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	Christoph Willibald Gluck - Wikipedia, the free encyclopedia
		Gluck was born in Erasbach, Upper Palatinate, Bavaria, Germany to a forester in the service of a nobleman.
		Gluck's idea was to make the drama of the work more important than the star singers who performed it, and to do away with recitative which broke up the action.
		Gluck is buried in the Zentralfriedhof in Vienna, Austria.
	en.wikipedia.org /wiki/Christoph_Willibald_Gluck (632 words)

	Wikinfo \| Christoph Willibald Gluck
		Christoph Willibald Gluck (July 2, 1714 - November 15, 1787) was a German composer.
		Gluck was born in Erasbach to a forester in the service of a nobleman.
		Christoph Willibald Gluck is buried in the Zentralfriedhof in Vienna, Austria.
	www.wikinfo.org /wiki.php?title=Christoph_Willibald_Gluck (508 words)

	Christoph Willibald Gluck - Masters Of Music
		Gluck desired "to restrict the art of music to its true object, that of aiding the effect of poetry by giving greater expression to words and scenes, without interrupting the action or the plot." He wrote only operas, and some of his best works keep the stage to-day.
		Gluck then produced "Clytemnestra." This second work had a remarkable success, and the managers arranged for the composition of another opera, which was "Demetrio," which, like the others was most favorably received.
		Gluck soon finished his and handed it in, but the Italian, trusting to the director's word of honor, was not troubled when he heard the news, though he determined to complete his as soon as possible.
	www.oldandsold.com /articles18/music-masters-4.shtml (2657 words)

	Christoph Willibald Gluck
		Gluck settled permanently at Vienna in 1756, having two years previously been appointed court chapel-master, with a salary of 2000 florins, by the empress Maria Theresa.
		Gluck had for the first time deserted Metastasio for Raniero Calzabigi, who, as Vernon Lee suggests, was in all probability the immediate cause of the formation of Gluck's new ideas, as he was a hot-headed dramatic theorist with a violent dislike for Metastasio, who had hitherto dominated the whole sphere of operatic libretto.
		Gluck's indisputable dramatic power might be plausibly dismissed as irrelevant by upholders of music for music's sake, even if Piccinni himself had not chosen, as he did, to assimilate every feature in Gluck's style that he could understand.
	www.nndb.com /people/288/000093009 (3271 words)

	Find A Grave - Millions of Cemetery Records and Online Memorials
		Gluck eliminated the mere display of brilliant singing that had previously dominated the genre, and tried to achieve a unified balance between music and drama.
		The son of peasants, Gluck was born in Erasbach, Bavaria, Germany.
		Gluck's music, with its austerity, directness, and emphasis on dramatic illustration, was bold and entirely new in concept, and was initially greeted with total incomprehension.
	www.findagrave.com /cgi-bin/fg.cgi?page=gr&GRid=4481 (641 words)

	Gluck, Christoph Willibald: Biography (Site not responding. Last check: 2007-10-22)
		When Handel cynically advised Gluck that his works had not pleased the public, he traveled to Paris where he was very much influenced by the operas of Rameau.
		From 1755-61 Gluck was in Vienna where he began his important work of reforming opera seria along the more dramatic lines suggested in Marcello's Teatro alla moda (1720).
		Gluck's contribution to opera is in the development of an international style combining the best traits of Italian, French, and German schools.
	jan.ucc.nau.edu /~tas3/gluck.html (119 words)

	Christoph Willibald Gluck (1714-1787) : Library of Congress Citations (Site not responding. Last check: 2007-10-22)
		Calchas, d'un trait mortel blessbe Gluck, Christoph Willibald, Ritter von, 1714-1787.
		Ouverthure zur Oper Euristeo Gluck, Christoph Willibald, Ritter von, 1714-1787.
		LC Database, 1-2-94 (hdg.: Gluck, Christoph Willibald, Ritter von, 1714-1787.
	www.mala.bc.ca /~mcneil/cit/citlcgluck1.htm (3617 words)

	Christoph Willibald Gluck: Orfeo ed Euridice (Site not responding. Last check: 2007-10-22)
		Orfeo ed Euridice is the first so-called Reform Opera, that Christoph Willibald Gluck (1714 Erasbach/Oberpfalz - 1787 Vienna) created together with the Italian librettist, Ranieri di Calzabigi in 1762.
		Gluck turned his back on the stiff conventions of the High Baroque Period and particularly against those of the operas on texts by Metastasio.
		For Gluck, the texts and the characters should present dramatic and psychological truthfulness, whereby the music served not only these texts but also the content of the play.
	www.aeiou.at /aeiou.music.8.1/080108.htm;internal&action=_setlanguage.action?LANGUAGE=en (155 words)

	Christoph Willibald Gluck Biography / Biography of Christoph Willibald Gluck Biography
		Christoph Willibald Gluck (1714-1787) was a composer and opera reformer.
		Christoph Willibald Gluck was born of German-Bohemian stock on July 2, 1714, at Erasbach in the Upper Palatinate.
		After a short stay in Vienna in 1736, Gluck went to Milan, where he was in the employ of the Melzi family from 1737 to 1739.
	www.bookrags.com /biography-christoph-willibald-gluck (240 words)

	Gluck, Christoph Willibald von. The Columbia Encyclopedia, Sixth Edition. 2001-05
		Gluck revolutionized opera by establishing lyrical tragedy as a unified vital art form.
		In 1773, Gluck went to Paris, where his first serious opera with a French libretto, Iphigénie en Aulide (1774), was performed.
		Eventually, Gluck’s emphasis on dramatic impact and musical simplicity became incorporated into the French operatic tradition, and his influence on later composers was considerable.
	www.bartleby.com /65/gl/Gluck-Ch.html (281 words)

	Gluck, Christoph (1714 - 1787) (Site not responding. Last check: 2007-10-22)
		The form underwent various changes and reforms and the name of Gluck is associated with a tendency to greater operatic realism, the drama subsumed in the music, his principles expounded in his introduction to his opera Alceste in 1767.
		By far the best known of all excerpts from operas by Gluck is the Dance of the Blessed Spirits from Orfeo, closely rivalled by the aria Che faró senza Euridice from the same opera.
		Gluck was associated with the choreographer and dancer Angiolini.
	www.naxos.com /composer/gluck.htm (203 words)

	Malaspina Great Books - Christoph Willibald von Gluck (1714-1787)
		Handel's well-known saying that Gluck "knew no more counterpoint than his cook" must be taken in connexion with the less well known fact that that cook was an excellent bass singer who performed in many of Handel's own operas.
		Gluck settled permanently at Vienna in 1756,; having two years previously been appointed court chapel-master, with a salary of 2000 forms, by the empress Maria Theresa.
		Gluck's next work was Iphiginie en Tauride, the success of which finally disposed of Piccinni, who produced a work on the same subject at the same time and who is said to have acknowledged Gluck's superiority.
	www.malaspina.org /home.asp?topic=./search/details&lastpage=./search/results&ID=922 (3280 words)

	Internet Public Library: Music History 102
		A musical theorist as well as a composer, by 1761 Gluck had come to the conclusion that the important elements in ballet and opera should be the story and the feelings of the characters, not the ridiculous intrigues, mistaken identities, and myriad sub-plots that had become the stock-in-trade of the Baroque opera.
		Gluck intended to reform the opera of the late eighteenth-century by abolishing vocal virtuosity for its own sake and causing the music to serve the needs of the drama.
		Although his style of music was coming to an end and his ideals were just gaining a foothold at the time of his death, Gluck's operatic reforms did have a far-reaching impact on future composers, affecting the stage works of Mozart, Berlioz, and Wagner.
	www.ipl.org /div/mushist/clas/index.htm (1818 words)

	Christoph Willibald Gluck 1714-1787
		Gluck's overture to his opera "Iphigenia in Aulis" ("Iphigenie en Aulide") is a little more than a century and a half old.
		The grand flourish of brass and strings, several times repeated, pompous in the manner of the French classic drama (Gluck's subject: came to him from the theatre of Racine via the opera libretto of Du Roullet), is like unto the commentary of a Greek chorus.
		These measures are constructed reverently upon phrases already heard, returning to the music of the opening, concluding with the motive of the gods decree ominously muttering in the basses.
	www.oldandsold.com /articles06/sy6.shtml (590 words)

	Christoph Willibald Gluck (1714-1787)
		Gluck's basic effect to the music of his era was the reformation of the opera and the radical change of the relative role of music and all other components that an opera contains.
		Gluck accomplished this by studying intensively the various European operatic idioms and applying - often in a pressing way - changes to the musical function of the opera as well as in its role as simple-unsophisticated entertainer of the public.
		Gluck managed to be recognized in a large extent for his work during his lifetime, and his several operas were met with important success.
	www.artissimo.gr /english/cm_composers/Christoph_Williband_Gluck.htm (369 words)

	OperaWorld.com's Opera Insights: Iphigénie en Tauride
		Gluck was actually shockingly avant-garde, the musical pacesetter of an intellectual and aesthetic revolution that was sweeping Europe, carrying political revolution in its wake.
		Gluck may have been the first operatic composer to cast the orchestra in the role of a character's subconscious.
		The irony of Gluck is that, in attempting to subjugate music to the word, he brought those elements into a rare equilibrium.
	www.operaworld.com /special/iphi1.shtml (1272 words)

	200th Anniversary of the Death of Christoph Willibald Gluck (Site not responding. Last check: 2007-10-22)
		Christoph Willibald Gluck's great role in western musical history was in no way pre-programmed from the beginning.
		In the decades that followed Gluck focused in particular on the reform of the traditional opera and in 1762 achieved great success in Vienna with his Italian opera "Orfeo ed Euridike".
		Gluck's fame was secured in 1779 with the smashing success of his last French opera "Iphigenie in Tauris".
	www.aeiou.at /aeiou.stamp.1987.871113b;internal&action=_setlanguage.action?LANGUAGE=en (252 words)

	Highbeam Encyclopedia - Search Results for Christoph
		Gluck, Christoph Willibald von GLUCK, CHRISTOPH WILLIBALD VON [Gluck, Christoph Willibald von], 1714-87, German-born operatic composer.
		Graupner, Christoph GRAUPNER, CHRISTOPH [Graupner, Christoph], 1693-1760, German composer, studied at Leipzig with Johann Heinichen and Johann Kuhnau.
		Scheiner, Christoph SCHEINER, CHRISTOPH [Scheiner, Christoph], 1579?-1650, German astronomer and mathematician, a Jesuit priest.
	www.encyclopedia.com /SearchResults.aspx?Q=Christoph (659 words)

	HOASM: Christoph Willibald Gluck
		Gluck's father, Hans Adam, was hunting and forest master for the Lobkowitz family in the Upper Palatinate, later in northern Bohemia.
		The family relocated several times during Christoph's young years, and little is known of the boy's schooling or of his first music instructors.
		Gluck's early attempts to practice musical instruments were reportedly thwarted by his father, who had his son assist him in the hunt.
	www.hoasm.org /XIID/XIIDGluck.html (669 words)

	Amazon.co.uk: Cecilia Bartoli: Gluck Italian Arias: Music (Site not responding. Last check: 2007-10-22)
		After the pan-global success of her disc of Vivaldi arias, mezzo Cecilia Bartoli is clearly a woman on a mission to rescue the neglected operatic output of otherwise well-known composers.
		But there's also plenty of Gluck at his most inspired, writing with acute sympathy for a woman going mad at the thought of her lover's impending execution (track 3) and screwing dramatic tension to almost Verdian levels with the words "estremi sospiri" (final breaths) in an aria from La clemenza di Tito (track 7).
		Gluck never enjoyed this kind of popularity and even among real opera aficionados it is hard to find those who are familiar with his works except the ubiquitous "Orfeo".
	www.amazon.co.uk /exec/obidos/ASIN/B00005ND3K (1876 words)

	Los Angeles Philharmonic Association - Piece Detail
		The Czech-born Gluck had worked in opera in Italy, Germany, and London (where he was briefly held up as an operatic rival to Handel in the 1740s) and then became a musical fixture in Vienna before undertaking the conquest of Paris in the 1770s.
		Gluck is best known today for what are called the "Gluck Reforms," changes in the rigid conventions of Italian opera seria.
		Contemporaries would immediately have noted his integration of recitative and aria, his use of arias and choruses to move the plot, and his elimination of stereotyped arias about generalized mental or emotional states, not specifically referring to the plot.
	www.laphil.org /resources/piece_detail.cfm?id=2035 (499 words)

	- Classical Music Dictionary - Free MP3
		Gluck now decided to apply his new ideals to French opera, and in 1774 gave Iphigénie en Aulide (as well as Orphée, a French revision of Orfeo) in Paris.
		It was a triumph, but also set the ground for a controversy between Gluck and Italian music (as represented by Piccinni) which flared up in 1777 when his Armide was given, following a French version of Alceste (1776).
		Gluck's opera reforms - they are not exclusively his own, for several other composers (notably Jommelli and Traetta, both like Gluck French-influenced) had been working along similar lines - are outlined in the preface he wrote, probably with Calzabigi's help, to the published score of Alceste.
	www.karadar.it /Dictionary/gluck.html (454 words)

	Public Domain Music - Biographies - Christoph Willibald Gluck - at Web-Helper.net
		Gluck was born July 2, 1714, at Weidenwang, in the Upper Palatinate, on the estate of Prince Lobkowitz, and died in Vienna, November 15, 1787.
		However, he had sense enough to realize that Handel was right and set to work to improve his methods.
		A bitter feud existed between Gluck and Piccini, and eventually both set the same opera libretto, "Iphigenia in Tauris".
	www.web-helper.net /PDMusic/Biographies/GluckChristophWillibald/default.asp (234 words)

	NewOlde.com - Christoph Willibald Ritter von Gluck
		The Portraits of Christoph Willibald Ritter von Gluck
		Gluck's third and final operatic collaboration with Calzabigi, after their triumphal successes with Orfeo and Alceste.
		Gluck based a chaconne on a theme by Lully.
	www.newolde.com /gluck.htm (1111 words)

	HighBeam Encyclopedia - Gluck, Christoph Willibald von (Site not responding. Last check: 2007-10-22)
		GLUCK, CHRISTOPH WILLIBALD VON [Gluck, Christoph Willibald von], 1714-87, German-born operatic composer.
		His first 10 operas, in the Italian style, were successfully performed in Italy in the years 1741-45.
		Find newspaper and magazine articles plus images and maps related to "Gluck, Christoph Willibald von" at HighBeam.
	www.encyclopedia.com /html/G/Gluck-C1h.asp (373 words)

	Christoph Willibald Gluck
		He met the poet Calzabigi and the choreographer Angiolini, and with them wrote a ballet-pantomime Don Juan (1761) embodying a new degree of artistic unity.
		The next year they wrote the opera Orfeo ed Euridice, the first of Gluck's so-called 'reform operas'.
		In 1764 he composed an opéra comique, La rencontre imprévue, and the next year two ballets, he followed up the artistic success of Orfeo with a further collaboration with Calzabigi, Alceste (1767), this time choreographed by Noverre; a third, Paride ed Elena (1770), was less well received.
	w3.rz-berlin.mpg.de /cmp/gluck.html (486 words)

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