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PATRICIA HOWARD
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LONDON AND NEW YORK
First published 2003 by
Routledge
Published 2013 by
Routledge
2 Park Square, Milton Park, Abingdon, Oxon OXI4 4RN
711 Third Avenue, New York, NY, 10017, USA
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
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
v
vi Contents
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
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
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
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 2 Autograph letter from Gluck to Franz Kruthoffer, dated Vienna, August
30, 1780. Reproduced by permission of the Pierpont Morgan Library.
xxi
xxii Illustrations
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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.
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I
The Compositions
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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).
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).
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.
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).
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.
76. /figenia in Aulide. Ballet pantomime in one act, scenario by Angiolini, miss-
ing. Laxenburg, May 19, 1765. Music lost. See Croll (item 510).
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.