|
Christoph Willibald (Ritter von) Gluck (; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate (now part of Germany) and raised in Bohemia,〔Brown & Rushton 2001, (Introduction ) and ("1. Ancestry, early life and training." ); Heartz 1988, pp. 517–526. Sources differ concerning Gluck's nationality: Kuhn 2000, p. 272, and Croll 1991, p. 308, say he was German, while Brown & Rushton 2001 give Bohemian; Hayes et al. 1992, p. 453, Bohemian-Austrian; and Harewood & Peattie 1997, p. 261, Austrian.〕 he gained prominence at the Habsburg court at Vienna, where he brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years. With a series of radical new works in the 1760s, among them ''Orfeo ed Euridice'' and ''Alceste'', he broke the stranglehold that Metastasian ''opera seria'' had enjoyed for much of the century. The strong influence of French opera in these works encouraged Gluck to move to Paris, which he did in November 1773. Fusing the traditions of Italian opera and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages. One of the last of these, ''Iphigénie en Tauride'', was a great success and is generally acknowledged to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera, Gluck's mastery of the Parisian operatic scene was never absolute, and after the poor reception of his ''Echo et Narcisse'' he left Paris in disgust and returned to Vienna to live out the remainder of his life. ==Early years== Gluck was born on 2 July 1714 in Erasbach near Neumarkt (now a district of Berching, Bavaria). His father Alexander was a forester in Erasbach, and after 1717 head forester in Reichstadt (today Zákupy), Kreibitz (today Chřibská) and Eisenberg (today Jezeří), all in northern Bohemia.〔 According to some biographers, it was here, in the middle of Lusatian Mountains, where 8-year-old Christoph〔Gluck himself never used Willibald (Heartz 1988, p. 517, note 6).〕 received his first musical education at the Jesuit gymnasium in Komotau (today Chomutov).〔Daniel Heartz relates that this assertion has been the subject of much debate. Gluck himself does not appear in the list of students, although one of his younger brothers does. All instruction was in Latin, and Gluck's failure to learn Latin, which he had to study later in life, argues against it (Heartz 1988, p. 520).〕 In 1727 the family moved to Eisenberg, where his father was admitted to the service of Prince Philip Hyazinth von Lobkowitz.〔Heartz 1988, p. 518.〕 The Alsatian painter Johann Christian von Mannlich says it was as a Bohemian schoolboy that Gluck received his first musical training. Mannlich relates in his memoirs, written in French and published in 1810, that Gluck told him about his early life at a luncheon in Saint-Cloud, near Paris, in 1774. He quotes Gluck as saying: A childhood flight from home to Vienna is included in several contemporary accounts of Gluck's life, including Mannlich's, but some scholars have cast doubt on Gluck's picturesque tales of earning food and shelter by his singing as he travelled. Most now claim that the object of Gluck's travels was not Vienna but Prague, where according to early biographies he began studying logic and mathematics in 1731. At the time the University of Prague boasted a flourishing musical scene that included performances of both Italian opera and oratorio. Gluck eventually left Prague without taking a degree, and vanishes from the historical record until 1737.〔Brown & Rushton 2001, ("1. Ancestry, early life and training." )〕 According to the music historian Daniel Heartz, there has been considerable controversy concerning Gluck's native language. Gluck's protégé in Vienna, the Italian-born Antonio Salieri, says in his memoirs (translated into German by Ignaz von Mosel), that "Gluck, whose native tongue was Czech, expressed himself in German only with effort, and still more so in French and Italian... ."〔Quoted and translated by Heartz 1988, pp. 524–525, citing ''Ueber das Leben und die Werke des Anton Salieri, K. k. Hofkapellmeister'', I. F. Edlen von Mosel (Vienna, 1827): "Gluck, dessen Muttersprache die böhmisch war, drückte sich in der deutschen, und noch mehr in der französischen und italienischen, nur mit Mühe aus... ."〕 Gluck's first biographer, Anton Schmid, accepted that Gluck spoke Czech, but thought Salieri incorrect, proposing instead that Gluck learned Czech in Prague.〔Schmid 1854, (p. 39 ), cited by Heartz 1988, p. 525.〕 Heartz writes: "More devious manoeuvres have been attempted by Gluck's German biographers of this (20th ) century, while the French ones have, without exception, taken Salieri at his word. Arend objected that not a single letter written in Czech can be found, to which Prod'homme countered that no letters written by Liszt in Hungarian were known either, but does this make him a German?"〔Heartz 1988, p. 525; Arend 1920, (p. 20 ); Prod'homme 1948, chapter one.〕 Hans Joachim Moser wanted a lyric work in Czech as proof.〔Moser 1940, pp. 20–21, cited by Heartz 1988, p. 525.〕 In fact, the music theorist Larent Garcin, writing in 1770 (published 1772) before Gluck arrived in Paris, included Gluck in a list of several composers of Czech ''opéras-comiques'' (although such a work by Gluck has yet to be documented).〔Garcin 1772, (p. 115 ); reproduced by Heartz 1988, p. 527; cited by Brown & Rushton 2001.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Christoph Willibald Gluck」の詳細全文を読む スポンサード リンク
|