. In 1752 he settled in Vienna, where he took the position of accompanist, then bandmaster at the court of Prince J. Saxe-Hildburghausen. In addition, he composed French comic operas for the imperial court theater and Italian operas for palace entertainment. In 1759, Gluck received an official position in the court theater and was soon awarded a royal pension.
Fruitful collaboration
Around 1761, Gluck began collaborating with the poet R. Calzabigi and choreographer G. Angiolini (1731-1803). In their first joint work, the ballet "Don Juan", they managed to achieve amazing artistic unity of all components of the performance. A year later, the opera "Orpheus and Eurydice" appeared (libretto by Calzabigi, dances choreographed by Angiolini) - the first and best of Gluck's so-called reform operas. In 1764, Gluck composed the French comic opera "An Unexpected Meeting, or Pilgrims from Mecca", and a year later - two more ballets. In 1767, the success of "Orpheus" was consolidated by the opera "Alceste", also with a libretto by Calzabigi, but with dances staged by another outstanding choreographer - J.-J. Noverra (1727-1810). The third reform opera, Paris and Helena (1770), had more modest success.
In Paris
In the early 1770s, Gluck decided to apply his innovative ideas to French opera. In 1774, Iphigenia in Aulis and Orpheus, the French version of Orpheus and Eurydice, were staged in Paris. Both works received an enthusiastic reception. Gluck's series of Parisian successes was continued by the French edition of Alceste (1776) and Armide (1777). The last work gave rise to a fierce controversy between the “Gluckists” and supporters of traditional Italian and French opera, personified by the talented composer of the Neapolitan school N. Piccinni, who came to Paris in 1776 at the invitation of Gluck’s opponents. Gluck's victory in this controversy was marked by the triumph of his opera “Iphigenia in Tauris” (1779) (however, the opera “Echo and Narcissus” staged in the same year failed). In the last years of his life, Gluck carried out the German edition of Iphigenia in Tauris and composed several songs. His last work was the psalm De profundis for choir and orchestra, which was performed under the direction of A. Salieri at Gluck’s funeral.
Gluck's contribution
In total, Gluck wrote about 40 operas - Italian and French, comic and serious, traditional and innovative. It was thanks to the latter that he secured a strong place in the history of music. The principles of Gluck's reform are set out in his preface to the publication of the score of Alceste (written, probably with the participation of Calzabigi). They boil down to the following: music should express the content of the poetic text; orchestral ritornellos and, especially, vocal embellishments, which only distract attention from the development of the drama, should be avoided; the overture should anticipate the content of the drama, and the orchestral accompaniment of the vocal parts should correspond to the nature of the text; in recitatives the vocal-declamatory beginning should be emphasized, that is, the contrast between the recitative and the aria should not be excessive. Most of these principles are embodied in the opera "Orpheus", where recitatives with orchestral accompaniment, arioso and arias are not separated from each other by sharp boundaries, and individual episodes, including dances and choruses, are combined into large scenes with end-to-end dramatic development. Unlike the plots of opera seria with their intricate intrigues, disguises and sidelines, the plot of "Orpheus" appeals to simple human feelings. In terms of skill, Gluck was noticeably inferior to his contemporaries such as C. F. E. Bach and J. Haydn, but his technique, for all its limitations, fully met his goals. His music combines simplicity and monumentality, unstoppable energy (as in the “Dance of the Furies” from Orpheus), pathos and sublime lyrics.
Christoph Willibald Gluck
The famous 18th century composer Christoph Willibald Gluck, one of the reformers of classical opera, was born on July 2, 1714 in the city of Erasbach, located near the border of the Upper Palatinate and the Czech Republic.
The composer's father was a simple peasant who, after several years of military service, joined Count Lobkowitz as a forester. In 1717, Gluck's family moved to the Czech Republic. Years of living in this country could not but affect the work of the famous composer: in his music one can discern the motifs of Czech folklore.
The childhood of Christoph Willibald Gluck cannot be called cloudless: the family often did not have enough money, and the boy was forced to help his father in everything. However, difficulties did not break the composer; on the contrary, they contributed to the development of vital resilience and perseverance. These character qualities turned out to be indispensable for Gluck when implementing reform ideas.
In 1726, at the age of 12, Christoph Willibald began his studies at the Jesuit College of the city of Komotau. The rules of this educational institution, imbued with blind faith in the dogmas of the church, provided for unconditional submission to the authorities, but it was difficult for the young talent to keep himself within the limits.
The positive aspects of Gluck's six-year study at the Jesuit college can be considered the development of vocal abilities, mastery of such musical instruments as clavier, organ and cello, Greek and Latin languages, as well as a passion for ancient literature. At a time when the main theme of operatic art was Greek and Roman antiquity, such knowledge and skills were simply necessary for an opera composer.
In 1732, Gluck entered the University of Prague and moved from Komotau to the capital of the Czech Republic, where he continued his musical education. Money was still tight for the young man. Sometimes, in search of income, he went to the surrounding villages and entertained local residents by playing the cello; quite often, the future musical reformer was invited to weddings and folk festivals. Almost all the money earned in this way went towards food.
The first real music teacher for Christoph Willibald Gluck was the outstanding composer and organist Boguslav Chernogorsky. The young man’s acquaintance with the “Czech Bach” took place in one of the Prague churches, where Gluck sang in the church choir. It was from Chernogorsky that the future reformer learned what general bass (harmony) and counterpoint were.
Many researchers of Gluck's work mark 1736 as the beginning of his professional musical career. Count Lobkowitz, on whose estate the young man spent his childhood, showed genuine interest in the extraordinary talent of Christoph Willibald. Soon an important event occurred in Gluck's life: he received the position of chamber musician and chief singer of the Viennese chapel of Count Lobkowitz.
The fast-paced musical life of Vienna completely absorbed the young composer. Acquaintance with the famous playwright and librettist of the 18th century Pietro Metastasio resulted in Gluck writing his first operatic works, which, however, did not receive much recognition.
The next stage in the work of the young composer was a trip to Italy, organized by the Italian philanthropist Count Melzi. For four years, from 1737 to 1741, Gluck continued his studies in Milan under the guidance of the famous Italian composer, organist and conductor Giovanni Battista Sammartini.
The result of his Italian trip was Gluck's passion for opera seria and the writing of musical works based on texts by P. Metastasio (Artaxerxes, Demetrius, Hypermnestra, etc.). None of Gluck's early works has survived to this day in its entirety, however, individual fragments of his works suggest that even then the future reformer noticed a number of shortcomings in traditional Italian opera and tried to overcome them.
Signs of the upcoming operatic reform were most evident in “Hypermnestra”: the desire to overcome external vocal virtuosity, increase the dramatic expressiveness of recitatives, and the organic connection of the overture with the content of the entire opera. However, the creative immaturity of the young composer, who had not yet fully realized the need to change the principles of writing an operatic work, did not allow him to become a reformer in those years.
Nevertheless, there is no insurmountable gap between Gluck's early and later operas. In the compositions of the reformist period, the composer often introduced melodic turns of early works, and sometimes used old arias with new text.
In 1746, Christoph Willibald Gluck moved to England. He wrote the operas seria “Artamena” and “The Fall of the Giants” for high society in London. The meeting with the famous Handel, in whose works there was a tendency to go beyond the standard scheme of serious opera, became a new stage in the creative life of Gluck, who gradually realized the need for operatic reform.
To attract the capital's audience to his concerts, Gluck resorted to external effects. Thus, in one of the London newspapers on March 31, 1746, the following announcement was given: “In the great hall of the city of Gickford, on Tuesday, April 14, 1746, Gluck, an opera composer, will give a musical concert with the participation of the best opera artists. By the way, he will perform, accompanied by an orchestra, a concert for 26 glasses tuned with spring water...”
From England, Gluck went to Germany, then to Denmark and the Czech Republic, where he wrote and staged operas seria, dramatic serenades, worked with opera singers and as a conductor.
In the mid-1750s, the composer returned to Vienna, where he received an invitation from the intendant of the court theaters, Giacomo Durazzo, to begin work in the French theater as a composer. In the period from 1758 to 1764, Gluck wrote a number of French comic operas: “The Island of Merlin” (1758), “The Corrected Drunkard” (1760), “The Fooled Cadi” (1761), “An Unexpected Meeting, or the Pilgrims of Mecca” ( 1764) etc.
Work in this direction had a significant influence on the formation of Gluck’s reformist views: an appeal to the true origins of folk song and the use of new everyday subjects in classical art led to the growth of realistic elements in the composer’s musical work.
Gluck's legacy includes more than just operas. In 1761, the pantomime ballet “Don Giovanni” was staged on the stage of one of the Viennese theaters - a joint work of Christoph Willibald Gluck and the famous 18th century choreographer Gasparo Angiolini. The characteristic features of this ballet were the dramatization of the action and expressive music that conveys human passions.
Thus, ballet and comic operas became the next step on Gluck’s path to dramatize the art of opera, to create a musical tragedy, the crown of all the creative activity of the famous composer-reformer.
Many researchers consider the beginning of Gluck’s reform activity to be his rapprochement with the Italian poet, playwright and librettist Raniero da Calzabigi, who contrasted the courtly aesthetics of Metastasio’s works, subordinate to standard canons, with simplicity, naturalness and freedom of compositional structure, due to the development of the dramatic action itself. Choosing ancient subjects for his librettos, Calzabigi filled them with high moral pathos and special civil and moral ideals.
Gluck's first reform opera, written to the text of a like-minded librettist, was Orpheus and Eurydice, staged at the Vienna Opera House on October 5, 1762. This work is known in two editions: the Viennese (in Italian) and the Parisian (in French), supplemented by ballet scenes, completing the first act with Orpheus’s aria, re-arrangement of certain passages, etc.
A. Golovin. Scenery sketch for K. Gluck's opera "Orpheus and Eurydice"
The plot of the opera, borrowed from ancient literature, is as follows: the Thracian singer Orpheus, who had an amazing voice, died his wife Eurydice. Together with his friends, he mourns his beloved. At this time, Cupid, who unexpectedly appeared, declares the will of the gods: Orpheus must descend to the kingdom of Hades, find Eurydice there and bring her to the surface of the earth. The main condition is that Orpheus must not look at his wife until they leave the underworld, otherwise she will remain there forever.
This is the first act of the work, in which the sad choirs of shepherds and shepherdesses, together with the recitatives and arias of Orpheus mourning his wife, form a harmonious compositional number. Thanks to repetition (the choir's music and the legendary singer's aria are performed three times) and tonal unity, a dramatic scene with end-to-end action is created.
The second act, consisting of two scenes, begins with Orpheus entering the world of shadows. Here the singer’s magical voice calms the anger of the formidable furies and spirits of the underworld, and he freely passes into Elysium, the habitat of blissful shadows. Having found his beloved and without looking at her, Orpheus brings her to the surface of the earth.
In this action, the dramatic and ominous nature of the music is intertwined with a gentle, passionate melody, demonic choirs and frantic dancing of the furies give way to a light, lyrical ballet of blissful shadows, accompanied by an inspired flute solo. The orchestral part in Orpheus's aria conveys the beauty of the surrounding world, filled with harmony.
The third act takes place in a gloomy gorge, along which the main character, without turning around, leads his beloved. Eurydice, not understanding her husband’s behavior, asks him to look at her at least once. Orpheus assures her of his love, but Eurydice doubts. The look Orpheus casts at his wife kills her. The singer's suffering is endless, the gods take pity on him and send Cupid to resurrect Eurydice. A happily married couple returns to the world of living people and, together with their friends, glorifies the power of love.
Frequent changes in musical tempo contribute to the agitated nature of the work. Orpheus's aria, despite its major key, is an expression of grief over the loss of a loved one, and maintaining this mood depends on the correct execution, tempo and character of the sound. In addition, Orpheus' aria appears to be a modified major reprise of the first chorus of the first act. Thus, the intonation “arch” thrown across the work preserves its integrity.
The musical and dramatic principles outlined in “Orpheus and Eurydice” were developed in the subsequent operatic works of Christoph Willibald Gluck - “Alceste” (1767), “Paris and Helen” (1770), etc. The composer’s work of the 1760s reflected the peculiarities The Viennese classical style that was emerging in that period, finally formed in the music of Haydn and Mozart.
In 1773, a new stage in Gluck’s life began, marked by a move to Paris, the center of European opera. Vienna did not accept the composer’s reform ideas, set out in the dedication to the score of “Alceste” and providing for the transformation of the opera into a musical tragedy, imbued with noble simplicity, drama and heroism in the spirit of classicism.
Music was supposed to become only a means of emotional revelation of the souls of the heroes; arias, recitatives and choruses, while maintaining their independence, were combined into large dramatic scenes, and the recitatives conveyed the dynamics of feelings and indicated transitions from one state to another; the overture should reflect the dramatic idea of the entire work, and the use of ballet scenes was motivated by the course of the opera.
The introduction of civic motifs into ancient subjects contributed to the success of Gluck's works among advanced French society. In April 1774, the first production of the opera “Iphigenia in Aulis” was shown at the Royal Academy of Music in Paris, which fully reflected all of Gluck’s innovations.
A continuation of the composer’s reform activities in Paris were the productions of the operas “Orpheus” and “Alceste” in a new edition, which brought great excitement to the theatrical life of the French capital. For a number of years, disputes continued between supporters of the reformist Gluck and the Italian opera composer Niccolo Piccini, who stood on the old positions.
The last reform works of Christoph Willibald Gluck were Armida, written on a medieval plot (1777), and Iphigenia in Tauris (1779). The production of Gluck's last mythological fairy tale-opera, Echo and Narcissus, was not a great success.
The last years of the life of the famous composer-reformer were spent in Vienna, where he worked on writing songs based on texts by various composers, including Klapstock. A few months before his death, Gluck began to write the heroic opera “The Battle of Arminius”, but his plan was not destined to come true.
The famous composer died in Vienna on November 15, 1787. His work influenced the development of all musical art, including opera.
From the book Encyclopedic Dictionary (G-D) author Brockhaus F.A.Gluck Gluck (Christoph-Willibald Gluck), the famous German. composer (1714 – 1787). France considers him one of its own, because his most glorious activities are associated with the Parisian opera stage, for which he wrote his best works with French words. His numerous operas:
From the book Great Soviet Encyclopedia (GL) by the author TSB From the book Great Soviet Encyclopedia (GU) by the author TSB From the book Great Soviet Encyclopedia (DA) by the author TSB From the book Great Soviet Encyclopedia (PL) by the author TSB From the book Great Soviet Encyclopedia (SHL) by the author TSB From the book Great Soviet Encyclopedia (SHE) by the author TSB From the book of Aphorisms author Ermishin OlegChristoph Willibald Gluck (1714-1787) composer, one of the reformers of 18th-century opera. Music should play in relation to a poetic work the same role that the brightness of colors plays in relation to an accurate drawing. Simplicity, truth and naturalness are the three great
From the book 100 great composers author Samin DmitryChristoph Willibald Gluck (1713–1787) “Before I begin to work, I try to forget that I am a musician,” said the composer Christoph Willibald Gluck, and these words best characterize his reform approach to composing operas. Gluck “took” opera out of -under power
From the book Foreign Literature of the 20th Century. Book 2 author Novikov Vladimir IvanovichJean-Christophe (Jean-Christophe) Epic novel (1904–1912) In a small German town on the banks of the Rhine, a child is born into the Kraft family of musicians. The first, still unclear perception of the surrounding world, warmth
From the book Big Dictionary of Quotes and Catchphrases author Dushenko Konstantin VasilievichLICHTENBERG, Georg Christof (1742–1799), German scientist and writer 543 I thank God a thousand times for making me an atheist. “Aphorisms” (published posthumously); hereinafter per. G. Slobodkina? Dept. ed. – M., 1964, p. 68 Later the phrase “Thank God I’m an atheist”
Date of birth: July 2, 1714.
Date of death: November 15, 1787.
Place of birth: Erasbach, Bavaria.
Gluck Christoph Willibald- a famous composer who worked in Austria. Also Christoph Gluck known as a reformer of Italian opera.
Christophe was born in Bavaria, in the family of a forester. Since childhood, the boy was fascinated by music, but his father did not share this passion and did not allow the idea that his first-born would become a musician.
The teenager completed his studies at the Jesuit Academy and left home. By the age of seventeen he reached Prague and was able to enter the university, the Faculty of Philosophy.
To earn extra money, he was a singer in church and played the violin as part of traveling musical groups. Nevertheless, he found time for music lessons, which were given to him by the composer B. Chernogorsky.
After completing his studies, Christophe went to Vienna, and there A. Melzi was invited to become a court musician at the chapel in Milan. Having gone there, the young man gained knowledge not only in the theory of composition, but also studied many operas by the most outstanding masters of this genre. Soon Christophe himself created the opera, and it was staged in Milan.
The premiere was a success, new orders followed and four more equally successful operas were written. Having become successful, the composer went on tour to London and then to Vienna.
Soon he decided to stay in Vienna for good and accepted the offer of Prince Saxe-Hildburghausen to become conductor of his orchestra. Every week this orchestra gave a concert at which the Sami performed various works.
Christophe, as a leader, sometimes also stood at the conductor's stand, sang, and played various instruments. Soon the composer began to direct the court opera. He became one of its reformers and popularizers of French opera.
He was able to transform the comedy genre into a dramatically directed genre. In addition, he taught music to Archduchess Marie Antoinette. When she married the French heir, she invited her teacher to move to Paris.
There he continued to stage operas and create new ones. In Paris, he created his best work - “Iphigenia in Tauris”. After the premiere of the composer's last opera, he suffered a stroke.
Two years later, another one happened, which could not but affect the ability to work.
However, he created a small piece that was performed on the day of his funeral in 1787.
Achievements of Christophe Gluck:
Reformer of Italian and French opera
Created about 50 operas
Author of a number of works for orchestra
Was the inspiration of Schumann, Beethoven, Berlioz
Dates from the biography of Christoph Gluck:
1714 born
1731 settled in Prague
1736 moved to Vienna
1741 first production of the opera in Italy
1745 tour in London
1752 settled in Vienna
1756 received the Order of the Golden Spur
1779 stroke
died 1787
Gluck's biography is interesting for understanding the history of the development of classical music. This composer was a major reformer of musical performances; his ideas were ahead of their time and influenced the work of many other composers of the 18th and 19th centuries, including Russians. Thanks to him, the opera acquired a more harmonious appearance and dramatic completeness. In addition, he worked on ballets and short musical works - sonatas and overtures, which are also of considerable interest to modern performers who willingly include excerpts from them in concert programs.
Youth years
Gluck's early biography is poorly known, although many scholars have actively researched his childhood and teenage years. It is reliably known that he was born in 1714 in the Palatinate in the family of a forester and received a home education. Also, almost all historians agree that already in childhood he showed extraordinary musical abilities and knew how to play musical instruments. However, his father did not want him to become a musician and sent him to the gymnasium.
However, the future wanted to connect his life with music and therefore left home. In 1731 he settled in Prague, where he played the violin and cello under the baton of the famous Czech composer and theorist B. Chernogorsky.
Italian period
Gluck's biography can be divided into several stages, choosing as a criterion the places of his residence, work and active creative activity. In the second half of the 1730s he came to Milan. At this time, one of the leading Italian musical authors was G. Sammartini. Under his influence, Gluck began to write his own compositions. According to critics, during this period of time he mastered the so-called homophonic style - a musical direction characterized by the sound of one main theme, while the others play a supporting role. Gluck's biography can be considered extremely rich, since he worked a lot and actively and brought a lot of new things to classical music.
Mastering the homophonic style was a very important achievement of the composer, since polyphony dominated the European music school of the time in question. During this period, he created a number of operas (“Demetrius”, “Porus” and others), which, despite their imitation, brought him fame. Until 1751 he toured with an Italian group, until he received an invitation to move to Vienna.
Opera reform
Christoph Gluck, whose biography should be inextricably linked with the history of the formation of opera, did a lot to reform this musical performance. In the 17th-18th centuries, opera was a magnificent musical spectacle with beautiful music. Much attention was paid not so much to content as to form.
Often composers wrote exclusively for a specific voice, without caring about the plot and semantic load. Gluck strongly opposed this approach. In his operas, music was subordinated to drama and the individual experiences of the characters. In his work “Orpheus and Eurydice,” the composer skillfully combined elements of ancient tragedy with choral numbers and ballet performances. This approach was innovative for its time, and therefore was not appreciated by its contemporaries.
Vienna period
One from the 18th century is Christoph Willibald Gluck. The biography of this musician is important for understanding the formation of the classical school that we know today. Until 1770 he worked in Vienna at the court of Marie Antoinette. It was during this period that his creative principles took shape and received their final expression. Continuing to work in the traditional genre of comic opera of that time, he created a number of original operas in which he subordinated the music to poetic meaning. These include the work “Alceste”, created based on the tragedy of Euripides.
In this opera, the overture, which for other composers had an independent, almost entertaining meaning, acquired a greater semantic load. Its melody was organically woven into the main plot and set the tone for the entire performance. This principle guided his followers and musicians of the 19th century.
Paris stage
The 1770s are considered the most eventful in Gluck's biography. A brief summary of his history must necessarily include a short description of his participation in the controversy that flared up in Parisian intellectual circles over what opera should be. The dispute was between supporters of the French and Italian schools.
The former defended the need to bring drama and semantic harmony to a musical performance, while the latter emphasized vocals and musical improvisation. Gluck defended the first point of view. Following his creative principles, he wrote a new opera based on Euripides’ play “Iphigenia in Tauris”. This work was recognized as the best in the composer's work and strengthened his European fame.
Influence
In 1779, due to a serious illness, composer Christopher Gluck returned to Vienna. It is impossible to imagine the biography of this talented musician without mentioning his latest works. Even while seriously ill, he composed a number of odes and songs for piano. He died in 1787. He had many followers. The composer himself considered A. Salieri his best student. The traditions laid down by Gluck became the basis of the work of L. Beethoven and R. Wagner. In addition, many other composers imitated him not only in composing operas, but also symphonies. Of the Russian composers, M. Glinka highly appreciated the work of Gluck.