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CHRISTOPH WILLIBALD GLUCK

Routledge Music Bibliographies


SERIES EDITOR: BRAD EDEN

COMPOSERS Christoph Willibald Gluck Giuseppe Verdi (1998)


(2003) Gregory Harwood
Isaac AIMniz (1998)
Second Edition
Walter A. Clark Tomas Luis de Victoria (1998)
Patricia Howard
Eugene Casjen Cramer
C. P. E. Bach (2002)
Charles Ives (2002)
Doris Bosworth Powers Richard Wagner (2002)
Gayle Sherwood
Michael Saffle
Samuel Barber (200 I)
Scott Joplin (1998)
Wayne C. Wentzel Adrian Willaert (2003)
Nancy R. Ping-Robbins
David Michael Kidger
Bela Bartok (1997)
Zoltan Kodaly (1998)
Second Edition GENRES
Micheal Houlahan and Philip
Elliott Antokoletz
Tacka Central European Folk Music
Vincenzo Bellini (2002) (1996)
Franz Liszt (2004)
Stephen A. Willier Philip V. Bohlman
Second Edition
Alban Berg (1996) Michael Saffle Chamber Music (2002)
Bryan R. Simms John H. Baron
Guillaume de Machaut (1995)
Leonard Bernstein (2001) Lawrence Earp Choral Music (2001)
Paul F. Laird Avery T. Sharp and James
Felix Mendelssohn Bartholdy
Michael Floyd
Johannes Brahms (2003) (2001)
Heather Platt John Michael Cooper Ethnomusicology (2003)
Jennifer Post
Benjamin Britten (1996) Giovanni Pierluigi da
Peter J. Hodgson Palestrina (2001) Jazz Research and
Clara Marvin Performance Materials (1995)
Elliott Carter (2000)
Second Edition
John L. Link Giacomo Puccini (1999)
Eddie S. Meadows
Linda B. Fairtile
Carlos Chavez (1998)
Music in Canada (1997)
Robert Parker Maurice Ravel (2003)
Carl Morey
Stephen Zank
Frederic Chopin (1999)
North American Indian Music
William Smialek Gioachino Rossini (2002)
(1997)
Denise P. Gallo
Aaron Copland (2001) Richard Keeling
Marta Robertson and Robin Alessandro and Domenico
Opera (2001)
Armstrong Scarlatti (1993)
Second Edition
Carole F. Vidali
Josquin Des Prez (2004) Guy Marco
Carlo Fiore Camille Saint-Saens (2003)
The Recorder (2003)
Timothy Flynn
Gaetano Donizetti (2000) Second Edition
James P. Cassaro Heinrich Schenker (2003) Richard Griscom and David
Benjamin Ayotte Lasocki
Edward Elgar (1993)
Christopher Kent Jean Sibelius (1998) Serial Music and Serialism
Glenda D. Goss (2001)
Gabriel Faure (1999)
John D. Vander Weg
Edward R. Phillips Richard Strauss (2004)
Scott Warfield
CHRISTOPH WILLIBALD GLUCK
A GUIDE TO RESEARCH
SECOND EDITION

PATRICIA HOWARD

i~ ~~o~1~;n~~:up
LONDON AND NEW YORK
First published 2003 by
Routledge

Published 2013 by
Routledge
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711 Third Avenue, New York, NY, 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright © 2003 by Taylor & Francis Books, Inc.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any
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without permission in writing from the publishers.

Library of Congress Cataloging-in-Publication Data


Howard , Patricia.
Christoph Willibald Gluck: a guide to research / Patricia Howard.-
2nd ed.
p. cm. - (Routledge music bibliographies)
Includes indexes.
I. Gluck, Christoph Willibald, Ritter von, 1714-1 787- Bibliography.
L Title. II. Series: Routledge musical bibliographies.
ML 134.G56 H7 2003
016 .7821 '092- dc21
2002153872

ISBN!3: 978-0-415-94072-6 (hbk)


Contents

Preface to the Second Edition vii

Introduction xi

Abbreviations xvii

Illustrations xxi

I The Compositions 1
1. A List of Gluck's Compositions
2. A Note on the Collected Editions 12
3. Autograph and Manuscript Holdings 16

II General Background for the Study of Gluck 19


Primary Sources Dealing with the Reforms in Opera,
Ballet, Acting, Singing, and Stage Design

III Sources and Resources for Gluck Research 29


1. Bibliographies and Thematic Catalogues 29
2. Letters 32
3. Iconography 35
4. Surveys of Research 36
5. Collections of Essays and Conference Acts 37
6. Yearbooks and Special Issues of Periodicals 38

IV Biographical Studies and Dictionary Entries 39

V General Studies in the Music 53


1. Studies in Gluck's Style 53
2. Gluck in Comparative Studies 65
3. Gluck Reception 77

v
vi Contents

VI Specialized Studies of Individual Works and Genres 97


1. Italian Operas 97
2. Reform Operas 104
3. Operas-comiques 119
4. Vocal Music 122
5. Ballets 123
6. Instrumental Music 125

VII Gluck's Collaborators in the Theater 127


1. Choreographers 127
2. Designers 128
3. Librettists 130
4. Singers 135
5. Production Issues, Theater Administration, and Archives 137

VIII Indexes 141


1. Author Index 141
2. Index of Compositions by Gluck 146
Preface to the Second Edition

The music of Christoph Willibald Gluck has generated a wealth of critical com-
ment, polemic, analysis, and interpretation from the composer's lifetime to the
present day: the ever-increasing body of Gluck literature reflects both changing
taste in the theater and changing criteria of scholarship through more than two
centuries. The last two decades have seen an unprecedented expansion of Gluck
scholarship (accompanied by a welcome increase in performances of the music),
and I am glad to have the opportunity to bring this bibliography up to date.
A list of the major available sources for a study of the music, including pub-
lished and manuscript material, is set out in Chapter I. Chapter II offers a selec-
tion of primary sources dealing with the issues affecting all those working in the
eighteenth-century theater, where subtle but enduring changes in the concept of
music for the stage were taking place, of which Gluck's "reform" was only one
among many initiatives. Chapter III covers a wide range of research material,
principal among which are bibliographies and thematic catalogues, letters, and
iconography; this chapter also includes surveys of research and pays tribute to
notable past scholars; collections of essays, including the groundbreaking
Gluck-lahrbuch, are also listed here. The majority of secondary sources fall
within Chapters IV, V, VI, and VII. Drawing upon a wide chronological range
and diversity of styles, from the pioneering work of Anton Schmid (item 144 in
the bibliography; all item numbers refer to entries in the bibliography) to the
many excellent modern writers such as Bruce Alan Brown (item 166), Alessan-
dra Martina (item 454), and Julian Rushton (item 469), I have aimed to prove
that Gluck has in general been well served by those who have been attracted to
study him and that, besides outstanding scholars of every generation, many fel-
low composers-Gretry (item 115), Salieri (item 143), Berlioz (item 293), Liszt
(item 337), and Wagner (item 364)-have written both affectionately and per-
ceptively about his music. A new section on the reception of Gluck's music has
been added to Chapter V to include both reviews of the first performances and
responses to the operas in subsequent centuries. Chapter VII surveys an area that
is still underinvestigated. The aims and opinions of Gluck's librettists and chore-
ographers are well documented, but we know tantalizingly little about the

vii
viii Preface to the Second Edition

singers and designers, on whom fell a large share of the burden of interpreting
his dramatic concept; information about production methods is still a rarity.
The bibliography is necessarily selective, more so than the first edition,
since the quantity and quality of Gluck research has increased markedly in the
fifteen years since the bicentenary of his death; in order to take account of as
much modem research as possible, some items included in the first edition have
been pruned. In selecting items for annotation, I have tried consciously to re-
dress an imbalance, which has existed ever since Gluck's arrival in Paris in 1773,
between the vast bulk of writing about the Paris operas, the considerably smaller
quantity about the Viennese reform operas and ballets, and the scanty coverage
of the early operas and other genres. To this end, I have included quite minor
items dealing with the third category and have excluded much popular or deriva-
tive coverage of areas already soundly investigated in more scholarly studies.
The only categories I have excluded on principle are reviews of performances
where no profound discussion of the work itself takes place. I have restricted
dictionary articles to two categories: those that include the earliest references to
Gluck (Dlabac, item 105, Gerber, item 112, and Luca, item 130), and major
modem musical encyclopedias, notably Die Musik in Geschichte und Gegenwart
(item 91), and New Grove (item 99), whose articles constitute the best biogra-
phies currently available.
The entries are drawn from published material of all types, books, articles,
and newspaper items, in English, French, German, and Italian. This edition was
completed in August 2002. Since my plan was to include nothing unread (apart
from a few unavailable dissertations), I have had to forego consideration of sev-
eral dozen older items that appeared to promise attractive coverage of out-of-
the-way topics (the accessibility of nineteenth-century newspapers is a particular
problem). Those endowed with greater patience-or luck-than I can find items
listed in the bibliographies in Chapter IIU, in particular Keller (item 44), and
Wurzbach (item 50), which they may find it worthwhile to try to track down, and
I would be particularly glad to hear of any important additions discovered in this
way. At the other end of the chronological scale, new, enlightening investiga-
tions are being published almost monthly, and I am bound to have missed a few
very recent articles that found their way into the bibliographical indexes too late
for me to obtain copies of them. That such an abundance exists and is constantly
increasing shows the healthy state of Gluck research in the twenty-first century.
I have received great courtesy and forbearance from a number of libraries. I
should like to record my gratitude first to the library of the Open University, Mil-
ton Keynes, on whose advisory and search services I have surely made unprece-
dented demands. Particular thanks are also due to the staff of the Bibliotheque
Nationale and Bibliotheque de l'Opera in Paris, the Osterreichische Nationalbib-
liothek and Gesellschaft der Musikfreunde in Vienna, the Staatsbibliothek in
Berlin, the FUrst Thurn und Taxis Hofbibliothek in Regensburg, the Narodni
Preface to the Second Edition ix

Muzeum in Prague, the Civico Museo in Bologna, the Statensbibliothek in


Stockholm, and the Pierpont Morgan Library in New York. In fact almost all
the libraries listed in the Abbreviations section have responded to my requests,
either in person or by correspondence, with exceptional efficiency and unfailing
kindness. lowe a great debt to Daniela Philippi, Denise Gallo, and Brad Short
for help in tracing Gluck autographs and to Neil Williams for picture searches.
Finally, thanks are due to my family, who have zealously undertaken the work of
unpaid research assistants while on their global travels.
This page intentionally left blank
Introduction

Writing within twenty years of the composer's death, Christian Schubart identi-
fied Gluck as one who "belonged to no school and who founded no tradition"
(item 354). Two hundred years later this judgment still seems apt. It is Gluck's
uniqueness that continues to fascinate: a Bohemian composer, trained in Italy,
coming of age in Austria, who attained his finest achievements while satisfying
the demanding audiences for French opera, Gluck's response to each environ-
ment was an individual one. His musical personality was already evident in his
earliest operas for Milan and showed itself ever more strongly; while the last op-
eras owed their external structures to French tradition, their emotional intensity
arose from the composer's distinctive approach to dramatic narration. Gluck
came remarkably close to fulfilling his declared intentions to produce "a music
fit for all nations" and to eliminate "the ridiculous differentiation between na-
tional styles" (letter of February 1, 1773, in item 336). But the consistent vision,
the single dramatic concept that unified his works produced in diverse dramatic
traditions, also isolated him from his contemporaries. With the three composers
who owe most to Gluck-Mozart, Berlioz, and Wagner-the debt was disguised
by their even stronger personalities. Gluck's influence, which can be traced in
details of method, mood, and orchestration in Mozart's operas and in an ap-
proach to large-scale structure in Berlioz and Wagner, is both too precise and too
general to be called a "school."
In seeking to define Gluck's unique dramatic concept, his own writings are
by no means to be taken as a straightforward guide. His avowed aim, to "restrict
music to its true function of helping poetry to be expressive" (Alceste Preface), no
more than echoes a common mid-eighteenth-century aesthetic (see, for example,
items 1,6, 12, and 35), though it appears more often from the pens of librettists
and philosophers than musicians. A potential complication lies in the fact that we
do not know the extent to which Gluck's prefaces and major artistic statements
are his own composition: the Alceste Preface is generally acknowledged to have
been drafted by Calzabigi. Gluck served well, having been on the whole well
served by, his various librettists. There is little evident of conflict between the in-
terests of word and music in his operas. Where, for example, in "0 malheureuse

xi
xii Introduction

Iphigenie" (/phigenie en Tauride), an opportunity for expansive lyricism arose,


lyrical and even opulent melody was provided; where, in "No crudel, non posso
vivere" (Alceste), anguished expression needed the precise use of vocal registers,
Gluck made this his priority; where, on the other hand, the declamation of chang-
ing moods demanded a fluid approach, Gluck created an appropriate style, sensi-
tive to the accentuation of the text and with the mood changes dictating the
musical structure, as in "Brilliant auteur de la lumiere" (/phigenie en Aulide). Fur-
thermore, his willingness to respond to the needs of the poet did not inhibit him
from reserving some of the most powerful dramatic moments to be portrayed by
the orchestra: besides the celebrated soliloquy of Orestes in Iphigenie en Tauride,
he also devised the much shorter but no less expressive instrumental introduction
to Act II of the same opera and the masterly tone poem, "ehe puro ciel!" in Orfeo,
in which the voice is almost incidental to the orchestral texture.
The relationship between words and music formed the major crux of Gluck
criticism in his lifetime. Forkelled the anti-Gluck camp, declaring that Alceste
had "too much music to make good declamation, and too little music to be con-
sidered an opera" (item 311). In France the attack was taken up by La Harpe,
who measured Gluck's vocal writing against definitions in the Encyclopedie, and
found that his melodies lacked the balanced phrasing and self-sufficient struc-
ture advocated by Rousseau (in item 331). More trenchantly, La Harpe accused
Gluck of devising an unconventional and individual style in order to hide his
technical shortcomings (item 332).
The accusation stuck. Gluck's lack of Italianate lyricism is no longer a topic
of modern criticism, but the simplicity of his language puzzled some critics writ-
ing well after Forkel. Handel's famous comment (in item 106) on Gluck's lack of
contrapuntal ability proved to be as memorable as it is irrelevant, but Gluck's de-
liberately pared-down style became a stumbling block for a number of nine-
teenth-century musicians. Wagner's curious editing of Iphigenie en Aulide bears
witness to one attempt to "rectify" this "fault" (in item 364). The debate is sum-
marized in item 155, where Hermann Abert defended Gluck from Otto Jahn's as-
sessment of his limited technique by arguing that this style was the result of the
deliberate choice of a rationalist composer. Abert's case depends on Gluck's own
declaration: "I considered that my greatest efforts should be concentrated on
seeking a beautiful simplicity. I have avoided making a show of complexity at
the expense of clarity" (Alceste Preface).
Paradoxically, Gluck's aim to free himself from the demands of his singers
led him to evolve a style which, while being more vulnerable than most to inade-
quate performance, comes fully to life only in the theater, and this fact accounts
for some of the swings of fortune his reputation has suffered: in times when his
operas are frequently and enthusiastically performed, he is widely perceived to
be among the greatest opera composers of his age. When his scores languish on
library shelves, his achievements are invariably underestimated. No wonder
Introduction xiii

critic after critic ends his study of the composer with a plea for more perfor-
mances of the operas (items 80, 84, 126, etc.).
When Hermann Abert identified Gluck as a "rationalist" composer, he
opened up one of the major areas of critical debate for the first half of the twenti-
eth century. Abert argued that Gluck stood at a turning point in operatic history,
between the aesthetic of Affekt that governed baroque opera and the theory of the
Imitation of Nature that held sway in the classical period (items 156 and 157).
He identified a tension in Gluck's developing style between characterization that
offers a typical, appropriate representation of universal experience and that
which draws an individual response to unique situations. Abert saw Gluck as re-
maining essentially on the conservative (baroque) side of the divide and attrib-
uted the term "rationalist" to him because he felt the composer was motivated
primarily by dramatic theory-by a conscious engagement with the issues iden-
tified in Chapter II of this bibliography-and that this theory dictated the sim-
plicity and clarity of this style. Abert's reading of Gluck was developed more
fully by Walther Vetter (especially in item 212). The contrary view was ad-
vanced by Rudolf Gerber (item 317), who claimed that Gluck's position in his-
tory lay among the proto-Romantics: Gerber argued that Gluck's contemporaries
saw him as an expressive composer rather than a theorist, insisting that he was
influenced by Sturm und Drang models in literature and reacted to an intuitive
consciousness of human nature rather than behaving according to acquired dra-
matic theory. Subsequently Wilhelm Baethge made the issue an ideological one,
claiming Gluck as a hero of the "bourgeois ideals of the Enlightenment" (item
160); focusing on the act of the reform, he saw Gluck as a conscious revolution-
ary, and in dwelling on his realistic depiction of individuals, he shared Gerber's
view of Gluck as an essentially modern composer. The debate continued in a
lively exchange of views between Carl Dahlaus (items 426, 427), and Albrecht
and Karin Stoll (item 478).
A further concern of modern scholarship has arisen from our more histori-
cally informed appreciation of late baroque opera. To the ever-relevant question
of who was responsible for the reform of opera, Romain Rolland (item 561), was
among the first to urge Metastasio's claim to be considered, on the basis of a let-
ter from the librettist to Hasse. His view was attacked by Andrea della Corte
(item 544), contesting Rolland's dependence on a single source by citing a wide-
ranging selection of the writings, both of Metastasio and of his contemporaries,
emphasizing Metastasio's fidelity to the conventions of traditional opera. While
Della Corte's intention was to promote an appreciation of Calzabigi's role in the
reform (especially in item 170), a reassessment by Paolo Gallarati advocates a
more moderate view (items 548, 549). Gallarati concludes that Metastasio and
Calzabigi represent different stages of a continuous historical development and
that it is as easy to overestimate Calzabigi's commitment to the reform as it is to
undervalue Metastasio's.
xiv Introduction

The reevaluation of Metastasian opera seria has tended to change the em-
phasis of studies of Gluck's youthful operas. Where earlier scholars were anx-
ious to trace evidence of Gluck's reform tendencies in the Milan works (Abert,
item 369, Arend, item 159, Vetter, item 403), later scholars found it unproblem-
atic to show Gluck's early operas as thoroughly traditional (Hans Joachim
Moser, item 190, and Anna Amalie Abert, item 92). Further lines of investiga-
tion, however, are suggested by Klaus Hortschansky's penetrating study (item
179) of Gluck's habit of self-borrowing, which he indulged in throughout his
life. Hortschansky's study was arguably the most important contribution to
Gluck studies in the second half of the twentieth century and yet it poses more
questions than it answers, the principal among them being: How can Gluck's
mature operas present the unity of style and dramatic method that they undoubt-
edly do while they can be shown to incorporate, often almost unchanged, mater-
ial from a much earlier period of his development? Gluck studies, then, return
continually to the starting point: the unique personality of the composer and its
manifestation in his music.
Past research was dominated by the image of Gluck as reformer. The in-
quiry is not yet exhausted, for we now know far more about those genres that he
"reformed" and indeed we are as likely to be able to find works by Handel
(though not by Hasse, Traetta, or Jommelli) and Rameau (though not Bois-
mortier or Mondonville) in the opera house and record catalogue as we are to
find Gluck's own operas there. Closer acquaintance with Gluck's predecessors
can only sharpen our perception of his debt to his immediate past and define
more precisely his points of departure from it. While a more accurate knowledge
of the genre of Jesta teatraZe led Raymond Monelle (item 248) and Frederick
Sternfeld (item 205) to advocate a reassessment of Oifeo--once viewed as the
key manifestation of the reform, now identified as a transitional work standing
between the prereform and the reform operas-it is no longer necessary to de-
plore or excuse Gluck's adherence to the baroque convention of the Zieto fine, as
Ludwig Finscher's thoughtful explorations have revealed (item 173). A better
understanding of genre was one of the most generally useful achievements of
the twentieth century, and Gluck studies have particularly benefited from this
development.
Gluck's relationship to his inheritance is well-trodden though still fertile
ground. His significance for the development of opera in the nineteenth century
has been less extensively explored, despite the impassioned but imprecise
Gluck-Wagner comparisons which flooded the bookshelves at the tum of the
century. Perhaps we have taken Schubart's analysis too literally. Gluck may have
"founded no tradition" but his achievements in the fields of characterization, or-
chestration, and the building of large-scale structures have left their mark on vir-
tually all subsequent opera composers-that is, on opera itself. His stylistic
fluidity, which merged aria and recitative into long stretches of accompagnato
Introduction xv

and dramatized the role of the chorus, was taken up in French, German, and even
Italian opera in the nineteenth century. And his assertion of the primacy of the
text led not so much to a new relationship between words and music, for the bal-
ance is a constantly shifting one, but rather to a new role for librettist. The eigh-
teenth-century commonplace of a single libretto being passed from composer to
composer gradually gave way to the idea of a unique match between a libretto
and its setting.
Whether Gluck's influence on the course of operatic history can be more
precisely defined remains to be proved. Since the first edition of this work, the
activity of the Siimtliche Werke has been prodigious, making available, at time of
writing, twenty-seven operas, two ballets, and the Trio Sonatas in useful editions
of varying quality. There remain seven operas and one ballet complete in manu-
script and a further ten operas of which only fragments exist. More performances
of the earlier works, newly restored through the collected edition, will surely fol-
low. Every new publication and, to an even greater degree, every new produc-
tion, enriches our view of Gluck's genius and extend an irresistible invitation to
both scholars and operagoers to deepen their acquaintance with the work of a
unique dramatist.
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Abbreviations

LIBRARY SIGLA
A-Gd Austria, Graz, Diozesanarchiv
A-GO Austria, Gottweig, Benediktinerstift Musikarchiv
A-KR Austria, Kremsmtinster, Benediktinerstift Musikarchiv
A-Wgm Austria, Vienna, Gesellschaft der Musikfreunde
A-Wn Austria, Vienna, Osterreichische Nationalbibliothek
B-Bc Belgium, Brussels, Conservatoire Royal de Musique
B-Br Belgium, Brussels, Bibliotheque Royale Albert 1
CH-Bu Switzerland, Basle, Universitiit Basel, Offentliche Bibliothek,
Musikabteilung
CH-BEI Switzerland, Berne, Schweizerische Landesbibliothek
CH-CObodmer Switzerland, Cologny-Geneva, Biblioteca Bodmeriana
CH-N Switzerland, Neuchatel, Bibliotheque publique et universitaire
CH-W Switzerland, Wintherthur, Stadtbibliothek
CH-Zk Switzerland, Zurich, Konservatorium und Musikhochschule
CZ-Bm Czech Republic, Brno, Moravske Zemske Muzeum
CZ-BER Czech Republic, Beroun, Statnf Okresnf Archiv
CZ-K Czech Republic, Cesky Krumlov, Prakoviste Statniho Archivu
Trebon
CZ-Pnm Czech Republic, Prague, Narodnf Muzeum
D-ALT Germany, Altenburg, Bibliothek des Landestheaters
D-Bsb Germany, Berlin, Staatsbibliothek zu Preussischer
Kulturbesitz
D-BDk Germany, Brandenburg, Domstiftsarchiv und Bibliothek
D-Dlb Germany, Dresden, Sachsische Landesbibliothek
D-DS Germany, Darmstadt, Hessische Landes- und
Hochschulbibliothek
D-F Germany, Frankfurt am Main, Stadt- und
U ni versitatsbibliothek
D-GOI Germany, Gotha, Forschungs- und Landesbibliothek
D-Hs Germany, Hamburg, Staats- und Universitatsbibliothek

xvii
xviii Abbreviations

D-Mbs Germany, Munich, Bayerische Staatsbibliothek


D-MEI Germany, Meiningen, Staatsliche Museen
D-MUu Germany, Miinster, Westfalische Wilhelms-
Universitatsbibliothek
D-Rtt Germany, Regensburg, Fiirst Thurn und Taxis Hofbibliothek
D-RUl Germany, Rudolstadt, Thiiringische Staatsarchiv
D-SI Germany, Stuttgart, Wiirttembergische Landesbibliothek
D-WRdn Germany, Weimar, Deutsches Nationaltheater und Staatskap-
pelle Archiv
D-WRh Germany, Weimar, Hochschule fUr Musik Franz Liszt
D-WRI Germany, Weimar, Thiiringische Hauptstaatsarchiv
D-WRtl Germany, Weimar, Thiiringische Landesbibliothek
DK-A Denmark, Arhus, Statsbiblioteket
DK-Kk Denmark, Copenhagen, Kongelige Bibliotek
F-Pn France, Paris, Bibliotheque Nationale
F-Po France, Paris, Bibliotheque-Musee de l'Opera
GB-Lbl Great Britain, London, British Library
H-Bb Hungary, Budapest, Bartok Bela Zenemiiveszeti
Szakkozepiskola Konyvtar
H-Bn Hungary, Budapest, Orszagos Szechenyi Konyvtar
I-Bc Italy, Bologna, Civico Museo Bibliografico Musicale
I-BGc Italy, Bergamo, Biblioteca Civic a Angelo Mai
I-BRc Italy, Brescia, Conservatorio di Musica, A. Venturi
I-Fc Italy, Florence, Conservatorio di Musica, Luigi Cherubini
I-GI Italy, Genoa, Conservatorio di Musica Nicolo Paganini
I-Mc Italy, Milan, Conservatorio di Musica Giuseppe Verdi
I-MOe Italy, Modena, Biblioteca Estense e Universitaria
I-Nc Italy, Naples, Conservatorio di Musica, S. Pietro a Majella
I-Pca Italy, Padua, Basilica del Santo, Biblioteca Antoniana
I-PAc Italy, Parma, Conservatorio di Musica Arrigo Boito
I-PLcon Italy, Palermo, Conservatorio di Musica Vincenzo Bellini
I-Rsc Italy, Rome, Conservatorio di Musica S Cecilia
I-Tf Italy, Turin, Accademia Filarmonica
I-Tn Italy, Turin, Biblioteca Nazionale Universitaria
I-Vc Italy, Venice, Conservatorio di Musica Benedetto Marcello
I-Vnm Italy, Venice, Biblioteca Nazionale Marciana
NL-DHgm Netherlands, The Hague, Haags Gemeentemuseum
Musikafdeling
RUS-SPsc Russia, St. Petersburg, Rossiyskaya Natsional'naya Biblioteka
S-L Sweden, Lund, Universitetsbiblioteket
S-Slana Sweden, Stockholm, Kungliga Musikaliska Akademiens
Bibliothek
Abbreviations xix

S-Smf Sweden, Stockholm, Stiftelsen Musikkulturens Framjande


S-Uu Sweden, Uppsala, Universitetsbiblioteket
S-Vx Sweden, Vaxjo, Landsbiblioteket
US-AUS USA, Austin, University of Texas
US-BErn USA, Berkeley, University of California Music Library
US-NYpm USA, New York, Pierpont Morgan Library
US-SLug USA, St. Louis, Washington University, Gaylord Music
Library
US-STurn USA, Stanford, Stanford Memorial Library
US-Wc USA, Washington, Library of Congress, Music Division

EDITIONS
DTB Denkmiiler deutscher Tonkunst, zweite Folge: Denkmiiler der
Tonkunst in Bayern
DTO Denkmiiler der Tonkunst in Osterreich
G Christoph Willibald Gluck: Siimtliche Werke
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Illustrations

Plate I Gluck, portrait by Jean-Silfrecte Duplessis, 1775. Reproduced by per-


mission of the Kunsthistorisches Museum, Vienna.

Plate 2 Autograph letter from Gluck to Franz Kruthoffer, dated Vienna, August
30, 1780. Reproduced by permission of the Pierpont Morgan Library.

Plate 3 Fragment of an autograph letter from Gluck to Anne Pierre Jacques de


Vismes de Valgay, dated Vienna, April 1, 1778. The original of the letter
is in the possession of the Bibliotheque Nationale, Paris.

Plate 4 Opening page of the autograph score of Armide, 1777. Reproduced by


permission of the Neil Williams Classical Collection. The original score
is in the possession of the Bibliotheque de l'Opera, Paris.

xxi
xxii Illustrations

Gluck, oil painting by Jean-Silfrede Duplessis, 1775. Reproduced by permission of the


Kunsthistorisches Museum, Vienna.
Illustrations xxiii

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Autograph letter from Gluck to Franz Kruthoffer, dated Vienna, August 30, 1780. The Mary
Flagler Cary Music Collection in the Pierpont Morgan Library, MFC G 5675. Reproduced by
pennission of the Pierpont Morgan Library.
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Photographic copy of a fragment of an autograph letter from Gluck to Anne Pierre Jacques de Vismes de Valgay, dated Vienna, April 1, 1778, reproduced
in item 154, where the handwriting is analyzed by Louis Vauzanges. The original of the letter is in the possession of the Bibliotheque Nationale, Paris. ~
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Illustrations xxv

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Photographic copy of the opening of the first act of Armide (Paris 1777, text by Quinault): page
I from the fragment that has been preserved of the autograph score. The original fragment is in
the possession of the Bibliotheque de I'Opera, Paris. Photograph: The Neil Williams Classical
Collection.
This page intentionally left blank
I
The Compositions

1. A LIST OF GLUCK'S COMPOSITIONS


This list is based on the work list in New Grove (item 99). For published works, ref-
erence is made to the Siimtliche Werke (G), where available, or to earliest and most
recent published editions; the reader is referred to Hopkinson (item 43) for library
locations of some of the rarer printed material. A selection of manuscript copies of
the published works is also listed, since these often afford useful information about
local or variant productions. For the unpublished works or where no reliable mod-
em edition exists, manuscript sources are given; for partially surviving operas,
every known number is identified, and by including arias borrowed from earlier
works or incorporated into later works (following Hortschansky, item 179), it has
been possible to expand the tally of known arias in the early operas, though it is of
course impossible to establish the degree of reworking that may have taken place.
Publication data for the librettos are added where known. Numbers assigned to the
work list are for the purpose of cross-reference only and have no cataloguing sig-
nificance. The entries in each section are arranged chronologically in the following
format: title and genre; authorship and publication data of libretto; town, theater,
and date of first performance; the extent and availability of the source material.

The Operas
1. Artaserse. Dramma per musica in three acts, libretto by Pietro Metastasio,
Milan: Malatesta, 1741. Milan, Regio Ducal, Dec. 26, 1741. Two arias ex-
tant: "Mi scacci sdegnato," in ms in A-Wgm; "Se del fiume" in ms in B-Bc,
CH-BEI, GB-Lbl.

1
2 Christoph Willibald Gluck

2. Demetrio (Cleonice). Dramma per musica in three acts, libretto by Metasta-


sio, Venice: Rosetti, 1742. Venice, Grimani di San Samuele, May 2, 1742.
Seven arias extant: "Misero non e tanto" in ms in B-Bc, F-Pn; "Se fecondo e
vigoroso" in ms in B-Bc, F-Pn; "Scherza il nocchier talora" in ms in A-Wn,
B-Bc, F-Pn; "Dal suo gentil sembiante" in ms in B-Bc, F-Pn; "Non so frenare
il pianto" in ms in I-Bc; "10 so qual pena sia": in ms in S-Uu, ed. Max Arend,
in DTB, Bd. 26, Jahrgang 14/2; "Quellabbro adorato" in ms in B-Bc, F-Pn.

3. Demojoonte. Dramma per musica in three acts, libretto by Metastasio,


Milan: Malatesta, 1742. Milan, Regio Ducal, Jan. 6, 1743. Vocal score of
Act I, ed. Julien Tiersot, Leipzig: Gluckgesellschaft vol. 1, 1914; all closed
numbers except for sinfonia and one aria extant in ms in B-Bc, CH-BEl,
F-Pn; single numbers in ms in A-Wn, D-Bsb, D-Dlb, I-Mc, I-Nc, US-Wc.

4. Il Tigrane. Dramma per musica in three acts, libretto by Francesco Silvani


after Carlo Goldoni (La virtu trionjante), Brescia: Rizzardi, 1743. Crema,
Sept. 26, 1743. Eleven arias and one duet extant: "Troppo ad un alma e
caro" in ms in B-Bc, CH-BEl, F-Pn; "Vezzi, lusinghe" in ms in B-Bc, CH-
BEl, F-Pn; "Se spunta arnica stella" in ms in B-Bc, CH-BEl, F-Pn; "Sl, ben
mio, morro" in ms in B-Bc, CH-BEl, F-Pn, S-Vx; "Nero turbo il ciel" in ms
in B-Bc, CH-BEl, F-Pn (a sacred parody of this aria in DK-Kk); "Se in
grembo" in ms in B-Bc, CH-BEl, F-Pn; "Parto da te" in ms in B-Bc, CH-
BEl, F-Pn; "Priva del caro" in ms in B-Bc, CH-BEl, F-Pn; "Care pupille
amate" in ms in B-Bc, CH-BEl, F-Pn; "Lungi da te" (duet) in ms in B-Bc,
CH-BEl, F-Pn; "Rasserena il mesto ciglio" in ms in B-Bc, CH-BEI, F-Pn;
"Presso l'onda d' Acheronte" in ms in B-Bc, CH-BEl, F-Pn.

5. La Sojonisba. Dramma per musica in three acts, libretto by Silvani (recita-


tives) and Metastasio (arias), Milan: Malatesta, 1744. Milan, Regio Ducal,
Jan. 18, 1744. Twelve arias and one duet extant: "Nobil onda" in ms in CH-
BEl, F-Pn; "Se tanto pi ace" in ms in CH-BEI, F-Pn; "Tom ate sereni" in ms
in A-Wgm, reworked as "Perche viva felice" in La contesa de' numi (see
Hortschansky, item 179); "Se in campo armato" in ms in B-Bc, CH-BEl,
F-Pn; "Non vi piacque" in ms in B-Bc, CH-BEl, F-Pn; "Tremo fra dubbi" in
ms in CH-BEl, F-Pn; "Cara, dagli occhi tuoi" in ms in B-Bc, CH-BEl, F-Pn;
"0 frangi i lacci miei" in ms in CH-BEl, F-Pn; "E maggiore d'ogn'altro do-
lore" in ms in B-Bc, CH-BEl, F-Pn; "M'opprime, m'affanna" in ms in B-Bc,
CH-BEl, F-Pn; "E sorta di tormento" reworked as "E uguale" in La caduta
de' giganti (see Hortschansky, item 179); "Se fedel, cor mio" (duet) in ms in
B-Bc, CH-BEl, F-Pn; "La suI margine" in ms in CH-BEl, F-Pn.

6. Ipermestra. Dramma per musica in three acts, libretto by Metastasio, n.p.,


1744. Venice, San Giovanni Grisostomo, Nov. 21, 1744. G iii/6, ed. Axel
The Compositions 3

Beer, 1997; ms copy in GB-Lbl; substantial excerpts in ms in I-MO; auto-


graph score of sinfonia in CH-B (private collection).

7. Poro. Dramma per musica in three acts, libretto by Metastasio (Alessandro


nell'Indie), Turin: Zappata, 1745. Turin, Regio, Dec. 26, 1744. Sinfonia, one
duet, and four arias extant: sinfonia in ms in CZ-Pnm, I-Tf; "Se mai turbo"
(duet) in ms in I-Tf; "Senza procella ancora" ed. Robert Haas (item 387);
"Se viver non poss'io" in ms in A-Wn, I-Tf, ed. Haas (item 387); "Di ren-
dermi la calma" in ms in 1-Tf; "Son confusa pastorella" in ms in 1-Tf.

8. Ippolito. Dramma per musica in three acts, libretto by Gioseffo Gorino Corio,
Milan: Malatesta, 1745. Milan, Regio Ducal, Jan. 31, 1745. Eight arias and
one duet extant: "Varca il mar" in ms in B-Bc, F-Pn; "Se tu vedessi" in ms in
B-Bc, F-Pn; "Agitata non trovo riposo" partially transcribed by Hortschansky
(item 392); "Non so placar mio sdegno" ed. Abert (item 368); "Parto, ma un
giomo amore" in ms in B-Bc, F-Pn; "Chi noto mi fa" in ms in B-Bc, F-Pn;
"Ah, m'ingannasti" (duet) in La caduta de'giganti, see below; "Ah gia parmi
che d'armi" in ms in B-Bc, F-Pn; "Dirai all'idol mio" in ms in B-Bc, F-Pn.

9. La caduta de'giganti. Dramma per musica in three acts, libretto by


Francesco Vanneschi, London: n.p., 1745. London, King's Theatre, Jan. 7,
1746. Five arias and one duet in The Favourite Songs in the Opera called La
Caduta de'Giganti, London: Walsh, 1746; four more arias borrowed from
earlier operas (see Hortschansky, item 179): "Care pupille" in Walsh;
"Vezzi, lusinghe" in Walsh; "Conserva a noi" in Walsh; "Tomate sereni" in
La Sofonisba; "Se in grembo" in Il Tigrane; "Ah, m'ingannasti" (duet) in
Walsh; "Pensa che il ciel trema" in Ipermestra; "Mai l'amor mio" in Iperme-
stra; "Si, ben mio" in Walsh; "E uguale ad un tormento" in Walsh.

10. Artamene. Dramma per musica in three acts, libretto by Vanneschi, after
Bartolommeo Vitturi, London: n.p., 1746. London, King's Theatre, Mar. 4,
1746. Six arias in The Favourite Songs in the Opera called Artamene, Lon-
don: Walsh, 1746; nine further numbers borrowed from earlier operas (see
Hortschansky, item 179): "Se crude Ii" in Walsh, closing section in auto-
graph in A-Wgm; "Se in campo armato" in La Sofonisba; "E maggiore
d'ogni altro dolore" in Walsh; "T'intendo ingrato" in Demofoonte; "II suo
leggiadro viso" in Walsh; "Nobil onda" in La Sofonisba; "Non vi piacque"
in La Sofonisba; "Troppo ad un alma e caro" in Il Tigrane; "Pens a a ser-
barmi" in Walsh; "0 sciogli i lacci miei" in La Sofonisba; "Or del tuo re" in
Ipermestra; "Se fedel cor mio" (duet) in La Sofonisba; "Rasserena il mesto
ciglio" in Walsh; "Per lei fra Ie armi" in Demofoonte; "Presso l'onda
d' Acheronte" in Il Tigrane; "Gia presso al termine" in Walsh, opening sec-
tion in autograph in A-W gm.
4 Christoph Willibald Gluck

11. Le nozze d'Ercole e d'Ebe. Festa teatrale in two acts, librettist unknown, li-
bretto published Dresden: n.p., 1747. Pillnitz, Dresden, June 29, 1747. Ed.
Abert in DTB Bd. 26, Jahrgang 14/2, 1914. M4 D4; in ms in B-Bc, D-Dlb.

12. La Semiramide riconosciuta. Dramma per musica in three acts, libretto by


Metastasio, Vienna: van Ghelen, 1748. Vienna, Burgtheater, May 14, 1748.
G iii/12, ed. Gerhard Croll & Thomas Hauschka, 1994; in ms in A-Wn (pub.
in facsimile New York: Garland, 1982), D-Bsb, D-MEI.

13. La contesa de'numi. Festa teatrale in two acts, libretto by Metastasio, miss-
ing. Copenhagen, Charlottenborg, Apr. 9, 1749. In ms in B-Bc, DK-Kk; ex-
cerpts in CH-BEl, D-Bsb, F-Pn, I-Fc.

14. Ezio. Dramma per musica in three acts, libretto by Metastasio. Prague:
Pruscha, 1750[?]. Prague, Kotzen, carnival, 1750. G iiil14, ed. Gabriele
Buschmeier & Hanspeter Bennwitz, 1990; in ms in B-Bc, D-Bsb, D-Dlb,
D-Sl, F-Pn, GB-Lbl; autograph of "Ecco aIle mie catene" in D-Bsb.

15. Issipile. Dramma per musica in three acts, libretto by Metastasio, Prague:
Pruscha, 1752[?]. Prague, Carnival, 1752. Possibly six arias and one duet extant:
"Impallidisce in campo" reworked as "D'altre nubi e il sol" in L'innocenza;
"Oh Dei, piegato un cor" (taken from "Oh Dei, che dolce incanto," in ms in D-
Bsb, D-Dl, doubtful, see Hortschansky, item 179); "Ogni amante" reworked
as "Se al impero" in La clemenza; "Ombra diletta" in ms in B-Bc, CH-BEl,
GB-Lbl; "Parto, se vuoi cosi" in autograph in A-Wn, ms copy in CH-BEl; "10
ti lascio" in ms in B-Bc, CH-BEl, GB-Lbl; "Care luci" (duet, reworked as "Ah
pieta", in ms in B-Bc, D-Bsb; doubtful, see Hortschansky, item 179).

16. La clemenza di Tito. Dramma per musica in three acts, libretto by Metasta-
sio, missing. Naples, San Carlo, Nov. 4, 1752. G iii/16, ed. Franz Giegling,
1995; in ms in I-Nc; substantial excerpts in F-Pn, I-Mc.

17. Le cinesi. Componimento drammatico in one act, libretto by Metastasio,


missing. Vienna, Schlosshof, Sept. 24, 1754. G iii/17, ed. Croll, 1958; in ms
in D-Bsb, D-Dlb.

18. La danza. Componimento drammatico pastorale in one act, libretto by


Metastasio, Vienna: n.p., 1755. Laxenburg, May 5, 1755. G iiil18, ed. Croll,
1969; in ms in A-Wn, CH-N, I-MO.

19. L'innocenza giustificata. Festa teatrale in one act, libretto by Giacomo


Durazzo (recitatives) and Metastasio (arias), Vienna: van Ghelen, 1755.
The Compositions 5

Vienna, Burgtheater, Dec. 8, 1755. G iii/19, ed. Josef-Horst Lederer, 1999;


in ms in A-Wgm, A-Wn, D-Bsb, DK-Kk, F-Pn.

20. Antigono. Dramma per musica in three acts, libretto by Metastasio, Rome:
Amidei, 1756. Rome: Torre Argentina, Feb. 9, 1756. G iii/20, in preparation;
in ms in B-Bc, CH-BE1, F-Pn, I-Mc.

21. Il re pastore. Dramma per musica in three acts, libretto by Metastasio,


Vienna: van Ghelen, 1756. Vienna, Burgtheater, Dec. 8, 1756. G iii/8,
ed. Uizl6 Somfai, 1968; in ms in A-Wn; substantial excerpts in A-KR,
H-Bn.

22. Lafausse esclave. Opera-comique in one act, libretto after Louis Anseaume
and Pierre de Marcouville, missing. Vienna, Burgtheater, Jan. 8, 1758. Com-
plete except for sinfonia in ms in A-Wn, B-Bc, D-Dsb, F-Pn.

23. L'Ue de Merlin, ou Le mond renverse. Opera-comique in one act. Libretto


by Anseaume after Alain-Rene Lesage and D'Orneval, Vienna: van Ghelen,
1758. Vienna, SchOnbrunn, Oct. 3, 1758. G iv/I, ed. GUnter Hausswald,
1956; in ms in A-Wn, B-Bc, GB-Lb1, F-Pn.

24. La Cythere assiegee. Opera-comique in one act, libretto by Charles-Simon


Favart, Mannheim: n.p., 1759. Vienna, Burgtheater, Spring 1759. In ms in
A-Wn, B-Bc, CZ-K, H-Bn; for sinfonia, see Arend (item 487).

25. Le diable 11 quatre, ou Le double metamorphose. Opera-comique in three


acts, libretto by Michel-Jean Sedaine and Pierre Baurans, after Charles
Coffey (The Devil to Pay), Vienna: van Ghelen, 1759. Laxenburg, May 28,
1759. G iv/3, ed. Bruce Alan Brown, 1992; in ms in CZ-K, D-Dlb, D-Rtt,
I-Vc.

26. L'arbe enchante, ou Le tuteur dupe. Opera-comique in one act, libretto after
Jean-Joseph Vade, Le poirier, Vienna: van Ghelen, 1759. Vienna, SchOn-
brunn, Oct. 3, 1759. In ms in A-Wn, B-Bc, F-Po; sinfonia in D-Rtt.

27. Tetide. Serenata in two acts, libretto by Giovanni Ambrogio Migliavacca,


Vienna: van Ghelen, 1760. Vienna, Hofburg, Oct. 10, 1760. G iiil22, ed.
Somfai, 1978; in ms inA-Wn, I-Tn.

28. L'ivrogne corrige. Opera-comique in two acts, libretto by Anseaume and


Jean-Baptiste Lourder de Sarterre, Vienna: van Ghelen, 1760. Vienna, Burg-
theater, late 1760. G iv/5, ed. Franz RUhlmann, 1951; in ms in B-Bc, D-Dlb.
6 Christoph Willibald Gluck

29. Le cadi dupe. Opera-comique in one act, libretto after Pierre-Rene Le Mon-
nier, Paris: Duchesne, 1761. Vienna, Burgtheater, Dec. 9, 1761. G iv/6, ed.
Daniela Philippi, 1999; in ms inA-Wn, CZ-K, D-Bsb, D-Hs, D-Rtt.

30. Orfeo ed Euridice. Azione teatrale in three acts, libretto by Ranieri de'Ca1z-
abigi, Vienna: van Ghelen, 1762. Vienna, Burgtheater, Oct. 5, 1762. Paris:
Duchesne, 1764; Gill, ed. Anna Amalie Abert & Ludwig Finscher, 1963;
rejected autograph sketch of finale ("Trionfi amore") in A-Wn; many 18th-c
ms copies including examples in A-Wgm, A-Wn, F-Pn, F-Po, GB-Lbl. See
also Eitner (item 39).

31. Il trionfo di Clelia. Dramma per musica in three acts, libretto by Metasta-
sio, Lucca: Vale, 1762. Bologna, Teatro Communale, May 14, 1763. G
iiil23, in preparation; in ms in B-Bc, CH-BEl, D-Bsb, F-Pn; autograph of
sinfonia in F-Po.

32. Ezio. Dramma per musica in three acts, revision of no. 14. Libretto by
Metastasio, Vienna: van Ghelen, n.d. Vienna, Burgtheater, Dec. 26, 1763. G
iii/24, ed. Buschmeier, 1992; in ms in CZ-Pnm.

33. La rencontre imprevue. Opera-comique in three acts, libretto by Louis Hurtaut


Dancourt after Lesage and d'Omeval, Les pelerins de la Mecque, Vienna: van
Ghelen, 1763. Vienna, Burgtheater, Jan. 7, 1764. G iv/7, ed. Harald Heckmann,
1964; in ms in A-GO, A-Wn, B-Br, CZ-K, D-Dlb, F-Pn, NL-DHgm, S-Skma.

34. Il Parnaso confuso. Azione teatrale in one act, libretto by Metastasio,


Vienna: van Ghelen, 1765. Vienna, SchOnbrunn, Jan. 24, 1765. G iiil25, ed.
Croll, 1974; in ms inA-KR, A-Wn, D-Dlb, F-Pn, I-MO, I-Nc.

35. Telemaco ossia L'isola di Circe. Dramma per musica in two acts, libretto by
Marco Coltellini after Sigismondo Capece, Vienna: van Ghelen, 1765. Vi-
enna, Burgtheater, Jan. 30, 1765. G i/2, ed. Karl Geiringer, 1972; ms copies
in A-GO, A-Wgm, A-Wn, B-Br, D-Bsb, F-Pn, GB-Lbl, I-Nc; autograph
fragment of Act I, scn 1 in A-Wn.

36. La corona. Azione teatrale in one act, libretto by Metastasio, never printed.
Composed for Oct. 4, 1765 but not performed. G iii/26, ed. Croll, 1974; in
ms inA-Wgm, A-Wn, B-Br, I-Nc.

37. Il prologo. Prologue to Traetta's lfigenia in Tauride, for soprano solo, cho-
rus, and orchestra, libretto by Lorenzo Ottavio del Rosso, n.p., 1767. Flo-
rence, Teatro di via della Pergola, Feb. 22, 1767. Ed. Paul Graf Waldersee,
Leipzig: Breitkopf & Hartel, 1891.
The Compositions 7

38. Alceste. Tragedia in three acts, libretto by Calzabigi, Vienna: van Ghelen,
1767. Vienna, Burgtheater, Dec. 26, 1767. Vienna: Trattnern, 1769; G i/3 a,
ed. Rudolf Gerber, 1957; i/3 b in preparation; ms copies in B-Br, D-GOl,
D-Hs, D-RUl, D-WRdn, D-WRtl, I-BGc, I-BRc, I-Mc, I-Nc; autograph of
"Misero! e che faro?" in GB-Lbl.

39. Lefeste d'Apollo. Festa teatrale in prologue and three acts, libretto by Carlo
Innocenzo Frugoni, Giuseppe Maria Pagnini, Giuseppe Pezzana, and
Ranieri de'Calzabigi, Parma: Stamperia Reale, 1769. Parma, Corte, Aug.
24, 1769. G iiil28 a, b, in preparation; in ms in B-Bc, CH-BEI, D-Bsb, F-Pn,
I-Nc, I-Pac; autograph fragment of chorus, "Eccheggiar s'odano" (Atto
d'Aristeo) inA-Wgm.

40. Paride ed Elena. Dramma per musica in five acts, libretto by Calzabigi,
Vienna: van Ghelen, 1770. Vienna, Burgtheater, Nov. 3, 1770. Vienna: Trat-
tnern, 1770; G i/4, ed. Gerber, 1954; in ms in A-KR, D-DS, I-Mc, I-Nc.

41. /phigenie en Aulide. Tragedie opera in three acts, libretto by Fran~ois-Louis


Gand Leblanc du Roullet after Jean Racine, Paris: Delormel, 1774. Paris,
Academie Royale, Apr. 19, 1774; Paris: Lemarchand, 1774; G i/5 a, b, ed.
Marius Flothius, 1987; in ms in CH-Zk, D-ALT, D-BDk, F-Po, H-Bb,
I-BGc, I-Nc, S-Skma.

42. Orphee et Eurydice. Tragedie opera in three acts, revision of no. 30, libretto
by Pierre-Louis Moline after Calzabigi, Paris: Delormel, 1774. Paris,
Academie Royale, Aug. 2, 1774. Paris: Lemarchand, 1774; G i/6, ed. Fin-
scher, 1967; substantial autograph excerpts in F-Pn and F-Po; other auto-
graph fragments in D-Bsb, S-Smf, RUS-SPsc, US-STurn.

43. L'arbre enchante. Opera-comique in one act, revision of no. 26, libretto by
Moline, after Vade, Paris: Lemarchand, 1775. Versailles, Feb. 27, 1775.
Paris: Lemarchand, 1775. G iv/ll, in preparation; autograph score in F-Pn.

44. La Cythere assiegee. Opera-ballet in three acts, revision of no. 24, libretto
by Favart, published Paris: Delormel, 1775. Paris, Academie Royale, Aug.
1, 1775. Paris: Bureau d' Abonnement Musical, [1775]; ed. Karl Mayer,
Berlin: Bloch Erben, 1928 (vocal score); in ms in F-Po.

45. Alceste. Tragedie opera in three acts, revision of no. 38, libretto by Du
Roullet after Calzabigi, Paris: Delormel, 1776. Paris, Academie Royale,
Apr. 23, 1776. Paris: Bureau d' Abonnement Musical, 1776; G in, ed. Ger-
ber, 1957; autograph score in F-Pn; autograph fragments in CH-Bu (doubt-
ful) and D-Bsb; ms copies in F-Po, S-Skma.
8 Christoph Willibald Gluck

46. Armide. Drame heroique in five acts, libretto by Philippe Quinault, Paris:
Delormel, 1777. Paris, Academie Royale, Sept. 23, 1777. Paris: Bureau
d'Abonnement Musical, 1777; G i/8 a, b, ed. Klaus Hortschansky, 1991;
substantial autograph excerpts in F-Pn, F-Po.

47. /phigenie en Tauride. Tragedie in four acts, libretto by Nicolas-Fran~ois, Guil-


lard and Du Roullet, Paris: Delormel, 1779. Paris, Academie Royale, May 18,
1779. Paris: Bureau du Journal de Musique, 1779; G i/9, ed. Croll, 1973; in ms
in F-Po (with autograph corrections by Gluck), H-Bb, I-Mc, S-St.

48. Echo et Narcisse. Drame Zyrique in prologue and three acts, libretto by
Baron Jean-Baptiste-Louis-Theodore de Tschoudi de Colombey, after Ovid,
Paris: Delormel, 1779. Paris, Academie Royale, Sept. 24, 1779. Paris: Des
Lauriers, [1781]; G ill0, ed. Gerber, 1953; in ms in A-Wgm, F-Pn, F-Po,
S-Skma (incomplete); autograph fragment of final ballet in CH-CObodmer.

49. /phigenie aufTauris (Iphigenie in Tauris). Tragisches SingspieZ in four acts,


revision of no. 47, libretto by Johann Baptiste von Alxinger and Gluck, after
Guillard and Du Roullet, Vienna: Logenmeister, 1781. Vienna, Burgtheater,
Oct. 23,1781. G ill 1, ed. Croll, 1965; in ms inA-Wn, A-Wgm, CZ-Bm, D-
SL; autograph fragment of vocal lines from IV4-6 in D-Bsb; autograph frag-
ment of vocal lines in US-NYpm.

Pasticcios, Doubtful, and Missing Operas


50. Arsace. Dramma per musica, libretto by Antonio Salvi. Milan, Regio Ducal,
Dec. 26, 1743. Eight arias in ms in B-Bc, F-Pn, of which "Perfido, traditore"
and "Se fido I' adorai" are probably by Gluck; see Hortschansky (items 179
and 388).

51. Lafinta schiava. Dramma per musica compiled by Giacomo Maccari, li-
bretto by Silvani. Venice, S. Angelo, May 13, 1744. Possibly three arias by
Gluck: "Troppo ad un alma e caro" in II Tigrane in ms in A-Wn, B-Bc, CZ-
K, I-Tn; "Ch'io mai vi possa" in ms in B-Bc, F-Pn; "Se spunta arnica stella"
in II Tigrane, in ms in B-Bc, F-Pn, CH-BEl; see Hortschansky (item 179).

52. Tircis et Doristee, ou La vengeance inutile. Opera-comique in one act, li-


bretto by Favart, after Ovid, missing. Laxenburg, May 10, 1756. Three arias
probably by Gluck: "Je vois tomber" (from L'innocenza giustificata, "Quer-
cia annosa"), "Dors, aimable Aurore," and "La chute d'un torrent," both in
ms inA-Wn, CZ-K, I-Tn; see Brown (item 166).
The Compositions 9

53. Le caprice amoureux, ou Ninette a la cour. Opera-comique in two acts, li-


bretto by Favart after Goldoni (Bertoldo, Bertoldino, e Cacasenno), Vienna,
Burgtheater, 1760. Two arias probably by Gluck: "Qu'il est bien de son vil-
lage" and "Son exercise est ce qu'il faut," both in ms in A-Wn, I-Tn; see
Brown (item 166).

54. Arianna. Dramma per musica in one act, libretto by Migliavacca, Vienna:
van Ghelen, 1762. Laxenburg, May 27, 1762. Music lost, see Hortschansky
(item 391).

55. Enea e Ascanio. Componimento per musica, libretto, Vienna: van Ghelen,
1764. Frankfurt am Main, Apr. 1764. Doubtful, music lost; see Hortschan-
sky (item 179).

56. Isabelle et Gertrud. Opera-comique in one act, libretto by Favart. Paris,


Theatre Italien, Aug. 14, 1765. Three arias possibly by Gluck: "Sans souci
vivre pour soi" (from "Les hommes pieusement" in La rencontre imprevue),
"Comme une rose" (from "A rna maitresse" in La rencontre imprevue),
"Rompons ensemble" in ms in D-Dlb; see Brown (item 489).

57. La vestale. Festa teatrale in two acts, revision of no. 19. Vienna: van Ghelen,
1768. Vienna, Burgtheater, Summer 1768. Music lost; see Einstein (item 381).

58. Orfeo. Pasticcio, libretto by Giovanni Botarelli, London: Griffin, 1770. Revi-
sion of no. 30, with additional music by J. C. Bach, Pietro Guglielmi, and Gae-
tano Guadagni. London, King's Theatre, April 7, 1770. The Favourite Songs in
the Opera "Orfeo," London: Bremner, 1770. Many subsequent versions based
on this; see Howard (item 446), Robinson (item 466), and Cattelan (item 565).

59. Die zwei Koniginnen. Tragedia, libretto by Karl Joseph von Pauersbach.
Salzburg, Jan. 19, 1776. Doubtful, music lost; see Deutsch (item 305).

Secular Vocal Music


60. Klopstocks Oden und Lieder beym Clavier zu Singen. Lieder, words by
Friedrich Gottlob Klopstock. 1. "Vaterlandslied," 2. "Wir und Sie," 3.
"Schlachtgesang," 4. "Der Jiingling," 5. "Die Sommemacht," 6. "Die friihen
Graber," 7. "Die Neigung." Vienna: Artaria, 1785; in ms in B-Bc; nos. 2 & 3,
ed. Johann Christoph Diederich, Gottinger Musenalmanach, 1774; earlier
version of No.4, ed. Diederich, Gottinger Musenalmanach, 1775; second ver-
sion of No.5, ed. Johann Heinrich Voss, Vossischen Musenalmanach (Ham-
10 Christoph Willibald Gluck

burg), 1785; No.6, ed. Diederich, Gottinger Musenalmanach, 1775. All nine
Lieder ed. Gustav Beckmann, Leipzig: Gluckgesellschaft vol. 3, 1917.

61. Ode an den Tod. Lied, words by Klopstock, ed. Johann Friedrich Reichardt,
in Musikalischer Blumenstrauss, Berlin, 1792; ed. Josef Liebeskind in
Ergiinzungen und Nachtriige (in item 49).

62. "Minona, lieblich und hold." Duet, author unknown, ed. Reichardt In
Musikalische Blumenlese, Berlin, 1795. Incipit in Hopkinson (item 43).

63. "Siegsgesang fUr Freie." Lied, words by Franz Matthisson, ed. Voss, in
Musenalmanach, 1795. Incipit in Hopkinson (item 43).
New Grove (item 99) gives details of several more secular vocal numbers of
doubtful ascription. Unattributed arias exist in ms in A-Wgm, A-Wn, B-Bc,
D-Bsb, D-Dlb, F-Pn, S-Skma, US-AUS.

Sacred Vocal Music


64. Miserere. Eight-part chorus? Turin, 1744-1745; music lost.

65. Psalm VIII. Vienna, 1753-1757; music lost.

66. "Grand chreur." For three solo voices and chorus, performed Vienna, Mar.
18, 1762; music lost.

67. "Alma sedes." Motet for solo voice and orchestra. Paris: Lemarchand, be-
fore 1779. Incipit in Hopkinson (item 43).

68. De profundis. Motet for chorus and orchestra, performed at Gluck's funeral,
Vienna, Nov. 17, 1787. Paris: A L'Imprimerie du Conservatoire de Musique,
[1804]. Ed. Arend, Hamlin: Oppenheimer, 1915.
New Grove (item 99) gives details of three doubtful motets; a number of
arias in Latin, adapted from operatic arias, exist in ms in A-Wn and DK-Kk.

Ballets
69. Les amours de Flore et Zephire. Scenario by Gasparo Angiolini, missing.
Vienna, Schonbrunn, Aug. 13, 1759. In ms in CZ-K; see Brown (item 166).

70. Le naufrage. Scenario by Angiolini, missing. Vienna, ?Burgtheater, 1759. In


ms in CZ-K; see Brown (item 166).
The Compositions 11

71. La halte des Calmouckes. Scenario by Angiolini, missing. Vienna, Burg-


theater, Mar. 23, 1761. In ms in CZ-K. See Brown (item 166).

72. Don Juan, ou Le festin de pierre. Ballet pantomime in three acts, scenario by
Angiolini, Vienna: Trattnem, 1761.Vienna, Burgtheater, Oct. 17, 1761. G
iill, ed. Richard Englander, 1966; in ms in B-Bc, D-Bsb, D-Dlb, D-Mbs.

73. La Citera assiedata. Ballet pantomime in one act, scenario by Angiolini,


after Favart (preface to La Citera assiedata, Vienna: van Ghelen, 1762). Vi-
enna, Burgtheater, Sept. 15, 1762. Music lost. See Brown (item 166), and
Croll (item 103).

74. Les amours d'Alexandre et de Roxane (Alessandro). Ballet pantomime in


one act, scenario by Angiolini, missing. Vienna, Burgtheater, Oct. 4, 1764.
G iil2, forthcoming; in ms inA-Wn, B-Bc, CH-BEI, CZ-K, CZ-Pnm, D-Bsb,
D-Dlb, D-DS, D-MUu.

75. Semiramis. Ballet pantomime in three acts, scenario by Angiolini, after


Voltaire, Vienna: Trattnem, 1765. Vienna Burgtheater, Jan. 31,1765. G iill;
in ms inA-Wn, B-Bc, D-DS.

76. /figenia in Aulide. Ballet pantomime in one act, scenario by Angiolini, miss-
ing. Laxenburg, May 19, 1765. Music lost. See Croll (item 510).

77. Achille in Sciro. Ballet pantomime, scenario by Angiolini, missing. Com-


posed for Innsbruck, summer 1765, not performed. In ms in CZ-K. See
Brown (item 166), Hortschansky (item 179), and Gerber (item 522).
New Grove (item 99) gives details of many more ballets probably by Gluck,
the music for which is lost.

Instrumental Music
78. Trio Sonatas. Gv/l, ed. Friedrich-Heinrich Neumann, 1961 contains six trio
sonatas for two violins and continuo, in C, G-minor, A, B-flat, E-flat, and F
(London: Simpson, 1746); two trio sonatas for two violins and bass, in E, in
ms in D-Bsb, and F, in ms in CZ-Pnm. New Grove (item 99) includes details
of three further chamber works of doubtful ascription.

79. Sinfonias. Nine sinfonias in C, D, D, D, D, E, F, F, G are identifiable by in-


cipits in Wotquenne (item 49). Of these, two have been published: No.7 in
F, ed. Hermann Scherchen, Mainz: Schott, nd; No.9 in G, ed. A. Hoffmann,
Wolfenbiittel: Moseler, 1950; ms copies of the remainder in A-W gm, B-Bc,

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